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Kastro | Mykonos The zenith of quality living within a home built with love. An ode to basics as the main substance of good living, this villa is a retreat filled with bright natural light, minimalistic opulence and a stunning location of panoramic breathtaking views. Equipped with cutting-edge technology appliances and safety devices, the property’s tech highlight is the huge wall panel of the home cinema located in the spacious living room with speakers throughout promising a genuine sound surrounding experience. Six consistently designed and furnished double bedrooms with soundproof walls welcome the property’s guests for hours of deep sleep and endless cocooning. The master bedroom of the ground floor opens to the pool terrace and features a private, double sink shower bathroom and stunning sea views. On the first floor four bedrooms are meticulously placed to all four sides; queen sized or twin beds, private bathrooms and access to the terrace with sunbeds, the hammock room and stairs leading either to the rooftop or the pool level. A sixth brand new bedroom with independent access is also situated in the ground level. Outside the well-designed plot includes a refreshing infinity pool with water fountain built in the stone wall surrounding it, a sun lounging area with beds and a comfortable sitting area right under the wooden pergola. A minimally furnished dining spot is located right next to the sitting area, at the edge of the pergola with stunning sea views. For moments of utter relaxation and seclusion, there is the outdoor hammock room nestled within stone walls and wooden pergola shade with access to the rooftop and its magnificent 360° views. Living room with dining area 1 Master bedroom with queen size bed, sea view, en-suite shower bathroom and access to pool 1 Master bedroom with independent access, en-suite bathroom, veranda on patio and a large adjoining relaxation hammam 2 Twin/Double bedrooms with en-suite shower bathrooms, sea view and access to balcony 1 Double bedroom with queen size bed, sea view, en-suite shower bathroom and access to balcony 1 Double bedroom with queen size bed and en-suite shower bathroom Swimming pool with pergola shaded outdoor lounge and dining areas Pergola shaded hammock relaxing room on the first floor Rooftop area with sunset mattress and breathtaking views Change of linen twice a week

Maria Francesca Mazzara, Italian principal opera singer, and Alexander Frey, an American conductor, currently based in Germany, will arrive on tour to our theater. On the 5th of November opera “Traviata” by G.Verdi will take place under the baton of the famous conductor where role of Violetta will be performed by the Italian vocalist. On the 13th of November Alexander Frey will conduct the opera “Eugene Onegin“ by Pyotr Tchaikovsky. Maria Francesca Mazzara was born in Palermo. She graduated from the lyric vocal faculty of the Vincenzo Bellini Conservatory in Palermo with the highest marks and at the same place she got SISSIS degree in category “Music and entertainment”. In 2017 she brilliantly performed the role of Violetta Valery in opera “Traviata” by G.Verdi on Rapallo opera festival, on musical festival in Cerreto Guidias as well as in Montecchio Maggiore in Romeo castle. Later she took part in important international festivals such as the International Festival of the Aegean in Greece where she performed the role of Rosina in “ Barber of Seville” as well as on Summer Arts Festival in Duluth (the USA) in the role of Lucia in “Lucia di Lammermoor”. Maria Francesca often participates in different concerts as her repertoire varies from Baroque music to modern one. The vocalist from Italy was a laureate of “Audience” award in “Big voice” competition in 2014, where Maria Francesca performed on the festival “Berg Opera”. Currently she develops skills in art of bel canto with Luciana Serra, the famous soprano. Maria Francesca is not only a great singer and a successful guest singer but also finds the time for cinema shooting. The Italian singer played brilliant roles in comedies as well as in” La Croiciére” by Pascale Pouzadoux (France, 2010). Alexander Frey is an American conductor of symphony orchestra, a virtuoso organist, pianist and composer. Currently the musician lives in Berlin. He, as a citizen of Berlin, is often invited by diplomatic communities to perform for heads of states, including president Bill Clinton, Dalai lama etc. Alexander Frey is considered as the most in-demand conductor in the world and is well-regarded as in concert halls as in opera theatres. Alexander Frey was a conductor in Karlin musical theatre in Prague from 2004 to 2008 where he conducted 50 performances for a season. There is a well-known saying of him: “The music is a peaceful island in the river of sorrow”. Besides that Alexander Frey is considered as “Korngold leading music translator” as he recorded full piano works of one of the interesting composer of the 20th century. You can buy tickets in the theater box office (telephone 21-16-30) as well as on the website of the Astrakhan Opera and Ballet Theatre: www.astoperahouse.ru The 24th theatre season will be opened with a premiere under the open sky -... Large guest performance will be held as part of the All-Russian Theatre Marathon Art Director and Principal Conductor of the Astrakhan Opera and Ballet Theater Valery Voronin will...

Culture Minister Miri Regev was met with boos and jeers when she stated her intention to cut funding to groups who seek to hurt Israel’s standing in the world, during a speech Tuesday at the start of a film festival. Regev’s speech took place during the Darom cinema festival at the Sderot cinematheque, where films by students from the Sapir College’s School for Voice and Screen Arts were being shown. Regev went on stage to speak ahead of the screening of shorts directed by graduates of the school, but was interrupted by shouts and heckling from the audience when she announced her intention to “prevent those giving ammunition to our enemies.” “There is nothing like that,” shouted Aner Preminger, a prominent lecturer at the college, who was applauded by students supportive of his views. Sderot Mayor Alon Davidi, who was present, tried to restore calm and at one point security guards even approached Preminger in order to allow the minister to continue her speech uninterrupted, NRG reported. Speaking to the Hebrew website, Preminger explained his actions: “I did not unplug her mic or not let her speak. I said the duty of culture is to really allow everyone to sound their voice and the minister, in what she said, actually blocked some of the voices, and this is what I see as so serious.” “Censorship starts when people are afraid. She is actually saying: you will receive funding, but don’t delegitimize [Israel]. If a person makes movies and starts being afraid, is it delegitimizing or not? Lecturers are going to start being afraid of what they say and what they avoid saying during class. As soon as she says these things she doesn’t understand what pluralism means,” he continued. Regev said she supported the right of critics to express their views. “This is pluralism, pluralism that will be expressed in Ariel, in Kiryat Shmona, Nazareth and Sderot. We will support those who do not delegitimize the State of Israel. With all honor to the professor, those who want support from the Culture and Sports Ministry should not delegitimize the State of Israel,” she said Soon after in a Facebook post Regev referred to the shouts as business as usual. “It was clear to me that during my speech outcries would be heard here and there,” she said. “The truth is I’m not overwhelmed by it and I’m not surprised.” Regev was similarly heckled last month at the opening of the Israel Festival in Jerusalem. The concert’s headliner, singer Shalom Hanoch requested that Regev not speak as to avoid politicizing a cultural event. “If a political official does address the audience from the stage, I intend to speak my mind on this matter and respond strongly,” Hanoch said. “It’s nothing personal against her,” a spokesperson from Hanoch’s PR firm told the reporters, emphasizing that throughout his career the rocker was careful not to politicize his performances. “I’m not out to upset any artist, but if I’ve already been invited, I don’t think the artist should have a say in the matter,” Regev — who went ahead and spoke, and was heckled — said in a statement posted to Facebook at the time. On Tuesday Regev also discussed recent statements made by Christian-Arab actor Norman Issa, who has refused to perform in the West Bank. “I was disappointed to hear the actor Norman Issa’s statement this morning saying that he would not appear in the Haifa Theater’s play ‘Boomerang’ in the Jordan Valley,” she said. “Issa’s decision does not exemplify the coexistence that he believes in and swears by. If Norman does not go back on his decision, it is my intention to reevaluate the ministry’s support of the Elmina Theater, which operates under his management.” Issa founded the Elmina Theater in Jaffa with his wife, the playwright Gidona Raz. In response to Regev, Issa, who is most famous for his role in the television show ‘Arab Labor,’ said that over the last 24 hours he has been the victim of “an unfair witch hunt,” according to Haaretz. “I am an Israeli Arab, married to a Jewish woman and raising a great family. My wife and I devote our entire lives to realizing coexistence among Jews and Arabs,” Issa said. “This issue is not new,” he said. “When an actor, whether Jewish or Arab, is unwilling to perform due to conscientious reasons, they can be replaced with a substitute actor.” The Elmina Theater said in response: “We have no reason to believe the Culture Minister, Miri Regev, will prevent subsidies from the Elmina Theater NGO – a multicultural theater for Jewish and Arab children withstanding all criteria justifying state support. This is a non-profit organization, and its credo is that an experience of theater jointly enjoyed by Jewish and Arab children without prejudice is capable of generating a shift in societal consciousness.” Jonathan Beck contributed to this report.

Let’s talk about your New Year’s Resolutions. Losing 20 lbs.? Simple. Quitting delicious cigarettes? Done! Mastering the deadly art of Brazilian capoeira? Ambitious, but doable. Getting your movie into a major US film festival? Possible starting today. But as with any goal, reaching your target 2018 achievements starts with identifying specific action items. So let’s start by visualizing where you are right now. There you sit: a fine cut (or a rough cut, even) of your long-gestating passion project waiting there patiently on an external hard drive, dying to be seen, all but literally burning a hole in your threadbare indie filmmakers’ pocket. What to do? Especially during these long, late-winter months when the promise of festival season seems like the artifact of an impossibly distant future? Well, we’ve got good news for you: submissions for the 2018 LA Film Festival are open—starting today. Of course, the big difference is that starting this year, the LA Film Festival is moving to September—but remaining unchanged will be the Festival’s commitment to innovative storytelling, intimate and informative filmmaker panels, productive networking opportunities and great films—including (hopefully) yours! “The secret to dramatically changing something is to change it,” says LA Film Festival Director Jennifer Cochis. “Film Independent is so proud of the work we’ve done in showcasing new American and international cinema that embraces diversity, innovation and unique perspectives. I sincerely look forward to better serving filmmakers, film lovers, the city and the industry in the fall of 2018 and beyond.” The early deadline for 2018 submissions is February 12. The regular deadline is April 9 and the late deadline is May 21. Film Independent Members have until June 1 to take advantage of the late deadline. For more information, including how to submit, just click here. We’re looking for diverse stories and unique points of view. Got a horror movie? We want it for our Nightfall section. Got a movie inspired by Los Angeles? We want it for LA Muse. Horror movies inspired by Los Angeles? YES, PLEASE. Long story short, we want your movie—be it a feature, documentary, short film or episodic web series. There’s only so much we can convey about the Festival’s benefit to filmmakers in a single blog post. For a much more comprehensive look at what makes our community of filmmakers so inspiring, please check out this keynote speech from 2017 LA Film Festival Spirit of Independence winner Miguel Arteta, director of Chuck and Buck, The Good Girl and this year’s Spirit Award nominated Beatriz at Dinner. Even better, as a 2018 LA Film Festival filmmaker your film immediately becomes qualified for a variety of prestigious film awards, including the Film Independent Spirit Awards (for feature-length films), Cinema Eye Honors for Nonfiction Filmmaking (documentaries) and the Academy Awards in the Narrative Short, Animated Short and Documentary Short Film categories. Study up by checking out our submission guidelines and filmmaker FAQ. So push all of those other self-improvement aspirations to the side—you can try stand-up comedy or learn how to cook any old time. Right now is the time to get your movie out there and submit it to the LA Film Festival. Start out 2018 right. (Header: revelers on the Festival Lawn at the 2017 LA Film Festival)

You still have time to decide where to go during Holy Week. Skip the usual with some of these proposals of European destinations to go in Easter. The next holidays are approaching and surely you have not yet decided where to go during Holy Week. We do not judge you, sometimes it can be a bit complicated to choose for reasons of price or, simply, you do not want to repeat the same as always. Don’t worry, next we want to suggest some European destinations to go in Easter that can save your next trip. Low cost cities, alternative plans or traditional destinations, but if looked at in a different way they have much to offer. Budapest is a great destination to go to during Holy Week without leaving Europe for many reasons. First, it is one of the cheapest places to spend a vacation. You will find cheap flights to Budapest almost certainly, as there are several low cost airlines that will take you from Spain to there. In addition, the price-quality ratio for the accommodation is one of the best in the region, as well as for the food. On the other hand, in the capital of Hungary you can learn a little about the traditions of the country if you dare to visit it during Holy Week. For example, in the Vajdahunyad Castle, located in the largest park in the city, the Easter Lamb Festival is celebrated between 19 and 22 April. Throughout the Sunday, many chefs gather to prepare the best lamb in order to obtain a prize. It also celebrates the capture of Easter eggs in the Railway Museum, an event dedicated to this traditional Hungarian celebration in which the little ones will really enjoy. Perhaps the Holy Week in Seville is the one that takes all the flashes, but in many corners of Andalusia they keep secrets that we encourage you to discover. For example, this year you could choose to visit the traditional Holy Week in Cordoba, just one hour from Seville. The city is a perfect size to walk on and you can live all its processes in a very comfortable way. We encourage you to miss the Holy Monday, which are the most curious. For example, the steps of the Brotherhood of Souls Remedy are real jewels of the seventeenth century that only circulate in the streets if the probability of rain is 0%, due to its artistic value. In addition, although you have already been enjoying the wonderful streets of Cordoba, you could be encouraged to visit another place that is usually little known: the city of Medina Azahara. This Arab palace on the outskirts of Cordoba was the residence of the Caliphate for several years and we are sure that you will fall in love. A little less known Easter destination is the Croatian city of Split. However, it is an ideal place to spend a few days by the sea and, at the same time, learn a little more about the culture of this area of the world. Bathed by the sun and the sea, Split keeps many treasures. Strolling through its center is immersed in centuries of history and we advise you to do it during Holy Week, when processions and unique traditions take place. For example, in Lovrec, just 70 kilometers from Split, processions are held throughout Good Friday carrying crosses and singing chants of the fifteenth century. In addition, this same day fish and red wine are usually eaten, children paint Easter eggs and grandmothers make cakes. During Resurrection Sunday a typical breakfast is usually taken with ham, eggs, onion and artisan bread. What are you waiting for to try it in one of the great cafés in Split? Croatia is an ideal destination to go to during Holy Week without leaving Europe. If you want to get away from the traditional, one of the best places to go in Easter is Malta. With the arrival of good temperatures, you can enjoy relaxing on one of its beaches, but you could also opt for a more mobile plan. Right during these days the Lost Found Festival is celebrated, an event that combines the natural beauty of the country with the music of international artists. From April 15 to 21, along 8 different stages, you can live a Holy Week very different from the one you imagined. Music, sunsets, parties on the beach, on boats, in the pool and even castles await you on this magical Mediterranean island. Geneva may be another Easter week destination that may interest you if you are looking for something beyond the processions of every year. The second largest city in Switzerland, on the shores of Lake Leman and backed by the Alps, has such interesting places as St. Peter’s Cathedral, the Plain palais Market or the Hôtel de Ville. Not only can you explore its more cultural side, but if you choose it as a Holy Week destination, you can experience one of the most important techno music festivals in the world. The Electron Festival is held from April 25 to May 5th in several central locations of the city and not only includes musical events, but you can also attend conferences, workshops and films. The organisers say that techno is their religion, go check if it’s yours in your next vacation. Berlin as a city to go to during Holy Week? Why not? The German capital has charm at any time of the year, but perhaps this holiday is even more interesting. The good weather has begun to be seen through its streets, causing life to re-emerge outside of houses and restaurants. In addition, the cultural offer of the city seems to increase during these holidays. At the Bode Museum in Berlin you can watch a series of classical music concerts on April 13th to 18th. In the Charlottenburg Palace the Festive Spring Concert is celebrated, an evening in which Beethoven and Schumann themes are performed followed by a visit to the palace and a most palatial dinner. You could also choose to listen to Bach in the Cathedral, played by the most important choirs in the city. Many events await you in Berlin if you opt for this cheap Easter destination. Stop thinking like the rest and enjoy Barcelona at this time of year. If you do not know where to go during Holy Week, stop by the capital of Catalonia, but live it in a different way. In addition to knowing its main attractions, you could attend the ancient Procession of Silence in Badalona (just a few kilometres from Barcelona) on the night of Holy Thursday. This event, which has been held since the 17th century, takes place in the most absolute silence and with the only lighting of the candles that the attendees carry in their hands. On Good Friday several religious events are celebrated in the Cathedral of Barcelona, like the Sermon of the Seven Words or the way of the cross. In addition, throughout the week you can move to a corner of southern Spain in L’Hospitalet, where Andalusian Holy Week is celebrated. You can listen to saetas! Whenever we think of Italy, we go to the same destinations: Rome, Florence, Milan, Cinque Terre … However, if you choose them as destinations to go to during Holy Week, it is very likely that you will find crowds looking for the same thing as you. We recommend you to focus on another area of the Mediterranean country: the southeast. Fly to Lecce and enjoy the beaches of Salento, corners with golden sand and transparent waters in which to lie down to live the spring temperatures of April. During these days, the beaches of this city and different locations such as castles or clubs are filled with people wanting to enjoy the music of the invited artists at usual festivals which promotes the region tourism based on various cultural activities. Go to know the jewel of Scotland and choose it as a place to go during Holy Week. In Edinburgh you will always find something to do interesting and on these dates there is still more to do. Start by watching the breathtaking views from Calton Hill, take a stroll through its museums, such as the National Museum of Scotland, and, of course, tour the Old City, continuing to stroll along the Royal Mile from Edinburgh Castle to the Palace of Holyrood. If You are able to come before the Holy Week, you could go to the Comic Con festival in Edinburgh (April 6th and 7th). If you’re looking for a party, sign up for Terminal V, a house and techno music event located in a secret place … Without a doubt, Scotland is a great Easter destination and also one of the best European destinations to go in Easter. You could fly to the Norwegian city of Tromso to see another of the Holy Week destinations we have selected. In Kautokeino the Festival of Holy Week of the Sami takes place, a town almost unknown to many. During these days you can participate in a lot of events that will make you know a little better the life and culture of these people who live surrounded by snow for much of the year. The festival includes a Reno Racing World Cup, a film festival (held in an ice cinema), a music festival (the Sami Grand Prix, something like Eurovision) and a festival for children. You can find parades, plays, exhibitions, parties and food markets anywhere. A good idea to get to Kautokeino is to get a rental car. Until you reach your destination, you will pass through incredible places in the Finnmark region full of waterfalls and frozen lakes. Thank you for making this far with your reading. I hope you’ve enjoyed our “Best European destinations to go in Easter” article. If you did, please comment and share with your friends, and if you’d like to receive more articles like this about travel tips in Europe, please sign up for our newsletter below!

Mumbai: President Ram Nath Kovind said today that the 12 ‘champion’ services sectors including IT and tourism identified by the government hold a huge potential to attract global investors, promote India’s economic growth and generate jobs. In February, the central government had set up a Rs 5,000 crore dedicated fund to promote 12 ‘champion’ services sectors. The list…includes business areas with potential for drawing global attention and investment, as well as boosting growth and employment. It also aims to optimise India’s skills and knowledge resources, Kovind said while inaugurating the Global Exhibition on Services here. It is being organised by the Department of Commerce along with industry chamber CII. The President said that services sector contributes 61 per cent in gross value added and with young population and large talent pool, India has natural advantages in these sectors. India’s global services exports stood at 3.4 per cent in 2016. I am given to understand that the target is a 4.2 per cent share of global services by 2022. And frankly that is only the tip of the iceberg, he said. He also said that by 2025, India hopes to double the size of its GDP to USD 5 trillion and of this…the services sector could be a USD 3 trillion contributor . Out of this number, the government estimates that the Internet economy, incorporating e-commerce and other applications, could be as high as USD 1 trillion, he added. He said that programmes such as Start-up India and the Mudra Yojana have seeded a culture of entrepreneurship, largely in services. I am confident that some of these start-ups will grow into giants in the years and decades to come. A billion mobile phone users; 500 million citizens on the Internet; and a determined push for financial inclusion using technology as well as for digital payments have collectively deepened India’s services story, Kovind said. Further, he said services like financial, business and professional, and R&D among others, have accounted for 57 per cent of cumulative FDI inflows since April 2000. In the first half of 2017-18, I am told they accounted for almost two-thirds of FDI inflows. These numbers are telling, he said. The President also launched India services logo and a portal on these champion sectors. The commerce ministry is working with different ministries to formulate separate plans for the 12 services to boost growth in these segments. The 12 sectors include Medical Value Travel, Transport and Logistics, Accounting and Finance, Audio Visual, Legal, Communication, Construction and Related Engineering, Environmental, Financial and Education. (PTI) ‘Bhool Bhulaiyaa 2’ to hit screens on July 31, 2020 Religion and science don’t have to be divorced: Vidya Balan Making ‘Mission Mangal’ was a big risk: Akshay Kumar Walkathon held on ‘Healthy Aging, Strong Bones’ ‘Sridevi: Girl Woman Superstar’: Penguin announces book on Indian cinema legend © 2017 State Times Daily Newspaper

Enya for ‘The Very Best of Enya’ At one time or another nostalgia plays a part in all of all our lives, and when Warner Music asked me to choose songs that are particularly dear to me l based my choice on memories and emotions evoked by those songs. ‘Orinoco Flow’, for example, reminds me especially of Rob Dickins, who was fiercely dedicated to his role in WEA and could have written the definitive book on popular music. Rob was so determined to get things right that he actually went to the record stores to watch the queues of people asking for ‘Sail Away’ when the title of the song was, of course, ‘Orinoco Flow’. Rob immediately sent out instructions to add the bracketed title of Sail Away underneath ‘Orinoco Flow’ on the single cover. Robs knowledge of the business was incredible, his acumen unmatched at the time. Nicky, Roma and I all remember Rob’s tremendous energy and it is without doubt that because of him our efforts were so greatly rewarded. Thank you Rob. ‘Boadicea’, a track from the BBC documentary The Celts is a particular favourite of mine, mainly because of its simplicity. Many years after we recorded ‘Boadicea’, it caught the attention of a certain genre of rap artists. This began with the Fugees and their amazing adaptation ‘Ready Or Not’ though Mario Winan took it to another level in his beautiful rendering of ‘I Don’t Wanna Know’. This song was produced by Sean ‘P Diddy’ Combs, who made the initial approach to us. Nicky asked him to return the favour sometime, he graciously agreed, and knowing Nicky, Mr Combs will be getting a call one day. ‘Only Time’ and ‘Fallen Embers’ have a particular meaning for me, and bring the awful memories of 9/11 flooding back as l remember the victims and the brave New York firemen — so many of whom lost their lives saving others. What can l say that has not already been expressed, it was the saddest time. It was May 2005 when Roma received a call from the Dept of Foreign Affairs of Ireland to tell us that their Majesties, the Emperor and Empress of Japan, requested my presence at the Mansion House in Dublin because they wished to meet me. Meeting them was a particular highlight of my career which I always cherish. ‘Sumiregusa’ reminds me of that time and the incredible beauty of Japan, my many visit there — courtesy of Warner music Japan — and of course my wonderful and loyal Japanese fans. Such was the secrecy around Peter Jackson’s work on The Lord of the Rings that Nicky, Roma and I had to travel across the world to New Zealand on a 23 hour flight for special viewing of the glorious, unfinished, uncut version of this epic film. We watched the film behind locked doors, only the three of us in the full sized Cinema. Peter and his wife Fran Walsh, made us feel so welcome and it was such a pleasure to be part of this historic Movie. Peter surrounded himself with great artists and friends who worked on every aspect of the project, and we were brought on a tour of the impressive Weta Workshops by the supremely talented Richard Taylor and Tanya Rodgers. What a wonderful experience for the three of us! It’s here that I would like to mention ‘Aniron’, a song that has never been released in its full version until now, and of course ‘May it be’ which brought us our first visit to the Oscars, and hopefully not our last. It has to be described as one of the most romantic of requests to be asked to perform at a King’s birthday; the King of Sweden’s birthday, no less. I sang ‘Anywhere Is’ with the support of twelve of the King’s drummers in full military attire, playing their snare drums in perfect time to the song. The King and Queen are very charming friendly people and it was such an honour to be asked to perform for him, especially in the Company of the great Stevie Wonder who sang what else but, ‘Happy Birthday’. ‘Anywhere Is’ was also the song I performed at a special concert for Hiss Holiness Pope Paul II, at his private theatre in the Vatican. The day after Nicky and I met with him in a private audience. A man of great charisma, which was evident from the moment he walked into the room. ‘Watermark’ takes me to the time I met Princess Diana, who shared a moment with me. She glowed with charm and warmth and simply radiated beauty. ‘Watermark’ is the connection here and we donated this track to the CD ‘Diana — Princess of Wales — Tribute’ a compilation album where all the artists involved donated to the charitable trust fund set up in Princess Diana’s memory. Finally, I remember too, all those in Warner Music throughout the world who worked so hard on my behalf and were very much a part of the success we enjoy. We delivered the songs, but Warner Music brought them to the entire world. text by Enya from ‘The Very Best of Enya’ collector’s edition EMI Music Publishing Ltd, 2009 transcribed by enya.sk

Mécanique wins an award at Festival Animayo School . 31 May. 2018 Mécanique has just won the “Best 3D Award” at Animayo festival in the Canary Islands. The festival took place from May 2nd to 5th under the motto “Couples, tandems and teams”. 24 well-known Spanish artists as well as animated film creators who have worked with legendary studios, such as Illumination MacGuff, Dreamworks, ILM, Walt Disney Studios and Sony Pictures participated in various masterclasses, conferences, forums, courses , workshops and recruitments. Five international official competition sections are eligible for the Grand Jury Prize, which will be automatically considered by the Academy of Arts and Sciences of the Hollywood Cinema for the Oscars®.

Finding the best Nintendo Switch headset can make a big difference to your gaming. Sound quality is important in all the best Switch games, so getting a headset that can make the most of it is vital. However, we know that pulling out a full-blown gaming headset on the train isn't the most practical thing to do, so Nintendo Switch headsets need to be a little lighter, better designed, and easier to carry than regular ones. Ideally, they'd fit into your case too, although we suspect that having them slot into a regular packpack or satchel is more likely unless you decide to pick up earbuds instead. In some cases, the best Nintendo Switch headset could well be your regular pair of headphones, as you don't usually need to chat with friends while you're playing on the move. However, most Switch headsets are specifically tuned for gaming - they'll often enhance the bass for explosions in shooters, and many place extra emphasis on surround sound, so you can get a sense of where your enemies are in online games like Fortnite. So, it's worth investing in a Switch headset, especially if you play at home and want to use it for other games consoles in your set-up. We test headsets every day, and with Switch headsets we always consider portability, sound quality, comfort, and value. While some headsets cost $100s, that doesn't make them superior, and an $50-80 headset could easily serve you just as well. These are our favorites for 2019, at the lowest prices you'll see. 1. HyperX Cloud Alpha The best Nintendo Switch headset in 2019 Drivers: 50mm | Weight: 336g | Features: braided cable, inline controls | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets with 3.5mm jacks Yes, the Cloud has been around - and winning awards - since all this was fields (*gestures hand). And yes, there’s a very good reason for that. Somehow, time after time, HyperX manages to hit an incredibly attractive pricing while putting together the most comfortable cans on the market, bar none. It all began with Swedish manufacturer QPAD’s QH-90s, which Kingston bought the rights to several years ago. While the sound quality has improved noticeably and the features have grown with every new iteration, the Cloud features the same trademark design, inspired by aviation headsets. What that boils down to is that they’re incredibly comfortable and great and blocking out exterior sound too - useful if you’re on the go. The sound characteristics of the Cloud Alpha are bassier than we’d usually like, but in this case the low-end power doesn’t come at the expense of high-end articulation. They’re a real all-rounder, as suitable for music or movies as they are for building a perplexing maze around your enemies in Fortnite. Speaking of socially focussed games like Epic’s battle royale: the mic quality is… fine. You’ll have no trouble being heard, but it’s a bit thinner than some other on the list. Streamers should use a dedicated mic instead. The best budget Nintendo Switch headset Drivers: 40mm | Weight: 1.05 lbs | Features: Wired connection | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets If you're looking to really save cash on a Switch headset, this is your best option. Clocking in at $40 / £30, you get everything you need from a gaming headset in one neat package. A decent mic? Check. A comfy headband design? Check. Efficient 40mm drivers that deliver good gaming sound and decent levels of bass? Check. It even looks pretty good on your head, and the mic can be flipped up to keep it out of the way while you're playing offline. The drawbacks of the Recon 70 are exactly what you'd expect for the price. It's tuned for gaming, so doesn't transfer as well to movies and TV, although the bassy drivers do mean it's pretty good for most types of music. It's also less comfy for longer gaming sessions of over two hours, which shouldn't be an issue if you use your Switch for commuting and shorter journeys. Aside from these gripes, you're getting a really solid, reliable, and decent performing headset for a bargain price. You'll likely see variants like the Recon 70P and X etc - they're all the same headset, but with slightly different colors for different consoles. Each one works with Switch, via the 3.5mm jack. 3. Steelseries Arctis 3 Bluetooth The best Nintedo Switch headset for playing on the move Drivers: 40mm | Weight: 272g | Features: Some wireless functionality, swappable band & earcup designs | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets The Arctis range of headsets specialise in wireless tech, but there’s a 3.5mm cable supplied with the Arctis 3 which makes it fully compatible with Nintendo Switch. As a bonus, however, the Bluetooth version allows you to connect to other devices while you're playing, so you can listen to music on your phone while exploring Zelda, or you can make and receive phone calls during a heavy Fortnite session. Featuring Steelseries’ now trademark ‘ski goggle’ headband design, the Arctis 3 keeps the weight off your head using an elasticated band that - bonus! - you can swap out for a jazzier design from Steelseries’ online store if you so desire. More importantly, it makes this headset comfortable and portable, with no horrendous RGB lightning to distract your fellow commuters when you plug in in public. How’s the sound? Less bass-heavy than the Cloud Alpha, but still powerful enough to bring your games alive, and with a nice stereo spread that brings out the details in multiplayer shooters where locating footsteps and the barely perceptible clink of a pulled flashbang pin are vital. The cable isn’t as sturdy as other offerings, lacking any kind of braiding, so wear and tear during travel may become an issue over time. But that’s really the only drawback in an otherwise versatile option for Switch sound. 4. Logitech G Pro The best lightweight headset for Switch Drivers: 40mm | Weight: 259g | Features: lightweight design, leatherette or suedette earpads | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets with 3.5mm jacks If you’re looking to game on the go without drawing too much attention to yourself, the headsets don’t come much more understated than Logitech’s eSports-inspired G Pro. Gone are the tribal patterns, the seizure-inducing RGB, and the preposterous ‘aggressive’ angles that so often characterise gaming headsets. In their place, a monochromatic design with subtle ‘G’ branding on each earcup that wouldn’t look out of place in a high end audio boutique. Sound quality isn’t quite as luxurious as the kind of audiophile headphones you’d find in said boutiques, but it’s more than up to the job for gaming. If you like a flatter response, the bass levels here might be slightly too aggressive for you, but most people will find the warmth and articulation just right. Perfect for popping on a few tunes after your gaming session. In terms of portability these are a light and robust pair of cans, but they’re not quite as effective at blocking out exterior sound as the Cloud Alpha, so beware the sound of someone loudly eating their Burger King on the table across from you bleeding into your game audio. 5. Sennheiser GSP 550 A brilliant, high-end Nintendo Switch headset with a fantastic mic Drivers: 40mm | Weight: 259g | Features: free mousemat, swappable cover plates | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets with 3.5mm jacks Back into more familiar gaming headset design territory now with the GSP 550, which looks like it fell off an absent-minded Borg’s head and costs the earth. That’s admittedly not the most effusive introduction to a product we’re heartily recommending, so let us explain. Sennheiser are absolutely brilliant at microphones. You’ll find their pro audio equipment in any recording studio you care to name, and that ultra-high-end expertise trickles down to the gaming headset market beautifully when it comes to small but full-bodied mics. This has been the case for years, but packaged together in this GSP 550 with such incredible sound reproduction, it’s a no-brainer for those looking to take their Switch out to play, and keep chatting to their friends while they do it. Comfort levels are also surprisingly high, considering there’s quite a lot going on in the design of the GSP 550. Those large earcups do a stand-up job of blocking out invading outside noise, and the headband’s nice and wide to avoid digging in after longer gaming sessions 6. Roccat Khan Pro The best for high-res sound Drivers: 50mm | Weight: 230g | Features: Three colorways available | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets with 3.5mm jacks This is your best bet if you want to put fidelity first. Roccat's Khan Pro doesn't feel like the most luxurious headset on our list, but the build quality and construction materials have come on a long way in recent years for the German manufacturer. And besides, the USP here isn't a pampered scalp, but luxuriated ears. High resolution audio is a slightly wooly term that's most simply defined as 'anything above CD quality’, or 44,000Hz. In truth it takes something of an audiophile's ear to appreciate the difference, but if you like to combine Switch sessions with music binges with high-res music services like Tidal, the Khan Pro's got your bases covered for relatively little outlay. These are a light, compact set of headphones too, and although the large Roccat logo does give the game away slightly that these are for gaming, it’s thankfully rendered in dark grey so you can *just about* get away with it on planes, trains, and automobiles, as the case may be. 7. Beyerdynamic Custom GAME Best all-round Switch headset, but at a high price Drivers: 50mm: | Weight: 282g | Features: Two years warranty, customisable covers | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets with 3.5mm jacks Beyerdynamic, like Sennheiser, are a big name in pro audio. Their studio headphones have been found around the ponytailed necks of sound engineers for many a decade, and their mics in front of many a guitar amp. The Custom GAME is a big deal, then, because it brings much of that pro audio nous to the gaming space. For starters, the aesthetics are bang on. Taking cues from its DT series of studio headphones, and perhaps a dash of the aviation cans that spawned the HyperX Cloud Alpha, this headset looks subtle, professional, and far more expensive than it is. The headband’s generously padded to keep discomfort at bay, and so are the earcups, which keep exterior sound out brilliantly. The sound is warm, crisp, and with a flat response that’s hard to find from gaming cans. You’ll certainly hear the details with these around your ears, and if you want to get granular you can use a control on the earcup to cycle between 4 EQ presets intended for different environments. The mic works wonderfully for such a small unit, too, producing a more full-bodied voice than most. In short: this is the full package. It’s pricey, but useful for gaming, music, cinema, and even editing or production. A brilliant portable alternative to a gaming headset Drivers: 10mm: | Weight: 3.8 oz | Features: 3.5mm connection, carrying pouch, different sized ear buds | Works with: Nintendo Switch, PS4, Xbox One, PC, all phone and tablets with 3.5mm jacks If you don't want a traditional gaming headset, because it doesn't fit with the portability of your Switch console, then grab a pair of Turtle Beach Battle Buds. While they don't deliver superior audio, given they only have tiny 10mm drivers, they're rather good at what they do, and because the frequency response is quite limited you actually get a good balance of sound no matter what you're listening to. While most gaming headsets suffer when handling dialogue in games and TV, the Battle Buds deliver a nice, consistent sound. Despite their size, the Battle Buds stay firmly in your ear, even with constant head movement, and they're comfy for at least an hour of play. The Battle Buds also include a tiny mic, if you want to chat while playing, and they come with a neat little carrying pouch. Crucially, all this kit will fit easily into the average Switch carry case, and because the pouch is a nice, soft material, it won't scratch your screen or mark it in any way. They're the perfect portable option for Switch, if sound quality isn't a huge concern. Some online stores give us a small cut if you buy something through one of our links. Read our affiliate policy for more info.

Fresh from CES2015, Brilens have launched the first ever projector equipped with a hybrid laser-LED bulb: long lasting and zero maintenance in a small and portable package. As a new technology, it comes with a steep price tag of $999 – but is it worth it? Read on to find out, and at the end we’re giving away our review unit to one lucky reader! Update: Since this review was published, a tear down of the unit has revealed that claims of being a “laser projector” may have been exaggerated. Though there are indeed a few laser modules inside, their output appears to be negligible compared to the standard LED bulbs. I’m no expert in optics or laser light, so if you’d like further details please read the thread over at AVSForums. What’s In The Box? Nothing but the basics here: - The main projector unit - VGA and HDMI cable - Power cable (IEC) - Hefty power brick - Basic remote control - 3800 lumens - 50,000:1 contrast ratio - 1.5-12m projection distance - Active shutter 3D (glasses not included, so not tested) - 2x HDMI input, VGA - 1280 x 800 16:10 WXGA native resolution - Micro SD card slot - Stereo audio in / out - Ethernet / Wi-Fi - 2.5kg (excluding the power brick) Note, the review unit we were sent appears to have issues with HDMI input 1, though input 2 was fine. I’m a big fan of the big screen screen cinema experience at home (or perhaps I just hate expensive popcorn?) so this isn’t the first projector we’ve examined at MakeUseOf. Around this time last year I asked if a $400 budget projector was worth bothering with at all, and I was actually rather impressed – it even had a capable Android system built-in. That same model has now been upgraded from 3800 to a 4500 lumen bulb, and the price slightly lowered. With the same basic specs as the Brilens 1280 – but in a significantly bulkier package – it’s difficult to tell if the portability is worth the extra $600. Closer in price are a number of short throw projectors such as the Optoma W305ST (currently $710) or the BenQ W1070 ($675), which both offer a lower brightness; and even an ultra short throw project like the Optoma GT750 gaming projector we reviewed back in mid-2013 has an upgraded model GT760 available for just over $500. This is some seriously stiff competition – the LS1280 is going to have to blow me away for that price. Image Size and Quality The LS1280 has a distinctly longer than expected throw distance – although the sales page states 50 inches at 1.5m from the screen, my measurements put it at more like 40 inches, even with the lens zoom dial on maximum. Given that a 50″ TV can be purchased for less than $1000 (and which would have a better image quality), it’s difficult to see the LS1280 being used in a home cinema setup. If you have a large room and can mount it at the back on the ceiling, you’ll get a satisfactory size of projection – but then if you’re going to mount it, what’s the value proposition in buying a portable projector? You can buy larger models much cheaper which are wholly more suitable to the home environment. This limitation places it firmly in the business class: fine if you’re in a large meeting room, and can place it on the opposite end of the table. Though the device promises 3D support, their marketing is all over the place: I clarified with their rep that it uses active shutter 3D (confused? Read about the differences: can my monitor do 3D?), yet the sales page says “passive 3D”, and another listing shows an image with red/cyan 3D filter applied. Either way, no 3D glasses were included in the package received, so I’m unable to confirm any of these claims. The actual image quality wasn’t amazing – I could see some obvious gradients in colour ranges that simply weren’t there on the computer. Movies and TV shows seemed fine though, to my relatively untrained eye. With a native resolution of 1280 x 800 (16:10 WXGA), the LS1280 is essentially a 720p projector. Though it’s difficult in reality to tell the difference between 720p and 1080p on a 30-40″ television from your sofa, the difference is more significant once you explode the image to 70 inches and more. The diagram below shows the significance of 720p vs 1080p more clearly. At this point in time, I’d struggle to recommend a 720p projector for a home cinema. Projectors lag behind traditional TVs, so while 4K TVs are available at under $1000 (not that you need one), 4K projectors are still new to market and cost tens of thousands of dollars, however 1080p (“Full HD”) should really be the lowest resolution you’d consider, outside of low budget models. Focus and a small degree of screen size adjustment is done manually from these black dials on the side. On top of the unit are a standard array of buttons, including a multifunction d-pad style menu button, and the usual power / source selection. A basic remote control is also included which is as generic as can be and just gets the job done. The IR receiver is situated on top of the unit though, so you do need to aim carefully. An Ethernet port and Wi-Fi adapter is built-in to set the machine up as a Miracast receiver; unfortunately, entering a Wi-Fi password involves using the d-pad to point around a software keyword – with a long a mixed case password that includes punctuation, I gave up on that nonsense. A basic media player is included to play media from the SD card slot or a USB drive, but there’s no built-in Android system as we’ve seen on some projectors so your options are a little limited there. They claim a noise level of 25dB, but given that this would mean it’s silent, I have serious doubt about those claims. I used SPLnFFT Noise Meter to measure (widely regarded as the most accurate iPhone tool available), and recorded an ambient noise level of between 40-44 dB. With the projector turned, a very noticeable fan increase that to 50-55 dB a few inches from the projector. This would be quite noticeable during the silent parts of a movie track, and the unit has a tendency to ramp up and down the fan, thereby drawing attention to itself. Using a dB calculation tool (dB is logarithmic scale, so we can’t just do 55-44 to get the actual noise level of the projector), leaves us with 48.7 dB from the projector alone. You can hear it for yourself in the video at the start of the article. Suffice to say the sheer volume of noise from the LS1280 is unsuitable for a home cinema, and would probably annoy in all the but the noisiest of business meetings. We’ve mentioned already the diminutive size and 2.5kg lightweight body, but there’s some other characteristics that make it clear this is aimed at the travelling salesman. A power input around the back labelled “battery” alludes to the fact you can in theory run this projector from a battery pack – this is a huge selling point for meetings on the go, but I’m struggling to think of a meeting situation I’ve ever been in where there hasn’t been power sockets available. At the time of writing the battery was not yet available, nor was further information on a price point, but it is promised at a later date. Another big selling point for mobile presentations is the wireless MiraCast video transmission feature, which enables simple and seamless broadcast from a number of mobile devices and via a PC application. Pocket sized “Pico” projectors are generally terrible all round – but this device gives you a reasonable image size in a small package. Sadly, there’s no carry case included. Obviously, this isn’t a deal breaker for anyone, but given its target market it would have been a nice gesture; most projectors come with some kind of protective case. The stated lamp life of the LS1280 is 50,000 hours, owing to the relatively new “laser bulb” technology. However, the budget ATCO projector I reviewed last year also stated 50,000 hours with an LED bulb. It’s difficult to do long-term testing on either these, but it’s reasonable to assume the LED bulb may have been overstated especially at the price point of less than $400. Conventional mercury lamps generally get around 6,000 hours before needing replacement. But let’s do some math for a moment. If you watched a 1.5 hour movie, every night of the year, that’s still just under 550 hours per year. A 6,000 hour bulb – let’s half that if you’re running full brightness since stated bulb lives often some “power saving” modes – should still last you about 5 years, by which time affordable 4K projectors will be on the market and you’ll want to upgrade. The upshot is that unless your projector will be in constant use, I’d advise against making any decisions based on bulb life. Should You Buy The Brilens LS1280? Coming in at $1000, it’s difficult to recommend the LS1280 for home use. It’s neither cheap; nor does it enable you to have a huge image size from a close distance, as ultra short throw projectors do. It doesn’t have a built-in Android media system as some cheaper projectors have been adding lately, although it does play simple media from USB; nor does it do full HD. On the upside, it’s 2.5kg, so easily classified as portable, and has a long lamp life provided by the laser bulb – but this isn’t any longer than well established LED-based technology – at least going by manufacturers stated bulb life. The fan noise in particular is disappointing, as is the long throw distance required. Perhaps it’s just early days for laser bulbs, but I’d suggest waiting for this technology to mature unless portability is your number one priority right now. The winner will be selected at random and informed via email. View the list of winners here. Send your products to be reviewed. Contact James Bruce for further details.

By: Alice Wong, cross-posted from The Disability Visibility Project As someone who loves film, it’s dismaying to find such an uneven range of films about disabled people. There are the treacly, Oscar-bait films that follow every inspirational trope and played by non-disabled people. Some of those films in the inspirational category are patently ableist and send dangerous messages about disability *cough, Me Before You, cough.* There are the mediocre ones that may be ‘about’ disability’ and created by disabled people that are just *meh.* And then every once in a while there are awesome films that “get” disability culture with nuance and complexity like this year’s Finding Dory by Pixar. Celebrating their 30th anniversary, Superfest is the world’s longest running disability film festival, celebrates disability as a creative force in cinema and culture. Presented by the Paul K. Longmore Institute on Disability and the LightHouse for the Blind and Visually Impaired, the festival will take place on October 22nd in Berkeley and October 23rd in San Francisco. I had the pleasure of interviewing three judges for Superfest 2016: Elizabeth Grigsby, Alex Locust, and Katie Murphy.... Thank you to Elizabeth, Alex, and Katie for participating and thank you to Emily Smith Beitiks, Associate Director of the Longmore Institute for connecting us! Tell me a little about yourself and how you became involved with Superfest Elizabeth: I’ve been an advocate pretty much for myself for a very long time. I don’t believe in taking no for an answer. I believe just because you have a disability, it doesn’t mean you can’t have the life the way you want it. Your disability shouldn’t define you because we are not our disability. I became involved in Superfest because of Emily Smith [Beitiks]. I believe in the mission of people with disabilities telling their stories of letting people know how fabulous we are and how we need to be listened to and heard. Katie: I recently graduated from San Francisco State University with an MA in Women and Gender Studies. During my time as a student, I worked an on-campus non-profit, the Longmore Institute on Disability which co-organizes Superfest with the Lighthouse for the Blind and Visually Impaired. One of my first assignments for that position was to vet a list of possible community supporters for that year’s festival. I went on to do a lot of work to prepare for the 2014 festival and the 2015 judging. In addition to bringing me into the Superfest fold, my position at the Longmore Institute really enhance my academic work as a disability studies scholar and activism as autistic self-advocate. Alex: I am a graduate student at San Francisco State University earning my master’s degree in Clinical Rehabilitation and Mental Health Counseling. I moved to San Francisco to pursue this degree and have been in awe of the breadth of opportunities available in the Bay Area to immerse myself in the disability community. On campus I am the president of the Rehabilitation Counseling Students Association, a student organization dedicated to infusing disability awareness into campus culture and our local community…I had volunteered for Superfest last year and absolutely loved the festival so I was over the moon when I heard about the chance to become involved this year as a judge. Is this your first year of judging? Tell me about your experiences judging this year. If you judged films for several years, tell me how your experiences changed over time. Alex: Overall judging for Superfest was that rare form of holy grail experiences in life. Screening all of the films taught me a great deal about my own ideas around disability, both in reinforcing positive values I hold and by shining a light on biases and assumptions that I need to work on. At the end I felt so invigorated and energized knowing I was fortunate enough to have been a part of this experience…I am excited to see this films showcased at Superfest because I hope that their success will encourage other disabled artists to pursue creating pieces without the pressure of big budget or mainstream backing. Katie: This is my first year serving as a judge, but I did attend last year’s judging weekend as part of my job with the Longmore Institute. That was where I first discovered I have a knack for doing live audio-description – basically, describing the action on the screen for the blind members of the panel. I did that again this year. The big difference between last year and this year is that I felt a lot freer making my opinions known during discussion because I was officially a judge. What is the most fun aspect of judging films for a film festival? Katie: Getting to see films that I wouldn’t otherwise have the opportunity to view. Elizabeth: The most fun experience was getting to know everyone and actually getting to see the films. Alex: Every week I got to escape to an alternate reality at the Institute where were immersed in narratives around disability and engaged in critical discussions about them. Seeing so many portrayals of disability made it abundantly clear that these films can and should be happening outside of our Bay Area bubble…Not only did I love getting to see all these films, but also the community element of judging was probably my fondest memory of the process…Whether we completely agreed or were in utter opposition, we always had a good time and I need more spaces in my life where I can hang out and make genuine connections with other disabled people. What is the most challenging aspect of judging films for a film festival? Elizabeth: The most challenging was deciding which films to pick and which ones to get rid of. Alex: …it’s much easier to say how something makes you feel rather than why, which is the meat of what we discussed during judging…The diversity of experiences of the panel added so much depth to the conversations about the films and are something that I rarely experience in my day to day life. Because the judges retreat allowed for more time to discuss the films, I noticed a much heavier emphasis on the film making process, which is important. I feel more confident about showcasing the films with the insight of experienced filmmakers weighing in on the submissions. After screening 100+ films I found myself becoming fond of some films over others (I’m only human) and it was great to have a team of peers to challenge me in those moments. At the end of the screening process we were all struggling to make those final cuts. What should be a conversation of “does this film do a better job of embodying our mission than others?” at times also felt like something to the effect of “is this film about blindness better than this film about deafness?”…Thankfully I am confident that with Emily Beitiks’ guidance and our collective feedback we have selected the best films for the festival, despite the challenges we faced along the way. Katie: Communication and coming to a decision as a panel…for a festival like Superfest, judges have differing opinions that go beyond the technical or artistic quality of the film. We all have different lived experiences of disability; we all belong to different communities. This shapes our understanding of what counts as a good portrayal of disability. The challenging part is respecting everyone’s opinions as results of lived experience – while still advocating for the films you think are the best. Do you have a particular favorite or standout film that you feel strongly about? If there’s one film someone should see at Superfest this year? Katie: My personal favorite would have to be Supersonic, a superhero film from the British Sign Language Broadcasting Trust. It’s an origin story/coming of age tale about a black, Deaf teenage boy as he struggles to reconnect with his father. The film deals with racism, city life, the power of stories, and Deaf family life. I wrote my Masters thesis about disabled masculinities in speculative fiction, so Supersonic was right up my alley. There’s a lot of symbolic imagery in the film, so it was really fun to audio describe as well. Overall, the film has a lot of heart and emotional depth while still featuring all the triumphant superhero fun you’d expect from a summer blockbuster. Alex: …I will say that “Awake” effortlessly accomplishes every criteria we were screening for during judging. I was enamored with how many elements of the characters disabilities were highlighted in such a short film and in a delicate way that wasn’t forceful or blunt. The film showcases their skills as independent, blind women in such a finessed way that it both is subtle and unspoken while simultaneously being the focus of the narrative. The characters are engaging, charming, and complex; the acting is high caliber; it features disabled actors in disabled roles; and best of all the film left me feeling the warm and fuzzies without being too cloyingly sweet. It plants a seed to reflect on and is the kind of short film I would love people to cite as high quality work done by and for people with disabilities. Elizabeth: The film that I liked the most was the one about Patty when she described her experience on BART when she was looking across to that guy. Why are film festivals like Superfest so important? What does it mean to you to have a festival focused on the lived experience of disability? Alex: Festivals like Superfest are so critical because they are publicly dismantling the ableism that is dominating Hollywood right now…Superfest is undoing all of these negative assumptions and then some. “Disabled actors can’t act.” Clearly they can. “Making films isn’t an accessible process.” Obviously these filmmakers have had success…Lastly, the measures that the coordinators take to make the festival accessible set the bar as a shining example of how to make a festival inclusive to an audience of varied disabilities. Elizabeth: …Superfest is important to let non-disabled people know that even though you have a disability, you can have a good quality of life just like everyone else. Katie: Superfest is uniquely important due to its embeddedness within the disability community, specifically the Bay Area disability community…There’s a real sense of community ownership tied to the festival, which gives everyone involved the privilege of inviting filmmakers from across the country and the globe into our community. On the other side of the coin, the sense of community also empowers our audience to speak up when the festival strays from their expectations. What are your thoughts on the lack of representation by disabled people in filmmaking (behind and in front of camera)? Elizabeth: They need to have real people with disabilities act in movies instead of getting people without disabilities to play the part like the movie “My Left Foot” starring Daniel Day Lewis. I think it should have been a real actor with a disability. Even though I like Daniel Day Lewis, it takes away the authenticity. Katie: In my mind, the underrepresentation of disabled people in filmmaking comes about in two ways: exclusion and erasure. Exclusion is probably the most widely talked about: disabled actors and creators are not being hired or even given the chance to hone their crafts at the amateur level. Due to systemic ableism, there are about a million factors preventing the full participation of disabled people in cinema…everything that makes life harder for disabled people also makes success in the film industry harder as well. This is not a result of biology, but rather systemic ableism. The other issue is erasure, specifically the erasure of disabled people from the film industry. Disabled people have been present in filmmaking since the very beginning. Literally, the very beginning: the inventor of the motion picture, Thomas Edison, was deaf. Some of the most iconic Hollywood figures had disabilities: Marilyn Monroe, Howard Hughes, Judy Garland, Sammy Davis, Jr., to name a few. But when we talk about the underrepresentation of disabled people in film, their names rarely come up. Why is that? Well, one, I think society as a whole does good job of covering up any evidence that disabled people have played integral roles in various communities and industries throughout history. It’s a lot easier to justify exclusion if you can say, “No one’s ever done this before so it can’t be done.” To improve representation of disabled people in filmmaking, we have to fight exclusion and erasure – within the mainstream and our own communities. Alex: I’m not interested in seeing any more films that are “getting disability on the big screen” with able bodied actors who have “done their research” for disabled roles. If we continue to analyze these movies for their “redeeming qualities” around disability themes, we are perpetuating a cycle that condones this behavior and sends a message to future filmmakers that substantive disability themes will excuse poor casting efforts. While I do want to see disability represented in the media, I think that it will be more powerful to see doors opening for disabled filmmakers rather than these narratives shared in such problematic ways that continue shutting out the people who can tell the story best. People with disabilities are facing the same frustrations that other marginalized filmmakers (people of color, LGBTQ+ people, etc.) are experiencing and I find it fascinating that the parallels between these communities aren’t made more often. I believe that as long as disability is viewed as “taboo” or “other than”, we will continue to see portrayals of disability in media that is digestible, not challenging; trite, not complex. Why is disability as a diversity an important issue to emphasize with Hollywood and mainstream media? Alex: Representing disability is obviously complicated and complex, but if Hollywood is looking for fresh, novel stories to tell, disability is a gold mine of untouched treasures if treated properly. It’s unexplored territory, essentially and in the age of intersectionality, I know there are countless people out there that would rather see a movie about a queer, woman of color with a disability living life than trudge through another film about a cisgender, heterosexual, able bodied, white male meandering his way through a midlife crisis. Being privileged is hard and full of ennui, we get it. Time to move on. Katie: What’s great about Superfest is that it provides a space for disabled artists to create work on disability and not have to worry about what non-disabled people think about it. Those filmmakers are able to emphasize disability as a dynamic social and bodily experience whereas Hollywood and the mainstream media tend to emphasize simplistic, stereotypical assumptions of what disability is and can be. “I’ve been working for GGRC since 1995 as the Consumer Rights Advocate. My philosophy towards self-advocacy is to help individuals with disabilities thrive and get the best services possible that they deserve. I always look at the individual we serve as a whole person, their disability is second. I am able to help the people we serve to have a voice and to strengthen their voice in how they want their life to be—not how somebody else wants it to be.” Alex Locust is a graduate student, disability advocate, pun lover, shine theory enthusiast, dancing queen, and budding public speaker. Currently, he is the President of the Rehabilitation Counseling Students Association at San Francisco State University, a student organization dedicated to infusing disability awareness into campus culture and our local community. He is also the recipient of this year’s Graduate Student of the Year Award at the National Council on Rehabilitation Education spring conference. Outside of his courses and clinical internship he is working as a student assistant at the Paul K. Longmore Institute on Disability. Katie Murphy is a self-advocate, disability studies scholar, and freelance audio-describer. Her hobbies include repetitive movement, poor eye contact, and intense interest in esoteric subjects.

7PM – DOORS 7:30PM – COMEDY PRE-SHOW featuring Nick Flanagan, Jackie Pirico, Everardo Ramirez and Chris Sandiford 8PM – FILM Before the Marvel Cinematic Universe, there was Howard the Duck, a cigar smoking foul-mouthed-fowl trapped in a world he never made! Ripped from his home planet of Duckworld, Howard the Duck finds himself in Cleveland, where he must stop an alien invasion with the help of a nerdy scientist (Tim Robbins) and a struggling rocker Beverly Switzer (Lea Thompson). “A fun and fast paced piece of eighties schlock” – Felix Vasquez Jr, Cinema Crazed “Who’d have imagined that Howard T. Duck. the same webfooted wiseacre who conquered the incredible Space Turnip and the horrible Hellcow, might be done in by something even more ridiculous: Hollywood?” – People Magazine, 1986. None Currently Scheduled

This week we get our freak on here at Film School & Chill, with Rohan Stephens delving into the trampy aesthetic, time warped setting, and trans-style shenanigans of The Rocky Horror Picture Show. It’s the film critics never thought would possess the popularity it still has today. It’s just a jump to the left… THE ROCKY HORROR PICTURE SHOW, 1975. Dir., Jim Sharman. What is it? You’ve definitely heard the song Time Warp played more than once at a wedding or some dicey pub in the suburbs. And you ought to have witnessed baby boomers getting up to dance – fingers pointed while sing/screaming every word. You probably know some of the lyrics yourself, maybe even the moves to that strange dance instruction that just makes people bounce about with their hands on their hips and knees pulled in tight. Maybe you’ve even seen the music video. But have you ever seen the film? The Rocky Horror Picture Show began life as a rather short ramshackle of a musical in Sloane Square, London in 1974, that followed the story of two strait-laced young lovers whose car breaks down in an isolated country town in the middle of the night. Rushing to the nearest residence they find themselves in the company of Dr. Frank-N-Further, a mad scientist and transvestite just about to unveil his latest creation to an eager crowd of fans. Part piss-take and part tribute to early science fiction and B-grade horror films, ‘Rocky Horror’s story, characters and soundtrack reference classics from the genre such as ‘Frankenstein’, ‘The Bride of Frankenstein’, ‘The Day the Earth Stood Still’, ‘King Kong’, ‘Flash Gordon’ and ‘Forbidden Planet’. The stage production slowly gained enough popularity through its campy songs and strong association to glam rock (then popular with the likes of T-Rex heading the charts), to move to Broadway in 1975. Shortly after, it was turned into the film we have today starring Tim Curry, Susan Sarandon, Barry Bostwick and Meat Loaf. Part piss-take and part tribute to early science fiction and B-grade horror films, Rocky Horror’s story, characters and soundtrack heavily reference classics from the genre such as Frankenstein, The Bride of Frankenstein, The Day the Earth Stood Still, King Kong, Flash Gordon and Forbidden Planet. Panned by critics and considered a commercial flop upon its release, Fox, the film’s distributor, decided to cash in on the popularity of late-night movies at the time – with cult classics such as John Water’s Pink Flamingos being shown at special midnight screenings – and Rocky Horror was promptly added to bill. The result was the development of a sub-culture of cinema viewing that allowed for audiences to interact with more alternative films on a different level, away from more mainstream theatre-goers. The film’s strong queer references, story-line and brilliant soundtrack quickly drew it a loyal following within the LGBT communities across the UK and the US which in turn developed into a culture of heavy ‘audience participation’, with cinema-goers being offered free tickets for things like appearing at a screening in costume, being actively encouraged to bring props into the theatre, and to openly sing along to musical numbers. It’s like an incredibly elaborate music video – a 1970s hit machine – all in one movie. It’s hard to tell sometimes with Rocky Horror if the soundtrack itself compliments the story or if the film is simply one long, incredibly elaborate music video. The songs are all such stand-alone classics and only get better from the most recognisable Time Warp. From the opening Science Fiction Double Feature (an ode to the genre) and Dammit Janet, to Toucha Toucha Touch Me (sung by Sarandon) and Hot Patootie (belted out by Meat Loaf), it’s a 1970s hit machine all in one movie. Why should I have already seen it? The phrase ‘cult classic’ in cinema is rarely ever explained without reference to The Rocky Horror Picture Show. It’s a brilliant example of what happens when a sub-culture’s love and appreciation for something is far more resilient than revenue or critical acclaim. And aside from being just a bloody brilliant film to watch, it’s another great example of queer culture subsuming something into its canon that had been actively rejected by the mainstream. Seeing Tim Curry strut around on stage in platform heels, a corset and torn fishnets singing Sweet Transvestite clearly proved too much for the everyday cinema-goer, but not for others. Having the ability to watch the film after hours away from the scrutiny of a society still coming to terms with queer culture, to scream and laugh out loud at the campiest, dirtiest bits of dialogue, to drag up as your favourite characters, and to sing and ultimately feel part of that strange world on-screen, solidified it as a truly special moment in film history. Where do I find it?

Tuesday, 15 October 2013 Toronto After Dark: Looking Ahead The eighth annual Toronto After Dark Film Festival begins this week, on Thursday, October 17. The festival runs nine nights and showcases new genre cinema. More of a fan-based film festival than others which are industry-driven, TAD makes a point of bringing to Toronto innovative and independent horror, action, sci-fi, and cult features and shorts. Looking forward to TAD's eighth year, this time screening at the Scotiabank Theatre downtown, I've chosen a few films that I'm especially keen to watch. You had me at "sinister Chinese restaurant." I saw a preview for this at Fan Expo. There, the filmmakers told us that everyone barfed on set at some point during filming. I love found footage movies (even the bad ones, of which there are too many), and I'm happy to see Big Foot on the big screen again. Also, it's by Bobcat Goldthwait. Big Bad Wolves From the guys who brought us Israel's first horror movie, comes Israel's second horror movie. Of course, TAD has programmed a line up of films that are all sure to entertain. The festival opens with We Are What We Are, for crying out loud, and Last Days on Mars is screening October 22. If last year is any indication, we'll be witness to somethings wonderful. Watch all the trailers here. If you haven't got your tickets, you can still pick some up either online or at the theatre.

Thank Goodness for YouTube once again and for the folks who upload classic films! For those who do not know the name of the famous Bengali filmmaker Satyajit Ray – here is a window to begin your viewing of Film Genius! This is the first of a film trilogy based on the novel by Sunil Gangopadhyay. Made in 1970. Many of Ray’s films were not well-preserved and thanks to filmmakers Ismail Merchant and James Ivory who dedicated time and raised funds to preserve and duplicate many of Ray’s classics. One of the things I love about Satyajit Ray’s films is the pace, the time that he allowed to be captured it is as if it is a stream of consciousness, just in the moment of living now. This “now” is what we seek to find in our yoga practices…so maybe after doing your sadhana you may have the patience to sit and have a view of this classic film. Here’s what the famous Japanese filmmaker Akira Kurosawa had to say about Satyajit Ray, “…not to have seen the cinema of Ray means not existing in the world without seeing the sun or the moon.” Do know this is not a Bollywood film, this is genius story telling via celluloid, it’s over one hour, so save it for when you have time to savor it and please do share it with others. (But, hey, just did see a wonderful Bollywood flick Ram Leela, by Sanjay Bhansali, ooooh so beautiful, yeah it’s a love story, yes its a Bollywood Romeo and Juliet, but every scene is layered with colors that mesmerize and the sets so awesome….and if you like this one see his classic Black…..okay I love films, can you guess which genre?) And now do start with Pratidwandi! Happy viewing…..OM n.b. Yes there are English sub-titles!

Sunday, September 13, 2015 Come spend the day at the Disneyland Resort with Dizzy Blonde Studios and The Knotty Girls! You can purchase tickets online, or purchase them at the park. The official Knit Dizzney meet-up will be at the Hearthstone Lounge in Disney’s Grand Californian Hotel & Spa at 1:00pm. This makes it feasible for you to enjoy either park, or just join us for the meet-up and not miss out! We’ll have goodie bags for the first 40 fiber crafters to arrive, as well as some fun games and prizes. Of course, there will be plenty of time to sit, knit/crochet and visit during the most crowded part of the day. If you’re just coming to the meet-up, there is free parking in the Downtown Disney parking lot for up to 3 hours, or up to 5 hours with validation from one of the Downtown Disney restaurants or cinema. Hearthstone Lounge DOES NOT validate, so plan accordingly. So come join us for a day of fun, fiber & frivolity! And if spending time at the Happiest Place on Earth with a bunch fiber fanatics isn’t enough, there’s also a ton of exclusive swag, but only for a limited time, so get yours now by filling in the pre-order form at the bottom of this post. T-shirt pre-orders close August 4th, yarn pre-orders will close on August 14, 2015, as will the project bags, if we haven’t sold out before then. For more information on the yarn see Dizzy Blondes Studios’ post “Think Happy Thoughts!” For mor information on the project bags see Dizzy Blonde Studios’ post “Once Upon a Tink” And finally, for more information about the t-shirts please see Dizzy Blonde Studios’ post “Tink Dizzney T-shirts!” ORDERS ARE NOW CLOSED

This film is part of Rentals All Consuming Love Kevin Eldon voices this oddball, award-winning animated short about a tiny middle-aged man who lives inside a stray cat. Animation & Artists Moving Image 2011 9 mins Director: Louis Hudson Meet Yorkie, a little man who lives inside a stray cat. When the cat is taken in by a young woman, lonely Yorkie falls for her and decides to venture out of his feline domain. This mischievous debut from Louis Hudson won the Best Animation award at the 2012 London Short Film Festival. Voices by Kevin Eldon and Josie Long. Animation & Artists Moving Image Animation & Artists Moving Image 1991 92 mins Director: Derek Jarman Inside his modest, sparsely-furnished home on the barren, windswept Dungeness coastline, Derek Jarman dreams. Animation & Artists Moving Image 1987 91 mins Director: Derek Jarman Derek Jarman's passionate and poetic lament on the rise of Thatcherism and corporate dealings. Documentary 1974 98 mins Director: Stephen Dwoskin The account of a close, personal relationship as experienced by a disabled man. Animation & Artists Moving Image 1994 96 mins Director: Stephen Dwoskin Autobiographical film by the veteran disabled experimental filmmaker, Steve Dwoskin. Animation & Artists Moving Image 2016 96 mins Director: Ali Soozandeh In this gorgeously animated drama, the lives of several strong-willed women and a young musician intersect in contemporary Iran. Animation & Artists Moving Image 2018 89 mins Director: Nick Park In Aardman’s latest animated adventure, Caveman Dug and his pet hog, Hognog, must unite their tribe if they're are to survive the threat of pompous tyrant Lord Nooth. LOCO London Comedy Film Festival Comedy 2015 116 mins Director: Hannes Holm A curmudgeon turns over a new leaf in this heart-warming comedy that became one of Swedish cinema’s biggest hits. Comedy 2010 97 mins Director: Richard Ayoade Richard Ayoade’s sweet and quirky directorial debut about a Swansea teen’s travails with his distant girlfriend and warring parents. Comedy 2013 88 mins Director: Destiny Ekaragha Riotous urban comedy adapted from the hit Royal Court play, about a Peckham teen affronted by the arrival of his long-lost Nigerian sibling. Comedy 2015 87 mins Director: Ben Charles Edwards Two soul-mates steer a course through a decaying, semi-submerged London in this bizarre and blackly comic sci-fi with Noel Fielding and Sally Phillips. Horror 2004 99 mins Director: Edgar Wright The original ‘rom-zom-com’: Simon Pegg and Nick Frost are the slacker mates tasked with battling a zombie apocalypse in Crouch End. Comedy 2015 85 mins Director: Jamie Adams Alice Lowe and Dolly Wells play criminal sisters who steal the identity of two poets, only to be charmed by the world of competition poetry. Featuring Kevin Eldon Biopic 2014 97 mins Director: Andy Goddard A young, ambitious professor tries to tame fire when Dylan Thomas accepts his invitation to tour America. Comedy 1954 90 mins Director: Carol Reed The adventures of a young boy who buys a small goat in the belief that it’s a unicorn that will be able to grant the wishes of him and his friends. Thriller 2018 88 mins Director: Isabella Eklöf A lavish trip to the Turkish Riviera goes horribly awry in this disturbing tale of power, exploitation and complicity from the writer of Border. Drama 2018 99 mins Director: William Buckhurst Rumours of a monster carp inspire an unlikely fishing expedition in an ex-mining village, in this first feature from acclaimed theatre director Bill Buckhurst, with a fantastic original score by Richard Hawley. Drama 2018 109 mins Director: Justin Kelly Truth really is wilder than fiction in this captivating retelling of one of the literary world’s most infamous hoaxes. Crime 2018 159 mins Director: S. Craig Zahler As brutal and uncompromising as its title would suggest, the third feature from S. Craig Zahler (Bone Tomahawk, Brawl in Cell Block 99) is another instant classic crime drama. Drama 2018 92 mins Director: Ash Mayfair A fourteen-year-old girl falls for another of her polygamous husband's wives in this award-winning coming-of-age tale of love and self-discovery.

Exhibition Catalog: Renoir: Father and Son/Painting and Cinema The Impressionist paintings of Pierre-Auguste Renoir (1841–1919) are characterized by portraits and lively episodes from daily life, portrayed in rich color with masterful framing and vibrant light. These joyful scenes, often set outdoors, accompanied and influenced the life and work of his son, filmmaker Jean Renoir (1894–1979), who Orson Welles described as “the greatest of all directors.” This catalogue—along with the traveling exhibition it accompanies—demonstrates the rich and fascinating dialogue between father and son, and retraces chapters of Jean’s production through the lens of his father’s work. And while Pierre-Auguste Renoir’s artistic practice and creative universe influenced Jean’s art, Jean’s films shed new light on his father’s paintings. Focusing on core themes in both artists’ works, such as their vision and recreation of Paris, this volume examines Jean’s path to becoming a prominent international filmmaker, bringing together paintings, drawings, films, costumes, and photos—as well as the ceramics he made before he turned to cinema. Contributions from the Barnes Foundation—with its collection of 181 works by Pierre-Auguste Renoir along with pottery by Jean Renoir—the Musée d’Orsay et Musée de l’Orangerie, and the Cinémathèque Française provide in-depth insight into this complex, fruitful relationship between painting and cinema. Hardcover, 312 pages. FINAL SALE. This item is offered at 50% off the original price. No further discounts apply.

As regular readers know, I’ve spent the last few years studying romantic comedies; my doctoral dissertation, the results of almost four years of work on the genre, is due in a few weeks. If I had to reduce my dissertation to a sentence — like they do over at lolmythesis — I’d say something like this: “Rom coms are currently mad sexist and I can explain how and why they got to be that way.” Alternatively: “200 pages of dense, unreadable academic analysis of rom coms and 30 pages about Jason Segel’s penis.” When I tell people this, when I explain to them that I’ve spent several years watching and thinking about this genre that I find deeply problematic, they have some questions. First, they want to know if I’m a masochist. I am, but you knew that already, because I’m a graduate student. Secondly, they want to know if there are any rom coms I can stand to watch any more, and I tell them that despite myself, I will probably never stop enjoying Notting Hill. And then they ask me if there are any rom coms that I can stand to watch from a gender politics standpoint — that is, they ask me for feminist rom com recommendations. Are there any rom coms out there that won’t require you to completely switch off your brain and/or your devotion to ending sexism in order to enjoy them? The answer is, I’m afraid, almost certainly not. But that’s not unique to romantic comedies. There’s no such thing as a perfectly feminist piece of popular culture; not even Saint Whedon himself has given us that. And if a perfectly feminist rom com does exist, it was made on a budget of $3 and a piece of gum, and it was released in the smallest theater in one cinema in Estonia, because Hollywood doesn’t bankroll perfectly feminist popular culture. If you’re looking for a rom com that gets the official feminist seal of approval, just stop. It doesn’t exist. Sure, some rom coms are worse than others in the gender politics department (have you seen Kate & Leopold?), and some have moments of pure feminist brilliance — by all accounts, Obvious Child, which is out in theaters today, has a few of those. But generally speaking, even feminist-ish rom coms, mainstream ones, at least, are hard to come by. Here is my very short, almost-Doctor approved list of feminist rom coms that you and your killjoy feminist friends can enjoy without having to say too many Hail Glorias afterward. Romeo and Juliet, but with zombies instead of Montagues and gun-toting apocalypse survivors instead of Capulets. They save each other’s lives, repeatedly, they effect political change together, and you also get to watch Dave Smarmyface Franco get eaten by a zombie, which is pretty satisfying. She’s Out of My League Yeah, I was surprised, too. The trailer is a mess. And I swear to god, if I have to watch Krysten Ritter wasted as the mouthy best friend one more time, I’m going to break someone’s legs with a collector’s edition of You’ve Got Mail. But this movie does a decent job of breaking down the notion that physical attractiveness can be measured on an objective scale, and it asks some questions about the ways in which we reward and punish the women we rate highly on that scale. That said, the average looking guy still ends up with the smoking hot girl, making this one more movie that feeds the sometimes overpowering cultural sense that men are “entitled” to hot women. Like I said: there’s no such thing as a perfectly feminist rom com. Celeste and Jesse Forever Rashida Jones co-wrote this movie, and hustled, big time, to get it made, and I’m so glad she did. It’s a surprising plot — even for someone who has seen a lot of rom coms — and it isn’t afraid to make its characters unlikeable. They’re also surprisingly complex, and Jones’s character is devoted to her work, but not in the usual she’s-so-devoted-to-her-work-she’s-forgotten-to-have-a-real-life (that is, a boyfriend and/or a baby) kind of way. Also, Chris Messina dances. What more do you want from a movie? A zombie dancing to Bruce Springsteen? See point one. My Best Friend’s Wedding This movie is a rom com about how ridiculous rom coms are. Julia Roberts spends the entire movie acting like a rom com heroine — lying in the name of love, meddling in the name of love, cheating in the name of love — and in the end, it doesn’t work. She’s called out for the lying, meddling, and cheating shitty friend that she is, and she doesn’t “win,” that is, she doesn’t get the guy. There is a bittersweet ending, but not a happy one. You can count on one hand the number of big budget rom coms that end that way. How the hell did this movie even get made? Easy: it was 1997, and Julia Roberts could make any damn movie she pleased. Kate & Leopold I know what I said, but hear me out here. I struggled to think of a fifth movie that wouldn’t make Bella Abzug roll in her grave, but I couldn’t think of one. It’s hard enough to come up with four such Hollywood romantic comedies — a fifth is nigh on impossible. But then I thought about Kate & Leopold, a story about a woman who feels so oppressed by financial independence that she’s willing to go live in 1861, thereby giving up the right to vote, the right to own property, and birth control and tampons, to escape it. It’s a prime example of just how sexist rom coms can be, of just how hostile to women’s rights and how invested in traditional gender roles, they have become. So if you’re looking for a really feminist rom com, this is the ticket: the movie itself isn’t feminist, but watching it will probably make you one.

Factor in old recordings that were encoded utilizing codecs that have been since quite a while ago ceased, at that point it turns into a genuine torment to simply play back your gathering of films. It Dosn't say that in a 'pop-up'it says it Permantly in the top right hand side of wmp,after you click on the 'burn' tab. Browse to the Media Features and place a check mark in front of Windows Media Player. You will find it in the default download location for your browser. Media Player Classic 64-bit Home Cinema is a for Windows. Do it open the installation window. If you are having trouble using Windows Media Player, try using the troubleshooter to see if that fixes the problem. Thanks for any and all suggestions. Open the installation file with Windows Update Standalone Installer. I've also tried to re-run the setup. Higher efficiency and faster response time are the major reasons why it is preferred over the 32 bit version. Ad-free, simple on the model and user friendly, that is a great utility media person that grips all but the most unknown video and audio formats. On Windows Vista If you want to know whether your windows vista operating system is 32 bit or 64 bit, then follow these steps: Step 1: Open the control panel through the start menu. You will have to create a windows media player 64 bit version icon explicitly if you want to use this version only. If you can see the app from the search result, it means that it was already installed. Browse to the Media Features and uncheck the mark in front of Windows Media Player. Click Next to begin download the Media Feature Pack. You can also download optional Toolbar images to change the player's buttons. It means that when you first boot your Windows 10, Windows Media Player 12 should already be preinstalled in it. So, I do not advise such a downgrade. I understand that you are facing the issue with windows media player will not open. Other than the smoothness to play 64ftp videos, it is just the same with vlc, no difference. Here are the 3 steps for knowing bit version in windows 7, 8 and 8. Cons This download tried to download at least 3 different adware. . When you double click on the windows media player icon, by default, it opens the 32 bit version only. This method of Windows Media Player 12 download for Windows 10 64-bit or 32-bit offline installer works for Windows 10 Pro, Home, Education and Enterprise editions. In the search box, type troubleshooter, and then click Troubleshooting. Step 5: Change the file associations by typing the following: %ProgramFiles%Windows Media Playerwmplayer. I would appreciate some help on the matter from someone who knows how to fix it. Has anyone encountered a fix for this in Win 7 64-Bit? Its feature-identical successor is Media Player Classic - Home Cinema. Step 3: The regedit interface will appear. Before starting the troubleshooting steps, I need the required information. Convert video, audio, or photos into more than 200 media formats and encode for more than 200 mobile devices, trim and join files, share converted videos, and more! Their look is modelled on older designs of Windows Media Person, but unlike that application, this 1 plays virtually every accessible media format. Media Player Codec Pack 2019 - Free Download for Windows 10, 8. The reason that I ask this is that I find media center sound is very low quality. You will see that by default, a 32 bit version of windows media player is selected. Media Player Classic Download For Windows 7 64 Bit is an incredibly light-weight media person for Windows. There must be a superior way, a method for dealing with the different sound and video groups, without exploring different avenues regarding distinctive media players. Step 7: The final registry should look as follows for 64 bit windows media player. We tried the 64-bit version in Windows 7 Home Premium. Plus Media Person Basic House Theatre is 100% spyware free, you can find number advertisements or toolbars. After downloading, double-click to start the installation process. A Quick Open File option let us quickly browse to and launch files. I have set default programs as such , but the iRiver software still highjacks any audio file - is there some other way to stop this. I really do not like Windows Media Player 12 in Windows 7, mainly because of the lack of mini player mode. Windows Media Player 32 bit Vs. Reinstalling the Windows Media Player: 1. While documents that we may rarely encounter such as for example: mkv, mka, ogg, ogm, mpc, ratdvd, etc. The package supports 32-bit and 64-bit versions of Windows. I type those in, and it says License Issued and allows me to play the video. How to uninstall remove Media Player Codec Pack Completely? After installation you will be able to play 99. I've also gone to the folder where it exists and double click wmplayer. If you are using Windows 10 64 bit, choose the second option with x64 at the end of its name. The latest version is Media Player Classic-Home Cinema. I understand that it would have come as part of window 7. Do you receive any error message? Please reply back with an update. Media Center How to Enable or Disable Media Sharing from Windows Media Player in Windows 7 Media streaming media sharing allows you to send your music, pictures, and videos to other computers and devices on your same home or work network.

This trending Tamil heroine joins Arjun Reddy Tamil remake! - Check out A shake-up in the cast and crew of Varmaa left the project with only the hero in place, Tamil cinema doyen Vikram's son Dhruv's debut film will be the official remake of Telugu blockbuster film titled Arjun Reddy. The makers recently stated that the project will officially go on floors once again with a brand new team in place and it has now been announced that the film is titled Adithya Varma with actress Banita Santhu sharing screen space with Dhruv Vikram. The film is produced by E4 Entertainment under Gireesaya's direction, who was an associative director to Sandeep Vanga - the man who helmed the Telugu original, Arjun Reddy. Along with these interesting details, it has now been stated that actress Priya Anand who will next be seen in RJ Balaji's most awaited film Lkg, will be playing a crucial role in Adithya Varma. She is expected to play the role of Jia Sharma in the original version. Looks like the film is all set to go on floors with the new cast and crew which sure does look extremely promising. Stay tuned for more updates on this biggie!

São Paulo – Six Brazilian films, some of them co-productions with other countries, were selected to compete at the El Gouna Film Festival, set to take place from September 20 to 28 at the Mediterranean Sean resort town of El Gouna, Egypt. Among the festival’s many categories, Brazilians are competing in three. The movies “Strange Planet Theory”, by Brazilian Marco Antônio Pereira, and “Guaxuma” (picture above), by Brazilian Nara Normande, a Brazil and France co-production, are competing among short films. “Our Team/Nossa Chape”, a Brazilian and North American co-production by filmmakers Jeff and Michael Zimbalist, are in the running for best feature documentary. In the Feature Narrative category, there’s “The Heiresses”, by Paraguayan director Marcelo Martinessi, co-produced by Paraguay, Brazil, Germany, Uruguay, Norway and France. Other feature films with a Brazilian participation selected to the festival are “Too Late to Die Young”, by Chilean director Domingas Sotomayor, a co-production by Chile, Brazil, Argentina and the Netherlands, and “Zama”, by Argentinian director Lucrecia Martel, a co-production of Argentina, Brazil, Spain, France, Mexico, United States, the Netherlands and Portugal. The short film “Strange Planet Theory” portrays the passion of man for a woman, using this plot to discuss love, death and the meaning of life. “Guaxuma” is set in a beach from the state of Alagoas and tells the story of two friends left shaken by a tragedy. “Our Team/Nossa Chape” is a documentary on the Brazilian soccer team Chapecoense, which had almost all players and staff killed in a plane crash nearly two years ago. The feature film “The Heiresses” portrays the life of two rich Paraguayan women that find themselves broke in their old age, and “Too Late to Die Young” is about an Argentinian family that decides, driven by their ideals, to move to the country side. “Zama” portray the life of an official of the Spanish Crown that decides to move to Buenos Aires. Some Brazilian actors play parts in these movies, such as Regina Duarte in “The Heiresses” and Matheus Nachtergaele in “Zama”. The El Gouna Film Festival is in its second edition. It distributes money prizes and special tribute awards. In addition to the official selection, the festival will screen other 25 films out of competition, totaling 80 productions. The full programme also includes debates on cinema, aiming to develop the region’s talents. El Gouna Film Festival From September 20 to 28, 2018 Further information: http://elgounafilmfestival.com/ By ANBA News Room

At McCarthy we work with a number of well-known and highly respected Retailers both on the High Street and in Out of Town locations. The Sectors we operate in include: - Job Search - Work for Us - Careers Advice - Meeting Rooms At McCarthy Retail we appreciate that great people are the true driving force behind every successful Retail business. We work with a wide range of both large Plc’s as well as smaller, independent and niche Retailers supporting their Store Operations networks to grow and prosper by providing the talent they need. Regardless of the size and sector of our Retail Stores Clients, we work closely with you so that we can truly understand your Company vision, values and structure as well as the subtle differences that make you unique. It is crucial that we understand all of the above so that ultimately we can account for this when recommending suitable candidates. The McCarthy Retail Stores Recruitment Team recruit for Retail Managers at all levels, ranging from middle management to more senior roles as well as full store complements. Furthermore, because all of our Retail Stores Recruitment Team are ex-retailers themselves, they understand the challenges Retailers face on a day to day basis whether it be the late night shifts, remerchandising, seasonal launches or the busy sales periods! Food Multiple are the mainstay of British retailing locally, and increasingly, the same can be said of the Sector across the globe. More recently, Food Retailers and Supermarkets have diversified into selling clothing, homewares, non-food, banking and many other service based offerings which has resulted in the increased impact of Food Multiples/Supermarkets on the retail landscape. On the convenience side, discount, niche and big brand small-store formats have changed the way we shop and continue to pop up on our high streets creating numerous growth opportunities. Recent roles we have recruited to within the Food/Supermarket and Convenience sector include: - Area Manager, North, Large Value Food Retailer - Store Manager, Aberdeen, Specialist Food Supermarket - Deputy Store Manager, Birmingham, Convenience Store - New Store Manager, London, Boutique Food Brand - Senior Leadership Managers, South Region, Big Four Supermarket - Store Manager, Sheffield, Specialist Drinks Retailer Our Fashion clients range from luxury designer stores to value brands as well as small independent boutiques and emerging brands. At McCarthy we understand that regardless of the size of the Fashion brand that we are working with, the Sector requires candidates who are not only capable, driven and experienced, but also the right ‘fit’ for their brand. Within Fashion, there are a number of areas that we specialise in: At McCarthy, we work with a wide range of well-known High Street clothing brands, Fashion Outlets and those specialising in Men and Womenswear. Recent roles we have recruited to within the Fashion and Clothing Sector include: - Womenswear Department Manager, Cambridge, Iconic UK Brand - Area Manager, North, UK Clothing Brand - Assistant Manager, Gloucester, Menswear and Womenswear UK Brand - Store Manager, Cheltenham, Menswear UK Brand We work with a range of well-known high street footwear brands as well as niche retailers and boutique independent specialists. Recent roles we have recruited to within the Footwear Sector include: - Assistant Store Manager, Canterbury, Specialist Footwear Retailer - Store Manager, Harrogate, Iconic British Footwear retailer - Footwear Department Manager, London, Sportswear Retailer - Area Manager, South, Specialist Footwear Retailer - Jewellery and Accessories At McCarthy we work with a wide range of high-street jewellery retailers as well as well-known accessory brands in addition to smaller, boutique providers. Recent roles we have recruited to within Jewellery and Accessories Sectors include: - Flagship Store Manager, London, UK Accessories Brand - Store Manager, North East, High Street Jewellery Retailer - Jewellery Concession Manager, York, Department Store Our Luxury brand clients seek to hire the very best talent with relevant specialist experience, sales ability and excellent customer engagement techniques. Recent roles we have recruited to within the Luxury Fashion Sector include: - Store Manager, Shrewsbury, Luxury Women’s Lifestyle Brand - Assistant Store Manager, Braintree, Luxury Accessories Brand - Area Manager, South, Luxury Lifestyle Brand We work with a number of International and UK based Sportswear brands, recruiting for adhoc Management roles as well as full Store complements. We understand that our Sportswear clients are looking for people that are passionate about sport and keeping fit, we therefore drive our Clients’ recruitment campaigns accordingly. Recent roles we have recruited to within the Sportswear Sector include: - Flagship Store Manager, London, International Sportswear brand - Department Manager, London, Sports Retailer - Supervisor, Kildare, Sportswear Brand - Visual Merchandising Manager, UK Wide, International Sportswear brand - Specialist Fashion At McCarthy we work with many specialist retailers within the Fashion Sector such as Wedding Dress, Business Wear, Plus Size Clothing and Lingerie Retailers etc. Recent roles we have recruited to within these specialist markers include: - Store Manager, Bromley, Wedding Dress Supplier - Assistant Manager, Lingerie Brand, Manchester - Store Manager, Liverpool, Plus Size Clothing Brand - Department Manager, London, Suit Hire Company - Department Stores McCarthy work with a number of Department Stores and concessions within them to hire the best talent for their businesses. Recent roles we have recruited to within for our Department Store Clients include: - Concession Manager, Manchester, UK based Department Store - Home Furnishings Department Manager, Birmingham, UK Department Store - Food Hall Manager, London, UK based Department Store The DIY/Garden and Trade Sectors are a wide ranging and diverse Sector including Big Box DIY brands, out of town trade and merchant stores as well as design-led retailers. Recent roles we have recruited to within the DIY and Trade/Merchant Sector include: - Deputy Manager, London, UK DIY/Home Retailer - Area Manager, Scotland, Trade Merchant Retailer - Store Manager, London, International DIY Retailer - Area Manager, North East, International DIY Retailer The Sectors of Telecoms and Electrical are constantly evolving with the consistent introduction of new products and cutting edge advancements in technology meaning that these Sectors have to remain competitive, keeping abreast of the rapid changes in the market. Due to the increased focus on KPI’s and assisted selling in this arena, customer service is key, resulting in the need for target focussed leaders who can drive sales through service. Recent roles we have recruited to within the Telecoms and electrical Sectors include: - Store Manager, Leeds, Mobile phone Provider - Electrical Department Manager, Birmingham, Department Store - Assistant Manager, Sheffield, Electrical/White Goods Retailer The Homeware and Furniture Retailers across the UK include specialist furniture providers, large household brands, smaller boutique stores and newer value based concepts. Recent roles we have recruited to within the Homeware and Furnishings Sector include: - Buyer, Essex, Home Floorings Retailer - Store Manager, Wallasey, Homewares Retailer - Store Manager, Exmouth, Home Floorings Brand - Area Manager, North West, Furniture Retailer As the consumer population have latterly become more fitness conscious, adventurous and keen to holiday closer to home (partly due to Social Media) there has been an increased uptake in customer spending within the Leisure/Outdoors markets. Recent roles we have recruited to within the Leisure and Outdoors Sector include: - Store Manager, London, Leisurewear Brand - Camping Department Manager, Milton Keynes, Leading Outdoors Retailer - Store Manager, Swindon, UK Outdoors Retailer - Full Store Complement, Bristol, Leading Outdoors Brand The diverse ‘Multi Product’ Sector consists of clients including toy and games retailers, charity shops, stationers and the ever growing value sector. Within Multi Product there are a number of areas that we specialise in: The value market within Retail has seen its biggest increase in sales in recent years and Retailers across a variety of Sectors are moving towards a more ‘value’ based proposition. McCarthy work with a variety of clients within this Sector and appreciate the need for hard working, driven individuals who can work with passion and pace for their brands. Recent roles we have recruited to within the Value Sector include: - Store Manager, North Wales, Value Stationary and Gift Provider - Deputy Manager, Maidstone, Value Food Multiple Retailer - Head of Sales, South, Value Food Retailer - Area Manager, Midlands, International Value Food Multiple Retailer - Pet Care With an increasing number of consumers looking for quality, specialist goods in the Pet Care arena, McCarthy aim to source talent for our Clients within this Sector who have a passion for customer care combined with a genuine interest in animals and pets. Recent roles we have recruited to within the Pet Care Sector include: - Store Manager, Hertfordshire, Leading UK Pet Care Retailer - Assistant Store Manager, Glasgow, Pet Care Retailer - Department Manager, Derbyshire, Leading Pet Care Brand - Parenting and Early Years At McCarthy we support our clients within the parenting and early years Retail Sector to recruit customer service driven Retailers with specialist expertise in this arena. Recent roles we have recruited to within the Mother and Baby Sector include: - Store Manager, North West, Maternity Retail Outlet - Assistant Manager, Brighton, Parenting and Early Years Retailer - Department Manager, Manchester, UK Specialist Early Years Retailer As the traditional stationary provider has diversified into selling toys, gifts and cards in recent years, the stationary market is now fast paced and increasingly competitive. Recent roles we have recruited to within the Stationary and Gift Sector include: - Store Manager, Southend, UK based Card/Gifts Retailer - Store Manager, Bradford, Card and Stationary Brand - Assistant Store Manager, Carlisle, Iconic Card and Stationary Retailer At McCarthy we work with a number of Clients who specialise in supplying their customers with high quality Children’s Toys, Games and Gifts. Recent roles we have recruited to within the Toys/Games Sector include: - Store Manager, High Wycombe, Iconic Early Years Retailer - Deputy Manager, Lincoln, High Street Toy Retailer - Department Manager, Slough, Gaming Retailer Historically service-led, the Health Sector requires staff with specialist expertise, a customer service based approach and high ethical standards. Our Clients within this market include Beauty, Optical, Hearing and Pharmacy specialists. Recent roles we have recruited to within the Healthcare Sector have included: - Assistant Store Manager, Bristol, Leading Optical Provider - Store Manager, Cheshire, Leading Optical and Hearing Aid Retailer - Pharmacy Manager, Cheltenham, Independent Pharmacy Retailer - Beauty Concession Manager, London, Leading Department Store The Entertainment and Leisure Sectors include boutique local and national cinema houses, large fitness clubs as well as leisure complexes and tourist attractions. Recent roles we have recruited to within the Entertainment and Leisure Sector include: - General Manager, Norfolk, National Cinema House - Concession Coffee Shop Manager, Aberdeen, National Cinema Brand - Operations Manager, North West, Leisure and Hospitality Concept - Assistant Manager, Manchester, Leisure Sector The Consultants in our Retail Stores team have considerable experience of sourcing talent for Operational and Management roles within Retail organisations throughout the UK. We understand that in Retail, great people and great Managers are essential to providing high standards of Customer Service; therefore the risk in not finding the right Managers and Customer facing staff to drive great service can carry considerable risk. At McCarthy we understand the Retail market and its pressure points because we have extensive experience of recruiting within the field, and moreover, ALL of us have a background within Retail ourselves. In fact, our in depth knowledge of the Retail market and its operation in turn ensures that we nurture strong relationships and broad networks and we are passionate about not only accessing the best talent but also staying connected to them! Our approach at McCarthy is not just about being reactive to the market, we are proud of our proactive and innovative approaches, which, combined with robust account management and a clear customer focus ultimately means consistent delivery of the right candidate for each assignment. The McCarthy Retail Stores Recruitment Team are fast becoming a widely-recognised name across the Retail Industry. We are currently working with several leading Retailers of varying sizes and in different markets, providing them with their management teams of the future. We can work to a wide range of client briefs, however, typical roles our Retail Stores recruit for include: - Regional Manager - Area Manager - General Manager - Flagship Store Manager - Visual Merchandising Manager - Visual Merchandiser - Design Consultant - Showroom Manager - Store Manager - Deputy Store Manager - Branch Manager - Assistant Manager - Deputy Manager - Department Manager - Sales Manager - Section Manager - Multisite Manager - Floor Manager - Site Manager - Team Leader - Profit Protection Manager The Team at McCarthy understand that Retail Stores professionals are looking for a professional and consultative service from a Recruitment Consultancy. At McCarthy we are able to not only provide you advice on your career prospects and opportunities available to you but we are also on hand to support you with your job search, offering you valuable yet constructive feedback on how to make the most of your skills. If we are currently recruiting for a suitable role for you within Retail Operations or Retail Management then we will take you through a comprehensive screening and interview process, followed by giving you a full brief on the role for which you're being considered. On the other hand, if we do not have anything available that suits what you are looking for we will market your profile out to our network of relevant Clients within the Retail Industry in order to find you your perfect job. We are an award winning recruitment specialist, being named Best Retail Recruiter in the UK due to our commitment to service and quality. We are well connected in the Retail Industry and have well established partner relationships built up since our inception in 2005. Our Retail Stores Recruitment Team truly know the market, they are well networked, have their ear to the ground and are able to provide you with a range of advice including: Interview skills, CV Writing and assisting you with working out what you really want from your next role. As we work with candidates at all levels within Retail Store Management we will seek to help you find the very best role for you that will match your skills, experience and desires in order that your next job move truly enhances your career. To find out more about our in-depth specialist service, call our Retail Stores Recruitment Team on 0161 828 8726 for a confidential conversation. We are looking forward to hearing from you.

Three years full-time. Four and a half to nine years part-time. 112 UCAS tariff points (or above) BBC (A-Level), DMM (BTEC). If applying in Clearing 2019 please call us on 01473 338352. Suffolk is an inspirational place to study literature and language. The county's coastal villages and towns attract writers and artists from all over the world and feature in classic novels by Charles Dickens, George Orwell and Arthur Ransome, as well as recent fictional works by authors such as Marcus Sedgwick, Esther Freud and P. D. James. Photo by Katie Hayward Study English Literature with Language at the University of Suffolk and you will focus on the areas you enjoy by combining the study of literature with language. Share a love of literature in a learning environment which supports and encourages independent thinking, academic rigour and creative excellence. Explore linguistics, phonology and semantics alongside a critical examination of a range of literary texts. Develop industry knowledge through partnerships with local schools, businesses and arts organisations. First-year students explore poetry, prose and drama alongside modules in literary criticism and linguistic analysis. In the second year, literature modules in Shakespeare, seventeenth-century poetry and modernism are combined with approaches to psycholinguistics, including language acquisition and disorders, and sociolinguistics. In your final year, you will complete further specialist modules in literature and linguistics and have the option to select a professional practice module as a platform from which to progress into the workplace. A dissertation focused on literature, language, or a combined topic enhances transferable skills in research, writing, and independent critical thinking. Take a look at what our graduates say about studying English at the University of Suffolk. Find out more about our course partnerships with regional arts organisations, publishers, theatre companies and community groups to offer you exciting opportunities during your studies, including exclusive writing competitions such as the Student New Angle Prize. For regular course updates, visit our Facebook page. Full-time students typically take three twelve-week modules each term during the first two years of their studies for increased subject diversity. In the final year, students complete a literature, language or combined dissertation in an area of their choosing, along with four other selected modules. Part-time students may negotiate their programme of study with their tutors to suit their own individual needs and requirements. Full downloadable information regarding all University of Suffolk courses, including Key Facts, Course Aims, Course Structure and Assessment, is available in the Definitive Course Record. 'Language is a purely human and non-instinctive method of communicating ideas, emotions and desires by means of a system of voluntarily produced symbols' - Edward Sapir This module equips students with the tools and terminology required for describing language and helps to develop analytical skills. Students explore the basic frameworks of phonology, grammar and semantics, and learn about the development of the English language. The module is of particular use to those wishing to become teachers or to enter language-based fields. ‘There is nothing outside the text’ - Jacques Derrida This module enables students to gain the necessary knowledge and skills of analysis and criticism on which to base the rest of their undergraduate work in English. Students will explore various methodologies in the study of literary texts and consider the purpose of literary criticism and its relationship with culture, philosophy and politics. ‘It's so easy for propaganda to work, and dissent to be mocked' - Harold Pinter This module introduces students to the study of Western drama, covering both its historical and literary development from the classical era through the Renaissance and up to the twenty-first century. Students will explore a wide selection of dramatic works in English and in translation, focusing on plays that have often prompted hostile speculation from audiences and critics. ‘Writing is a way to work yourself into a subject and make it your own’ - William Zinsser This module enables students to develop skills that are central to the study of English including critical reading, writing, analysing, researching, and presenting. The skills practised on the module will support student work in all other modules of the course and prepare them for professional practice modules where they will be invited to transfer subject-related skills to the workplace. ‘In this gorgeous mess of our own gravity’ - Jo Shapcott This module introduces students to the complexity and pleasure of this literary form. It is designed to help students engage with poetry in a creative and active manner. Students examine a wide range of poetic forms, from canonical texts of the English tradition to digital and performance poetry, including poems in translation. ‘Welcome to the desert of the real’ - Slavoj Žižek Students examine a range of theoretical approaches to texts, including Marxism, psychoanalysis, structuralism, feminism, postcolonial theory and postmodernism. They are encouraged to engage with theory as an intellectual activity that develops multiple perspectives on a variety of topics such as language, reality, subjectivity, gender, race, and sexuality. 'Our minds influence the key activity of the brain, which then influences everything; perception, cognition, thoughts and feelings, personal relationships; they're all a projection of you' - Deepak Chopra The module examines three major frameworks of language: acquisition, production and comprehension. These are examined and analysed through a range of case studies and linguistic data. In addition, Learning English presents and discusses theories and data relating to the acquisition of conversational skills in English, as well as a variety of language disorders. ‘An adaptation may come second, but that doesn’t make it secondary' - Linda Hutcheon This module introduces students to the literary field of adaptation studies, exploring the afterlives of a range of ‘source’ texts through a critical and creative assessment of processes of textual transformation. Through an analysis of texts where characters’ afterlives also feature in the narrative, students will investigate shifts in media, genre, audience, ideological positions and modes of production and consumption. 'Uneasy lies the head that wears a crown' - Shakespeare, Henry IV, Part II This module enables students to undertake a thematic study of Shakespeare’s dramatic work based on the detailed study of four plays, each from a different genre. The plays will be studied both as responses to the political, social and religious changes of the sixteenth and early seventeenth centuries and as works of continuing relevance through a close examination of recent and varied performance contexts. 'That in yourself which you knew not before' - Lady Mary Wroth The critical and theoretical investigation of a selection of writings by female and male poets offers students the opportunity to consider the discourses that intersect in the poems and reflect on the role of power, ideology, gender and sexuality in their composition and circulation. 'Do I dare Disturb the universe?' - T. S. Eliot This module introduces students to literary modernism through the study of poems, short stories and novels from the period between 1900-1930. Students explore the radical experiments of modernist writing and critically evaluate how these texts break with conventional representations of reality. They also create short films and text for an online resource about modernism. 'The exercise of power, in modern society, is increasingly achieved through ideology, and more particularly through the ideological workings of language' - Norman Fairclough This module represents a more theoretical consideration of textuality, providing preparation for students' own independent research. Students consider core topics and approaches in language study such as language variation, creativity in language use, stylistics, cognitive poetics and critical discourse analysis. ‘Imagination is the research laboratory of discovery’ - Steven Magee This module focuses on sound variation and processing. Students explore how similar phenomena can be represented in different phonological models, such as Optimality Theory and Lexical Phonology. This module provides valuable experience for any students looking to continue their skills in research design ahead of final year dissertation projects, as well as those focusing on careers or postgraduate work which incorporates strategic thinking and data processing skills. 'Research is formalised curiosity. It is poking and prying with a purpose' - Zora Neale Hurston This module provides an opportunity for students to design and carry out an extensive piece of independent research examining an area of scholarship that they wish to pursue. This might have a literary, language, professional, or cultural history focus, and should draw on the appropriate methodological approaches. The work may also involve other disciplinary areas such as history, education, biography, psychology, philosophical or political thought, but the study must be placed within the broader scope of English studies. 'Language is the most massive and inclusive art we know, a mountainous and anonymous work of unconscious generations' - Edward Sapir Research has shown that variations found in spontaneous speech aren’t, as once thought, random and unstructured, but, instead, systemic/ meaningful. This course will examine the theory behind variation as it occurs in natural, face-to-face communication, and how we model variation according to social constructs, such as age, gender and style. 'There is no god and we are his prophets' - Cormac McCarthy The module enables students to evaluate the complex and thought-provoking forms of contemporary texts which transgress genre boundaries and solicit a speculative exploration of contemporary issues, such as transcultural identities, queer sexualities, dystopian spaces, and technological and post-humanist approaches to reality. ‘Never let it be said that dialect is a reflection of intellect’ - Patricia H Graham This module considers how language, and particularly dialect, are used in literature and film. The focus is primarily on sociolinguistic aspects, allowing students to assess how literature and film reflect actual language, and what this may tell us about linguistic attitudes and use. The module will give students a foundation in some key dialect features and characteristics, with a particular focus on British and North American dialects. 'The Gate ... I opened it. I'm the monster' - Eleven, Stranger Things This module introduces students to the role of horror in young adult fiction, inviting analyses of works from literature, cinema and television that are categorised as dark fantasy, dystopian fiction, sci-fi horror and paranormal romance. Through close reading and independent research, students will examine issues relating to gender, power, identity and sexuality against the self-reflexive nature of horror and its highly subversive potential. 'The art of teaching is the art of assisting discovery' - Mark Van Doren This module blends formal instruction with practical experience. Seminars take place on alternate weeks and cover topics such as Pedagogy and Learning Theories, Differentiation and Special Needs, and Reflective Practice. In the second semester, students undertake placements in educational settings, such as primary, secondary and adult education, including EAL and ESOL learning. 'Any positive emotion that you're infusing into a workplace needs to be grounded in reality. If it's not realistic, sincere, meaningful, and individualised, it won't do much good' - Tom Rath Students undertake student-centred learning based on a placement, which will build on their knowledge from language and creative writing modules, along with subject specific writing and IT skills. Moreover, students gain knowledge about professional writing from seminars with professional writers. The BA (Hons) English Literature with Language offers two professional practice modules: English Education Practice and Professional Writing Practice. You may undertake these modules in your final year of study to enhance your employability skills and build effective relationships with local schools, businesses and arts organisations. The modules offer talks and seminars led by industry experts and provide opportunities for professional recognition, such as the EADT Award for Professional Writing and the Steve Ransom Award for English Education. Our graduates have gone on to successful careers in writing and journalism, editing, arts management, teaching and consulting. Some have started their own businesses in areas like copy editing, public relations and freelance writing while others have gone on to postgraduate study. Fees and finance - Full-time tuition fee: £9,250 p.a. - Part-time tuition fee: £1,454 per 20 credits (Please contact the Infozone for further information) - International tuition fee: £11,790 p.a. - Detailed information about Tuition Fees. - Find out more about Financial Support eligibility. - Also see Loans and Grants. - At University of Suffolk, your tuition fees provide access to all the usual teaching and learning facilities that you would expect. However, there may be additional costs associated with you course that you will need to budget for. See Course Costs. If you have previously studied at higher education level before you may be able to transfer credits to a related course at the University of Suffolk and reduce the period of study time necessary to achieve your degree. Facilities and Resources This course is taught at the beautiful Waterfront Campus in Ipswich, a unique location offering spectacular views and a vibrant space for study and socialising. Teaching and learning takes place in the Waterfront Building, the Arts Building and the new Atrium Building, providing access to the campus’ best facilities including purpose-built seminar rooms and state-of-the-art screening theatres. Photo by Katie Hayward Suffolk celebrates the literary arts every year with events such as the Halesworth Arts Festival, the FlipSide Festival, the award-winning Latitude Festival and the Aldeburgh Poetry Festival. Ipswich has a thriving theatre scene including the New Wolsey, Regent, East Anglia’s largest theatre, and Red Rose Chain, an award-winning, community-driven theatre company working in partnership with TV presenter Jimmy Doherty to stage outdoor summer productions of Shakespeare’s plays for over 10,000 spectators. Sir Trevor Nunn, former Artistic Director of the Royal Shakespeare Company, schooled in Ipswich and is patron of the New Wolsey Theatre, a vibrant performance space at the heart of the region’s cultural life. The county is also home to a number of prestigious publishing houses including Full Circle Editions, set up by Bloomsbury co-founder and Harry Potter discoverer-in-chief, Liz Calder.

multi-instrumentalist and arranger, born in 1975. He studied double bass at the Witold Lutosławski State Primary Music School in Bolesławiec. He then attended the State Music School in Legnica. He plays the double bass, bass guitar, guitar, piano, accordion, percussion, bassoon, and clarinet. In 2006 he set up the Małe Instrumenty [Small Instruments] group. He writes and arranges his own pieces, as well as film and theatre music, and music for social campaigns. He builds instruments and mechanical sound installations. He has collected over 500 instruments, which he uses on stage and in his studio. He runs workshops, delivers presentations and talks, organises exhibitions associated with instruments and experimentation with sounds. He propagates toy music in Poland. In 2010 he wrote a book on the history of the toy piano, which was published together with the album Małe Instrumenty grają Chopina [Small Instruments Play Chopin]. It is the first publication on the development of this instrument, toy piano works, players, albums and competitions in the world. When working on the book, he collaborated with George Crumb, Margaret Leng Tan, Christopher Hobbs, Steffen Schleiermacher, and Isabel Ettenauer. In 2012, together with Piotr Kurek, Romańczuk recorded his interpretation of John Cage’s Music for Amplified Toy Pianos, which he subsequently performed at festivals of contemporary music (e.g. at Warsaw Autumn) together with Sławek Kupczak, Margaret Leng Tan, Paweł Czepułkowski, and Piotr Kurek. Romańczuk owns around 250 toy pianos and organises exhibitions of his collection (Philharmonie Luxembourg, The Berlin Musical Instrument Museum, Capitol Music Theatre in Wrocław) . His music has been released on Małe Instrumenty's albums Chemia i Fizyka (2011), Katarynka (2012), Samoróbka (2013), and Kartacz (2013) . He has written music for a number of theatre production. Among these are: .Komu piosenkę, czyli poemat ruchowy na stawy i krtań [A Song Anybody? A movement poem for joints and glottis]; Tańce, których nikt nazwać nie chciał [Dances That Nobody Wanted to Name]; Padlina [The Carcass] after C. Baudelaire; and no.1. for Jacek Gębura's ARKA Dance Theatre. He has also composed the score to Polish Television's travel show Wajrak na tropie. In 2010, commissioned by the "Kody" Festival of Musical Avant-Garde and Tradition in Lublin, he composed Wyliczanki polskie featuring 30-person children's choir. Since 2009 he has been running workshops for teachers of music, children, teenagers, and adults on discovering new sources of sound, field recording, making their own instruments. In 2010 he carried out detailed research for the Musica Polonica Nova festival in Wrocław on a music instrument called "donatina" and co-authored thematic sound installations in the city's spaces. He was invited to join the Wrocław-based project Dźwięki z odzysku (DZO) [Upcycled Sounds], as part of which he run workshops on the making of music instruments from wage materials and wrote music for DZO's first album. In 2013 he wrote a textbook on DIY experimental musical instruments, which was released with Małe Instrumenty's album Samoróbka. In collaboration with the Cinema Theatre, in 2013 he organised the public reading of Luigi Russollo's manifesto The Art of Noises (1913). He has all worked on such projects as Styria/Gratz, Za Siódmą Górą, Transfuzja (Andrzej Bauer, Cezary Duchnowski, Piotr Orzechowski). Currently, he is developing the instrumental environment to In-Between (Cezary Duchnowski, Kostas Georgakopulos). Updated: May 2014 (ai) Music to the music production Elektrownia Dźwięku (2008) Music to the animated film Smok i bohater, directed by Agnieszka Jarząb (2009) Music to the audio book Sekretne życie krasnali by Wojciech Widłak and Paweł Pawlak, read by Jan Peszek (2009) Music to animated films by Mariusz Wilczyński: Cicha noc, Czasy przeszłe, Allegro ma non troppo, Śmierć na pięć (2009) Music to the animated film Na cztery łapy, directed by Agnieszka Paszkiewicz (2011) Music to the documentary Zabawki cesarza, directed by Grzegorz Wierzchowski and grupa ¾ (2011) Music to the film Twarze nieistniejącego miasta, directed by Natasza Ziółkowska (2013) Acousmatic for five performers (2013) (2013) Music to the film Dama Pik, directed by A. Zwiefka (2014)

Stay hungry stay foolish: enjoy Italy between the leaning towers By AEGEE-Pisa & AEGEE-Bologna Travelling Summer University info_outline Jun 13th - Jun 27th 2019-06-13 25 new friends Falling in love with Italy through food, folklore and art. Secret AEGEEnts: Sugar, spies and everything nice By AEGEE-Amsterdam & AEGEE-Enschede Jul 1st - Jul 15th 2019-07-01 The theme will be spies and secret agents Discover Your SUtory Jul 5th - Jul 19th 2019-07-05 Learn about GREEN with effective workshops. Turkey recognize the chance to explore the culture and exploring, pull your own photos of the green nature Turkey. The Ionian battle: Gods verSUs Mortals Jul 7th - Jul 21st 2019-07-07 35 new friends Travel around the Ionian islands and live the Greek myth. Embrace yourselves for the ultimate SUmmer experience! Tarthoven presents: Time Travel Through the Flatlands By AEGEE-Tartu & AEGEE-Eindhoven Jul 8th - Jul 24th 2019-07-08 Travel through space and time from WW2 until today, from North East to West! Wingardium LevioSU: I SUmmerly swear that I am up to no good By AEGEE-Nijmegen & AEGEE-Tilburg Jul 12th - Jul 27th 2019-07-12 30 new friends All different, all equal By AEGEE-Warszawa & AEGEE-Budapest Jul 12th - Jul 24th 2019-07-12 Eating Europe: A Kingdom on Fire Jul 17th - Aug 1st 2019-07-17 Discover the local culture and reality of the former Kingdom of León through cooking and eating! Drop of Wine from Mountain to Sea vol. 2 Feel the breathtaking nature of Georgia and immerse yourself in one of the most hospitable culture full of European and Asian elements. AEGEEus Myth: the beginning (from Athens to Crete) Jul 20th - Aug 3rd 2019-07-20 Exploring the Greek LabyRhythm through the culture and history Suncity vol 3: Catch the Fire! Jul 24th - Aug 7th 2019-07-24 Discover Turkey with history, most energetic cities, sea, sun and dance! West to East: Hitchhike Like a Beast By AEGEE-Leiden, AEGEE-Aachen & AEGEE-Dresden Jul 24th - Aug 9th 2019-07-24 Hitchhiking down Route 99 The Lombardian RhapSUdy By AEGEE-Bergamo & AEGEE-Brescia Jul 25th - Aug 8th 2019-07-25 Typical italian food, thrilling sports, amazing sighseeing, wild nature and incredible parties ...'cause UAre natural Jul 26th - Aug 9th 2019-07-26 Ukraine is a country with various landscapes, traditions and natural resources, which mean huge responsibility. We are inviting you to get a touch of this diversity in a friendly company of other participants along with locals, who will lead your way through the beauty of Ukrainian land aiming at following a sustainable path SUrvive till the fiNIsh line Jul 29th - Aug 12th 2019-07-29 24 new friends Experience Serbian culture through breathtaking nature, wild adventures and making new friendships uTOpiCAl: try TO-CAtch us By AEGEE-Torino & AEGEE-Cagliari Jul 29th - Aug 14th 2019-07-29 From a golden past to a green tomorrow. Will you save our Kingdom? SLOw Summer Humor By AEGEE-Ljubljana & AEGEE-Maribor Jul 31st - Aug 14th 2019-07-31 40 new friends Travel through Slovenia on a train, experience green destinations and engage in fun and funny workshops. By AEGEE-Iaşi, AEGEE-Chişinău & AEGEE-Cluj-Napoca Aug 1st - Aug 15th 2019-08-01 Discover the culture, traditions and language of Romania and Republic of Moldova. Transsiberian DREAM vol. 11 Aug 2nd - Aug 21st 2019-08-02 Develop yourself and find out how to lead a sustainable lifestyle and take care of your mental health in a global world while getting acquainted with multicultural modern Russia in a journey of a lifetime following the original route of Transsiberian Railway. The last kingdom of Gallaecia By AEGEE-A Coruna Aug 8th - Aug 22nd 2019-08-08 Test your limits and join us at the adventure of discovering Galicia, its mythology, history and culture by practicing all kind of cultural and sporting activities. Pirates of the Mediterranean: A New Era By AEGEE-Castelló, AEGEE-Tarragona & AEGEE-Valencia Aug 16th - Aug 31st 2019-08-16 Become the most badass pirate and conquer the Mediterranean. The Legend of the Czech Grail: Bohemian Mystery By AEGEE-Praha & AEGEE-Plzeň Aug 25th - Sep 7th 2019-08-25 Explore the most interesting places in Bohemia, discover Czech culture and be part of an unexpected (and maybe dangerous) journey. Short Summer Course info_outline Jun 11th - Jun 19th 2019-06-11 20 new friends Bavarian culture is more than beer! The Big Training Theory Jun 29th - Jul 7th 2019-06-29 This summer is high time to develop yourself! SUbeme la radio: Speak loud, speak Spanish! By AEGEE-Burgos & AEGEE-Valladolid Jul 23rd - Jul 30th 2019-07-23 Catching up with the Kardashians: EP 2 Jul 26th - Aug 3rd 2019-07-26 Activism: Civic and Cultural SSC: the five SENSES of BILBAO Aug 12th - Aug 19th 2019-08-12 Exploring yourself through a sensitive journey in the Basque Country The Belgian Bucketlist, with a Lille’ touch of France! By AEGEE-Leuven & AEGEE-Lille Aug 14th - Aug 21st 2019-08-14 Hit two birds with one stone and enjoy, taste and discover both France and Belgium. Are YOU ready to complete your Belgian/French bucketlist? Get Nostalgic in Paris 90's Aug 25th - Aug 31st 2019-08-25 Typical culture of the 90s linked to the history of Paris Achtung: Wild! Umfahren oder umfahren? Summer Course+ info_outline Jun 27th - Jul 12th 2019-06-27 Germany in the 90ies Colors of Culture - Summer of Youth By AEGEE-Novi Sad Summer Course info_outline Jul 10th - Jul 24th 2019-07-10 Discovering cultural diversity of Europe in Small and how the youth are helping shape it Earth needs SUperheroes By AEGEE-Kraków & AEGEE-Wroclaw Jul 15th - Jul 26th 2019-07-15 Various aspects of ecology From Cycling to Cheese: Discover Groningen with its Chilly Breeze! Jul 17th - Jul 31st 2019-07-17 Explore the beauty of Groningen, discover the secrets of its nightlife and experience the diversity of Dutch culture through exquisite Dutch cuisine, ‘gezellige’ student culture and adventurous activities! Lights, Camera, SUtisfaction!! Jul 17th - Jul 29th 2019-07-17 Cinema: a different movie every day. Workshops, meals, and social program based on the movie of the day. Jul 18th - Jul 31st 2019-07-18 Acquaintance with Russian culture, way of life of our peoples and lots of fun and sports. SUnicorns Are Real Vol.2 Jul 19th - Jul 30th 2019-07-19 Learn Turkish culture, history, language and cuisine by abundance of activities and explore the charming landscapes of the city to become a real Stambouliote! Guardians of the Paradise vol. XI Jul 20th - Aug 2nd 2019-07-20 Exploring the Asturias' nature and discovering its unique cultural heritage through sport, gastronomy, and everything that makes a SU amazing Sex -Gender- and the City Jul 20th - Jul 31st 2019-07-20 The basis of Gender Equality Smells like GREEN Spirit vol.2 Mind-blowing combination of zero-waste and active lifestyle brought to you through thematic activities while exploring the wonderful nature of Croatia. Greek Odyssey Vol 2: The Curse of Nemesis Jul 24th - Aug 4th 2019-07-24 Discover the unique Greek culture and become a true local. SUmanji: welcome to Aragón! SUmanji: welcome to Aragón! SUgna e pepe Jul 26th - Aug 6th 2019-07-26 Neapolitan gastronomy tradition and food as mean of intercultural dialogue Lost in the Sahara By AEGEE-Las Palmas Jul 27th - Aug 11th 2019-07-27 Discover Gran Canaria and Fuerteventura while recharging your batteries with positive energy, cultural activities and joining lots of fun and different sports. Pearl Of The Mediterranean Jul 28th - Aug 8th 2019-07-28 Party, adventure and history Deep in Seacily! Jul 31st - Aug 11th 2019-07-31 A real sharing of Sicilian culture: discover our landscapes and learn about language, local traditions and regional cuisine! SUmmertime SUnnyday-Feel AEGEE spirit EVERYDAY Aug 1st - Aug 12th 2019-08-01 You only live once! Let’s get out of your comfort zone and feel AEGEE spirit! LVIV'in la vida loca! Vol 2.0 Aug 2nd - Aug 13th 2019-08-02 Venture out with us on an adventurous exploration of extremes! Free yourself to fly, indulge in the unique spirit of the sea life and set off to the mountains to experience authentic customes. A Taste of Sicily Aug 5th - Aug 17th 2019-08-05 45 new friends The (cross) theme we chose touches different areas, mostly art, culture and cooking. Something that here's strictly bond and connected one to another. The DiWine Comedy Aug 7th - Aug 18th 2019-08-07 Discovery of Tuscan cities, history, tradition, sea and food How To Train Your Inner Dragon Aug 17th - Aug 29th 2019-08-17 Find the leader in yourself! Visit one of the top 5 student cities in the world and discover the beauties of South Moravia. Let the SUn Shine Over Anatolia Aug 19th - Sep 2nd 2019-08-19 Have you ever wondered what lies beyond the Aegean Sea? Do you want to discover historical and natural miracles of the hospitable Anatolia? Then come and lose yourself among the tremendous wonders of our peninsula! European Spirit(s) - Brand(y) new ideas for Europe By AEGEE-Mannheim, AEGEE-Frankfurt am Main & AEGEE-Heidelberg Aug 24th - Sep 4th 2019-08-24 Discover your European identity, develop a European vision for our future and besides that: Have a lot of fun!

Saturday, April 4 Made in 1934, sadly there is no sound to accompany this piece of history. Typical propaganda interwar flick, perhaps shown in cinema before main feature. The bears were Russians, monkeys were Japanese in anthropomorphism fashion. It can gleaned readily that Japanese view on Russians were not flattering(afterall, Imperial Japan defeated Russians in 1904-1905 Russo-Japanese War) and this is year that Japanese militarism already superseded civilian government which finally took a disastrous route to Pacific War. I watch this episode and seriously, Bee Train should stop making gunslinger animes. Their idea of good gunfighting series is a myth of pistol with skirts overwhelm everything else (which we saw reached an orgasmic like ecstasy in Madlax). Just like how they destroy excellent manga Blade of Immortal with insipid series, they took away the essence of Phantom story: grittiness and unrelenting violence which hooked me to play the VN (visual novel) in 1st place. Violence is what drives and shock the dramatis personae in any plot to push themselves to final conclusion of story, not limp like hint of violence (not as bad as Noir)that is seem to be stylized in Phantom. This is like giving a steak that is not cooked at all and call it well done. The character redesign is okay but Reiji lacks the intense aloofness that makes his character so fascinating. Ein is easy, she is basically Kirika (Noir) repackaged for this series. There is no chemistry between these 2 in this series. Hardly. Dr Scythe lacks that tinge of madness in this anime too. Bee Train took out the hard broiled edge from almost everyone and make them feel out of sync with the world role they supposed to be. Also for action scenes, Bee Train did not do proper research to make scene authentic as possible. A noted scene not make sense: Ein kneeing Zwei with left side then she do palm strike with left hand which violates the human physiology sense. How the hell she can generate any power with her palm strike that send a guy who is at least 10 kg heavier than her tumbling back like the scene shown? It looks like she is dancing which what I think the anime guys trying to go for but it just looks odd. Very odd for action sequencing. The only good thing about this series is haunting OP by KOKIA. The ending sounds like crap and out of place with the feel of the story supposed to evoke. My final thoughts on the ending Overall, the adaptation is disappointing and I cursing Bee Train forever. ARGHHHH!

Yet another brilliant meeting took place in the Hibernian Hotel, Mallow, last Thursday night as members of Speak Easy Toastmasters and friends gathered for the last meeting before our summer break. We were treated to great speeches, entertaining topics and skilful evaluations that made the evening most memorable. President, Ray Ryan was officiating at the final meeting of his very successful presidency of the club and welcomed us warmly before introducing Toastmaster of the evening, Noel O’Connor. Noel introduced the officers of the meeting before beginning the programme and introducing the first speaker, Joe Hassett. Joe was doing an interpretive reading project, interpreting poetry, in which he introduced the poetry of Spike Milligan with a speech entitled “A Fools Poetry” Following Joe was Angela Sheehan with her speech, “Fashion To Die For” in which she told the of model Isobel Carrow, and how she is dealing with the illness “Anorexia Nervosa”. Then it was the turn of Ray Ryan with, “The Green Murphy” which was a humorous look at the life of builder, John Murphy. Finally, Pat Sexton gave us a fascinating account of the history of German Cinema complete with facts and anecdotes. Topicsmaster, Grant March kept the speaking off the cuff skills of the members in shape with his many well though out and researched topics. Michael Cronin as General Evaluator, conducted the part of the meeting where the speakers received feedback on their speeches and also how the officers of the meeting performed and suggested how improvements could be made. Other officers on the night were, Neil McAuliffe as Timekeeper, Cáit Murry, Liam Flynn and Jean Sayers as Sgt at Arms and Tony O’Regan as Ah-Counter/Grammarian. Evaluators, Liam Flynn, Bridie O’Connell, Margaret O’Regan and Pat Duggan. President Ray Ryan then welcomed each of the new committee, introduced them to the members and wished them luck in their roles for the coming year. Speak Easy Toastmasters are now on their summer break and our next meeting is on September 3rd If you would like to become proficient in public speaking (family occasions, interviews, presentations etc), speaking “off the cuff”(never again be caught for words), learn how to give feedback and do all this in an atmosphere of fun and friendship then Speak Easy Toastmasters are for you. Our meetings are workshops and not classrooms where guests are most welcome at any time. Why not think about Toastmasters over the summer and look us up on the internet at www.speakeasytoastmasters.com for more information. Don’t forget, we meet again on September 3rd in The Hibernian Hotel, Mallow from 8-10pm and we’d be delighted to meet you, so until then have a great summer. Slán agus Beannacht.

Terry: I love you, man. Russel: And I love you. Because I’ve learned that Platonic love *can* exist between two grown men. Benjamin: And I’ve learned something, too. I’ve learned that a flawless profile, a perfect body, the right clothes, and a great car can get you far in America – almost to the top – but it can’t get you everything. Wayne Campbell: Isn’t it great that we’re all better people? Wayne’s World (1992) The End of the Tour is a sharp and sentimental take on the legacy of late American author David Foster Wallace, which examines the peculiar impact of that legacy upon audiences past and present. Beginning with the tragic death of the author in 2008, the film plays off of the mixed emotions surrounding Wallace and his complex body of work, leaping between mythic eulogy and indie-film dramatics in its recounting of an extended interview between Wallace and journalist David Lipsky in 1996. The result is a kind of straight-faced love story between the author and his reader, which is elevated by the brilliant performances of leads Jason Segel and Jesse Eisenberg. The real Lipsky’s five-day interview with Wallace, published in 2010 as the book Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, is a candid and sometimes frustrating text. All in all, the book presents a humanizing portrait of a larger-than-life figure, a man whom Lipsky describes as being “charmingly, vividly, overwhelmingly awake”. But on paper, it’s easy to imagine Lipsky as a bit of a prick, willfully misunderstanding the words coming out of Wallace’s mouth; the interview is rife with observations like “[Gentlemanly: He believes he’s flattering me by treating me as a matching peer]”. But this antagonism is surprisingly well-suited to the subject – Lipsky’s book contains some of Wallace’s most vivid and compelling statements about fiction (including his own works), contemporary culture and, of course, postmodernity. In adapting this story for the screen, screenwriter Donald Margulies has excised a surprising amount of interview material; weirdly, the word “postmodern” is almost totally absent from the film. Instead, the film teases out the dramatic touch-points of Lipsky’s book – the movement between cities, the throng of Wallace’s nascent stardom, the conflict between its two principal ‘characters’ – to present a strange kind of love story, an intimate and occasionally threatening encounter between two troubled young men. As focalizer, Eisenberg’s Lipsky is a jealous and overtly cynical man, desperate to understand “the most talked about writer of a generation”, if only to countenance his own insecurities as an author. In response, Segel plays Wallace as a kind of paradox, both sincere and standoffish, both “regular guy” and literary force of nature. The End of the Tour plays out like an actual romance, as the principals move from awkward first encounter, to unlikely friendship, all the way through to falling out and cathartic reconciliation. While this approach is likely intentional – Wallace appreciation is rife with stories of love, empathetic connection and “really human” connection – The End of the Tour occasionally over-plays its hand, conflating schmaltz with sentiment, or veering beyond intimacy towards straight-up predation. A particularly moving sermon on suicidal depression, delivered towards the end of the film, is undercut by its excessively intimate staging: Segel’s Wallace at the foot of the bed, half-shrouded in darkness, demanding yet another final word on himself and his legacy. Meanwhile, the characters Wallace and Lipsky loudly insist their love for “pretty girls” at book readings, and the film gets extensive mileage out of Wallace’s desire to get laid off of his fame, whilst he and Lipsky joust over a series of (largely sidelined) women characters. Whilst this take may not succeed as a complete statement on the man and his works – and yes, the film has a few cracks at this towards the end – the simmering tension wrought between Segel and Eisenberg is well worth the price of admission. As a rumination on literary love, and the pitfalls of meeting your idols, The End of the Tour invites us to reconsider an author who, above all else, saw writing as “an act of communication between one human being and another”, an exchange writ large throughout the film. The End of the Tour is exclusive to Cinema Nova and screens from December 3rd. Tickets available online or at the box office.

Introduction by Professor Jonathan Knipp, Media & Cinema Studies, UIUC. From the director of Gremlins and Piranha comes the ultimate masterpiece of primal terror. Filled with edge-of-your-seat suspense, this riveting werewolf tale sinks its teeth into your deepest fears and never lets go. Severely shaken after a near-fatal encounter with a serial killer, TV newscaster Karen White (Dee Wallace, E.T.) takes some much-needed time off. Hoping to conquer her inner demons, she heads for “the Colony,” a secluded retreat where her new neighbors are just a tad too eager to make her feel at home. Also, there seems to be a bizarre link between her would-be attacker and this supposedly safe haven. And when, after nights of being tormented by savage shrieks and unearthly cries, Karen ventures into the forest to find answers, she makes a terrifying discovery. Now she must fight not only for her life…but for her very soul! (1981, Joe Dante, U.S., English, 91 min., R) “A perverse, satirical contribution to the oft-maligned werewolf genre.” — Nick Schager, Lessons of Darkness “Joe Dante’s film, from a John Sayles script, is a memorable and highly amusing cult horror classic.” — M. Enois Duarte, High-Def Digest “The Howling is one of the rare horror movies that has only gotten better with age.” — Dr. Adam Jahnke, The Digital Bits

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- Adapt to your audience (6) - Build a clear structure (5) - Be concrete (4) - Make your visuals and text (4) - All (3) Avoid information overload: a wine suggestion instead of the wine list A protagonist outside the cinema (part 1 of 2) How 18 minutes of war statistics can glue you to the screen Want to keep updated? Subscribe! Keep your stories in shape Stay sharp on your Analytic Stortelling skills. Leave us your email-address and you will receive our new articles in your mail.

Tenants were scheduled to start moving into Westminster’s Eaton Street Apartments on July 15 — the first housing development in the city’s Downtown Westminster project. City officials, developers and the curious were on hand July 10 for a reception and ribbon cutting at the apartment building, which features 118 affordable one, two and three-bedroom apartments as well as six two-bedroom townhomes. It also includes 21,000 square feet of street-level retail space. The project is one of several at the Downtown Westminster development, the city’s long-awaited successor to the Westminster Mall. “These are not things that happen overnight,” Atchison said. “We started these conversations over 16 years ago. And today, it’s here.” National cinema chain the Alamo Drafthouse Cinema opened their Westminster location just before July 4. The nearby Ascent apartment project, featuring 225 apartments and more ground-floor retail, is on track to open in October. Crews are digging the foundation and an underground garage for the Ascent’s companion project, the Aspire, just north of Eaton Street project and the 125 room Origin Hotel Westminster is on target to open in March 2020. “Is it all here? No,” Atchison said. “Will we be done in the next couple of years? No, but we will get there with quality development, a community for people to live in and everything the people of Westminster have told us they want and can be proud of now and into the future.” The Eaton Street project is unique, Atchison said, because it features affordable housing. “I will challenge all other 39 mayors in the metro area to get off their butts and find a way to make it happen,” Atchison said. “This is just something we have got to have. We want to ensure that the quality of life Westminster offers can be attainable by all, making our city a more vibrant community.” Atchison noted that the development was 70 percent leased as of July 10. “Within three weeks, they will be full,” he said. A single bedroom unit is available for $1,044 per month while a two-bedroom unit rents for $1,254 and a three-bedroom unit for $1,448. ”People have a connotation of what affordable housing is, and it’s not always positive,” Atchison said. “That’s why we’ve tried to tell people this is workforce housing, for the people who work in our city and in our region. It’s our teachers and our firefighters, the clerks that work in the stores and who wait on you in restaurants. These are the kind of people who are going to live in your city and if you don’t have a place for them, they can’t be here.” Each unit includes energy-efficient ovens, refrigerators, dishwashers and microwaves, a clothes washer and dryer, central air conditioning and heating and granite countertops. The building features a first-floor clubhouse and fitness center, attached garage parking and a second-floor plaza and community deck with grills for barbecuing. It bodes well for Westminster’s future, according to City Manager Don Tripp. “I talk to my fellow city managers around the Front Range and many people ask if things are slowing down,” Tripp said. “I keep my mouth shut because we’re not seeing that here. We’re very blessed and fortunate.” The total project cost about $24.3 million and was funded with $5.6 million from the city, $3 million from the State of Colorado Division of Housing and HOME funds loan from Jefferson County. The project has support from the City of Westminster and Colorado Housing and Finance Authority. Other items that may interest you We have noticed you are using an ad blocking plugin in your browser. The revenue we receive from our advertisers helps make this site possible. We request you whitelist our site.

- People are demanding the man who filmed the killing of Eric Garner be freed with #FreeRamsey Monday 7:36 PM - Billie Eilish’s ‘Bad Guy’ unseats ‘Old Town Road’ from the No. 1 spot Monday 6:11 PM - People think Ghislaine Maxwell was Photoshopped in those In-N-Out photos Monday 5:41 PM - People are transfixed by a TikTok cat dancing along to ‘Mr. Sandman’ Monday 4:52 PM - Nazi troll pretending to be antifa in Portland gets outed by internet Monday 4:15 PM - ‘Dear White People’ season 3 reflects the exhaustion of the times—for better or for worse Monday 3:59 PM - ‘Seinfeld’ and ‘Friends’ fans feud over which sitcom is better Monday 3:57 PM - Anti-abortion centers are getting around Google’s misinformation policy Monday 3:45 PM - Twitter, Facebook remove Chinese accounts spreading Hong Kong misinformation Monday 3:41 PM - ‘Mindhunter’ season 2 offers no happy endings Monday 3:19 PM - How to watch ‘The Righteous Gemstones’ online Monday 3:03 PM - ‘Mindhunter’ season 2 brings out the memes Monday 2:59 PM - Rumor suggests the X-Men might battle the Avengers on-screen Monday 2:54 PM - The CDC is investigating cases of severe lung damage linked to vaping Monday 2:08 PM - How to stream the 49ers vs. Broncos on (preseason) Monday Night Football Monday 1:24 PM With the cancellation of ‘Community,’ is NBC turning into CBS? Community‘s cancellation marks the end of an era. BY CHRIS OSTERNDORF Things are changing over at NBC. With Community’s cancellation and the announcement that the next season of Parks and Recreation will be its last, the comedy brand that the network stumbled into a decade ago is on its way out. The age of the low-rated, critically acclaimed NBC comedy began in 2005 with The Office.The British remake was followed by 30 Rock, then Community and Parks and Recreation. Since then, these shows have come to define an era of accidental creativity. Frequently moved around and rarely all on at the same time of the year, these four comedies, which usually aired as part of the formerly legendary NBC Thursday night lineup, became a new kind of “Must-See TV” for an Internet-driven audience looking for smarter, more original sitcoms. NBC rarely knew what to do with these shows—or with the rest of their network for that matter. With the glory days of the ’80s and ’90s behind them, they quickly slipped into last place and their incompetence in trying to come back became notorious. Just recently, it was revealed that they had a chance to move forward with the massive AMC hit, The Walking Dead, but passed on it because they thought they thought the show would be better without zombies. But through all of NBC’s development woes, a few fiercely loyal fans always stuck around to come back to their favorite Thursday-night comedies. They may not have been massive in number, but their devotion was strong. A few years ago, when NBC placed the much-maligned Whitney among this highbrow roster, Entertainment Weekly’s Mark Harris posited that while Whitney was bad, it received uncharacteristically harsh treatment in light of the other shows it was forced to stand next to. NBC’s Thursday lineup—is Cultville, a journey through a land of smart-asses and misfits in which Whitney could not be less at home. It feels like a CBS (Coarse, Brassy, Sitcommy) show that landed on the wrong network on the wrong night, and that’s why it incited such indignation. The typical NBC Thursday night comedy doesn’t have a laugh track. In its place, shows like Community and The Office have ironic commentary. They’re not about family or friends; they’re about people you find yourself semi-contentedly stuck with—in a dead-end college, an Indiana municipal building, a paper-sales branch office. They are sharp, often very funny, sometimes sad and a little bitter. Three years later, NBC’s unintentional comedy brand is all but gone. How did this happen? The main reason NBC may be less content to give niche series more breathing room is that they’re no longer in last place. When you’re at the bottom, the stakes for what makes a show worthwhile aren’t as high. But as the Hollywood Reporter pointed out last year, NBC is no longer in last place, thanks to hits like The Voice and The Blacklist. With ABC (who appear to be taking the opposite of the breathing room approach, as evidenced by the way they gutted most of their comedy lineup this past week) now at the bottom, NBC is clearly doing everything they can to make sure they stay on the rise. So what does “doing everything they can” mean? For NBC, it appears it means becoming CBS. While usually thought of as the “old people network,” CBS has stayed on top through more traditional, if less buzzed-about programming. As the other major networks have changed formats, experimented with tone, and generally done their best to look like the more cable, CBS has kept the number-one spot by basically staying the same. At the Onion A.V. Club, Todd VanDerWerff, described NBC’s transformation into a mini-CBS thusly: As always with NBC in the last 10 years, the kneejerk assumption with a new fall schedule is to jeer and laugh about how many dumb moves the network is making. (Something we did just last year.) But there are no good ways to say this other than this: This is a pretty solid, consistent schedule, and it will likely help NBC increase its level of competitiveness with CBS, particularly if the latter network continues to see its viewership advantage erode. NBC has more or less done this by becoming CBS, with a little bit of mid-00s Fox (thanks to the reliance on a singing competition) mixed in. Yeah, there are problem spots here, but they’re mostly stuck in places where NBC knows they’ll be problem spots, or they’re being used as sacrificial lambs to the great god football. The bumbling NBC that propped up critically acclaimed, low-rated comedies because it didn’t have a lot else is more or less gone. It’s been replaced by a hyper-competent CBS clone. Above all else, it’s worth noting that even the “successful” NBC comedies of the last decade haven’t been that successful. Community has been historic in the past for surviving despite dismal ratings. But 30 Rock didn’t do much better, it just had the added advantage of being an Emmy-awards darling. The Office got a fair amount of trophies over time, too, even winning the Outstanding Comedy Emmy in 2006 (Steve Carell won a Golden Globe for his work on the show the same year), although it never cleaned up the way 30 Rock did. However, the idea that The Office was ever a ratings juggernaut isn’t entirely accurate either. Even in its highest–rated years, it never cracked the top 10. And despite making it to syndication and generating revenue through merchandise, the show hasn’t ever had the profitability of something like The Big Bang Theory. And in TV, profitability is still everything (and this is especially true for network television). Whether you choose to believe that the medium is in the midst of a new “golden age” or not, even the best shows are a product of major corporations, who would rather put out 10 terrible series that made money than one great one which didn’t. One of the most brutal characterizations of this system in recent years came from Community creator himself, Dan Harmon. In a Grantland piece highlighting his Harmontown podcast, the supposed TV “genius” is quoted as saying: When 30 Rock lands on the cover of Rolling Stone, when any television show is lionized for being ‘smart,’ someone’s laughing all the way to the bank—some company, it used to be General Electric, but now it’s Comcast. That there’s a difference between any of this shit is the greatest joke that television ever told. I mean, as the creator of Community, I’m telling you: It’s all garbage. And the idea that my garbage, y’know, needed a better time slot or deserved an Emmy or didn’t deserve an Emmy, the idea that it was better or worse than 30 Rock or Arrested Development or Freaks and Geeks and all that shit—you only have to take a couple steps back before you realize that you’re looking at a bunch of goddamn baby food made out of corn syrup. It’s just a big blob of fucking garbage. “Garbage” might sound a bit harsh, but the truth is that television remains designed to sell products with as little interference as possible from whatever goes in between the ads. If it is all just one big garbage dump, you can bet that the select few who faithfully followed the aforementioned comedies over the last decade will prefer their old garbage to NBC’s new. Chris Osterndorf is a graduate of DePaul University’s Digital Cinema program. He is a contributor at HeaveMedia.com, where he regularly writes about TV and pop culture.

Cinema & Media Studies Comedy is arguably the most local of genres. Tropical Fish (1995) is a Taiwanese comedy that made no effort to disguise its local flavour, and was largely unseen outside of Taiwan. Recent Taiwanese comedies such as You Are the Apple of My Eye (2011), The Wonderful Wedding (2015) and Our Times (2015) have achieved not only success in Taiwan, but also unprecedented box office in the mainland Chinese market. Compared to Tropical Fish, all three films also seemingly tone down the local flavour to varying degrees. This is due to the irresistible pull of recent opportunities posed by the astronomical growth of the mainland Chinese market. This paper will analyze the economic forces that have resulted in changes in Taiwanese comedies themselves while at the same time showing that there are varying textual strategies for dealing with the ‘local’ flavour in this new economic climate where the booming Chinese market now has become a major consideration. Udden, James. “Taiwanese Comedies Under the Shadow of the Chinese Market.” Journal of Chinese Cinemas 12, no. 2 (2018): 174-186. Required Publisher's Statement This article can be found on the publisher's website: https://www.tandfonline.com/doi/full/10.1080/17508061.2018.1475970 Available for download on Tuesday, March 10, 2020

8 Days Total Collection of Baahubali 2 (Telugu, Tamil, Hindi & Malayalam) Magnum opus Baahubali 2 has already passed it’s opening week on an exceptional note and now entered in the second week with similar pace. Within a week, SS Rajamouli’s directorial dominated Aamir Khan’s Dangal and emerged as the all time biggest blockbuster of Indian cinema with huge difference. With an enormous hype among fans as well as audience, Baahubali 2 was released last Friday and received super positive response from everyone including critics. As a result it gained strong word of mouth and remained phenomenal throughout the opening week. In the opening weekend, sequel to 2015’s Baahubali registered outstanding performance with almost 90-95% of occupancy across the country. From 6500 screens including all four languages- Telugu, Tamil, Hindi & Malayalam, it did the business of 303 crores nett (Hindi ₹128cr | TTM ₹175cr). Then in weekdays too, the movie refused to reduce it’s pace and reported the massive business of 231 crores nett (Hindi ₹119cr | TTM ₹112cr) on domestic box office. After a week, total collection of Baahubali 2 was recorded as 534 crores nett. / 711 crores gross. Now this Prabhas, Anushka Shetty, Rana Daggubati & Tamannaah Bhatia starrer has been entered in it’s second week and once again started enjoying weekend. On 2nd Friday, Baahubali 2 witnessed little drop than previous day and minted the amount of 37 crores (Hindi ₹19.75cr | TTM ₹17.25cr). With this, 8 days domestic total of Baahubali 2 has become 571 crores nett (Hindi ₹266.75cr | TTM ₹304.25cr) / 760.55 crores gross and with approx. 175 crores from overseas, it made it’s worldwide total collection as 935.55 crores gross. TTM- Telugu, Tamil & Malayalam

The poster for the first part of The Hunger Games: Mockingjay is here and it is EPIC! The emblem of the mockingjay with it’s wings spread out was first seen at the ending of Catching Fire, as Katniss closed her eyes and the screen faded to black … throwing fans into an oblivion and an endless wait for the next installment of the hit series. The sequel is currently being filmed back-to-back with Part 2, the final installment of the franchise. Part 1 is out this November 21 and Part 2 is out November 20, 2015. Check out the COOL poster below – Apart from the returning cast of Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Sam Claflin, Stanley Tucci, Elizabeth Banks, Donald Sutherland, Phillip Seymour Hoffman, Jena Malone, Willow Shields (and others), there are new cast members joining the ranks like Julianne Moore as President Coin, Natalie Dormer as Cressida, Stef Dawson as Annie Cresta and Robert Knepper as Antonius, a character created exclusively for the film. How excited are you for Mockingjay? I know, I know, the film’s been out for two weeks all over the world, but India was a little late to catch the fire. Thankfully, it did, however late, but it did, and I was there at the cinema, ready at 9 AM to catch the first show of the morning and feel the goosebumps take over me! So what better way to relive the film than making note of all the top gooseflesh inducing moments, the moments that made you cry, made you smile, made you want to fist pump the air and the moments that made your jaws drop and made you want to do the three finger salute in solidarity with the characters. [Warning: Book and Film SPOILERS ahead, tread with caution.] 1. The start of the film Catching Fire begins with Katniss out in the woods as Gale comes up to her. She displays PTSD when she tries to hunt a bird and sees her arrow killing Marvel (tribute from the previous film) instead. Gale kisses Katniss as they return home. Katniss then visits Haymitch and wakes him up by pouring water on him (or in Haymitch’s words – by giving him pneumonia) as Peeta enters. Katniss then returns to her home where she finds President Snow in her study, who warns her of the consequences of hers actions. Goosebumps factors – The scenes, the sequence of events and even the dialogue mirror the start of the book and the film sets off with a bang, telling the audience that this will indeed be a faithful adaptation. 2. The Tour Montage Peeta and Katniss set off for their Victory tour and the first stop is District 11, where Katniss gets emotional after seeing Rue’s family. An older gentleman in the crowd then sings the mockingjay tune and raises his three fingers in salute which results in mayhem as the Peacekeepers drag the man out and shoot him, leaving Peeta and Katniss in absolute shock. The rest of the tour goes on with both Peeta and Katniss only reading from Effie’s prepared speeches as the scenes cut in between to show the growing dissent and Katniss getting nightmares on the train journeys. Goosebumps factor – The scene in District 11 really gives the audience an indication of the dystopian setting of the world and how cruel and unjust the government is. The man’s shooting and Jennifer Lawrence’s subsequent trembling and fear make you cry out, literally, from all the emotions. The montage builds up the chaos of rebellion and really sets up the audience to hope for change. 3. Gale’s whipping Katniss tries to convince Gale to run away with their families because of the unrest and impending threat, but with whispers of a rebellion brewing, Gale wants to stay and fight. At the same time, Peacekeeper forces enter District 12 and carry out raids, shutting down the Hob and rounding off anyone they think is dealing in illegal activities. Gale tackles a Peacekeeper, which earns him a whipping at the hands of Chief Peacekeeper Thread. Katniss, Haymitch and Peeta save Gale and take him back to Katniss’ home where a composed Prim takes over to heal him. Goosebumps factor – Seeing any one receive a thrashing, especially at the hands of the Capitol is enough to evoke emotions from the audience, but when that person is our beloved Gale, it hurts even more. Katniss’ defiance was inacted perfectly by Jennifer Lawrence and made me want to fist pump the air and cheer our heroes on to take out the nasty Capitol. This scene still gives me goosebumps, even when I’m watching it in the trailer. 4. The Reaping Just when you thought you were safe and sound the Capitol intervenes and wants to take you out. Even Effie gets emotional at the reaping as she puts her hand into the bowl to select the lone female tribute. Katniss and Peeta are whisked away as Prim calls out. Katniss doesn’t get a chance to say goodbye and she knows she’ll never see her family again. Goosebumps factor – The thought that you have to walk into the jaws of death and never even get to say goodbye to the family you are leaving behind. I’m shaking here thinking about it. 5. The Old Victors become the New Tributes The new tributes are introduced and the gorgeous and charming Finnick Odair (played to perfection by Sam Claflin) enters the screen and steals the show, as he offers Katniss a sugar cube. Johanna Mason (again played so well by Jena Malone) catches Haymitch, Katniss and Peeta in the elevator where she strips down to her bare essentials without raising an eyebrow. We meet the other tributes and watch them show off their strengths in the training center and voice their anger in the interviews. Finally, after seeing Katniss transform into a mockingjay, the tributes hold hands together in a show of camaraderie. Goosebumps factors – You know you are only fooling yourself if you think Finnick’s appearance on screen didn’t make you swoon and raise your pulse. Katniss’ expressions when Chaff kisses her and when Johanna strips down in the elevator are priceless. The show of unison between the victors makes you want them to murder President Snow right then. The interview scenes with Peeta’s painting of Rue, which leads to an angry Katniss putting up an effigy of a dead man with the name “Seneca Crane” written on it, is chilling. Finally the moments when Caesar Flickerman is on screen, those are always awesome. 6. The Build-Up Even before we enter the arena for the 75th Hunger Games, we have a few moments which are downright emotional and heartbreaking. Katniss and Peeta spend a few private moments together, now that they are friends and trust each other completely. Effie hugs Peeta and Katniss and gets upset when she says her goodbyes, Haymitch reminds Katniss of the real enemy and Cinna gets beaten up savagely as a helpless Katniss looks on from inside the capsule. Goosebump factor – It’s the big send off to the death and everyone knows it, but no one can say it. Also, it is the last time we see Cinna, sobbing here you guys, sobbing uncontrollably. 7. The Arena Once in the arena, new dangers emerge, allies are formed and sacrifices are made. Danger strikes again and again, in the forms of poisonous fog, scary monkey mutts, lightening, giant waves, blood rain, jabberjays and the career tributes. When Peeta hits the force field and loses consciousness, Finnick revives him as a desperate Katniss cries on, and when he collapses after the fog touches him, Mags throws herself into the fog so Finnick can carry him. They run into Johanna, Beetee and Wiress, whose constant mutter of “tick tock” makes Katniss realise that the arena is a clock and all the disasters happen at given times. Beetee then devises a plan to electrocute the other career tributes as Katniss grows weary of the three tagging along with her and Peeta. Goosebump factors – The entire arena sequence, I’d say. The action is continuous and something or the other is constantly happening, propelling the film toward it’s climax. Noteworthy scenes include Mags’ sacrifice, a frantic Finnick saving Peter, “Tick Tock” and the moment when the cornucopia island spins to reset the clock, as they all hang on for life. A particularly heartwarming moment occurs when Peeta gives Katniss his locket which contains photographs of her mother, sister and Gale. They share an emotional conversation and a passionate kiss. These scenes were straight out of the book folks and filmed to perfection. 8. The Climax As Beetee devises his plan and covers the lightening tree with his wire, he directs Katniss and Johanna to take the connecting thread to the beach and wants Peeta and Finnick to protect him. Katniss protests but leaves with Johanna and book readers soon realise that her last glimpse of Peeta is our last glimpse of him in this film. Things go wrong as Brutus and Enobaria emerge on the tails of the two girls and Johanna hits Katniss, taking out her tracking device. Katniss goes out to look for Peeta and finds an unconscious Beetee. She turns her bow and arrow on Finnick who reminds her of the real enemy, echoing Haymitch’s words and then the world comes crashing down. Goosebumps factor – The epic moment when Katniss has her bow and arrow set on Finnick and he’s reminding her of the real enemy with President Snow watching them from the Control Room. Our hearts stop beating for a moment until Katniss finally takes out the force field enclosing the arena and gets blasted off her feet. 9. The Ending When Katniss wakes up in the Hovercraft and discovers the true nature of the rebellion, she attacks Haymitch, calling him a liar as she learns that he failed to keep his promise to her and protect Peeta, who is now in the Capitol. The last scene of the film has Katniss wake up to Gale who tells her that District 12 was destroyed and they are now in District 13. Katniss becomes disheartened and then determined as she stares into the camera and the lights fade. Goosebump factor – When Katniss is staring into the camera, her eyes burn with rage and fire as the screen fades to black. The mockingjay symbol then comes alive in preparation for the next film. 10. The music, the performances, the production The book was pretty epic, so we all knew that if the film is faithful, it would be pretty epic too. But the ingredients that contribute to really giving you goosebumps all over, to make you cry and laugh and weep with joy or tremble in fear are things like the brilliant acting, the music score running in the background, the production values and Catching Fire achieves this all with a stellar cast, a beautiful score by James Newton Howard and great direction with Francis Lawrence, new to the franchise and who is also directing the final two Mockingjay films. Catching Fire makes book fans believe that it is absolutely possible to make films that honour the books by being faithful to them. This is a particularly interesting point since most of the recent book adaptations that have been released have failed to make an impression and this has been attributed to the fact that they do veer off course of the material in the book. It’s really simple for filmmakers – if they want a hit film on their hands, they need to stay true to the books with all the moments, scenes and dialogues. With Catching Fire ending in a cliffhanger, many fans will surely turn to the books to find out what happens next. For the big screen version, the wait is a little longer, as the first installment of Mockingjay is due for release on November 21, 2014. (Images from tumblr are linked to their source tumblr pages) What did you think of Catching Fire? The London premiere of The Hunger Games: Catching Fire took place on the star-studded night of November 11, 2013 in London’s Leicester Square! The event was attended by stars Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Sam Claflin, Stanley Tucci, Donald Sutherland, Elizabeth Banks, Willow Shields, Jena Malone and Jeffrey Right along with director Francis Lawrence and producer Nina Jacobson. Fans waited for as long as thirty hours and more, battling the London rain and November chill to catch a glimpse of their favourite stars. However, if like us you live elsewhere on this enormously large planet, then there was no need to worry, for Yahoo! Movies brought us the stream of the entire event including interviews with the cast members. You can catch a replay of the stream below. Take a look at these screencaps from the stream! Willow Shields (Primrose Everdeen) spoke about all the fun they have on set and looking up to Jennifer Lawrence, who is such an inspiration. Stanley Tucci (Caesar Flickerman) spoke about enjoying playing the same character again, who he says is really fun to play on screen. He also spoke about the bizarre look which suited him and how everyone has a soft spot for Katniss. Jena Malone (Johanna Mason) arrived looking lovely. She spoke about playing her character and how she had to dial it down at night because Johanna is a little violent. She also shared that she read the trilogy in 48 hours before her audition. Donald Sutherland (President Snow) arrived, feeling very cold, as he told the presenter. He also said that he thinks President Snow is a wonderful, lovely man and as a ruler of a country, he has to be pragmatic. Jeffrey Wright (Beetee) spoke about how amazing the film has turned out and about his character’s interesting tricks in the film, describing Beetee as a thinker. He also praised Jennifer Lawrence and the fun banter with Jen and Josh on set, especially the lack of egos. Producer Nina Jacobson spoke about how the new director understood the material and how the ”essence” of the character is more important that the looks while casting. She also spoke about how this film expands from District 12 to the Capitol, the other districts of Panem and to the arena, as well as the fact that this film is about understanding who the enemies and allies are. She also shared the following – Jennifer Lawrence (Katniss Everdeen) came into the ”arena” and stole the show! She thanked fans and spoke about her character, used the word ”fierce” and said that the most emotional scene in this film was the one at the Reaping when they take Katniss away and she isn’t allowed to meet her family. Director Francis Lawrence spoke about how it was important to film in real world locations to bring that real world feel to the film, including shooting arena scenes in Hawaii. He also revealed that Jennifer is usually the target of pranks and that most pranks are pulled by Josh. Liam Hemsworth (Gale Hawthorne) spoke about Gale and described him as a noble guy who is trying to protect Katniss. He also said the Gale was passionate and caring about his family, characteristics that he liked in his character. About the whipping scene, he said that though it was a soft object, it did start to hurt after many takes. He also revealed that along with Josh and Jen, he becomes a maniac on set. Sam Claflin (Finnick Odair) attended the event with his wife Laura and got cheeky during the interview. He thanked all fans who had been camped all night and offered them a sugarcube! Oh Sam!! He joked about his preparation for the auditions, teasing that he practiced carrying his grandmother on his back for six months and showed up with her to his auditions and then offered them a sugarcube, and then stripped down his clothing, only wearing a knot. When the presenter added ”nothing but a sugarcube”, Sam added ”well, a packet of sugarcube”!! Haha Sam, you cheeky little thing! Josh Hutcherson (Peeta Mellark) thanked fans for the support and the energy they provide. Josh revealed that he fell in love with Peeta’s arc when he read the book, seeing that he goes from being a baker to being a victor and then going on to being used by the Capitol and dealing with the trauma. Josh also said that he admired the fact that Peeta was a loyal person not only to other people but also to his own ideals and he strives to be like that in real life. Elizabeth Banks (Effie Trinket) said that Katniss Everdeen was a young role model who everyone could root for and the film also provides an escape. She spoke about the evolution of the character in Catching Fire and how her maternal instincts kick in when she gets two victors and takes care of them. She also spoke about how Suzanne Collins created such an amazing over the top look for Effie and how Effie is nothing without her wardrobe. The actress wore a Jason Wu dress and looked gorgeous. Also, how amazing are these fans and the atmosphere at Leicester Square? PRETTY AWESOME! The film releases on the weekend of November 20-22, 2013 in UK, USA, Australia, most European countries, Taiwan, South Africa and on the weekend of November 27-28, 2013 in India, Belgium, France, Switzerland, Italy, etc. For a full list of release dates, check out IMDB. Also check out our reactions at the latest Catching Fire trailer!

Skate/BMX Street Culture Calling all female shredders out there, the raddest Girls Skate Night in town is back at House of Vans on the 13th of September. Join us for our first all-girl get together and come hit our bowl and brand new street area from 18:00; two House of Vans tutors will be at hand to teach you the tricks of the trade, so if you're a beginner worry not! If you need to reconcile with the universe, 19:00 it's boards down time with two hours of free yoga with Grace Hazel Yoga. Our regular Girl Power gang GLR TLK DJs will be spinning the decks while you get to enjoy cocktails on the house all night, courtesy of our The Wall SE1. As you may have heard, our cinema room will follow the action as it hosts two back to back screenings of Crystal Moselle's new flick Skate Kitchen. Booking required for this one - book your spot here! Girl skating will be on all night until close - drink responsibly! Yoga mats are provided on a first come first served basis. All ages and abilities welcome. GIRLS SKATE NIGHT Skate Session: 18:00 - 23:00 Yoga Sessions: 19:00 & 20:00 Film Screening: Skate Kitchen: 19:00 & 21:00 (Booking suggested) Free | No Booking Required

Beauty And The Beast release postponed in Malaysia Disney’s Beauty And The Beast is under “internal review” Disney’s latest live-action movie Beauty And The Beast has had its release date pushed back in Malaysia as it undergoes an “internal review”. The film – the first live-action adaptation of Jeanne-Marie Leprince de Beaumont’s fairy tale – is a remake of Disney’s 1991 animated version, and will star Emma Watson as Belle. The film is set for release worldwide on March 17. It was due to be released on Thursday (March 16) in Malaysia, but has been put on hold for unknown reasons. A spokesperson for Disney’s Malaysian distribution arm told the Malaysian news site The Star that “the movie release date has been postponed and we are reviewing its new release date internally” but declined to comment further. At the time of writing, no new release date had been announced, and the film had been removed from local cinema listings. Beauty And The Beast caused controversy in Russia recently due to one of its characters being gay – a first for a Disney movie. Director Bill Condon recently revealed to Attitude that LeFou, played by Josh Gad, will harbour feelings for Gaston. The revelation led Russian officials to consider banning the film, with culture minister Vladimir Medinsky saying a final decision will be reached after it has been officially vetted. The post Beauty And The Beast release postponed in Malaysia appeared first on NME. Powered by WPeMatico

So you’ve never kissed a guy…but you’ve watched kissing scenes on TV and almost every movie and it looks pretty easy. But remember, those scenes are absolutely rehearsed! Watching someone kiss doesn’t mean you know how. First kisses can be awkward but they don’t have to be. Follow this wonderful guide to handle your FIRST KISS and make it memorable! Step 1. Think about what kind of “FIRST” Kiss you want. What? There’s more than one type?! YES! There’s wet kisses, dry kisses with chapped lips (no one wants that), mouth open, a little tongue, a lot of tongue, or a nice juicy peck on the lips where you hear the sound of a smack! You might be thinking, “Well what if I don’t want to plan it?” You don’t have to, but it’s nice to have an achievable fantasy. Step 2. PRACTICE! I know this sounds silly, but use your hand and pucker up! I’m not saying hardcore make out with your hand! You’ve kissed a baby, your parents, and maybe a picture of the guy you want to kiss. It’s the same concept, just slower and sweeter. Practice makes perfect right? Make yourself kissable and moisturized! Speaking of that… Step 3. Make your lips soft and KISSABLE No one wants to kiss someone with cracked lips. You want your lips to look KISSABLE. What does that even mean?? It means that you should exfoliate and moisturize with a lip balm – nothing sticky. Dab some tea tree oil around areas on your lips where you are breaking out. (It will sting!) Do not apply the tea tree oil directly onto your lips, only around it. Dab the oil directly on your pimple(s) around your lips. To exfoliate your lips, you can purchase a lip scrub from any drug store. I prefer using lips scrubs from Lush. If you want to save money, you can always make your own. There are many lip scrub recipes you can find online. Most scrubs are made of sugar and other sweet ingredients. Step 4. Have fresh breath! Brush your teeth beforehand! If you can’t, have some breath mints or Listerine strips on you. Stay away from foods or drinks that will make your breath smell or make you want to burp. (Avoid coffee, onions, tuna, garlic etc.) Step 5. COMMUNICATE – use body language! The man you want to kiss is finally in front of you. Let’s pretend you both are silent and we’ll assume you’re both ready to lock lips. Lean in closely and stare into his eyes. Let me rephrase that: make eye contact! I giggle whenever I hear someone say “stare deeply into their eyes” because technically you really can’t be looking at both their eyes at the same time! Anyways, look at each other and sense the vibes he’s giving off. Guys give off strong signals, and if it’s their first time, chances are you both are nervous together. At this point, you can drop hints by looking at his lips or smiling. Move closer. Step 6. Give permission to kiss. Sure, you can verbally consent you want a kiss, but that’s no fun. Kiss them on the cheek. That’s always really cute and that will make him want to kiss you on the lips even more! Some guys can be really shy and you might just have to initiate it, which is okay! Step 7. Aim for the lips! I know that sounds cheesy, but believe me, some people miss. Timing is important too: you don’t want to kiss someone while they are smiling with teeth or have their mouth open! (If you’re lucky, that will make both of you laugh and you’ll want to actually kiss from there.) So here’s what you do, lean in slowly, aim for the lips and try to get his lower lip between yours. Be confident and smooch! Step 8. Know your limits! Keep it gentle and sweet. Let the pattern of kissing come out naturally and pace yourselves! Remember, don’t feel pressured to do something you don’t want to do. Be verbal about things if you have to. If you have any more kissing tips, comment below! Kristen Marquez graduated with a B.A. in Cinema & Television Arts from California State, University Northridge with an emphasis in Television Production. She is a social media coordinator by day and a content creator by night. With her great imagination, she knows she will create the next big thing whether it’s a script, a product or a simple idea that will fill people’s hearts with joy and entertainment. She blogs for a hobby and loves spending time with her golden retriever Lily.

6 Perfect for Group Getaways for International Day of Friendship “A good friend listens to your adventures, a best friend makes them with you…” International Day of Friendship is set to be celebrated around the world on 30 July. But it’s clear that friendship isn’t only celebrated one day a year as recent research from Booking.com reveals that a third of travelers are planning to travel with a group of friends in 2018*. Recognizing the increased popularity of group travel in 2018, the global leader in connecting travelers with the widest choice of incredible places to stay, is presenting six beautiful destinations recommended as destinations that are even better when traveling in a group from the stunning ancient ruins of Rome to the vibrant and bustling markets of Bangkok**. So grab your mates, pack your bags and get ready to collect unique moments with your favourite people. After all, isn’t that what traveling is all about? As one of the oldest cities in Poland, Krakow is a city that has boldly withstood the tides of history and has come out on top. Medieval and modern architecture coexist in organic harmony with the natural world; from its mountainous backdrop to the cosmopolitan bustle of Market Square, the city’s central square where friends gather and meander. And if you and your friends are craving some traditional street food, then visit one of the little stalls in the Plac Nowy neighborhood which sells “zapiekanka”, an open-faced sandwich topped with sautéed mushrooms and cheese. An abundance of apartment style accommodations and one of the most affordable destinations in Europe are additional benefits for group travel in Krakow. Where to stay: Feldmana 6 Apartments offers spacious accommodation ideal for a group of friends who want to spend their stay in Krakow together. The apartment’s modern living room or fully-equipped kitchen are the perfect place to reconnect while relaxing after a busy day of sightseeing. Bangkok is a city of contrasts. Smells assault the senses, traffic buzzes all around and vendors jostle for attention at every turn. On the other hand, it’s a city with a serene soul - full of imperial temples and beaming smiles from some of the world’s friendliest people. Wander with your friends and mingle with tourists and locals at the Chatuchak weekend market, which gathers more than 200,000 visitors a day, or spend some time at the Saphan Phut night market, a perfect spot for after-dark shopping, snacking or just catching up. Where to stay: Renovated from a traditional shop house, Vera Nidhra is a boutique bed and breakfast located in Bangkok’s Old Town. Before discovering the city’s hidden gems, you can spend time with your friends in one of the property’s stylish common areas Home to a glorious climate, lively beach culture and countless Gaudí masterpieces, this beautiful destinations is a kaleidoscope of taste and color. The Gothic Quarter is a great place to spend the day with your friends, wondering in the ancient alleyways lined with shops and bars, while the colourful La Rambla area, with the charismatic street performers and pavement cafés, is perfect for watching the friendly locals pass by. Where to stay: Centrally located in Barcelona, between the vibrant Rambla de Catalunya and Aribau streets, each of the modern BCN Rambla Catalunya Apartments features a cozy living room where you and your friends can relax after a day of sightseeing, bar hoping and tapas tasting. New York City, USA Life, liberty and the pursuit of happiness – no other city quite captures the United States of America’s founding principles. Ripe with anticipation, every turn reveals something new and unexpected. Discover the city where some of the most popular television shows and movies of all times took place, and hang out with your very own F.R.I.E.N.D.S inside one of the city’s world-class museums, at one of the many breathtaking theater performances or just find your own cozy neighborhood cafe to talk about your dreams and next adventures. Where to stay: Located within walking distance from the iconic SoHo, Greenwich Village and Union Square neighborhoods, the historic brownstone East Village Apartments feature a fully equipped kitchen and free Wi-Fi to post stunning Instagram pictures with your friends from the City that Never Sleeps. Saint Petersburg, Russia Saint Petersburg is full of splendid cathedrals, parks and bridges and leaves a living, breathing and awe-inspiring legacy of Peter the Great, who built the city after feeling inspired by the charming streets and canals of Amsterdam. If you and your friends are interested in culture and appreciate the local flare, than this is the perfect place for you as the city is listed as UNESCO World Heritage site with multiple historical architectural complex as well as thousands of stunning individual monuments. Why not take a group tour to see all the historic landmarks and fascinating cultural heritage? Where to stay: Staying in a hostel while traveling with friends can be a great opportunity to meet new people from around the world. The Hostel Chickadee is set on a historical building and is walking distance the Church of the Savior on Spilled Blood. The fully equipped kitchen is a great place to come together and cook a delicious meal with your friends. Rome is one of the best places in the world for deep cultural immersion. From ancient ruins to modern art and architecture, no matter your interest, there is something to see and enjoy in Rome. In between sightseeing among the show-stopping Pantheon, Colosseum and Roman Forum, don’t forget to enjoy gelato from one of the cities many gelaterias. The popular Piazza di Spagna is a great place to people watch or take notes from the fashionistas exiting Via dei Condotti. Before you leave, be sure to throw a coin into the Trevi Fountain to ensure you and your friends will come back to this stunning city. Where to stay: Just a short walk from the Colosseum, Amazing Colosseo offers modern self-catering accommodation for up to a group of eight. Featuring a cinema room and a pool table, this spacious apartment is perfect for a fun trip with friends in the heart of the Eternal City. Wake up to the spectacular views of one of Italy’s most visited monuments and enjoy a nice cup of coffee before walking in the shadows of hundreds of ancient monuments. * Based on research commissioned by Booking.com and independently conducted among a sample of adults who have taken a trip in the last 12 months/plan to take a trip in the next 12 months. In total 56,727 respondents were surveyed (2000+ from Argentina, Australia, Brazil, Canada, Chile, China, Colombia, Germany, Spain, France, Hong Kong, Indonesia, India, Italy, Japan, South Korea, Mexico, Malaysia, Netherlands, Portugal, Russia, Singapore, Thailand, Taiwan, United Kingdom, and the US, and 1000+ each from Denmark, Croatia, Sweden, and New Zealand). Respondents completed an online survey in October 2017. **The list is based on destination reviews by Booking.com users who traveled as a group. Destinations were ranked by the highest average destination review score and then selected on the basis of geographical relevance.

Do we have a solid chance this time of cracking the Oscar code? Amit Masurkar’s Newton has not only been selected as India’s official entry to the Oscars it’s also been granted, overnight as it were, a Rs.1 crore by the Government as, shall we say, Oscar-bound stipend. Newton’s much-feted lead Rajkummar Rao agrees this is an unusual largesse from the powers-that-be. “It was most unexpected. But certainly needed. I spoke to the relevant official and he assured me of all possible support and cooperation in our journey to the Oscars. We, my director and I, had no idea as to how to proceed to the Oscars. The Government’s fund has opened up doors. Now we just need to walk through those doors.” The question is, how? “Well,” dwells Raj, “We need to sit down and chalk out a plan. My producers Munish Mundra and Aanand Rai will be meeting up with people who have experience in taking our cinema to the Oscars.” The extremely busy actor, who has wrapped up yet another challenging role as Subhash Chandra Bose, admits he will have to take time off to be in the US for the very serious process of lobbying that preludes the Oscar nominations in the US. “I understand I have to be in America for a while and I am prepared to take time off. It is pointless to expect Newton to make the cut without our effort. We need to push our film to the furthest point possible.” Rajkummar is incredibly grateful for this rush-hour in his career. “This is by far the best phase of my career. And it’s all my mother’s blessings. I lost her recently. But I know she’s making all these good things happen for me.”

A SHINING LEGACY June 17th 1924 – September 22nd 2017 It is with profound regret that Entec Sound & Light announces the death of its founder, British music industry legend Harold Pendleton, who has passed away at the grand age of 93, after a short illness. Born in Southport, Lancashire, chartered accountant Harold moved to London at the end of the Forties, and it was his love of jazz that lit the fuse of one of the world’s most influential music business empires, giving birth to Soho’s iconic Marquee Club and Studios, the Reading Festival, the first major live events at Milton Keynes National Bowl and Entec Sound & Light. Throughout his 60-year career, Harold created platforms to showcase emerging talent, as a promoter, manager, club owner, publisher, festival owner and innovator. He helped to shape popular music culture and uniquely bridged jazz, skiffle, blues, R&B, folk, rock, psychedelia, progressive rock, heavy metal, punk, new wave and world music movements. Arriving in London in 1948, Harold began a lifelong friendship with renowned jazz musician Chris Barber and was instrumental in establishing the genre as a profession. “Up until then, the jazz world was populated by enthusiastic amateurs with day jobs,” he once said. “There wasn’t any recognisable business foundation but I could see there was a lot of potential for the better musicians to forge a genuine career out of their talent.” Throughout the 1950s, he successfully fought cliques and prejudice to bring jazz music into the mainstream. His drive and organising talent saw him become president of the National Jazz Federation (which he shortened to NJF), manage the Chris Barber Jazz Band to worldwide success and promote a legendary series of concerts at the Royal Festival Hall. Working in partnership with Barber, he also fought to bring American blues greats including Muddy Waters and Howlin’ Wolf to the UK for the first time. The most famous of these concerts was the Waters’ show at St Pancras Town Hall in 1958, where he shocked traditionalists by playing an electric guitar. Six years earlier, Harold’s National Jazz Centre had witnessed another significant milestone: the UK’s first skiffle club. The skiffle craze was largely triggered by a recording organised by Harold. Featuring Barber’s banjo player, Lonnie Donegan, ‘Rock Island Line’, was a huge Transatlantic hit, and it was skiffle and blues that would go on to inspire the next generation of musicians. By 1958, Harold had launched the Jazz News publication and was promoting around 200 concerts a year for the NJF. Looking for a new regular London venue for NJF events, Harold seized the opportunity to host jazz nights in the basement of the Academy Cinema at 165 Oxford Street. The world’s most famous music venue, as voted by Q magazine, the Marquee Club was born here on April 19th 1958 with the first ‘Jazz at the Marquee’ event. Sandwiched between the traditional jazz-focused 100 Club and the Flamingo, the modern jazz equivalent, Harold decided to break through this “musical apartheid” and embrace all musical styles. It was Alexis Korner’s Blues Incorporated residency, starting on May 10th 1962, that signalled the start of the R&B revolution – in the audience was a young Eric Clapton who was inspired the next day to ask his grandparents to buy him an electric guitar. The Rolling Stones, a young outfit named after a Muddy Waters record, played their début gig just two months later. The Marquee’s status amongst rock audiences, however, owes much to its relocation in March 1964 to Wardour Street, where The Yardbirds recorded their début album on the opening night and The Who began their career-defining Tuesday night ‘Maximum R&B’ residency. Over the following 10 years, the club would host era-defining events including some of the earliest performances by Pink Floyd, Cream, Jimi Hendrix Experience, Led Zeppelin, Rod Stewart and Yes, and TV specials by the Stones and the Faces. It was also here that David Jones appeared as David Bowie for the first time and, in 1973, gave his final ‘Ziggy Stardust’ performance. Throughout the ’70s and ’80s, the Marquee continued to adapt and reflect in-vogue styles, and also host a number of special appearances and famous ‘secret’ gigs by Marillion, Genesis, The Jam and many others. The Sex Pistols were banned on their Marquee début, their first gig at an established music venue, and R.E.M., Metallica and Guns N’Roses all played their first UK/European gigs at the club. In 1985, Wham! chose the Marquee as the location for their ‘I’m Your Man’ pop video. At the rear and above the club, the business expanded with the addition of an artist management company, an agency and the state-of-the-art Marquee Studios, where No.1 hits, from The Moody Blues’ ‘Go Now’ to Dead Or Alive’s ‘You Spin Me Round’ were recorded. Unlike Liverpool’s Cavern, the Marquee was never associated with just one band and, in contrast to Ronnie Scott’s, it transcended a single musical genre. Uniquely, over the 30 years of Harold’s ownership, every generation of fan could claim to have discovered their own genre and band at the club. Equally, musicians could dream of being signed on the back of a legendary gig. For many, this dream came true. Those who found success at the Marquee in the ’70s and ’80s included The Police, Iron Maiden, Def Leppard, Motörhead, Adam and the Ants, Dire Straits, The Boomtown Rats and The Clash. Mike Rutherford of Genesis summed it up perfectly: “You were often asked what you wanted to do when you left school. I remember thinking at the time that my goal was simple… to play at the Marquee.” As the music scene expanded in the late Fifties with the huge wave of newly-formed touring bands, Harold hit upon the idea of bringing many of them together in a festival environment. He gained his first experience of outdoor events in 1956 when Lord Edward Montegu invited him to organise the UK’s first open-air jazz festival at his estate in Beaulieu, Hampshire. Fired up by its success, Harold persuaded the owners of the Richmond Athletic Association to allow him to hold the UK’s first annual National Jazz Festival (NJF) on its grounds on August 26th-27th 1961, with his new wife Barbara looking after the administration. Using the Marquee Club as a barometer for rising talent, the festival played a crucial role in the support and development of jazz, blues, R&B and rock music in the UK, as well as introducing festival culture to the masses. After five successful years, the festival moved to Windsor where, in 1966, supergroup Cream made their official live début, headlining a bill that also featured Small Faces, The Who, Spencer Davis Group and Bluesology, whose pianist and singer was Reg Dwight – the embryonic Elton John. Two years later, Kempton Park Racecourse in Sunbury saw psychedelia begin to divide into folk, heavy blues and progressive rock. For this 1968 edition of the festival, Pat Chapman, who had been lighting events under the name of Crab Nebula Lights, approached Harold with the suggestion of using his services to lend a new, exciting edge to the festival stage. Harold set Chapman up with a workshop in the Marquee Club’s basement that became the basis of a new business: Entertainment Technicians Ltd, later abbreviated as Entec, the UK’s oldest sound and lighting production company. The festival eventually settled at the classic Richfield Avenue site in Reading in 1971, when the line-up included Arthur Brown, Lindisfarne, Wishbone Ash, Rory Gallagher and a relatively new act called Genesis. Soon, the National Jazz, Blues & Rock Festival became known as ‘Reading Rock’. As well as attracting the biggest names in the world, Reading was a hub of invention. Behind the scenes, Harold and his festival team were creating new standards such as backstage showers, flushing portable toilets, trackway and security wristbands that were inspired by the NHS hospital patient ID system – aspects that the industry now takes for granted. Another innovation was the introduction in 1972 of twin stages. Built side by side, this shrewd move enabled the crew to prepare an act on one stage while the other stage was active. “As well as helping us to stay within the curfew, it also prevented the audience from getting bored between each band,” explained Harold, whose festivals were also the first to introduce video screens. But this was not the only festival to be blessed with the Pendleton touch. When The Police headlined the NJF/Marquee organisation’s first Rock At The Bowl concert at Milton Keynes Bowl in 1980, it was the site’s first major foray into live summer events. In 1982, when Peter Gabriel and the company behind WOMAD faced financial ruin from the high costs of its first festival that July, Harold and Barbara agreed to promote him and the remaining members of Genesis for a single show that rescued the enterprise and made it possible for further WOMAD events to take place, brokering a deal that saw WOMAD find a home in Reading for 18 years. In 1987, Harold sold the Marquee Club to artist manager Billy Gaff, although Entec continued to service the venue when it relocated to Charing Cross Road. Five years later, the Mean Fiddler Group took over sole control at Reading, but not before Harold’s Marquee Group made history with a final festival featuring Nirvana’s legendary 1992 performance – the band’s last in the UK. The world’s longest running rock music festival, it is now 56 years young. Harold’s achievements were celebrated in 2003 when he and Barbara were presented with TPi magazine’s prestigious Lifetime Contribution Award by Paul Jones and Tom McGuinness, former members of Manfred Mann, the band who played the Marquee Club more times than any other act. Chris Barber was also present. As well as his wife Barbara, Harold is survived by son Nick, who continues his father’s legacy as Chairman of Entec Sound & Light. The Pendleton family welcomes donations to the Royal National Lifeboat Institution, a charity that was close to Harold’s heart.

Who knew the potty-mouthed antithetical superhero could actually teach us all some valuable lessons? Amid all the Deadpool 2 hype in Dubai, some passers-by spotted the superhero taking a plunge at the famous waterfall in Dubai Mall. The agency behind the idea was Dubai-based Livingroom Communication. “For Deadpool 2, there was a real focus on creating culturally relevant campaigns that spoke to audiences in each market,” Ashleigh Potts, head of marketing at Majid Al Futtaim Cinemas Film Distribution, tells Communicate. “The first Deadpool movie performed exceptionally well in the UAE with Deadpool developing a strong fan following. It was important to delight fans with something that was locally relevant and different the second time around,” she adds. The idea behind the stunt was to do “something so unique that would gather worldwide attention,” explains Potts. And indeed it did with Ryan Reynolds posting the image on Instagram garnering over 1.2 million likes. Dubai Mall, the largest mall in the world, and its iconic waterfall together, made sense as “We thought that combining these two elements would entertain not only locals who live in Dubai but the millions of people around the world who have visited the waterfalls on a trip to the UAE,” adds Potts. In addition to the stunt, the marketing team went all out with a regional campaign that includes TV, outdoor, radio and digital advertising as well as the below: - Comic Con UAE where visitors could visit a replica of his living room and see the Deadpool costume - Competitions in collaboration with Reel, Novo Cinemas, VOX and Roxy - Partnership with Careem wherein the region ride-hailing app turned one of its car types into a Deadpool car and those who it a Deadpool would go into a draw to win tickets to the premiere. Plus, during the week, if a member rode in the car with Deadpool himself – a mannequin sitting in the front seat wearing the Deadpool suit – and took a selfie, tickets to watch Deadpool in 4DX were instantly won - Deadpool also partnered with VOX Cinemas and du telecom for the premiere - Strategic partner Virgin Radio gave away tickets to listeners and held roadshows at VOX Cinemas where fans could come down to the cinema to win tickets and merchandise - One die-hard Cosplay fan dressed in the official Deadpool suit and went on a media tour around the UAE inviting media to the premiere - Local media were also flown over to the press junket in London to interview Ryan Reynolds, Josh Brolin and Zazie Beetz Lesson No. 1: Pull off a stunt that gets everyone talking – in the region and outside of it. Lesson No. 2: Don’t rely only on social and digital. Lesson No. 3: Different audiences, different media channels. A breadth of activities across activations, TV, outdoor, digital, etc. ensure you’re capturing the attention of different audience segments at all times. Lesson No. 4: Getting the right local partners. Tie-ups with Careem, Virgin Radio, du, etc. are a smart way to not only capture the attention of audiences, but also engage them through strategic partnerships with brands that already have a high engagement level with their audiences.

Reliance Jio has disrupted the Indian telecom market in a big way. Its debut in September 2016 has catapulted India’s data consumption and has resulted in cheaper data plans. While Mukesh Ambani-owned company has not revised or changed its plans in a big way in the recent times, its offering remains the most competitive of all operators. If you get strong coverage in your area then you certainly cannot go wrong with Reliance Jio‘s 4G only network. While its Rs 399 pack offering 126GB data for 84 days remains the most popular there are other plans worth taking a look at. With Jio, customers also have option to plans that offer between 3GB and 5GB of data per day. Here is a look at those plans, pricing and benefits. Reliance Jio 3GB per day plan: Price and Benefits Reliance Jio currently offers only one plan with 3GB data per day as benefit. The prepaid plan is priced at Rs 299 and customers get total of 84GB data benefit. The plan has validity of 28 days, which makes it ideal for those with heavy data consumption. This plan previously offered only 56GB data during the entire validity period. Other benefits include 100 SMS per day and unlimited voice calling. There is also complimentary subscription to Jio apps like Jio TV, Jio Cinema and others. Reliance Jio 4GB per day plan: Price and Benefits The 4GB per day plan from Reliance Jio is available for Rs 509. The plan comes with data benefit of 4GB per day and validity of 28 days. In other words, Jio users get total data benefit of 112GB during the entire validity period. This plan offered only 3GB data per day earlier. With Rs 509 plan, Jio users also get 100 SMS per day and truly unlimited calling option. There is also free subscription to Jio applications. Reliance Jio 5GB per day plan: Price and Benefits The Rs 799 plan from Reliance Jio offers the highest amount of data during the day. It comes with data benefit of 5GB per day and has validity of 28 days. Jio users subscribing to this plan get total data benefit of 140GB during the entire validity period. It also comes with truly unlimited voice calling benefit and 100 SMS per day. Like plans mentioned above, customers also get free subscription to Jio apps.

Internet dating Concerns to Ask Before Fulfilling Internet dating Concerns to Ask Before Fulfilling Presently there is really a development that is rapid of sites and incredibly usually the first acquaintances happen the following. Within the digital globe, every thing takes place quickly: enrollment on the internet site, trying to find somebody, a playful letter for the acquaintance, talk. And today you nearly adore this type of pleasant and interesting in all respects interlocutor. Dating web sites are seen as a a colorful and design that is understandable. You can easily include pictures, write thoughts also certain statuses on your own individual pages and. All this lets you quickly it’s the perfect time and commence a fascinating discussion. It is essential to build this conversation as correctly as possible as it is super easy to be viewed a person that is boring. Psychologists state that almost 70% of data about an individual we have non-verbal, that is, with no utilization of words. But we can’t have the scent, Look in the optical eyes and several other items on the web. However in true to life, this is exactly what excites our excitement and desire. Because of this explanation, we must understand how to build a discussion with a woman at the least via Web in order that to show it into genuine conferences 1 day. Even though you have great attraction to one another, some needs and wants can very quickly separate you. To be able to have a fruitful relationship,|relationship that is successful you will need to have the exact same life axioms and way of the long term must also be identical. Getting closer by asking concerns, you will find out about each Other a complete large amount of of good use information. Game of concerns is entertainment that is quite interesting. It shall assist arrive at know anybody, as the saying goes, through the inside. This will be a way that is great begin a conversation with a woman and a great chance to expose an friend that is old from an side that is unexpected. After playing this game, you will feel which you literally read this individual and now have understood them for one hundred years. Right here we obtained concerns to inquire about a girl in online dating if you’re at the stage to getting to learn one another. They will assist realize each other better. a few of them might appear frivolous, however in the depth of the Questions, american marriage agency you shall manage to confirm compatibility with a partner. As soon as your “friend” answers these questions , look closely at exactly how you perceive these responses. Would you like a partner with such characteristics become in your area? Concerns to ask before meeting somebody in person 1. just what do you look at the most critical in your lifetime? This is certainly one of several online questions that are dating ask her into the really starting of the digital interaction. This concern may inform a lot about her value system, nonetheless, in addition to whether it coincides with yours. For instance, a woman who’s grateful for healthier parents and real friends and a girl for who the absolute most thing that is valuable purchasing vehicle may be perceived in other means, right? 2. If you have access to such a thing, just what would be the lifetime of your ideal? This concern may simplify she really is: a for you the type of girl and who careerist or an eternal pupil? Does she wish a huge and friendly household or goals of life that is careless? And these are the things that are key are essential to understand from the beginning of the relationship. 3. Do you realy retire for the night early or later? A really good reason to begin a discussion with may be the question of enough time she would go to sleep. That is quite an topic that is urgent numerous young individuals because there aren’t hours that are enough your day for everything, therefore they need to lose rest. In this case, in place of resting, someone, as a guideline, is involved with something which is quite interesting – she hangs in Cubes, prepares for exams, and so on night. This concern will assist you to comprehend whom this girl is – an riser that is early an owl, a clubber and a fan of sleep. 4. exactly what film would you like? Ask such a concern, but offer it beneath the “smart” sauce, such that it does not look banal. Tell her that you completely destroyed your spare time because of study, work, the frustrated employer, and today you can’t orientate from which side you will need to begin making up for lost time. Allow her to advise you some films – be useful in order to better learn her. If a Girl likes you as well, then probably she shall not only let you know about the latest movie premieres, encourage the invite to view one thing into the cinema. Agree totally that it is a extremely development that is good of occasions. 5. what exactly is your pastime? Perhaps partial to something unique: a bike, skiing, diving or traveling. Memorize everything. At time time that is first you’ll better explore this topic (her hobby) and discuss it once more the day that is next. She Will be very pleased to talk about what is important to her and she shall appreciate that you support her hobby. 6. exactly what do I am told by you regarding your friends? Who will be they and exactly what do they are doing? That is her friend that is best? Just how she came across her closest friend? Just how do friends treat her? This is basically the thing that is really important before any meeting. Here you learn a great deal about . Maybe Not for nothing they say “tell whom your friend is and I’ll tell you whom you are.” 7. What is the mindset to cash? Most likely, money plays a role that is significant all vital areas. If you treat cash in various methods, it’ll be problematic for a household life. Find out How time that is much plans to provide to operate and just how much towards the family members. Attempt to imagine just what will function as the behavior girl if hard times come. her an important concern “just what will she do if she abruptly wins a million dollars”. This question will inform a great deal about your selected one and about her economic tradition. 8. What are your benefits and drawbacks? Often we find out about the drawbacks of each and every other after months, months, as well as years. But you can find partners have been luckily enough to find out about the imperfection associated with the selected people on the day that is first of acquaintance. could be the most suitable choice! you learn benefits And accept disadvantages in the appearance and nature of a woman you love, your likelihood of avoiding dissatisfaction. 9. have you been jealous? Make an effort to comprehend the many exciting moments. Do on monogamy, behavior at parties, flirting, and business trips coincide? Once you learn What causes jealousy in each of you, you shall be much more delicate into the future. 10. How do you resolve problems? Of course, you don’t want to quarrel on purpose. However it is well worth watching the reaction of somebody whenever your opinions don’t match. Asking such online dating sites concerns, you are going to avoid severe quarrels on various occasions if you agree with the “rules of conflict”. 11. How do you really express your love? The guide The Five Love Languages offers helpful advice. The list has 5 alternatives for reporting-accepting love: getting gift suggestions, quality time, words of affirmation, functions of service, and real touch. Mark them by their value and spend more focus on the main and additional “language” of every other. 12. might you imagine ? can you see your future? Are your “pictures” similar? Do your desires coincide? Enjoy one great game: simply take an item of paper and draw Everything that you would together like to embody. Games and quests bring together which help develop relationships. 13. What exactly is your very best and also the worst thing regarding your youth? The key will be ask her about the past so that it does not look too dubious. Having learned for which family members as well as in exactly what environment she grew up, you may possibly commence to comprehend more or less what to anticipate from her in a partnership. Keep in mind a childhood that is rough impacts the ongoing future of someone. 14. How do you really experience adventures? This question is not merely a justification for dealing with the craziest travels both in her along with your life. Along with its assistance, it is possible to comprehend whether she actually is ready for household life. The degree of riskiness of each and every of you really need to coincide at the least just a little. Otherwise, it shall be exceedingly hard to acknowledge and build a union that is strong. If effortlessly provides up and constantly searches for something, it is too quickly to fall in love with her. 15. If you could win a ton of money, exactly what can you do? Allow a lady fantasy. Who does not love to surrender towards the charged energy of fantasies and Imagine oneself the person that is richest, a stone star, or another person? This can be a wonderful means for the introduction of a hot and long conversation. Additionally, there a number of other choices, such as for example: “In which nation would you like to get?”, “what would you like to?” do here, “What when it comes to globe?” Such concerns completely expose individuals while there is absolutely nothing more intimate than our most ridiculous aspirations. From then on, you will undoubtedly be closer! 16. just what can you like in intercourse? Yes, this is simply not one of many right concerns to ask in internet dating Should be extremely careful asking the relevant concerns such as this. However, if you don’t have serious plans because of this woman, then you can certainly instantly go right to the primary thing. Ask her what intercourse roles she likes. full case, the discussion will already be interesting and this kind of frank discussion will permit you to talk on any subject without embarrassment. Therefore, you ought to recognize the essential crucial points (goals, values, and choices brand brand new buddy) and compare these with yours. This will be Perhaps the way that is best to obtain nearer to a lady and, of course, to discover some interesting moments from her life. But, the thing that is main isn’t to go too much with concerns, taking into consideration the stage relationship that you’re presently on as you can just scare down a woman. In the event your and her main goals diverge, it is far better to begin to locate another woman. In the event that you become an barrier within the means of a lady to her cherished objective, in that case your relationship will be condemned from ab muscles start. The applies that are same your aims. Of course your views on life are comparable and you also try looking in one direction, effective life together is entirely possible.

More microcinema in ‘Xperimental Xchange‘, 11/14 and ‘Avant to Live‘, 11/21 at Other Cinema. “The major obstacle for amateur filmmakers is their own sense of inferiority vis-à-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word–from the Latin amator, “lover” — means one who does something for the love of the thing rather than for economic reasons or necessity.”–Maya Deren The biggest movie I ever worked on was North Country, which had a budget of $35 million and featured a bunch of movie stars including Charlize Theron, Woody Harrelson and Sean Bean. It was partly filmed in Northern Minnesota in February of 2005, and I was a Production Assistant, performing fairly menial and uncomplicated tasks on a crew of 70-some people for a few weeks. I remember a frigid night early in the shoot, filming a scene at a gas station in the middle of nowhere – starting after dark and continuing well into the next morning. My job was to keep random cars from driving into the shot, since the brightly lit gas station looked open. I was standing at the edge of the parking lot in the dark, with the temperature well below zero for hours while nearby, Charlize mimed the actions of pumping gas again and again, and was captured from several angles on 35mm film. No one seemed really to want to be there. The scene wasn’t that good. The script wasn’t that good. And, ultimately, the movie wasn’t that good either. It was uncomfortably cold and late, but we were all part of the industrial machine cranking it out together, doing our jobs, and, of course, getting paid. The film would go on to actually lose money, earning only about $25 million in box office worldwide, though it was nominated for a couple of Oscars. I was paid $150 flat per 12-hour day. Standing at the edge of that parking lot in the dark, I could see my warm breath billowing into the frosty air, backlit by the fluorescent lights of the gas station. That was the only interesting thing going on, in my opinion: more beautiful than Charlize, more complex and intricate than the action on set. If I had been in charge I would have filmed my own breath, and that’s what the scene would have been about, which would have cost way less than the $10 million the film would eventually lose. That night I watched breath after breath dissipate in the sub-arctic void, and that micro-observation, in a way, redeemed the whole experience for me, made it feel worthwhile and memorable beyond either my $12ish per hour in compensation or the pride of being part of such a big film. That experience, and many others like it, inform my personal value system as a filmmaker and I’ve spent the last decade, more or less, articulating the road-less-traveled career decision I was in the process of making that night. Among the different ideologies and approaches to the moving image, I have found the available terminology pretty limited. Of course we have Hollywood and Independent and Art-House and Experimental and Avant-Garde and Home Movies – but much of this inexact vocabulary is deeply inflected by the PR and marketing of the mainstream and commercial end of the cinematic spectrum. And, these ideas are outdated – in Northern Minnesota I believed I was technically working on an “independent film” – directed by Niki Caro, a New Zealander previously lauded for indie hit Whale Rider. Eventually it was distributed by Warner Brothers, which may have been financially involved from the beginning…but what does all of that even mean, really? I have personally found it useful to sift all of these denominations into two overarching categories, which I feel neatly express a dualism of ideology, intention, structure and approach to the medium of cinema, and are applicable both today and historically: “MacroCinema” and “MicroCinema’. “MacroCinema” is concerned with a greater-than-human scale of production, distribution and exhibition. People are involved, of course, but they are situated in an industrial, hierarchical context, the purpose of which is to translate messy, organic human-scale reality into a controlled, glossy, thoroughly packaged product to be consumed by a mass audience. Control is the key word here. Without a great degree of control exerted from the top down, “MacroCinema” would not be possible, which is to say, it would not be profitable. “MicroCinema”, in contrast, takes place at the scale of the human and smaller, and it is inseparable from the organic, the personal, the unplanned and unexpected. “MicroCinema” is almost never financially profitable because it is neither predictable in terms of outcome, nor buttressed by the massive marketing resources required to influence (manipulate) consumer choice on a large scale. “MicroCinema” is defined ultimately by a lack of control – on a large, expensive film project this would be horrifying and financially ill-advised, but in the context of a human-scale art-making process it can manifest in a healthy way as improvisation, exploration, experimentation. So, North Country = “MacroCinema”. Hypothetical film about my frosty breath = “MicroCinema”. Incidentally, I used my wages from that production to buy my first pocket-sized digital camera and shortly thereafter started the website www.videohaiku.com. The “MicroCinematic” ethic and aesthetic are both fundamentally relational – and absolute control, at this interpersonal level of relationship, is by definition dysfunctional. A CEO who seeks to control his employees’ performance is an effective and successful business leader – whereas in the context of a family, a parent who exerts a similar degree of control over their partner or child is considered pathological. The term “microcinema” is not original, I know – it has become popular [fairly] recently as a descriptor for small screening venues that cater to the desires of film enthusiasts for classical repertory and rarefied experimental programming. In Minneapolis we have the Trylon Microcinema, which has about 50 seats and was established in 2006, at about the time when North Country was released on “the big screen.” The Trylon has a fairly small screen – bigger than most televisions these days but not by that much. It has retained 35mm projectors, as well as 16mm projection capability and DCP, though that abundance of resolution and brightness is almost overkill on a screen barely bigger than a bedsheet. But for a microcinema, the size of the screen or the budget of the production is not a key factor in what to show, to whom. More is not always better, whether in terms of pixels, seats, decibels or box office revenue – more important are the organic relationships that evolve between the venue and the audience, between the audience members and one another, and between the viewers and the films themselves. The prioritization of an organic and evolving relationship between these figures (filmmaker, subject, exhibitor, audience) can be traced back through the filmmaking process to its inception, and back through film history to its earliest days. “MicroCinema” has always received less attention than its louder, pushier big brother, but it has persevered just the same. At the beginning of all the textbooks on cinema one usually finds two names, the Lumière Brothers and Georges Méliès. Méliès was a trained magician who gave us elaborately staged classics like A Trip to the Moon and pioneered the use of special effects – the original practitioner of “MacroCinema’ – while the Lumière Brothers were more interested in, for instance, Workers Leaving a Factory and other small, humanist, microcinematic, observational moments. For the majority of the 20th century, “MacroCinema” was without a doubt ascendant, but “MicroCinema” has always been with us, and Fred Camper argues in Some Notes on the Home Movie that in terms of sheer minutes or frames of footage, “MicroCinema” has perhaps always been the more fruitful of the two approaches to the moving image, steadily generating more material and more meaningful inter-relationships, though each project itself exists within a far more modest scope. All film industry PR on the subject, from the coinage of the term “Independent Film” in the 90s to the “Artist-Entrepreneur” today, seems to me to serve a very specific ideological purpose for the film industry, to co-opt the audience’s microcinematic desire to be in an organic relationship with the films we watch and the filmmakers themselves. But the superficial intimacies of “MacroCinema” are an illusion; the “relatability” of movie stars is itself a form of manipulation and control. There’s nothing wrong with “MacroCinema”, and it is perfectly suited to a certain type of industry-minded, highly-structured, meticulous artist: a Stanley Kubrick, a James Cameron, a David Fincher. But confusion between the “Micro-” and “MacroCinema” categories can cause real suffering for artists who think they are the same thing, or that it is possible to glide smoothly from one category to the other. I have personally seen far too many film projects with limited resources attempting the production processes and seeking the outcomes of “MacroCinema” – this can be quite traumatic for all involved, damaging relationships, causing financial ruin and often turning people away from film making altogether. Likewise, people working in the world of “MacroCinema” grow disillusioned and jaded without being able quite to describe the gulf between what they set out to do – make personally meaningful films – and the industrial grind in which they find themselves year after year. Once insightful directors struggle more and more to “connect with audiences” because the whole process of “MacroCinema” is oriented towards control rather than any sort of evolving, organic, co-creative relationship. Whatever we may have called it, most of us who love making movies started out making “MicroCinema” – small, fun projects running around with a camera, made with our friends and family, made for our friends and family to enjoy. Those of us who have pursued this passion into adulthood are often given a literal ultimatum at some point, by a teacher, a mentor, or a manager. We are told that “MacroCinema” is the way that adults make movies, that’s where the careers and the recognition are, that ever-increasing scale, control, and marketability are the only ways forward. They are perhaps right about jobs and careers, but wrong in their assessment that this is the only meaningful adult path. To think otherwise, to pursue a non-industrial approach is to be dismissed as a hobbyist, a dilettante, a home-movie-maker, an amateur. The advent of the “MicroCinema” as a screening space is a significant cultural effort to reclaim the community-oriented aspect of film appreciation as a meaningful, shared activity, on the far side of the era of home video and in the midst of streaming-everything. The desire to extend the concept of “MicroCinema” to the actions and intentions of making and sharing the moving image is, on my part, a related effort to reclaim these marginalized approaches from their derogatory characterization as “not serious” by commercial, commodity-oriented industrial movie making. “MacroCinematic” modes of producing and distributing mass media will no doubt be with us for a long time, in no small part due to their effectiveness as methods of creating effective social propaganda and propagating specific forms of ideological control. But big movies requiring massive resources with a short shelf life – such as North Country – probably have far less cultural impact and longevity than the people making them would like to think, even compared to something short and sweet, simple and cheap, unplanned and uncontrolled, that is shared in a limited way at a local screening with family and friends. Today, many filmmakers tour with their work, road-tripping around the US and Europe, stopping at various microcinemas and cinematheques to share their creations with a warmly receptive and appreciative audience for an evening or two. I was fortunate, standing at the edge of the void in that Northern Minnesota parking lot, half-attending to my PA duties for the sake of Charlize and Niki and slightly-better-than-minimum wage, that I was already vaguely aware of the existence of Experimental and Avant-garde film history; a little bit of Stan Brakhage, Maya Deren, and Jonas Mekas at least. So when I decided that a career in the industrial, “MacroCinema-oriented” film industry looked quite miserable, I knew that there was something else out there, another way to approach the moving image. Even though there was far less money and glamour in it, I had a sense of my options at least, so that when I was done working on North Country I didn’t decide to stop making movies altogether. My hope, in beginning to work to name and articulate a concept of “MicroCinema”, placing it in a sort of parity and balance with “MacroCinema” as something equally meaningful and worthy of respect, is simply to give new vocabulary to other aspiring filmmakers, young and old, who may be disgruntled or despairing at their prospect of grinding and hustling their way to the top of the pyramid to someday fill the shoes of J.J. Abrams, Joss Whedon, or others out there “helming” glossy, sleek and expensive commercial films. If making MacroCinema is your heart’s desire and calling in life, by all means, go for it – godspeed to you. Charlize and Woody await. But if it’s not, take heart, there’s room for you over here in the messy and strange, warm and friendly, human-scaled community of “MicroCinema”. A short list of microcinemas near and far: Echo Park Film Center, Los Angeles, CA Exploded View Art microcinema MUSIC, Tuscon, AZ The Mini-Microcinema, Cincinnati, OH Mothlight Microcinema, Detroit, MI The Trylon microcinema, Minneapolis, MN The Nightingale, Chicago, IL Microlights Cinema, Milwaukee, MN

I mostri (The Monsters). 1963. Italy/France. Directed by Dino Risi. Screenplay by Agenore Incorcci, Furio Scarpelli, Elio Petri, Risi. With Ugo Tognazzi, Vittorio Gassman, Lando Buzzanca. In Italian; English subtitles. 121 min. “The ultimate Italian omnibus film, with no fewer than 20 episodes depicting, as director Dino Risi put it, ‘a distrust in humanity’ resulting from the Italian economic boom of the late 1950s. Ugo Tognazzi and Vittorio Gassman interpret a variety of human monsters, from princes to prizefighters, in brief, satirical sketches that spare no one, including the viewer. Released in the United States in a radically shortened version, I mostri is back—at some 31 minutes longer—in the full fury of its original Italian release” (Dave Kehr). New 35mm print from Luce Cinecittà, digitally restored by Cineteca di Bologna and Museo Nazionale del Cinema di Torino in collaboration with Surf Film, Lyon Film, RTI Gruppo Mediaset; courtesy Janus Films. Tuesday, December 18, 2018,6:30 p.m.The Museum of Modern Art, Floor T2, Theater 2 Saturday, December 15, 2018,4:00 p.m.The Museum of Modern Art, Floor T2, Theater 2

- Cardinal George Pell loses appeal against sexual abuse convictions August 20, 2019Pell, the most senior Catholic cleric to be convicted of sexual abuse, will serve the rest of his six-year sentence. - Amazon fires: Brazilian rainforest burning at record rate, space agency warns August 20, 2019Brazil's space research agency says fires in the rainforest rose 83%, amid increased deforestation. - George Pell: Cardinal to learn outcome of abuse conviction appeal August 20, 2019The ex-Vatican treasurer is challenging his convictions for sexually abusing two boys in Australia. - Sudan conflict: Army and civilians form sovereign council August 20, 2019Six civilians and five army officers will be in charge during a transition to civilian rule. - Trump considers new tax cut to boost US economy August 20, 2019The US president confirms that a temporary payroll cut tax could be introduced. - Kashmir: Pakistan to seek International Court of Justice ruling August 20, 2019It plans to take its dispute with India over the territory to to the International Court of Justice. - Italy government crisis: PM Conte quits amid coalition row August 20, 2019Giuseppe Conte's resignation came after he accused his coalition partner of being "irresponsible". - Gone with the Wind: Dozens of mattresses blown away in outdoor cinema mishap August 20, 2019Dozens of air mattresses end up gone with the wind before an outdoor movie night in Colorado. - Julien Gauthier: Grizzly bear kills soundgathering musician August 20, 2019Julien Gauthier had planned to canoe down Canada's Mackenzie River to record sounds of nature. - Robert De Niro's ex-aide sued for misusing funds and 'TV bingeing' August 20, 2019The actor's company claims the aide spent "astronomical amounts of time" watching Netflix at work. - Marvel's Avengers Dev on Perks, Skills and Playstyle Customization - Gamescom 2019 - IGN August 20, 2019Marvel's Avengers Dev on Perks, Skills and Playstyle Customization - Gamescom 2019 IGNCrystal Dynamics' Head of Studio, Scot Amos joins us […] - Marvel's Avengers - 18 Minutes Of Gameplay | A-Day Prologue - GameSpot August 20, 2019Marvel's Avengers - 18 Minutes Of Gameplay | A-Day Prologue GameSpotLightning strikes, repulsor blasts, ground pounds, shield throws, and spy te […] - TV and Movie Deals: Save Big on a 65-inch Vizio, Avengers: Endgame, and More - IGN August 20, 2019TV and Movie Deals: Save Big on a 65-inch Vizio, Avengers: Endgame, and More IGNGoing back to school or work after a summer break or vacation? Treat […] - Avengers: Endgame Originally Had Different Time Stone Heist Sequence - Screen Rant August 20, 2019Avengers: Endgame Originally Had Different Time Stone Heist Sequence Screen RantThe screenwriters for Avengers: Endgame have revealed that Bruce Bann […] - Playing Marvel's Avengers, a living RPG with microtransactions - Engadget August 20, 2019Playing Marvel's Avengers, a living RPG with microtransactions EngadgetYou Can Finally See Some Gameplay From The Avengers Video Game KotakuThe […] - Marvel's Avengers Gear, Loot, Costumes & Cosmetics Explained - Gamescom 2019 - IGN August 20, 2019Marvel's Avengers Gear, Loot, Costumes & Cosmetics Explained - Gamescom 2019 IGNDuggan walks us through some of the characters and mechanics […] - The 6 winners and losers at the 2019 summer box office - Business Insider August 20, 2019The 6 winners and losers at the 2019 summer box office Business InsiderHere's a breakdown of the movies that did huge business this summer and o […] - Avengers game finally shown off in 19-minute gameplay video - Video Games Chronicle August 20, 2019Avengers game finally shown off in 19-minute gameplay video Video Games ChronicleThe super hero title is currently on show at Gamescom with a hands-o […] - 'Guardians of the Galaxy 3': Gamora May Have a New Love Interest - Showbiz Cheat Sheet August 20, 2019'Guardians of the Galaxy 3': Gamora May Have a New Love Interest Showbiz Cheat SheetOne of the most interesting space romances since Han So […] - 'Avengers: Endgame' directors respond to X-Men MCU rumors - cleveland.com August 20, 2019'Avengers: Endgame' directors respond to X-Men MCU rumors cleveland.comWill the Russo brothers be directing an X-Men film any time soon? […] Avengers End Game Come Out This Weekend! I Refuse To Review It However I Will help you through the movie.

The Seconds Count One day consists of 86,400 seconds, each one containing countless options, possibilities and decisions of which only one can emerge… When we look back on our past relationships, too often we remember the way they ended. The big fight, the difficult breakup, the painful emotions. The final chapter where we part ways often sticks in our minds. But as I sit here today, and reflect on my past relationships, I can’t help but think about the moments where they started. I’m not talking about the moment we finally decided to call it a ‘relationship’. I’m talking about the moment I, they, or both of us, set in motion the sequence of events that led to all of those amazing experiences we had together. Even as I’m writing this I feel those moments tugging on my heart strings, making me realise just how significant the most insignificant of moments can be. The moment I finally asked that girl at school to go to the cinema with me (albeit very timidly)… The moment when I was 18, driving my car with the friend I’d always secretly had a crush, and I took the risk to hold her hand for the first time…. The moment in the elevator where I kissed that girl on the cheek… The moment I met eyes with that person on he street in the middle of London, prompting me to run after her once she’d walked by… These small moments have given me some of the greatest experiences of my life so far. And as I sit here writing about them I can’t help but recall how many more of these moments I could have created along the way but didn’t. How many of these moments did I miss? How many of these moments have you missed in your life? Not that it’s productive to think that way, but it does serve as a reminder for just how rich everyday can be. If we’ve missed these moments in the past, then chances are we’re still missing them today. And of course it’s much more than just the moment that we miss, it’s the whole new future that that moment would have created had we gone for it. It’s for this reason I’ve always found time travel so fascinating. Time travel brings with it the simple idea that a single change in behaviour at any given moment can create an entirely different future…in effect, a parallel universe. But the idea of us actually being able to invent the technology for time travel has never been necessary for me to maintain this fascination. The reason is that for me, time travel already exists, in the present. We get the chance to choose alternate realities in every moment of our lives. Anytime you make the decision to start speaking to the person standing next to you…the moment you decide to go out instead of staying in…the moment you decide to finally express your feelings to someone…the moment you decide to kiss someone on the cheek for no reason at all…these are all moments that have the ability to create a new future. It blows my mind how much can change from one small moment. People too often forget that the changes in our destination can come from the smallest shifts in behaviour in any given moment. And right now I’m just speaking for our love lives, it’s truly mind blowing to see that this is possible for every other area of our lives too. If you knew that speaking to the person ordering their coffee next to you would be the beginning of a life spent with your soulmate, would you do it? Now of course it might not, but the possibility is there. And along with it the possibility of so many other things…a new friend, a lover, a chance to be part of a new circle of people…we could go on. The more relevant question is “what are the chances of any of these realities happening without you taking this moment and using it?”. It’s hard to get what you want when no one knows you want it. Going about life like that is like walking into a restaurant and leaving it up to the waiter to bring you the thing you fancy most on the menu without telling him. Life gives us a pretty big menu, which makes it that much more important that in our moments of decision we choose what we want; without succumbing to the fear of rejection, the fear of embarrassment, the fear of failure, or the fear of choosing the wrong thing. And there are many moments of decision every day. One day consists of 86,400 seconds, each one containing countless options, possibilities and decisions of which only one can emerge. Here’s to the infinite variety life has to offer. Track for the day: Track name – Life of the Bird (Album – The Crimson Wing: Mystery of the Flamingos) Question for today: Which moments will you commit to take more advantage of? Let me know in your comments below.

Simon Kinberg isn't afraid to admit his mistakes. The director of Dark Phoenix did just that when speaking to KCRW during an appearance on the outlet's The Business podcast. Getting remarkably candid, the filmmaker took the blame for everything that went wrong with Dark Phoenix. In the interview, Kinberg noted that it's difficult to talk about Dark Phoenix in a negative context because he genuinely loves the film. Ultimately, though, he feels the onus is on him to take the blame for Dark Phoenix crashing and burning with moviegoers and critics. As for what might have saved Dark Phoenix from its grim fate, Kinberg doesn't believe that there's anything that could have been done to yield a different outcome. Would changing the film's release date yet again have helped it? Probably not, but Kinberg admitted that the changing dates didn't help the film land on the right foot: "I always felt that we had a tough date for this particular movie. It wasn't made as a classic superhero movie, it was made as more of a dramatic, intimate, smaller film. Originally it was going to come out in November , then it was going to come out in February , and those were the dates that I felt like it actually would have felt more appropriate to." Did the massive box office success of Avengers: Endgame, now the most profitable film of all time, somehow impact Dark Phoenix's performance when it opened June 7th? Maybe, but Kinberg just can't get behind the idea that another film is to blame for Dark Phoenix's bombing. The director said: "Coming out five, six weeks after what may well be the biggest movie or the second biggest movie in the history of cinema, that also happens to be also in the genre of superheroes, was tough for us, and I always anticipated that it was going to be tough to be in the tailwinds of that movie. But I wouldn't blame it on the weekend." The tense atmosphere behind the scenes at Fox following their merger with Disney didn't make production on Dark Phoenix easy either. Apparently, the layoffs taking place at that time affected several of the studio's important arms. Kinberg continued, "The marketing and publicity side of Fox were very badly hit, and I noticed it because […] I was going to marketing meetings every week and there were people who weren't there anymore." Kinberg also shared that he's actively trying to keep himself from thinking about how differently Dark Phoenix may have fared if it wasn't delayed or if it had been better marketed. At the end of the day, it doesn't matter: what happened happened, and Kinberg is taking it as a learning experience. "I mean honestly, there's no way to know, and that's the thing that I think can drive people crazy and keep them up and be thinking about a movie's failure years later. If the lesson you've learned is that you had the wrong date or you didn't have good marketing — that's not a lesson." Kinberg's comments here are refreshing. It's not often that the architect of a box office bomb comes forward and admits that he should shoulder part of the blame for a film's failure. What's even more important here is Kinberg's mention that Dark Phoenix floundering taught him a lesson. The film will probably do the same for the filmmakers Marvel Studios, who will be looking to bring the X-Men and several other comic book characters to the Marvel Cinematic Universe. In working out the best way to introduce the mutants in a whole new movie franchise, Marvel can turn to Dark Phoenix and pinpoint the exact things not to do. #XMen #DarkPhoenix #SimonKinberg

“Anxiety is still so stigmatised and I feel so brave opening up about it”- Mark Ferris “This wasn’t me… This is not the way I wanted to live my life. His main message is that you are not alone and if he could make it through then anyone can.-Mark Ferris. Mark Ferris, 27 is a budding YouTube who has opened up about his struggle with mental health in particular, his battle with anxiety. “Knowing others were going through mental health enabled me to get through it” In the past he admits he didn’t really know what Mental Health was. Mark went to the doctors explaining he was suffering from shortness of breath, felt like he was going to pass out and sometimes felt lighted. However, despite this and multiple test being conducted as he didn’t really understand what was going on it was discovered he was suffering from anxiety. This is because he was always a truly happy person and no-one could really tell what was wrong with him not even his close family and friends. He states when his mental illness was at its worse he was unable to do the normal things in life such as visiting friends, go to the cinema and crowded places such as shopping centres things ordinary people take for granted. “This wasn’t me… This is not the way I wanted to live my life. His main message is that you are not alone and if he could make it through then anyone can. Speaking so openly about it and how mental health affected me, and to see the comments saying ‘you’re speaking my mind’ is just the best feeling,” He first spoke about mental health in a YouTube video he created highlighting it was hard for him to at first post his story online but in insight the best thing he’s done as he’s received so much support. “When I had struggles, seeing other people talking about it was amazing because the first thing you want to know is that you’re not alone.” How is Mark now? Mark is now a successful YouTube entertainer since 2013 he has amassed more than 665,230subscribers. He is an inspiration to many who are battling anxiety, depression and other mental health illnesses. Through his online videos he has provided hope to many hundreds of thousands of individuals. As his channel is about having fun and a laugh but now that he has a voice he wants to use it for the greater good. Let’s get back to teaching you how to be happy, so that can you get back to living a life you love where you can: Mark’s top tips to manage mental health: Walking, Reading, Cleaning and to speak and seek support. To read more more about how Mental Health has been successfully been managed by others here is a link to George’s story Sign up to our monthly updates where we’ll be giving you our latest tips for happiness! And be sure to check out out blog for more info. Head back to our home page.

Women in Translation: A Celebratory Reading List! August is Women in Translation Month! Publishers and booksellers are backing a campaign started by women translators to celebrate the work of the few women writers who make it into English translation—figures show that only around a quarter of English translations are authored by women. Verso's #WITMonth reading list celebrates our publications by women who are leading thinkers and writers in fiction and non-fiction fields, ranging from experimental fiction to journalism in Turkey and Mexico, to psychoanalysis, feminism and political theory. - 1978 First edition of Die Schwerkraft der Verhältnisse, announcing the Robert Walser prize The Weight of Things is the first book by Austrian writer Marianne Fritz (1948–2007), and the first to be translated into English. After winning acclaim with this novel—awarded the Robert Walser Prize in 1978—she embarked on a brilliant and ambitious literary project called “The Fortress,” which earned her cult status, comparisons to James Joyce, and admirers including Elfriede Jelinek and W. G. Sebald. Her translator Adrian Nathan West wrote in the Paris Review about why her work has remained untranslated until now: “My question is not so much why Fritz hasn’t been read, but why she has been deprived of the regard showered on other writers people don’t read. And the only answer I have arrived at is that, despite the successes of feminist criticism in inspiring a measure of guilty conscience on the part of readers, there is something fundamentally gendered in the concept of “genius” and that the idiosyncrasies taken at face value in the case of male writers appear dubious in the case of their female counterparts, signaling a lack of restraint, a touch of hysteria, or mental instability.” “A short, beautifully vicious, minimal work, albeit taking on heavy themes ... reminiscent of the works of Elfriede Jelinek.” Kate Zambreno In a radical new reading of Samuel Beckett, Pascale Casanova argues that Beckett's reputation rests on a pervasive misreading of his oeuvre, which neglects entirely the literary revolution he instigated. Reintroducing the historical into the heart of this body of work, Casanova provides an arresting portrait of Beckett as radically subversive—doing for writing what Kandinsky did for art—and in the process presents the key to some of the most profound enigmas of Beckett's writing. Discovery of the World: A Political Awakening in the Shadow of Mussolini by Luciana Castellina. Translated by Patrick Camiller Luciana Castellina is one of Italy's most prominent left intellectuals and a cofounder of the newspaper il manifesto. In this coming-of-age memoir, based on her diaries, she recounts her political awakening as a teenage girl in Fascist Italy—where she used to play tennis with Mussolini's daughter—and the subsequent downfall of the regime. Discovery of the World is about war, anti-Semitism, anti-fascism, resistance, the belief in social justice, the craving for experience, travel, political rallies, cinema, French intellectuals and FIAT workers, international diplomacy and friendship. All this is built on an intricate web made of reason and affection, of rational questioning and ironic self-narration as well as of profound nostalgia, disappointment and discovery. A passionate memoir of the author’s discovery of her grandmother’s true identity. Growing up in the small town of Maden in Turkey, Fethiye Çetin knew her grandmother as a happy and respected Muslim housewife called Seher. Only decades later did she discover the truth. Her grandmother’s name was not Seher but Heranus. She was born a Christian Armenian. Most of the men in her village had been slaughtered in 1915. A Turkish gendarme had stolen her from her mother and adopted her. Çetin’s family history tied her directly to the terrible origins of modern Turkey and the organized denial of its Ottoman past as the shared home of many faiths and ways of life. A deeply affecting memoir, My Grandmother is also a step towards another kind of Turkey, one that is finally at peace with its past. A Communist, feminist, and analysand asks what the social function of psychoanalysis should be and condemns what it has become. The Weary Sons of Freud lambasts mainstream psychoanalysis for its failure to grapple with pressing political and social matters pertinent to its patients’ condition. Gifted with insight and compelled by fury, Catherine Clément contrasts the original, inspirational psychoanalytical work of Freud and Lacan to the obsessive imitations of their uninspired followers—the weary sons of Freud. The analyst’s once attentive ear has become deaf to the broader questions of therapeutic practice. Clement asks whether the perspective of socialism, brought to this study by a woman who is herself an analysand, can fill the gap. She reflects on her own history, as well as on that of psychoanalysis and the French left, to show what an activist and feminist restoration of the talking cure might look like. Separate and Dominate: Feminism and Racism after the War on Terror by Christine Delphy. Translated by David Broder An examination of how mainstream feminism has been mobilized in support of racist measures by Christine Delphy, a rare public voice denouncing the racist motivations of the government’s 2011 ban of the Muslim veil. Castigating humanitarian liberals for demanding the cultural assimilation of the women they are purporting to “save,” Delphy shows how criminalizing Islam in the name of feminism is fundamentally paradoxical. Separate and Dominate is Delphy’s manifesto, lambasting liberal hypocrisy and calling for a fluid understanding of political identity that does not place different political struggles in a false opposition. She dismantles the absurd claim that Afghanistan was invaded to save women, and that homosexuals and immigrants alike should reserve their self-expression for private settings. She calls for a true universalism that sacrifices no one at the expense of others. Narcoland: The Mexican Drug Lords and Their Godfathers by Anabel Hernández. Translated by Iain Bruce and Lorna Scott Fox The product of five years’ investigative reporting, the subject of intense national controversy, and the source of death threats that forced the National Human Rights Commission to assign two full-time bodyguards to its author, Anabel Hernández, Narcoland is the definitive history of the drug cartels. Narcoland takes readers to the front lines of the “war on drugs,” which has so far cost more than 60,000 lives in just six years. Hernández explains in riveting detail how Mexico became a base for the mega-cartels of Latin America and one of the most violent places on the planet. At every turn, Hernández names names – not just the narcos, but also the politicians, functionaries, judges and entrepreneurs who have collaborated with them. In doing so, she reveals the mind-boggling depth of corruption in Mexico’s government and business elite. Hernández became a journalist after her father was kidnapped and killed and the police refused to investigate without a bribe. She gained national prominence in 2001 with her exposure of excess and misconduct at the presidential palace, and previous books have focused on criminality at the summit of power, under presidents Vicente Fox and Felipe Calderón. In awarding Hernández the 2012 Golden Pen of Freedom, the World Association of Newspapers and News Publishers noted, “Mexico has become one of the most dangerous countries in the world for journalists, with violence and impunity remaining major challenges in terms of press freedom. In making this award, we recognize the strong stance Ms. Hernández has taken, at great personal risk, against drug cartels.” The most comprehensive collection of letters by Rosa Luxemburg ever published in English, this book includes 190 letters written to leading figures in the European and international labor and socialist movements—Leo Jogiches, Karl Kautsky, Clara Zetkin and Karl Liebknecht—who were among her closest friends, lovers and colleagues. Much of this correspondence appears for the first time in English translation; all of it helps to illuminate the inner life of this iconic revolutionary, who was at once an economic and social theorist, a political activist and a lyrical stylist. Her political concerns are revealed alongside her personal struggles within a socialist movement that was often hostile to independently minded women. This collection will provide readers with a newer and deeper appreciation of Luxemburg as a writer and historical figure. Rosa Luxemburg (1871–1919) is widely regarded as one of the most creative writers of modern socialism and the foremost female theoretician of European radicalism. Her wide-ranging and incisive works, which include studies on capitalism’s inherent drive for global expansion, the relation between spontaneity and organization, and the inseparability of democracy and socialism, have made her a pole of attraction for theorists and activists around the world. Her fiercely independent intellect and uncompromising defense of human liberty speaks more powerfully to our era than to any other. Hu Feng, the 'counterrevolutionary' leader of a banned literary school, spent twenty-five years in the Chinese Communist Party's prison system. But back in the Party's early days, he was one of its best known literary theoreticians and critics. His wife, Mei Zhi, shared his incarceration for many years. F is her account of that time, beginning ten years after her and Hu Feng’s initial arrest. She herself was eventually released, after which she navigated the party’s Byzantine prison bureaucracy searching for his whereabouts. Having finally found him, she voluntarily returned to gaol to care for him in his rage and suffering, watching his descent into madness as the excesses of the Cultural Revolution took their toll. Both an intimate portrait of Mei Zhi’s life with Hu Feng and a stark account of the prison system and life under Mao, F is at once beautiful and harrowing. Now a global bestseller, the remarkable life of Rigoberta Menchú, a Guatemalan peasant woman, reflects on the experiences common to many Indian communities in Latin America. Menchú suffered gross injustice and hardship in her early life: her brother, father and mother were murdered by the Guatemalan military. She learned Spanish and turned to catechistic work as an expression of political revolt as well as religious commitment. Menchú vividly conveys the traditional beliefs of her community and her personal response to feminist and socialist ideas. Above all, these pages are illuminated by the enduring courage and passionate sense of justice of an extraordinary woman. The Story of Vicente, Who Murdered His Mother, His Father, and His Sister: Life and Death in Juárez by Sandra Rodríguez Nieto. Translated by Daniela Maria Ugaz and John Washington Sandra Rodríguez Nieto was an investigative reporter for the daily newspaper El Diario de Juárez for nearly a decade. Despite tremendous danger and the assassination of one of her closest colleagues, she persisted in telling the story of Ciudad Juárez, where sixteen-year-old Vicente and two of his high school friends murdered his mother, his father, and his little sister in cold blood. Through a Truman Capote–like reconstruction of this seemingly incomprehensible triple murder, Sandra Rodríguez Nieto paints a haunting and unforgettable portrait of one of the most violent cities on Earth. This in-depth and harrowing investigation into the thought processes of three boys leads the reader on an exploration of the city of Juárez, as well as the drug cartels that have waged war on its streets, in a bold attempt to explain the inexplicable. Filming Pancho: How Hollywood Shaped the Mexican Revolution by Margarita de Orellana. Translated by John King On January 3, 1914 Pancho Villa became Hollywood’s first Mexican superstar. In signing an exclusive movie contract, Villa agreed to keep other film companies from his battlefield, to fight in daylight wherever possible, and to reconstruct battles if the footage needed reshooting. Through memoir and newspaper reports, Margarita De Orellana looks at the documentary film-makers who went down to cover events in Mexico. Feature film-makers in Hollywood portrayed the border as the dividing line between order and chaos, in the process developing a series of lasting Mexican stereotypes—the greaser, the bandit, the beautiful señorita, the exotic Aztec. Filming Panchoreveals how Mexico was constructed in the American imagination and how movies reinforced and justified both American expansionism and racial and social prejudice. In this much-lauded memoir, acclaimed for its blend of literary elegance and political passion, Rossana Rossanda, a legendary figure on the Italian left, reflects on a life of radical commitment. Active as a communist militant in the Italian Resistance against fascism during World War Two, Rossanda rose rapidly in its aftermath, becoming editor of the Communist Party weekly paper and a member of parliament. Initially a party loyalist, she was critical of the party’s conservatism in the face of new radical movements and moved into opposition during the late 1960s. The breach widened after she and others publicly opposed the Soviet invasion of Czechoslovakia, and were expelled in 1969. She went on to help found the influential paper il manifesto, which remains the most critical daily in Berlusconi’s Italy. Her unique experience enables her to reconstruct that period with flair and authority. She paints a revealing picture of fascism, communism, post-war reconstruction and the revolts that shook Europe in the 1960s. In The Comrade from Milan, one of the most influential intellectuals of the European Left relives the storms of the twentieth century. Both cool-headed and precise, Rossanda provides a rare insight into what it once meant to be politically engaged. Widely recognized as the leading authority on Lacan, Élisabeth Roudinesco revisits his life and work, which continues to be subject to the most extravagant interpretations. Angelic to some, he is demonic to others. To recall Lacan's career, now that the heroic age of psychoanalysis is over, is to remember an intellectual and literary adventure that occupies a founding place in our modernity. Lacan went against the current of many of the hopes aroused by 1968, but embraced their paradoxes, and his language games and wordplay resonate today as so many injunctions to replace rampant individualism with a heightened social consciousness. A personal and political journey to the heart of the Turkey-Armenia conflict. From the Armenian communities of Venice Beach and Paris, to Turkey and Armenia, Deep Mountain is a nuanced and moving exploration of the living history and continuing denial of the Armenian genocide. Encountering writers, thinkers and activists from across the Turkish-Armenian divide, Ece Temelkuran weaves together an absorbing account of the role of national myths and memories, and how they are sustained and distorted over time, both within Turkey and Armenia, as well as among the vast Armenian diasporas of France and America. Deep Mountain is both a brilliant, personal exploration of one of the most enduring and intractable issues of our time, and an illuminating look at the part nationalism plays in the way we see ourselves and others. Tibet on Fire: Self-Immolations Against Chinese Rule by Tsering Woeser. Translated by Kevin Carrico Why Tibetan monks are setting themselves on fire Since the 2008 uprising, nearly 150 Tibetan monks have set fire to themselves in protest at the Chinese occupation of their country. Most have died from their injuries. Author Tsering Woeser is a prominent voice of the Tibetan movement, and one of the few Tibetan authors to write in Chinese. Her stirring acts of resistance have led to her house arrest, where she remains under close surveillance to this day. Tibet On Fire is her account of the oppression Tibetans face and the ideals driving those who resist, both the self-immolators and other Tibetans like herself. Revolutionary Yiddishland: A History of Jewish Radicalism by Alain Brossat and Sylvia Klingberg. Translated by David Fernbach Today, the world from which twentieth-century Jewish revolutionaries of Eastern and Central Europe - Socialists, Communists, Bundists, Trotskyists and more - first emerged, an expanse from the Baltic Sea to the western edge of Russia, has disappeared, dismantled and destroyed by the Nazi genocide. After this irremediable break, there remain only survivors, and the work of memory for red Yiddishland. This book traces the struggles of these militants, their singular trajectories, their oscillation between great hope and doubt, their lost illusions—a red and Jewish gaze on the history of the twentieth century. >>> Read more: Five Book Plan: Literature in Translation by Deborah Smith

It’s time to relearn the art of expertise, writes William A Cohen Peter Drucker uncovered an uncomfortable truth. He found that many professionals failed because they spent more time on office politics than they did on knowing what they were supposed to know. It is unfortunately true that some otherwise skilled professionals don’t know their stuff to the extent that they should, and don’t seem much to care about their lack of knowledge. Their emphasis is less on being or becoming an expert and learning their trade, than on getting ahead. This leads to a focus on office politics and other aspects of the management scene, rather than expertise and good performance. Some management books fall into this trap when advising their readers. They fail to emphasize that a leader becomes a real leader only when everyone recognizes that the leader knows what to do when he or she gets ahead, not because the leader knows how to get ahead. People don’t follow others because leaders are good at office politics. They follow leaders because they are good at what they do. There is no substitute for a leader investing his or her time in becoming an expert. As an article in Fortune proclaimed: “Forget about fighting over titles and turf – it’s what you know (and how you use it) that really counts.” The four aspects of knowing your stuff Peter Drucker knew that there were four main aspects to knowing your stuff. To really master your stuff, you had to know all four. 1 Know your people as individuals Regardless of your job, you have an awful lot to learn about your people. Moreover, there are a lot of people to know. The list includes those that may report to you, those at your level, and those in other organizations that you work with including in other companies, those higher up in the organization including your boss and, of course, your customers. Whew! That’s quite a job. Moreover, each person is different and has a unique way of doing things. This fact constitutes one of the most fascinating, yet challenging, aspects of your knowing your stuff about them. Every single one thinks differently and may be motivated to action by different stimuli. Psychologist Carl Jung found that, faced with the exact same situation, each of us have our preferred ways of acting, decision-making, or getting a job done. The best way to get the job done depends largely on expertise. So everyone should strive to become expert at what they do. 2 Becoming an expert may be easier than you think When researchers investigated how long it took to become an expert in any field, they discovered that it generally took about five years. Of course, this probably varies somewhat depending on the field, and how you define expert. It took the filmmaker Steven Spielberg much longer – although the fact that his success came at an early age made it appear that it took much less time than it did. Steven Spielberg is arguably the most successful moviemaker of our time. Spielberg was only in his twenties when he directed the immensely successful movie Jaws. Spielberg didn’t stop with one big hit. This is the man who made science-fiction thrillers like Close Encounters of the Third Kind, sensitive movies like ET, adventure thrillers such as Raiders of the Lost Ark, serious movies including The Color Purple and Schindler’s List, and movies of spectacular technical effects such as Jurassic Park. How did Spielberg accomplish all this at such an early age? Parents with connections in the movie industry? Not quite. His father was an electrical and computer engineer; his mother a concert pianist. They got divorced when Spielberg was still in his teens shortly after they moved to California. Maybe Spielberg went to a great graduate film school like the University of Southern California (USC) in nearby Los Angeles? Then, he was hired right into a high-paying director’s job. Right? Wrong! In fact, Spielberg applied to USC twice. And, he got turned down twice. USC probably regrets that decision dearly today. No, Spielberg’s secret was that he took the time to become an expert at what he wanted to do. While only 12, he got his hands on an 8mm movie camera and began to turn out home movies starring relatives and friends. He decided right then on his life’s goal: he wanted to make movies. A year later, he won a prize for writing a fully scripted war movie. At the age of 16, he made a real 140-minute science-fiction movie. It cost $500. He persuaded a local cinema to run it as a favour. It must not have been a great movie because it only ran once. But that didn’t bother Spielberg, because he was gaining expertise along the way. While he was waiting to receive the second of two rejections from the USC film school, he was accepted at what was then California State College, Long Beach, and graduated in 1970 with a BA in English. Because of his determination, he was offered a small unpaid intern job at Universal Studios with the editing department. He later was allowed to make a short 26-minute film for theatrical release. At age 22, he borrowed $15,000 from a friend and made a short film. It won some awards and came to the attention of a vice-president of Universal Studios. That vice-president immediately recognized Spielberg’s talent and expertise. After watching the film, he hired Spielberg as a director on a seven-year contract. Spielberg had become an expert. He knew his stuff, and his many successes followed. 3. Learn from every experience, even failures During World War I, Winston Churchill was First Lord of the Admiralty and engineered the disastrous Gallipoli campaign because he believed it would outflank the German forces and end the war sooner. But it failed after a horrendous loss of life and Churchill resigned his safe civilian post, went into the Army and volunteered for frontline duty where the danger was the greatest. Everyone thought that it would permanently end his political career. But as you know if you watched the movie Darkest Hour, he became Prime Minister and he not only led the UK when it stood alone against Hitler early in World War II, he held things together until things could be turned around. Today many credit him with having saved everything, even Western civilization. It’s good to remember his words when you think your project will end in failure: “Success is not final, failure is not fatal: it is the courage to continue that counts.” 4. Never stop learning If you think that you have learned all you’ll ever need to know for your career, you’re making a big mistake – and I don’t care at what point you are in your career, a new hire, or the president. New ways of doing things are always being developed. Technology changes. The business environment is constantly changing and is usually different as you become involved with new companies, industries, or geographical areas. I remember hearing one new college graduate proclaiming: “I’ll never need to read another book again.” Boy was he wrong! Drucker learned that “a successful organization that continues to do what made it successful in the past will eventually fail” because of some kind of change. Change makes what an organization knew or did to achieve success in the past irrelevant or even wrong. And this goes for everything. So, you must learn to keep up with change. You must consider innovative approaches and new techniques with every task or project that you are assigned. It’s all part of knowing your stuff.

Scan the pages of any publication with regards to the state of art’s funding in recent years and the headlines paint a pretty grim picture. Arts Council England reported that: “According to the Institute for Fiscal Studies, there was a 20 percent reduction in spending by local authorities in England between 2009/10 and 2014/15.” With small independent venues closing at an alarming rate and pitiful streaming revenues putting a strain on artists’ ability to exist as just that, a culture has been created that makes it especially hard on regional scenes and non-mainstream music. In response to this exponential struggle, a new project has been conceived as a means to support innovative, genre-defying music. Outlands has developed a national experimental touring network that aims to tap into existing resources to promote diversity and improve accessibility to marginalised music. Outlands’ partners are comprised of music and visual arts organisations, creative producers, and independent venues across eight regions for the initial phase of the project. These partners will commission and tour six brand new productions over a two year period beginning in 2018. And they’re kicking off with a stunning line-up. Outlands’ inaugural tour features Matana Roberts & Kelly Jane Jones for a live collaboration. Perhaps best known for Coin Coin, her multi-album work-in-progress, Chicago’s experimental saxophonist Roberts has made some of the most powerful work of recent memory while Jones is a sound artist who has had commissions for Tate Modern and ICA London, as well as residencies at Arnolfini in Bristol UK and Kunstalle Bergen, Norway. The prospect of a collaboration between the two is an exciting one to say the least, and their disparate backgrounds reflect everything that the project stands for. Roberts’ perhaps best sums up the spirit of Outlands: “At my artistic core, I am firmly dedicated to creating a unique and very personal experiential body of sound work that speaks to, and reminds people of all walks of life to reach, stand up, give voice, regardless of difference, created from mere labels of intellectual classification. In my ideal world the idea of 'difference', is an illusion designed only for the purpose of modern economic division and elitist intellectual hierarchy. Through my life's work, I stand creatively in defiance.” In the spirit of inclusivity, the project will extend its reach from the traditional tour concept to include workshops, Q&As, and live rehearsals in an effort to open up the process of creating experimental music. As an often underground phenomenon, and given the current economic climate, the organisers hope to underline the importance of non-mainstream music to creating a diverse and rich cultural environment. John Stevens, from one of the projects partners Qu Junktions, Bristol explained what they are aiming to achieve: "The idea is that the tour will see them explore these meeting points almost in real time, their work together breathing and evolving over the course of the dates, starting with a three day residency at The Cube Cinema in Bristol that will serve as the jump-off for the collaboration.” As well as supporting artists, new work, and promoting an inclusive environment, the project also intends to tackle London’s cultural monopoly with the tour taking in a number of regional location to redress the imbalance towards the capital. Hedley Swain, Area Director, South East, Arts Council England, explained: “Outlands is a great project that will do just that for experimental music whilst also establishing a stronger touring infrastructure for the genre outside of London, and so we’re delighted to be able to support the De La Warr Pavilion and its partners through our National Lottery funded Strategic Touring Programme.” Further tours will also take place this year with Yunohana Variations: Robert Aiki Aubrey Lowe (Lichens), Susie Ibarra & Yoshimio (Boredoms, OOIOO) in June, and Raster Noton VS Drift in November. Projects like these act as the first line of resistance against a potentially myopic, monoculture and should be supported. The organisers have made that easier to do by capping the ticket prices for all shows in an effort to ensure they are widely accessible and they can be purchased here. And with a line up like that who would need further convincing? Tour dates for Outlands 2018 are as follows: Fri 4th May Bristol, Cube Cinema Weds 9th May London, Ghost Notes Thu 10th May Bexhill, De La Warr Pavilion Fri 11th May Cambridge, St Barnabas Church Sat 12th May Milton Keynes, MK Gallery Thu 17th May Plymouth, The House, Plymouth University Fri 18th May Birmingham, Centrala Gallery Sat 19th May Salford, Manchester, The Portico Sun 20th May Bradford, Fuse Gallery Tour commissioned by Outlands, produced by Qu Junktions and supported by Arts Council England and Esmée Fairbairn Foundation.

What’s all this then? So why do you need a club admin page containing things that you might normally find on the clubroom noticeboard then? Well, I once worked with someone who was a great pragmatist. On the wall of his office he had a quote (oh how I wish I could remember it word for word), the gist of which was this: Things have now become so complicated that it is impossible for ordinary folk to deal with things on their own, they must all cooperate or drown in a sea of bureaucracy. The surprising thing was that this gem wasn’t written in this century or the last, it was written some-when in the 1850s and is actually almost a direct quote from something found somewhere in classical Greek or Roman literature. Anyway, cutting back to the chase, we often get asked just how we deal with things like the road signs for the exhibition or data protection/child protection issues. To answer those questions we decided that we would publish useful things like this here so that others can plagiarise them for their own use. To begin with the list will be sparsely populated because there is simply too much going on, but it will grow over the coming months. Before we start, a comment directed at the sceptics as to why we are doing this. I was involved in a conversation at an exhibition where we were discussing the new child protection policy. When I said that we were actively developing a policy with our local CVS I was told that I was wasting my time, as were the people trying to work out a generic risk assessment for a model railway exhibition. The stock answer is this. - To do a risk assessment and get it right gets you a gold star. - To do a risk assessment and get it wrong only gets you a silver star but you can use it as a defence by saying that at least you tried but didn’t foresee a stupid fool doing that particular piece of stupidity – but only if you have written it down at the time you did it. - To not do a risk assessment – or to do one but not record it – gets you nought out of ten and a slapped wrist (or worse a prison sentence) when the board of inquiry sits. That’s why we are doing this, and we are setting out to put our house in order and we are happy to share our experience with the railway modelling community in the hope that in return you will share your experiences with us. Child and Vulnerable Adult Protection Policy Download a Child and Vulnerable Adult Protection Policy document Following a question by a member about child protection for which the club committee was unable to provide an answer the member found acceptable we approached our local Council for Voluntary Service, Fareham Community Action, for help in preparing a child protection policy. The PDF document behind the link on the left is the result. Our basic approach to Child Protection is simply to ask the parent or legal guardian to accompany, supervise and take responsibility for their child at all times whilst they participate in club activities. This may seem overly simplistic but it does comply with the spirit of the law and the fact that it is our “stated policy” means that it complies with the letter of the law as well. The alternative would have been to make every member of the club undergo a CRB check and the CVS took the attitude that to make a clean CRB disclosure a condition of membership would be a gross infringement of member’s human rights. They also pointed out to us that one logical extension of the “CRB Check everyone” approach would be to insist that anyone who went to a cinema at which there were unaccompanied miors must first produce a CRB certificate to the manager before they could be allowed in – clearly a stupid idea – thank God for pragmatism. Our advice to any any club who has not already done this is to approach your local Council for Voluntary Service and ask them to help you tailor a policy to meet your exact situation, and please feel free to download and print a copy of our policy to take with you. Exhibition Road Signs You may like to download the following documents: Main Plan for A27 and A32 South of Fareham Plan extension for A32 North of Fareham Standard letter sent to Highways Authority once the plans had been established. Ever since we started to seriously market our exhibitions at Fareham Community Centre we have had a reputation of being the show that it is impossible to find. Initially we had some “unofficial” road signs that we put out but the council would very often go round behind us and take them down. Clearly this is not an acceptable solution and we have even heard of one club locally who were threatened with court action for doing this. After lengthy discussion our solution was to formally approach our Highways Authority and ask them to consider the problem – see the initial paper in the left panel. After some verbal back and forth we lodged a plan with the Authority for signposting events at the Community Centre and thereafter we simply wrote requesting permission to signpost each year. After a couple of years we extended the scheme to include traffic approaching the show from the North and this too was accepted. Once the plans were accepted we simply wrote each year giving the dates, requesting permission and confirming that we would have the requisite insurance before the event. Download a Data Protection Policy document. When the Data Protection Act 1998 superceded the previous act, for the first time manual records were covered as well as computer records. Data has to be treated with respect and organisations should make a clear statement about how they will treat their member’s data. This is our version. It was taken from a model policy posted on the Information Commissioner’s website at the time the act was introduced, which no longer appears to be available for download. It is mandatory that we must give a statement to Police or government dept. if requested to do so by them to do with any illegal activity! this document is in need of cosmetic update to match the style of our other policy documents. Electrical Safety and Portable Appliances Testing Geoff and Elliott are qualified & PAT certified to test electrical equipment.

Introducing Emily Maye... Describe your work in 3 words? Quiet, Introspective, Cinematic Where did your interest in photography and sports start? I became interested in photography when I was about 15 and that was when I first started taking pictures. But my main passion was for films and I really loved cinema. I decided to pursue that and photography was always something I did casually. Then when I was about 21 I got my first digital camera. I would walk around NYC and take photos and whenever I was in other cities would use it as a way of exploring the city. I never had people in my shots. When I did finally make the leap to photographing people, I never went back. People are endlessly fascinating. I started out shooting ballet dancers. Then I was working on a screenplay I wanted to write about cycling and I decided to shoot some images for a moodboard for the script. That was the first time I had shot sports and it changed everything for me. After that I stopped writing and moved over to photography full time. You often work in an environment that is out of your control, how do you ensure you achieve your shots? I really love working like that because it feels like time is alive and there is activity going on that you have to grasp. I think the most important thing for me is having a bit of space to see. Engaging with the subject and building a little wall between you and the outside so that you can see the moments as they happen. You have to be prepared for anything. How does this differ from the way you shoot athletes on a more personal level? A lot of my work requires that the relationship I have to the subject allows some access or intimacy – you’re asking for them to let you in and show a side they don’t always show. When you’re on an advertising shoot you usually have a plan for what you are trying to achieve and you have to be open to happy accidents and moments where you could catch someone off guard in a beautiful way. On a lot of the more personal sports work I have done, I am immersed in the world of the athlete, following the teams from inside the bus and living with them while they’re training. That requires that you observe and develop a relationship with the person so that you can really see them and the candid moments of their lifestyle. For me, that’s where I truly shine I think, taking real moments and elevating them. Favourite shoot to date and why? Usain Bolt in Jamaica for Puma! It was such a great experience to shoot someone of his calibre in a subtle and documentary way. It was just us and I am really happy with the outcome of that shoot. Talk us through your creative process.. I have always used Canon and still do to this day. I have tried out a bunch of other cameras and that is still my preference. Though I have a Leica that I also enjoy using in the right moments. It’s less intrusive and really works well in the more quiet moments. Some of the brands that I work for – like Rapha and Tracksmith – really allow for the setup to be realistic even though the work is for an advertising brand. The guys really ride or run full out for the day and the emotional moments are really honest. It’s great when you can get a creative process that has truth to it and I look for those opportunities wherever possible. I’ve done more studio work recently but I love to use natural light whenever possible. It’s always a challenge and a blessing to work with. It adds another element that you get to play with, moving around your subject and straight into the light. When I am not out in the elements, good music is essential to the creative process. Whats next for you? It’s been a really busy summer and I have a few shoots lined up for the brands that I shoot for a lot. I just wrapped up a fashion shoot for Hillflint that I am excited about. I am hoping to get started on a personal project for film that I’ve wanted to do for awhile in the next few weeks. Lots of good things on the way. I’ve got my eye on a long term project that I would love to take to print. It feels like the right time to get that off the ground. Sports related, of course.

daredo – the future of media exploitation daredo implements new and innovative intermedia strategies for the contemporary exploitation of media content such as music, film, audiobooks, eBooks and apps. Our highly experienced media company is taking care for numerous independent artists, authors, producers, labels and rights-holders. We take care for numerous music artists and represent and market their recordings rights. At the same time, we also support producers, directors and actors to exploit their films. Exploitation of different media content: The complete marketing of movies includes TV broadcasting, physical distribution of DVDs and Blu-Rays, download and streaming exploitation and, of course cinema distribution, as full-length motion pictures are mainly produced for the movie theatres. And because of the daredo staff being cinema lovers, we want to pay tribute to this fact if it makes sense in relation to the specific movie. Starting with the release concept for a movie which includes detailed marketing plans, via budgeting and coordinating all promotion activities, up to checking all possibilities of distribution funding and organizing the delivery to cinemas, the whole process of releasing a film lies in one hand, and thus guarantees perfectly coordinated timing and the best possible marketing within the many exploitation possibilities that the movie business offers. The main difference between this concept of “intermedial marketing” and the currently applied approaches to commercial exploitation of media is not only the closer linkage between the different marketing possibilities including additional optional content such as soundtracks, making of documentaries, eBooks and/or apps – it rather starts at the very beginning with a special approach to the movie itself, and it ends after a development process with individual strategies, which have no restrictions by predetermined priorities in marketing whatsoever. In addition, daredo provides – besides various other technical services – a tool for the worldwide digital distribution of media content: its cutting-edge digital service provider system (DSP). For instance, every rights holder who distributes via daredo’s technical system gets access to the so-called Content Management Console (CMC), where he can easily and transparently view and manage all of his data. Even daily sales and streaming figures are visible, as long as they are provided by the respective portals. However, daredo has not only digital competence, but is also a physical distributor of movies on DVD and Blu-Ray, as well as of music on CDs and vinyl, may it be autonomously or via its international partner network. Our goal is to provide media content via all channels possible to give consumers the chance to buy or consume what they want anytime and everywhere. Exploitation of media content – anytime and everywhere: One of our unique selling propositions is the variety of daredo’s staff. The team constitutes of creative minds and marketing and distribution experts as well as of IT pros that have long-time practice and great knowledge in setting up interfaces and databases as well as in working out solutions for a great deal of assignments. In order to achieve the determined results, daredo provides individual and equitable access to all departments and disciplines. That makes sure that the artist’s creative work is not dominated by technology, but only that the most recent and state-of-the-art technology can be used at any time, in order to allow our customers to apply exactly the marketing tools they need.

Discover a new dimension to daily life Unlike traditional projectors, Xperia Touch does more than put on a show. It turns a flat wall, table or even your floor into an interactive screen3. With short-throw projection, Wi-Fi connection and state-of-the art touch functionality, this portable projector adds a whole new dimension to your home. See your living room as a cinema Watch your favourite video content on a screen as large as 80 inches. Stream directly from apps or connect to your devices. Sophisticated in function and form Xperia Touch manages the impossible. Its packed with state-of-the-art technologies yet impressively compact and elegant in design. Its lightweight and understated, to move seamlessly into any room of your home. This lightweight, compact body boasts top technologies miniaturised. Xperia Touch includes Sonys unique SXRD short throw projection unit and strategically-placed two-way stereo speakers for rich sound. Xperia Touch is made from the highest quality materials. The perforated metal finish feels premium and looks at home in the most design-conscious settings. Maximum functions. Minimalist design. Weve designed all the controls to lie flush with the body, so Xperia Touch acts hi-tech but still looks sleek. -Built-in display: N Ports & interfaces -HDMI ports quantity: 1 -DVI port: N -USB 2.0 ports quantity: 1 -HDMI connector type: Micro -USB 3.0 (3.1 Gen 1) Type-C ports quantity: 1 Weight & dimensions -Weight: 932 g -Width: 69 mm -Depth: 143 mm -Height: 134 mm -Power source: USB -Ethernet LAN: N -Wi-Fi standards: IEEE 802.11a,IEEE 802.11ac,

Athena Pallas Village in Nikiti spread over 3 floors, distributed across 7 buildings and has 173 rooms. The hotel is located 50 m from the pebble stone and sandy beach. The closest cities to the hotel are Nikiti (8 km) and Neos Marmaras (18 km). Other cities: Poligiros (38 km). To make your stay more comfortable shops, a kiosk, a lobby, a reception, air conditioning and a mini market are available. An entertainment program suited for children and a playground are available for young guests. The staff in this 3 storey hotel speaks Russian, German and English. Mobility on holiday is made easy through car and bike hire. 3 fresh water swimming pools, seasonally open with an integrated children's pool are available. Refreshing drinks are offered at the pool bar. Sunshades and sunbeds are available for an additional fee at the beach and free of charge at the pool. Distance from the hotel to: supermarkets (10 km), airport SKG (100 km), horse riding (10 km) and disco (10 km). The hotel is within easy reach of bus stops. For your entertainment the hotel features a TV lounge and cinema. Vehicles may be parked in the parking lot. Make yourself at home in one of the 175 guestrooms. Complimentary wireless Internet access is available to keep you connected. Bathrooms have bathtubs or showers and slippers. Conveniences include laptop-compatible safes and a turndown service, and housekeeping is provided daily. All-inclusive rates are available at this hotel. Meals and beverages at onsite dining establishments are included in all-inclusive rates. Charges may be applied for dining at some restaurants, special dinners and dishes, some beverages, and other amenities. Grab a bite to eat at one of the hotel's 5 restaurants, or stay in and take advantage of the 24-hour room service. Snacks are also available at the coffee shop/café. Wind down with a drink at one of the 5 bars/lounges or 2 poolside bars. A complimentary buffet breakfast is served daily from 7 AM to 10:30 AM. Distances are displayed to the nearest 0.1 mile and kilometer. Spathies Beach - 0.9 km / 0.5 mi Kalogria Beach - 1.8 km / 1.1 mi Lagomandra Beach - 3.9 km / 2.4 mi Agios Ioannis Beach - 4.7 km / 2.9 mi Nikiti Beach - 7 km / 4.3 mi Port of Nikiti - 10.3 km / 6.4 mi Paschalakio Cultural Center - 11 km / 6.8 mi Ormos Panagias Fish Market - 12.3 km / 7.7 mi Trani Ammouda - 12.7 km / 7.9 mi Porfi Beach - 13 km / 8.1 mi Talgo Beach - 14.3 km / 8.9 mi Porto Carras Beach - 16.1 km / 10 mi Karydi Beach - 22.5 km / 14 mi Monastery of the Annunciation of Theotokos - 22.8 km / 14.2 mi Kortiri Beach - 22.9 km / 14.2 mi The preferred airport for Acrotel Athena Pallas Village is Thessaloniki (SKG-Macedonia) - 96.9 km / 60.2 mi Overnight Stay Tax, charged per night, per room. The amounts are detailed below and are to be paid directly to the hotel upon check-in: 5 Star: €4.00 4 Star: €3.00 3 Star: €1.50 1-2 Stars: €0.50 4 Keys: €1.00 3 Keys: €0.50 1-2 Keys: €0.25

Goodman Gallery Cape Town 25 June – 24 August 2019 The Wretched of the Screen seeks to engage in methods for documenting and counteracting the politics of the screen. Taking its title from the Hito Steyerl text of the same name, the exhibition explores Steyerl’s proposition that contemporary coherent political projects are fragmented and displaced by their transference onto screens. Television has the ability to inform, distort, construct and define perceptions; the impact of mainstream media production can be easily underestimated, however, its consumption has a wide-ranging impact on politics, both personal and global. The ways in which bodies, identities and places are depicted on screen filter into ‘objective’ reality, allowing for the biases, misconceptions and outward prejudice of media producers to pervade daily life, and to lock in place pernicious stereotypes. Mikhael Subtozky and Patrick Waterhouse’s From Televisions, Ponte City, Johannesburg (2008 – 2010) documents the television screens of each apartment in Ponte City — the building so known for criminal activities that it had earned an almost mythological notoriety in Johannesburg. This grid of ‘screens’ form a panopticon allowing a view into the daily lives of the residents, whose numbers had been nearly halved by evictions shortly before Subotzky and Waterhouse began documenting the building. The pair’s project engaged with the myths about Ponte City, but also worked hard to dispel them; the television screen are a domestic detail which create a relatable perception of the people who live there. The nature of media-driven perception comes under scrutiny in Hasan and Husain Essops’ Freedom Fighters. The twin brothers collaborate in a practice that celebrates their religion while working to decode and destabilise negative perceptions of Islam. Here, they pose as Jihadists in training: a searing indictment of the media’s persistent association between their religion and terrorism, seen not just in fictional entertainment but also in the news. The cinematic framing of the image cements the criticism; within each screen, a construct, that imbues itself with perceived authenticity by its mere existence and our access to it. Where the Essops point to the blatancy of Islamophobia on our screens, Thabiso Sekgala evidences residue of a no less pervasive stereotype in Untitled, Wendat, Amman: an array of mannequins including a female figure with unrealistically large breasts and a chiseled male torso. The figures loom as a hyperreal marker of a gaze that subjects bodies to often damaging expectations. The media has long been criticised for its proliferation of images that idealise specific body types and skin colours, this image captures an endpoint of damaging body representation, an almost comical distortion that still has the potential to degrade self-worth. In the SABC Minimal series, Candice Breitz explores the backstages of the South African Broadcasting Corporation, an institution which, despite transformation, bears the weight of its role in the country’s history, namely serving as the mouthpiece for the oppressive National Party during the long years of apartheid. Renewed criticism for the SABC and its relationship with the current ruling party, the African National Congress (ANC), including allegations of blatant corruption, reinvigorate Breitz’ examination of the institution; subdued still lives that now seem to speak to degradation and obsolescence. Hank Willis Thomas and Kambu Olujimi’s film Winter In America recreates the murder of the artist’s cousin, Songha Willis, in a robbery on 2 February 2000, outside a Philadelphia club. Employing stop-motion animation with G.I. Joes, action figures that the cousins played with as children, the futile slaying is depicted cinematically. The haunting repetition of the Nike slogan ‘Just Do It’, here an instruction to kill, speaks to Thomas’ long-standing investigations into advertising’s consumption of the African American body, which is here left bleeding in the snow. Ultimately, Winter in America is a broad criticism of a country that exploits specific groups and leaves them vulnerable, and how screens are used to maintain the system of control. Thabiso Sekgala (b. 1981 in Johannesburg, South Africa) was a photographer whose work explored themes of abandonment, memory, spatial politics and concept of home. ‘In photography I am inspired by looking at human experience whether lived or imagined,’ Sekgala once expressed. ‘Images capture our history and who we are, our presence and absence. Growing up in both rural and urban South Africa influences my work. The dualities of these both environments inform the stories I am telling through my photographs, by engaging issues around land, peoples’ movement, identity and the notion of home.’ Sekgala held solo exhibitions in South Africa and Europe and exhibited in group shows internationally, including Les Rencontres D’Arles, LagosPhoto Festival and Bamako Biennale. In 2013 he had residencies in both the Kunsterhaus Bethanien, Berlin, and at HIWAR/Durant Al Funun, Jordan. He studied at Johannesburg’s Market Photo Workshop from 2007 to 2008 and was awarded the Tierney Fellowship in 2010. Sekgala died in Johannesburg in 2014. Candice Breitz (b. 1972, Johannesburg, South Africa) is an artist whose moving image installations have been shown internationally. Throughout her career, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community, be that community the immediate community that one encounters in family, or the real and imagined communities that are shaped not only by questions of national belonging, race, gender and religion, but also by the increasingly undeniable influence of mainstream media such as television, cinema and popular culture. Most recently, Breitz’s work has focused on the conditions under which empathy is produced, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real world adversity. Solo exhibitions of Breitz’s work have been hosted by the Kunstmuseum Stuttgart, National Gallery of Canada (Ottawa), San Francisco Museum of Modern Art, Kunsthaus Bregenz, Palais de Tokyo (Paris), The Power Plant (Toronto), Louisiana Museum of Modern Art (Humlebæk), Modern Art Oxford, De Appel Foundation (Amsterdam), Baltic Centre for Contemporary Art (Gateshead), MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), Moderna Museet (Stockholm), Castello di Rivoli (Turin), Pinchuk Art Centre (Kyiv), Centre d’Art Contemporain Genève, Bawag Foundation (Vienna), Temporäre Kunsthalle Berlin, White Cube (London), MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain), Wexner Center for the Arts (Ohio), O.K Center for Contemporary Art Upper Austria (Linz), ACMI / The Australian Centre for the Moving Image (Melbourne), Collection Lambert en Avignon, FACT / Foundation for Art & Creative Technology (Liverpool), Blaffer Art Museum (Houston) and the South African National Gallery (Cape Town). Selected group exhibitions include South Africa: the art of a nation (British Museum, London, 2016), Laughing in a Foreign Language (The Hayward, London, 2008), The Cinema Effect (Hirshhorn Museum + Sculpture Garden, Washington, D.C., 2008), Made in Germany (Kunstverein Hannover, 2007), Superstars (Kunsthalle Wien, 2005), CUT: Film as Found Object (Museum of Contemporary Art, North Miami, 2004), Continuity + Transgression (National Museum of Modern Art, Tokyo, 2002), Thank You for the Music (Kiasma Museum of Modern Art, Helsinki, 2012), Rollenbilder – Rollenspiele (Museum der Moderne Salzburg, 2011), Performa (New York, 2009), Contemporary Outlook: Seeing Songs (Museum of Fine Arts, Boston, 2009), Remix: Contemporary Art and Pop (Tate Liverpool, 2002) and Looking at You (Museum Fridericianum, Kassel, 2001). Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005, 2017), New Orleans (2008), Göteborg (2003 + 2009), Singapore (2011) and Dakar (2014). Her work has been featured at the Sundance Film Festival (New Frontier, 2009) and the Toronto International Film Festival (David Cronenberg: Transformation, 2013). Her work has been acquired by museums including the Museum of Modern Art,the Solomon R. Guggenheim Museum, the Jewish Museum (in New York), Louisiana Museum of Modern Art (Humlebæk), San Francisco Museum of Modern Art, the National Gallery of Canada (Ottawa), Städtische Galerie im Lenbachhaus (Munich), Art Gallery of Ontario (Toronto), FNAC / Fonds national d’art contemporain (France), Castello di Rivoli (Turin), Hamburger Kunsthalle (Hamburg), M+ / Museum of Visual Culture (Hong Kong), Milwaukee Art Museum, Kunstmuseum St. Gallen, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), MUSAC / Museo de Arte Contemporáneo de Castilla y León (León, Spain), Kunstmuseum Lichtenstein (Vaduz), MONA / Museum of Old and New Art (Tasmania), QAG GOMA / Queensland Art Gallery (Brisbane), Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). Breitz holds degrees from the University of the Witwatersrand (Johannesburg), the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s Le Pavillon residency as a visiting artist during the year 2005-2006. She has been a tenured professor at the Hochschule für Bildende Künste in Braunschweig since 2007. Candice Breitz lives and works between Cape Town, South Africa and Berlin, Germany. Recent work can be viewed at: http://vimeo.com/album/259786 Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a series of important international exhibitions, including most recently Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in the fall of 2020. Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), and the South African National Gallery, among others. Subotzky’s work was included in the Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015). HANK WILLIS THOMAS is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. His work has been exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. Hasan and Husain Essop (b. 1985, Cape Town) have been collaborating since their graduation from the Michaelis School of Fine Arts at the University of Cape Town in 2008. In 2010 they travelled to Cuba to produce a body of work as part of the tenth Havana Biennial, under the theme ‘Integration and resistance in the global age’. In 2011 they completed a 3-month residency at the prestigious Thami Mnyele Foundation in Amsterdam. They have participated in several major group exhibitions – including Figures and Fictions: Contemporary South African Photography at the V&A Museum in London in 2011, and South: Contemporary Art from Australia, Mexico & South Africa at the Hazelhurst Regional Gallery in Sydney in 2014 – and they have held solo exhibitions in Johannesburg, Cape Town and Dubai. In 2014 they received the Standard Bank Young Artist Award for Visual Art, and presented a new body of work at the Grahamstown National Arts Festival titled Unrest. The exhibition addresses the notion of global unrest through the particular lens of young Muslims living in Cape Town, and features the brothers’ characteristic large-scale photographic prints, as well as sculptural installations and multimedia works. The exhibition has since been shown in five cities across South Africa, and at the Gallery Isabelle van den Eynde in Dubai.

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Design Notes 05: Mitch Paone, Principle at Dia Studio DIA Principle and Creative Director Mitch Paone on the parallels between jazz and design practice In the fifth episode, Liam speaks with Mitch Paone, Principle and Creative Director at DIA Studio, about creating a jazz solo out of the creative process, using a beginner’s mindset to unlock new possibilities in design, and the difference between intuitive and analytical creativity. Liam Spradlin: Mitch, thank you for joining me. Mitch Paone: Thank you very much. Liam: To get started, like always, I want to ask about your journey. So both what you’re doing now and also what your journey was like to get there? Mitch: The journey’s been a very, I think, multi-faceted one, and a lot of different interests, and I think people know me quite well — a ton of energy and the kind of directions that I want to pursue things in. But obviously my creative path and creative mission came out of some influences when I younger, and particularly my interest in music, and in jazz, and then also in visual arts. At quite a young age, you know, I was… started playing piano at four years old and was taking lessons all the way up until high school. And then at that point I discovered some jazz records of Herbie Hancock and John Coltrane and you know, some of these masters. And at that point I realized, you know, this is what I want to pursue musically. And then simultaneously once I decided I wanted to really, really take that seriously, I was, you know — visual arts and design were actually very interesting as well. Like Fillmore posters and, you know, skateboard magazines, and graffiti, and all this stuff when I was younger, was very engaging visually. So I was taking art classes in school as well. So I had this kind of dual path, so to speak, happening. And I think in a way is kind of a luxury for me, to know right away that those felt good at such a young age. So as time went on, I ended up going to school in Loyola University of New Orleans. Out of some circumstance, there was really no school that would allow me to study jazz performance and graphic design at the same time, because they’re… they’re usually in separate schools within the university. And that was only one that allowed that. And their programs in both of these studies were really incredible. The city has a tremendous culture and you feel this depth of humanity, and the people there are so powerful and interesting. And there’s some like unguarded nature about that city that really is touching, like deep down. And that really I think, was quite inspiring. And then I was like, “Well, naturally I should go into motion graphics.” So really the first half of my career was spent working at, you know, amazing motion graphic firms like, you know, Brand New School, Psyop, LOGAN, I can just run out a big list of these things. A lot of the people and creative directors that I, you know, worked with there had a profound effect on how I thought about design and… and really expressed that. So that was kind of the journey that got me into this 1.0 of my particular design career. I had the luxury of freelancing a lot through like the late 2000’s, and cherry picked all of the things I liked at different studios and thought about them, and… and I think really the big thing that I pulled out of that, besides the craftsmanship and the work, was how to deal and work with people. If I were to run a studio, how do I create an environment that I can foster the best possible work that I can do, and then make people feel really good about that? And then I think DIA as it is today, is really a product of that kind of thinking, and merging all these experiences together. I had a really serious interest in typography, you know, editorial design throughout that whole period with my career, but working in film and motion graphics, you don’t deal with that kind of side, it’s really illustrative and using a lot visual effects and film techniques. So the type kind of plays a back seat in the creativity in that area. So a good friend of mine, his name’s Ludovic Balland, and actually recently this young woman designer named Giliane Cachin, both from Switzerland, had a huge effect in teaching myself typography. And then just generally interested in that culture and, you know, Müller-Brockmann and the studios like NORM and [Gilles Gavillet] and all these different designers. Like that work was so compelling from a typographic standpoint, but it didn’t deal with this motion or kinetic nature. It was very much like rigid, you know, type, print, editorial books. Here in America, we’re dealing with like marketing, and we’re dealing with screens and commercials, like it’s pretty standard for us. Where in Switzerland and Germany and a lot of the European countries, it’s not really part of the output. This was a problem that I was like, “This is what I want to solve. This kind of brings it together. I can be in the moment with my music background, but I can bring my typographic interests into it.” And I think that kind of leads us into where we are now. Liam: As I was looking through some of DIA’s work, I came across a phrase that I was not familiar with. Kinetic brand experience, that’s something that DIA kind of like specializes in, and you produce these really amazing kind of pieces that are at that intersection of typography and motion. So I want to explore, first of all, just what is a kinetic brand experience? Mitch: So, it’s kind of interesting in… you know, it feels like a new idea, but it really isn’t. And… and there’s this idea of futurism in the work, and it’s funny because we’ve done interviews and lectures in the past, and they’ve labeled us as a futurist, which I didn’t really think about at the time. But I don’t know if you’re familiar with the artistic movement, like let’s get rid of all the politics because we’re not violent, and we’re not gonna get rid of nostalgic and tradition stuff, but the idea of using new technology and new tools to create dynamic work that’s moving and capturing time, that is very interesting. Like, talking about a little bit what I said about the idea of taking this Swiss typographic, or the Dutch typographic design cultures and bringing that into an area where we’re going to be interacting with it. So it was like, this has to happen. This wasn’t even a matter of interest. It was like, “We work on screens, let’s take advantage of the experience. We’re going through our Instagram, there’s however many followers. How do we create that experience super engaging with that short attention span, if anybody is going through it?” And then if you think about the parameters of a design system, like the possibilities of creating something that feels constantly changing and different, but have a consistent voice is like, to me, a powerful thought as far as how we deal with design systems. Not to be hard on modernism, it’s not, “this is the logo, this is the grid system that’s very strict.” Once you hand that over to a brand team, it almost becomes oppressive. It’s like, you have to abide by this brand guidelines exactly. Where if… if you’re dealing with an idea of evolution and kinesis and dynamism, like it’s exciting because you can… you can kind of create tools that allow continued exploration and evolution in the work that is more supportive in… in a way, than it is kind of just, “Okay, here’s the guidelines you execute.” Liam: Yeah. I’m interested in the execution of that. So, I’ve seen in some of your work, you have generative identity, or things that supersede parametry, and become these really unique things depending on the application. So I’m wondering like, what are the components of that, and what are the rules? Mitch: So to be able to work in this capacity, it goes back to learning new things. So we need to be working in the software, or the programs, or thinking about stuff in a way that isn’t traditional. So we start with those tools, whether it’s After Effects, Cinema 4D processing, like I could just rattle off. But if I’m working in a time-based format to create the work out the gate, then you’re basically setting it up that, you know, if I push play in frame five, frame six, frame seven, frame eight, like, they’re gonna be different, they’re gonna be unique. We think about time and animation in a way that it actually is no different than scale, form, repetition, you know, any kind of design concept. So we’re just layering in basically film principles in a way, and pulling that into the design process. And you know, you can set rules. So this is the keyframe expression, this is the frame rate we’re going to use, these are the typefaces, this is the layout. And then you kind of create, you know, a generative system to apply that, and then the work executes consistently, but it feels like it’s moving or evolving. It’s a bit of like flipping the design process on its head. So like, new designers get onboarded to our team, there’s always a tendency like, “Oh, we all work in InDesign, you know, we’re setting type.” It’s like the first thing that we do, it’s like, “Get out of InDesign. That is the last place we’re going. That’s when we get into presentation mode, and we’re gonna polish work.” Like we do care about typographic detail, like it’s absolutely insane about all that little stuff, but for us to get through these concepts and exploration ideas, we have to be using stuff that makes us uncomfortable to use, that we don’t know that well. And that’s kind of where the surprises happen. We don’t have control over it as much, so it’s just like you know, “Wow, that’s interesting. Let’s see what happens there. Oh, let’s try this, let’s try that.” It’s not like controlled, specific direction. It’s really freeing to allow the software or process, kind of take a life of its own. Liam: I want to go back to that intersection of type and motion, and ask how both of those elements interplay with one another to create an identity? Mitch: Typeface is an identity, like period. Like that… If you look at, you know Google’s identity or any identity really, the one thing that you’re going to interact with the most content wise, is the text. So illustrations are cool, graphic elements are cool, that’s just layers of other things to add to it. But if we can solve the problem within the type itself, that’s really difficult to do, to create strong expression there. So we know that nuance and subtle detail there. And what’s crazy about that is that trains your eye to be so dialed in to these details, and then you can do things and play with things, and make intentional mistakes that create personality with that. So then you layer in this idea of bringing this generative work, or animated work within that, then it gets more wild. This is when the jazz comes in. It’s like, “Okay, we have this typeface that works out, let’s see what happens when we do this, this, and this, and just hit play, or execute, or debug, or whatever you want to call it in the application.” And then sometimes it comes out totally disaster, but then you get surprises. And then you allow this kind of iterative process to produce so much work and you can kind of see it. And all it is, is just affecting type in a certain way, and applying like specific parameters to it, and that generates a specific aesthetic out of it. So with that, while they’re very specific and not very many elements at all, you create a very powerful, expressive identity with very little material. Like, “Hey, let’s just slant things at 45 degrees and execute and see what happens.” Boom, you have this thing that you could print, repeat in different formats. And anything you want to do to make it interactive, make it animate, you can put it to print and it feels like it has this movement to it. Liam: So I’m interested in the relative contributions that the motion and the type make to the finished composition. So would you say that applying the motion to this very finessed, and structured, and produced typeface amplifies its aesthetic and identity, or would you say that there’s like a unique contribution coming from the motion that creates something new? Mitch: You know, this is like a really hot topic I think for what we talk about in the studio, because it can destroy it and make it bad, or it can be really a tremendous asset. The key is that motion, animation, film, all these like multi silos that you’re bringing together in the work, can’t be an afterthought. I think there is a kind of an… an urge to just, “Hey, let’s animate this logo,” or like, “Let’s make this move,” but like you’ve already figured out design system. That’s when it’s detrimental to the work because it becomes an afterthought, but if you fuse design, and interactivity, and generative work right out the gate, and treat them on the same playing field as type and graphic design, then you have set it up in a way that it’s going to be more powerful. Because you can… you can explain conceptually why we use this kind of animation and then you got formal things that come out of that process that, you know, in way we’re actually animating and doing generative work and bringing it into print, so it’s opposite. It’s tricky because I think the issue with that, it requires designers. And I think on our team specifically, we have to learn this stuff really well to be able to apply it on the same level as our design craft. And then the people that are interested in exploring this work, there’s a learning curve. Like, and it can be a very intimidating learning curve. Like, if someone’s opened up After Effects for the first time, they’re going to be like, “Whoa, this is a really difficult program.” Developing a creative process that allows you to take the intimidation out of learning new tools is, you know, because that’s where the learning and the growth is fostered to get there. So eventually you have this toolkit where you can design, animate, generate, all at the same time and it’s all the same thing. And that’s… that’s like the utopia really, but that’s, you know, where we would want to be, um, with our team. And anybody on our team really can just move seamlessly into different mediums and places. Hop behind a camera, hop behind Cinema 4D, it doesn’t matter. We’re all just doing work to try define an idea or a concept. Liam: Do you worry about becoming comfortable with the tools? Mitch: I think as soon as you’re comfortable with the tools, get out and try something else. Uncomfortable is good. The beauty of being uncomfortable, and we’ve had problems with this with designers. They’ll come in and I’m like, “Listen, you’re not going to even open up InDesign for like a week.” And then for someone who’s maybe has some insecurity possibly in the work, that’s really difficult to deal with. I mean I’m not doing this to be like difficult, you need to try this, but this is actually a personal lesson of, once you dive into something new and you realize you’re terrible at it, and like I do this daily, that’s humbling. It’s like, “Oh my God, I really suck at this.” And then you’re like, “Wow, I’m not like this great designer anymore, I’m just a disaster.” So what’s special about this is, it brings you back to earth. It’s like this process of like, “Oh, I think we’re feeling good about work,” and then, “Oh my God, I don’t know what I’m doing.” And then I’m like… I’m grounded immediately. And I think above doing great work, that’s as important. Mitch: Just to be a constant student. Liam: So in some ways it’s about resetting and bringing yourself back to that first level- Liam: … on a new project. Mitch: This might be cheesy, like you want to become like a baby again, like every other day, like and just be in this goofy world land where you don’t understand anything, and it’s beautiful. That’s what’s really cool about it. It’s like, “Wow, the possibilities are amazing.” And then you’re like, you learn something and you think it’s great and then you realize, “Oh, I need to actually really, day-by-day set a routine to practice and refine.” And I… To pull the music discussion back in on this, to study piano and play jazz piano and improvise, there’s no shortcuts here. Any musician will tell you this takes rigorous, ritual practice to be able to do this. Like boring scales, dah, dah, dah, dah, dah, dah, dah, dah, dah, dah, dah, dah, dah, over and over and over again. But 5, 6, 7, 10, 20 years of that daily routine, and then you’re able to execute work… or execute in your performance in a way where that just… that’s your vocabulary. It’s just like speaking, we can use words to express certain emotions and things. So why don’t we apply the same kind of rigorous learning process to design tools? You know, After Effects is a piano, um, Cinema 4D is the drums. You know like, okay let’s think about it like that. So we’ll sit there and just hammer out like the basics and just work it and refine, and then all of a sudden that becomes just a language and how we discuss things. Liam: I think in some ways there might even be an advantage of continual discomfort with software, in that, like the way that piano keys are organized has not changed in quite a while, but something like the Adobe Suite or Cinema 4D, like you get an update- Liam: …when there are new features. Mitch: I think the beauty of the piano keys and the rigid nature of that, the artistic detail in that specific… and music really, comes through the really nuanced, subtle expressions. You know, yeah we have scales and chords, a very classical way of thinking things that are structured like this. But in jazz, like I can play light, I can play soft, I can play in between, I can play staccato, I can play legato. Like, all of this expressive theory comes into the work. You can never master it, there’s always something new and something different you can apply melodically, or harmonically, or within the expression of that that allows a musician to really be a constant student as well. And I think if we take that back into the design process, that’s where you get really interesting results. Like, you look at ways of being unorthodox about using things. Liam: Yeah those, uh, subtle nuances of the way that you interact with one given tool. Do you think that those… like the way that you interact with these tools, does that reflect back into your work as well? Mitch: I think there’s definitely this nature of being very improvisational. You know like, allowing unexpected things to happen is… what’s produced, I think, some of the favorite work that we’ve done lately. Unfortunately, a lot of the stuff we haven’t even released on the site or anything. But that I think, for any designer, is exciting. Like, in… I had a really good experience just last week and I was telling you earlier that I did a creative workshop in Moscow with this… a group called the United Notions. And it was in tandem with Hey Studio out of Barcelona and Mime Design out of London. So we all kind of worked together to create this program for these students, and it was the first time that I’ve done a workshop dealing with this subject matter. And it was probably one of like, the most like heart touching experiences I’ve had. To see, when you take a student out of their comfort zone and put them in a tool or like an instrument that they have to create that’s totally different, but then you… All of a sudden, it was just like the brain was like, “Aha, oh my God, I can try this, I can do that. Oh my Gosh.” And once you get into this flow of creativity, you know, you basically allowed yourself to just create anything. And you’ve kind of removed your critical self out of the creative process in a way, and then it becomes like just generate ideas, and get excited about it, and just get it out, get it out, get it out. Like a project that we’re on creative development on, we could have four or five hundred different things to look at in one day, because we’re not worried about like, “Oh, this has to look good, this has to be like this.” It’s like, “No, let’s surprise ourselves. Let’s come back the next day and then …” And then you’re like, “Whoa, that’s interesting, let’s go there.” So you’ve totally removed yourself and it becomes this collaborative generation of improv, that guides the work in a way. And then we back it in when it’s time to like, present. We’re like, “Okay, we need to get focused here, and bring things home.” Liam: I want to touch on that too. The, um, notion of learning to improvise, or learning to create something that feels very dynamic and on the fly, but actually takes a lot expertise. And so something that I’ve seen you talk about is this idea of analytical versus intuitive creation. So first, what are those conceptually? Mitch: Designers, I think we know how to make things look good at the very base level. Forget ideas, forget concepts, forget the content and meat, we can execute something that looks pretty. And I’m kind of saying this in a cynical way. So that to me is our brains getting in the way of being analytical. It’s like, “Oh yeah, let’s just you know, kern the type and set the leading just right, and create this kind of sterile thing that looks good and it’s pretty and people will accept.” But I think what the problem with that is, is that it’s familiar to people. Like when you present work like this, and it seems to carry this, “Oh, I’ve seen that, that’s fine. It’s good, you know. It’s easy to digest,” because it doesn’t challenge yourself creatively, you haven’t put yourself out of the comfort zone. And you’re definitely not putting your viewer or their audience out of the comfort zone. And I’m not saying we have to do this in a provocative way, but intuition… It’s really easy to talk about this in the jazz context, because when you’re performing and playing a solo, you’re deciding those notes right there, in time, and you’re going to make mistakes and do whatever you want. But I think the beauty of understanding jazz improvisation, is that no one knows you’re making a mistake if you play things with like a level of conviction. Like, “I’m gonna go for this, and I’m just gonna try to own it. And I’m gonna screw it up, but I’m just gonna roll with it and just keep playing through it. And no one in the audience is gonna know that.” You know that you totally missed the chord. So let’s do the same thing, like in design. We’ll establish a very structured process that gets you to the point where you can just create this flow. And this gets into, I think a deeper personal level of understanding yourself, what you like, and your tastes, and who you are, and what makes you tick. And I think… There is a bit of self discovery to get to a point where you can say, “I’m gonna remove my critical self out of the process and just make stuff and be free.” That really is the process that we’re going for, that’s the aim. And then on top of that, it’s like, “Hey, let’s trade art boards. I’m gonna take your ideas and do the same thing again. And then let’s switch it back.” It’s about as democratic as it gets. We share, we make. You know you’re gonna run into a limit of, “Okay, I can’t do anymore,” and then it’s like, “I’ll take that and see what happens.” So basically what I’m saying, is that I’m creating like a jazz solo out of the creative process. So, say you record your jazz song that you played live at the bar, or you’re recording your whole process of the design that you created, the next day put it on the wall, throw it on the floor, put it on the screen, it doesn’t matter. Then you can look, and refine, and see things that are interesting, or find mistakes, or something that we can kind of improve on. But I think what’s really special is, everybody on the team’s like, “Oh, that one. Whoa, that one.” And it’s not like, “Oh, I created that one. That’s my idea. This is the one we should go through.” We don’t care about that anymore. It’s like, that feels super good. It kind of goes, mmm. And then you grab those kind of soulful pieces of design that have a special nature to them, and then that… Then we do the same again, let’s work on that, refine that, let’s kind of produce more in that. So I think the goal with this sort of process, is that if we’re getting these reactions collectively, the clients gonna have the same thing. Their audience is gonna have the same thing. We’re gonna present work and it’s gonna be like, “Oh, it made me feel something. It feels weird. I have a little bit of gap before I know why I feel weird about it.” And I think that’s really, really interesting, and I think to really connect with people in a way, that’s where we try to push things. And I mean this is difficult to present work like this, because the clients like, “I don’t know what that is. I don’t understand this.” And I like to create the analogy, if you like listen to a song, it’s one of your favorites and you know it really well, you can sing the lyrics to it, and then you have a new song that just came on the radio by the same band, or same musician, and you’re like, “Man, I don’t… I don’t know if like this, but there’s something about it that brings me back over and over again.” You know this unfamiliarity. It’s different, it’s like, “Oh, I don’t know.” But then like five months of listening to that, that becomes your favorite song. The one that you liked is kind of boring. Why not approach that for branding projects, or an identity? Like why don’t we do this for our clients and their audience? Why don’t we just go for this? Liam: I think the analogy to old and new songs is really good as well, because that suggests that like a dynamic and generative approach to things like identity and design projects, actually works against that. It means that the song is always new, it’s always unfamiliar. Mitch: So part of my ritual, every day I play 30 minutes to an hour of music scales, then I perform a song, then I want to practice. Every time I played, that song has been different. It’s been faster, it’s been slower, it’s been with like a groove, it’s been with a swing beat. So then you… you can switch it and change, but what’s beautiful about this, if you know the song, regardless of how I play it, the melody is there, the structure is there, and that is a parameter that defines an identity to music, that also defines parameters in design. And what I really like about that, is that it is not restrictive. It’s… you can create a huge identity that has this inner kind of connective web of rhythmic changes and colors and stuff, but people all know it’s part of the same thing. Liam: So your studio works on these like super contemporary techniques to create these things, and your studio’s been described as futurist. So I want to wrap up by asking like, where do you see your creative process going in the actual future? Mitch: (laughs) I think it’s funny the fact you wake up and think of yourself of a baby seeing the day as a new way, or new ideas are coming. Like if we keep this kind of lively humanity within the studio, we’ll be able to kind of receive new technology and new thinking as we move forward. So that’ll continue to progress. And I think we’re gonna constantly think about new tools and new directions. And I think, how do we evolve these ideas into different ways? If we start working in different mediums, if… Say we start working in film more again, or like different creative ways to bring this stuff together in the work, I think that’ll be continuous. But the thing that I’ve felt as a creative person, is… more important than doing great client work, is the connections we make with the people, the team members. I think creating a studio environment where you have dedicated a day, or a few hours a day, where you’re experimenting and learning and trying new things, and working together, that’s gonna keep us fresh and new. We’re gonna look back at our work two or three years ago, and think it’s ridiculously terrible. It’s not going to flat line. So personally you get the… the evolution, but I want to share this with people. I want to go to the universities and schools, and luckily have some opportunities coming up that I get to do that, so. That I want to like make sure is a very big part of our studio’s kind of process. Liam: Thank you again for joining me. Mitch: Cool. Thank you.

Anirban Bhattacharya (Bijoy Poddar): For me, the one word that defines the film is ‘vengeance’, with Srijit-da’s tadka. Here it begins with something as innocuous as a make-up artist telling his story before you have this ‘sicko’ gate-crashing into the narrative, infusing it with the kind of mindless violence we see around us. Ritwick Chakraborty (Adi Bose): I agree with Anirban about the violence – to the general perception it may seem like vengeance but what my character is engaging in is out-and-out violence, which engulfs everyone in the film. It touches upon aspects of what people liked about the early Srijit films – the quirkiness that is his USP. Anirban: Yes, the edginess … I play a conventional cop … But the way Srijit writes the character is what makes it stand out. No one does the ‘swag’ better than him when it comes to defining a character, his dialogues – he introduced that to Bangla cinema. Here, the one contribution I made to the character is giving him the paan to chew – I think it goes very well with the swag. Ritwick Chakraborty: The swag Anirban mentions is very much part of Adi too. My character calls himself a ‘serial lawyer’, which will give you an idea that he is not all there (points to his head). He ingeniously uses the law in selecting his victims – it is the law that dictates his actions. There’s no ready-made model for a character like this, which gave me a lot of freedom to improvise. For some reason, directors approach me for such ‘abnormal’ characters (laughs) – Srijit too did that with Nirbaak. But Srijit never repeats himself … even as a thriller, this is different from Baishey Shrabon and Chotushkone… Srijit Mukherji: Yes, after Baishey I had many offers to make ‘Teishey’, ‘Chchobishe’ … right to the end of the month. Similarly, after Chotushkone, there was a clamour for pentagon, hexagon … but you know how we Bengalis love to go to a different place every year for the pujas, I decided to go to a thriller this time… Sohini Sarkar (Jaya): Whatever the others say about this film, for me Vinci Da is a love story. Sohini: It is … here is this simple girl who does not amount to anything in her life … all of us are good at something, someone is a good journalist, others can sing well, Jaya literally can do nothing well … she defines ‘ordinary’ … and to top it all she stammers … For Jaya, life begins and ends with love – that’s the only thing she is probably good at. Riddhi Sen: Well, since my role has been described as the film’s ‘surprise package’, obviously I cannot give away why I am in it and in what capacity – except to say, irrespective of the length of the role, I feel that every actor should get to do at least one such scene in his lifetime. Srijit: In cricketing terms, he is the pinch-hitter… Sohini: When I saw the trailer, I was like, ‘Wow! Where did that come from?’ – I had no idea what you were doing in the film… Riddhi (laughs): It’s an iconic scene … and only Srijit-da knows why he thought of me for this. Srijit: I needed a powerful actor of a certain age who could leave an everlasting impact in a short screen space – the same logic I followed when I cast Kaushik Ganguly in Chotushkone… Anupam Roy (lyricist and composer): I must be the only one who had no idea of the story or what my songs are doing in it. Like most of my songs for Srijit-da’s films, these too were composed independently. ‘Gas Balloon’ is a song about a guy in love going to drop his girlfriend off at her home and finding someone else in the picture. ‘Shanto Hou’, which I composed in 2018, talks about aspects of mental health against the backdrop of the general anger and frustration we see all around us. What’s special about it is that I played the guitar riff in this song myself. For ‘Tomar Moner Bhetor’, we got the Sa Ra Ga Ma reality show sensation Nobel, from Bangladesh, to sing it. Only Srijit can say how he visualizes my songs… Srijit: I am not sure even I understand it. It is a kind of epiphany which happens when you spend a lot of time with someone, soaking in his work. Certain melodies, lyrics stay on with you, and when you are writing your story they just find their way in. That’s how I guess Rudra’s story – essentially a human story – ended up as Vinci Da. Also my penchant for the macabre made me turn to a couple of young boys in 1930s’ US, Leopold and Loeb, who killed a teenager only because they wanted to commit the ‘perfect murder’, believing in Nietzsche’s concept of Übermenschen, individuals who believe that their superior intellect allows them to go beyond societal laws and ethics. Every serial killer has his modus operandi and pattern and that’s where I come in. The protagonist here is a fanboy of Leonardo da Vinci – who combined art and science, very much applicable to make-up and prosthetics. Da Vinci was as much a man who created high art as well as weapons for warfare … that went well with the film’s ambivalent morality and the fact that in Kolkata we call everyone ‘da’ – so there’s an element of wordplay there. Rudranil: This is the first time Srijit has worked with a co-writer – and that makes me happy; there are very few who write for the screen as well as he does. I was like a father handing over his child to the school teacher (pointing to Srijit) and watching it grow, mature. Srijit: Technically, this is the third time I have had a co-writer – after Sunil Ganguly and William Shakespeare. So, Rudra is in august company (smiles). And if you are the father, who is the mother? Rudranil: Him … (pointing towards Somnath Kundu) Srijit: We in Bengali cinema suffer from a complex given our lack of infrastructure, resources, but we have a vast treasure of human capital. People talk about Baahubali, and rightly so, but is Nagarkirtan any less of an achievement? We can make great cinematic content despite our limitations. We can write our way to greatness, act our way to greatness with what we have – and Vinci Da is a tribute to that spirit as embodied by Somnath, who triggered this idea with the work he has done.

By Mel Lambert With a BAFTA win and high promise for the upcoming Oscar Awards, the sound team behind Bohemian Rhapsody secured a clean sweep at both the Cinema Audio Society (CAS) and Motion Picture Sound Editors (MPSE) ceremonies here in Los Angeles last weekend. The 55th CAS Awards also honored sound mixer Lee Orloff with a Cinema Audio Society Career Achievement Award, while director Steven Spielberg received its Cinema Audio Society Filmmaker Award. And at the MPSE Awards, director Antoine Fuqua accepted the 2019 Filmmaker Award, while supervising sound editor Stephen H. Flick secured the MPSE Career Achievement honor. Re-recording mixer Paul Massey — accepting the CAS Award for Outstanding Sound Mixing Motion Picture-Live Action on behalf of his fellow dubbing mixers Tim Cavagin and Niv Adiri, together with production mixer John Casali — thanked Bohemian Rhapsody’s co-executive producer and band members Roger Taylor and Brian May for “trusting me to mix the music of Queen.” The film topped a nominee field that also included A Quiet Place, A Star is Born, Black Panther and First Man; for several years the CAS winner in the feature-film category also has secured an Oscar Award for sound mixing. Isle of Dogs secured a CAS Award in the animation category, which also included Incredibles 2, Ralph Breaks the Internet, Spider-Man: Into the Spider-Verse and The Grinch. The sound-mixing team included original dialogue mixer Darrin Moore and re-recording mixers Christopher Scarabosio and Wayne Lemmer, together with scoring mixers Xavier Forcioli and Simon Rhodes and Foley mixer Peter Persaud. Free Solo won a documentary award for production mixer Jim Hurst, re-recording mixers Tom Fleischman and Ric Schnupp, together with scoring mixer Tyson Lozensky, ADR mixer David Boulton and Foley mixer Joana Niza Braga. Finally, American Crime Story: The Assassination of Gianni Versace (Part 1) The Man Who Would Be Vogue, The Marvelous Mrs. Maisel: Vote For Kennedy, Vote For Kennedy and Anthony Bourdain: Parts Unknown (Bhutan) won CAS Awards within various broadcast sound categories. The CAS Filmmaker Award was presented to Steven Spielberg by fellow director Bradley Cooper. This followed tributes from regular members of Spielberg’s sound team, including production sound mixer Ron Judkins plus re-recording mixers Andy Nelson and Gary Rydstrom, who quipped: “We spent so much money on Jurassic Park that [Steven] had to shoot Schindler’s List in black & white!” “Through your talent, [sound editors and mixers] allow the audience to see with their ears,” Spielberg acknowledged, while stressing the full sonic and visual impact of a theatrical experience. “There’s nothing like a big, dark theater,” he stated. He added that he still believes that movie theaters are the best environment in which to fully enjoy his cinematic creations. Upon receiving his Career Achievement Award from sound mixer Chris Noyes and director Dean Parisot, production sound mixer Lee Orloff acknowledged the close collaboration that needs to exist between members of the filmmaking team. “It is so much more powerful than the strongest wall you could build,” he stated, recalling a 35-year career that spans nearly 80 films. Outgoing CAS president Mark Ulano presented the President’s Award to leading Foley mixer MaryJo Lang, while the CAS Student Award went to Anna Wozniewicz of Chapman University. Finalists included Maria Cecilia Ayalde Angel of Pontificia Universidad Javeriana, Bogota, Allison Ng of USC, Bo Pang of Chapman University and Kaylee Yacono of Savannah College of Art and Design. Finally, the CAS Outstanding Product Awards went to Dan Dugan Sound Design for its Dugan Automixing in the Sound Devices 633 Compact Mixer, and to Izotope for its RX7 Audio Repair Software. The CAS Awards ceremony was hosted by comedian Michael Kosta. Motion Picture Sound Editors Awards During the 66th Annual Golden Reels, outstanding achievement in sound editing awards were presented in 23 categories, encompassing feature films, long- and short-form television, animation, documentaries, games, special venue and other media. The Americans, Atlanta, The Marvelous Mrs. Maisel and Westworld figured prominently within the honored TV series. Following introductions by re-recording mixer Steve Pederson and supervising sound editor Mandell Winter, director/producer Michael Mann presented the 2019 MPSE Filmmaker Award to Antoine Fuqua, while Academy Award-winning supervising sound editor Ben Wilkins presented the MPSE Career Achievement Award to fellow supervising sound editor Stephen H. Flick, who also serves as professor of cinematic arts at the University of Southern California. “We celebrate the creation of entertainment content that people will enjoy for generations to come,” MPSE president Tom McCarthy stated in his opening address. “As new formats appear and new ways to distribute content are developed, we need to continue to excel at our craft and provide exceptional soundtracks that heighten the audience experience.” As Pederson stressed during his introduction to the MPSE Filmmaker Award, Fuqua “counts on sound to complete his vision [as a filmmaker].” “His films are stylish and visceral,” added Winter, who along with Pederson has worked on a dozen films for the director during the past two decades. “He is a director who trusts his own vision,” Mandell confirmed. “Antoine loves a layered soundtrack. And ADR has to be authentic and true to his artistic intentions. He is a bone fide storyteller.” Four-time Oscar-nominee Mann stated that the honored director “always elevates everything he touches; he uses sound design and music to its fullest extent. [He is] a director who always pushes the limits, while evolving his art.” Pre-recorded tributes to Fuqua came from actor Chis Pratt, who starred in The Magnificent Seven (2017). “Nobody deserves [this award] more,” he stated. Actor Mark Wahlberg, who starred in Shooter (2007), and producer Jerry Bruckheimer were also featured. During his 40-year career in the motion picture industry, while working on some 150 films, Steven H. Flick has garnered two Oscar Award wins for Speed (1994) and Robocop (1987) together with nominations for Total Recall (1990), Die Hard (1988) and Poltergeist (1982). The award for Outstanding Achievement in Sound Editing – Animation Short Form went to Overwatch – Reunion from Blizzard Entertainment, headed by supervising sound editor Paul Menichini. The Non-Theatrical Animation Long Form award was awarded to NextGen from Netflix, headed by supervising sound editors David Acord and Steve Slanec. The Feature Animation award went to the Oscar-nominated Spider-Man: Into the Spider-Verse from Sony Pictures Entertainment/Marvel, headed by supervising sound editors Geoffrey Rubay and Curt Schulkey. The Non-Theatrical Documentary award went to Searching for Sound — Islandman and Veyasin from Karga Seven Pictures/Red Bull TV, headed by supervising sound editor Suat Ayas. Finally, the Feature Documentary was a tie between Free Solo from National Geographic Documentary Films, headed by supervising sound editor Deborah Wallach, and They Shall Not Grow Old from Wingnut Films/Fathom Events/Warner Bros., headed by supervising sound editors Martin Kwok, Brent Burge, Melanie Graham and Justin Webster. The Outstanding Achievement in Sound Editing — Music Score award also went to Spider-Man: Into the Spider-Verse, with music editors Katie Greathouse and Catherine Wilson, while the Musical award went to Bohemian Rhapsody from GK Films/Fox Studios, with supervising music editor John Warhurst and music editor Neil Stemp. The Dialogue/ADR award also went to Bohemian Rhapsody, with supervising ADR/dialogue editors Nina Hartston and Jens Petersen, while the Effects/Foley award went to A Quiet Place from Paramount Pictures, with supervising sound editors Ethan Van der Ryn and Erik Aadahl. The Student Film/Verna Fields Award went to Facing It from National Film and Television School, with supervising sound designer/editor Adam Woodhams.

Chief Mike A. A. Ozekhome, SAN By Mike Ozekhome, SAN. Published by Family Writers I congratulate Justice Binta Nyako for being courageous enough to even grant bail at all to IPOB leader, Nnamdi Kanu, on health grounds. This is predicated on the truism that the Judiciary has been so humiliated, browbeaten, terrorized and emasculated by the Executive, that it takes extraordinary courage and daring bravado, for a Judge to even grant bail to a much vilified Nnamdi Kanu, whose only “crime” is that he seeks self-determination for his repressed, oppressed, suppressed and marginalized indigenous people of Biafra, a right recognized even by the UNO and AU in all self – determination instruments. The catch here however, is that in granting the bail, the Judge, apparently trying to tread softly, took back with the right hand what she gave with the left hand. Bail is a constitutional right. It is guaranteed by section 35(5) of the 1999 Constitution, with or without conditions attached. But any conditions so attached to bail must be such that the grant of bail is itself not rendered meaningless and impotent as in the Nnamdi case. Kanu’s bail conditions are outrightly stringent, punitive, discriminatory, profiling and stereotyping. Hear them: He must produce 3 sureties, who must deposit the sum of 100m each (a ready recipe for corruption). One of the sureties must be a highly respected Jewish leader since Kanu practices Judaism as his religion (discrimination on the basis of religion). Produce a highly placed person of Igbo extraction (discrimination on the basis of place of origin and ethnic group). Produce a respected person who resides and owns landed property in Abuja (a call for the elitist money bags). Must not attend any rally or grant an interview (breach of freedom of movement and speech). Must not be in a crowd exceeding 10 persons (denial of freedom of Association). Must surrender his Nigerian and British passports (denial of freedom of movement). Must sign an undertaking to be available for trial at all times (normal. This is the main purpose of bail). His wedding ring and reading glasses to be given back to him (thank God for tokenism). Must provide monthly update on Kanu’s health (yes, to ensure his health is improving). Some of the bail conditions are not only troubling, unsetting and punitive, but are simply unconstitutional, as briefly highlighted above. Section 42(1) of the 1999 Constitution provides that “a citizen of Nigeria of a particular community, ethnic group, place of origin, sex, religion or political opinion shall not, by reason only that he is such a person:- (a) be subjected either expressly by, or in the practical application of, any executive or administrative action of the government, to disabilities or restrictions to which citizens of Nigeria of other communities, ethnic groups, places of origin, sex, religions or political opinions are not made subject to; or (b) be accorded either expressly by, or in the practical application of, any law in force in Nigeria or any such executive or administrative action, any privilege or advantage that is not accorded to citizens of Nigeria of other communities, ethnic groups, places of origin, sex, religions or political opinions. (2) No citizen of Nigeria shall be subjected to any disability or deprivation merely by reason of the circumstances of his birth. It is crystal clear from these constitutional provisions that the stringent bail conditions granted to Nnamdi have clearly discriminated against him and subjected him to “certain disabilities or restriction” on the basis of his religion, place of birth, political opinion and ethnic group. What the bail conditions are simply saying is that it will be illegal, forbidden and contrary to the bail conditions were Kanu to do the following: (a) Kanu cannot be received by a multitude of his village people, kindred and kinsmen, who have missed his presence since his mindless incarceration over one and half years ago, contrary to the right to freedom of Association granted by section 40 of the 1999 Constitution. (b) That Kanu cannot express his right to freedom of expression clearly guaranteed by section 39 of the Constitution. (c) That Kanu cannot exercise his freedom of movement guaranteed by section 41 of the Constitution. (d) That Kanu cannot receive sympathizers, well-wishers and political Associates, once they are more than 10. (e) That Kanu cannot freely exercise, without being monitored, his freedom of religion and conscience contrary to section 38 of the Nigerian Constitution. (f) That Kanu cannot, at any given time, even in his household or larger family setting, host more than 10 people (ludicrous; unnatural!). (g) That Kanu cannot even visit any hospital to take care of his health, because the hospital staff of Doctors, nurses, para-medical staff and other patients, must surely exceed 10 (contrary to section 17(3)(c) of the Constitution. (h) That Kanu cannot attend church service or the synagogue worship to glorify God in thanksgiving for his release, since such place of worship will harbour hundreds if not thousands, of people (contrary to section 10 and 38 of the Constitution). (i) That Kanu cannot even go to a busy motor park, airport, seaport, Parks and Gardens, Cinema hall, theatre, to transport himself, watch films or relax, or even go to Shoprite to shop. (j) That Kanu cannot deliver lectures to students, or groups, or participate in seminars, workshops, summits, conferences, etc., as these involve many people. (k) That by way of summary, Kanu should remain a hermit, marooned like Robinson Crusoe in the 1719 novel of the same name, by Daniel Defoe, who spent over 28 years as a castaway, after he was washed up on the shores of a deserted island, near the mouth of Oronoco River in South America. Day by day, we subject the Nigerian society to bottomless ridicule and derision in the comity of Nations. Bail conditions are simply to ensure the attendance of a person in court, and nothing more. Once excessive or punitive, bail loses its purpose, function and goal. I urge Nnamdi Kanu’s lawyers to immediately file an application before the same Justice Binta, for variation of the bail terms to more favourable ones, that will make Kanu a human being once more. I urge the Nigerian judiciary to stand up “gidigba”, to defend the rights of all Nigerians against executive lawlessness, judicial timidity and legislative rascality.

European Bridge 3D Model for 3ds Max, Maya, Cinema 4D, Lightwave, Softimage, Blender and other 3D modeling and animation software. European bridge model based on those on the river Le Siene in Paris. Originally made to be a future Sci Fi version, thus the triangular lamps. Also as a measure to keep poly count down. This 3D object can be downloaded in .max, .obj, .3ds, .fbx, .dxf, .lwo, .stl, .wrl, .ma, .dae, .x and .asc file formats.

Spring 2018 courses in German Studies GERM 101: Elementary German I Acquisition of basic grammar and vocabulary, development of reading and speaking skills, introduction to cross-cultural communication. Introduces students to German culture and to cultural interdependencies between German-speaking countries and the U.S. Texts augmented by multimedia materials. Not for native speakers. Not open to students who have passed the high school German Regents examination within the past three years. Meets four times per week; grades based on quizzes, chapter tests, in-class compositions, class participation and special assignments. Successful completion of both GERM 101-102 will fulfill the Gen Ed G requirement. Students must take both GERM 101 and 102 for a letter grade to receive the G; courses must be taken at Binghamton University to receive the G. GERM 102: Elementary German II Tom Hanel, Jan Hohenstein, Frank Mischke Continuation of GERM 101. Acquisition of basic grammar and vocabulary, development of reading, writing and speaking skills in an interactive learning environment. Encouraging cultural awareness through texts, films, discussions, etc., and understanding German in a global context. Successful completion of both GERM 101-102 will fulfill the Gen Ed G requirement. Students must take both GERM 101 and 102 for a letter grade to receive the G; courses must be taken at Binghamton University to receive the G. GERM 181G: Intensive German Grammar This course offers a thorough review of the major areas of German grammar. The course emphasizes linguistic accuracy and is designed to familiarize students with the most important aspects of German grammar at the elementary and intermediate levels, such as the major verb tenses, the cases and declinations of nouns, articles, and adjectives, word order, pronouns, and the like. Student needs and preferences will help determine what areas receive special focus; this course is for all students who want to consolidate, improve, and perfect their knowledge of German grammar and their ability to use spoken and written German with accuracy and nuance. Prerequisites: Successful completion of GERM 102 or equivalent, or instructor's permission. GERM 203: Intermediate German I Helps students develop ability to communicate in German beyond the basic "survival" level. Begins with a systematic review of German grammar that continues through the second semester at the intermediate level. Students read a series of short literary texts and work with texts taken from popular culture, as they improve their reading, writing and discussion skills. Designed especially for students who are interested in the humanities and social sciences. Prerequisites: GERM 102 or equivalent, or consent of instructor. GERM 204: Intermediate German II Continuation of GERM 203. First step in expansion of German-language skills beyond functional areas of information exchange, description and narration. By reading and responding to a variety of stimulating texts (modern fiction, lyrics, newspaper articles, historical texts, film clips), students develop both comprehension skills and the ability to express and support their own opinions and interpretations. Equal emphasis on both spoken and written expression. Includes review of more complex grammatical structures and activities designed to broaden vocabulary resources. GERM 241E/COLI 280A/ENG 200A: Fairy Tales in Social History A study of the shift from the oral folk tale to the literary fairy tale in France and Germany to discover how tales mirror symbolically the social historical processes that occur in the transformation of an agrarian society into an industrialized society that dreams of social mobility. We shall explore great fairy tales that mirror the transformation of social attitudes and behavior in connection with societal changes occurring from absolutism to enlightenment, from authoritarian aristocratic rule to the French Revolution and to utopian but also progressive and satirical thinking that continued in its wake. We will explore the role of tales in the civilizing process, as the development of the self and social evolution become grand themes. Formal aspects of tales, gender construction, the intersection of gender and class, confrontational and participatory modes of behavior, the historical location of authority and negotiations with power by the rising middle class, and implications of the development of literacy by the middle class will be further topics of discussion. In English; no knowledge of German required; an additional weekly one hour discussion section of the course will be offered to those wishing to work in German. H GERM 241F/HIST 281K: The Nazi State The course looks at Germany between 1933 and 1945, at the organization and inner functioning of the Nazi government and administration. Topics include the Nazi rise to power, party structures, "Gleichschaltung" of society, economy, and media, persecution of minorities, the situation of workers and peasants, the role of the churches, etc. Part of the course is a weekly "history lab" that provides hands-on experiences with sources as well as research practice. Course taught in English. GERM 241G/ENG 200W/PHIL 280C: Introduction to Marx and Critical Theory "The history of all hitherto existing society is the history of class struggles." So begins Part One of the Communist Manifesto of Marx and Engels. This sentence also stands at the beginning of a tradition in philosophy, history, and politics that places everyday human labor and struggle at the heart of historical change. This course offers an introduction to this tradition, with an emphasis on its origins in the 19th century and its development in the 20th century, particularly in the work of writers associated with the Frankfurt School. As we will see, this critical tradition draws its strength from the ways in which it considers questions of power, economy, society, and culture as inextricable from each other rather than as separate disciplines. Because it holds that cultures and ideologies cannot be understood without considering how given societies and economies are organized, the tradition of critical theory is materialist; because it highlights the importance of struggle and contradiction, it is dialectical. Topics we will consider include capitalism, revolution, utopia, mass culture, dialectical reasoning, historical materialism, the state, fascism, antifascism, and the human relationship to nature. Readings may include works by Marx, Hegel, Nietzsche, Freud, Adorno, Benjamin, Lukács, Kracauer, Brecht, and Fanon. H, N, O GERM 241L/MDVL 280C: Myths of Power Courts, Kings, Dynasties and Cities in Germany: Myths of Power in Images and Icons Focusing on the time span of the Middle Ages to the French Revolution, we shall explore the rise of sacral kingship, the institutionalization of power, the development of major courts of the high nobility, power struggles between the more conservative forces of power and the ascending middle class in cities, as well as centripetal and centrifugal force fields that shape the center and the periphery . We will study icons and images, read texts and watch a number of films, making use of a series of compelling docudramas produced by the German broadcaster ZdF, as well as feature films, but will also critique literary and visual depictions of these historical power struggles. We will explore how these iconic images – linked often to myths of power-- have contributed to the shaping of aristocratic status, social hierarchies and social mobility, and ultimately to a regional, urban and/or national identity in Germany. GERM 306: Texts and Contexts II Neil Christian Pages Texts and Contexts II: GERM 306 offers students the opportunity to refine modes of expression, improve accuracy and fluency and build cultural competency in German by engaging with important trends, ideas and events in the German-speaking world. It prepares students for more advanced work in German Studies in an interdisciplinary context. Students will engage texts and images from a range of genres (literature, history, philosophy, politics film, popular culture, news media, art) to improve critical reading abilities and accuracy in writing. The course also reviews advanced grammar structures in context. Taught entirely in German. Prerequisite: GERM 305 or instructor permission. GERM 380W/COLI 380E/ENG 450H: Germany after the Wall The fall of the Iron Curtain brought a lot of changes to Europe, and Germany was at the center of them. Old enemies were gone, instead there was a new phenomenon called "globalism." European societies had to re-familiarize themselves with long lost relatives, new friends and foes, and issues nobody had imagined on the lee side of the Wall. For moviemakers and authors in newly unified Germany, this was a fresh start. New faces, both in the East and West, challenged the old monopolies of opinion and the taste of old guards. They joyfully rediscovered story-telling; they borrowed some styles and tricks from Hollywood and other places; and worldwide audiences found their new topics fascinating -- among them Oprah Winfrey, whose book club catapulted German author Bernhard Schlink („The Reader") to number one on the New York Times bestseller list. After the dry and boring 1980s, there suddenly was exciting German storytelling again! The course, taught in English, discusses social change in Germany after 1989 and how it translated into movies, novels and short stories by Henckel von Donnersmarck, Karen Duve, Ingo Schulze, Daniel Kehlmann, Wladimir Kaminer and others. Grading is based on two presentations (one in a team), a take home exam and a seven page term paper. H, O, W GERM 381C: German Culture 1871–1990 Neil Christian Pages Course surveys major events, movements, themes and ideas in German cultural history from the founding of the first German nation state in 1871 to the fall of the Berlin Wall in 1989. GERM 381C equips students with skills in critical analysis of texts, formal writing and oral expression needed for more advanced work in German Studies. It is excellent preparation for study abroad in a German-speaking country. Taught in German. Prerequisites: Interest in German cultural history and a desire to learn more. Students should have completed GERM 305 or the equivalent. Courses crosslisted in German GERM 241H: Modern Yiddish Culture In the half century before the Second World War, a Yiddish speaking "Jewish Street" stretched from Buenos Aires to Boston, from London to Łódź, with many cities in between. What characterized the culture of this mostly urban and modernizing society is the subject of this class. Cinema and short stories, poetry and politics provide our vehicle to explore the world of Eastern European Jewry in a time of radical transformation and approaching catastrophe (all material is in English). GERM 380A: Modern Women in Literature and Film With an overview of the wide range and tradition of 20th-century women writers, the course will focus on a century of representation of women "practicing modernity." Leaving behind the so-called "cult of domesticity," ascribed to women in the Victorian era, a new model of woman emerged encouraging women to liberate themselves, manage their own lives and to leave behind anything that might restrict their pursuit of happiness and self-realization (e.g., in professional career, activity in a social or political movement or in new styles of love and life defying convention and social norms). What kind of choices did women have in the modern world and the modern city? How did they succeed or fail or both in pursuing happiness and fulfillment? What conflicts did they have to work through, what different practices and decision-making processes emerge from their lives? In this seminar students will learn about key women writers, who created new narratives, and poetic and visual languages, and they will analyze and discuss their books that were turned into films, presenting the challenge and the new consciousness about women in the modern world. BOOKS: Lou Andreas-Salome, FENITSCHKA, Nella Larsen, QUICKSAND, Virginia Woolf, MRS. DALLOWAY, Anita Loos, GENTLEMEN PREFER BLONDES, Irmgard Keun, THE ARTIFICAL SILK GIRL, Ingeborg Bachmann, THREE PATHS TO THE LAKE. Films: A DOLL'S HOUSE, THE HOURS, JULIA, HOW TO MAKE AN AMERICAN QUILT. GERM 380G: The Holocaust The Holocaust: A History of the Resistance from Anti-Fascist Brigades to the Warsaw Ghetto Uprising. This class explores the history of Jewish resistance to the existential threat posed by Nazism, both before and during the Second World War. All kinds of responses to that threat – political and cultural, collective and individual – will form part of our inquiry into this terrible historical moment. History, memoir literature and popular song will act as our guides. All sources will be in English translation. GERM 380L: 'Aliens' and the Uncanny in Literature and Film This class will examine the relationship among ghosts, doubles, selfhood, and the alien departing from the films "Alien" (dir. Ridley Scott) and "Aliens" (dir. James Cameron). In addition, we will read short fiction by Kafka, Bernhard, Sebald, Kleist, Hoffman, Melville, Hawthorne, Cortazar, Carver, Joyce, James, Highsmith, Auster, Camus, Jackson. Finally, in the middle of the course, we will situate Freud's essay "The Uncanny," to which we shall link two other Freud texts that concern haunting, death, and mourning. Each student will deliver two 15 minute oral presentations that, together, will count for 30 percent of the overall grade. Presentations will be followed by class discussion, during which presenter will receive extensive feedback from peers. Presenter will then meet privately with professor concerning the form and content of the presentation, after which he or she will write a short summary on how he/she can improve his/her speaking skills. GERM 481B: Enlightenment and Empire Even more than the Renaissance, the Enlightenment is often discussed as one of the most important movements of Western history that has continued to shape our intellectual and political lives. This graduate seminar will investigate fundamental texts from the Enlightenment and will study the movement's cosmopolitan and global aftermath through an analysis of its effect on Empire. We will discuss essays and treatises from the political, literary, and aesthetic concerns of the French and German Enlightenment such as Immanuel Kant's and Moses Mendelssohn's essay responses to the question "What is Enlightenment?"; entries from Diderot's and D'Alembert's massive Encyclopedie; Rousseau's Discourse on the Origin and Basis of Inequality Among Men; Montesquieu's Persian Letters, Lessing's play on religious tolerance Nathan the Wise, and writings of the most important salonnières (the women who presided over salon culture). We will also debate how racism, slavery and abolition, religious freedom, orientalism, cosmopolitanism, and globality are promoted or debated in the works of Kant, Graffigny, Raynal, and Hegel. Finally, we will finish with recent 20th and 21st century critiques and adaptations of Enlightenment (Carpentier). GERM 481J: Towards a New World Literature Processes of decolonization since the 60s and of globalization in the last 30 years have produced a rich body of contemporary "mobile" and ex(tra)territorial literature that explores and reflects on postcolonial and (im)migrant experiences, diasporic, exile, and refugee conditions. Students will read a selection of significant works about cultural encounters occurring in various parts of the world in order to study key elements, thematic and aesthetic aspects of this new "world literature." We will examine major critical approaches to this literature, the negotiation of various intersections and components of identity in these works and discuss theoretical foundations of key concepts: postcolonial criticism, transnationalism, neonomadism, transculturality, and cosmopolitics. Authors include J.W. Goethe, V.S. Naipaul, Olive Senior, Richard Rodriguez, Leila Sebbar, Pico Iyer, Yoko Tawada, Emine Özdamar, and Teju Cole. Theoretical contributions by, among others, Homi Bhabha, Salman Rushdie, Gayatri Ch. Spivak, Stuart Hall, Francoise Lionnet, Julia Kristeva, Bruce Robbins, Mimi Sheller/ John Urry, Rosi Braidotti. Requirements: Undergraduates: two short papers, and final essay exam.

Love is in the air – and streaming over the internet. To celebrate Valentine's Day, we're listing the best romantic movies on Netflix, whether it's February 14th or any other day of the year. We've got a little bit of every kind of romance on this list: comedies, dramas, action movies, and even a musical. With our list as your guide, pick one of these out and curl up with your significant other for a cozy Valentine's Day full of binge-watching. After all, the couple that Netflixes together stays together.Across the UniverseTwo words: Beatles musical. This musical romance takes place in the 1960s (of course) and follows two star-crossed lovers from opposite sides of the Atlantic Ocean. The Beatles covers are done well and are often quite interesting. Die-hard Beatles fans will probably have strong opinions one way or the other – but either way, they ought to see Across the Universe.AdventurelandAdventureland is a romance and a coming-of-age story that follows a recent college grad as he spends the summer working at a theme park. It balances early-20s angst with sweet romance very well. Jesse Eisenberg and Kristen Stewart star.Am©lieThe French know romance! This European film is a modern romantic classic. The story of Am©lie, a girl who was raised in isolation and finds love later in life, earned the filmmakers five Oscar nominations. We also included this film on our list of Netflix's best foreign films.Bridget Jones's DiaryBridget Jones's Diary follows the title character as she tries to navigate the single life – while looking for Mr. Right, of course. As with real life, not everything goes according to plan. This is an affirming and entertaining rom-com.ChocolatChocolat is one of the most critically acclaimed romances on this list – it earned five Oscar nominations. It follows the story of a single mother and her young daughter who move to a small French village and open a chocolate shop. A handsome man, of course, is also involved.CluelessIsn't it time that you brushed up on your 90s rom-coms? Clueless is a mid-90s classic about a popular Beverly Hills high school student who gives a frumpy girl a makeover. This film is actually a modern-day spin on the classic Jane Austen novel Emma, so you can count on it having the romantic chops underneath its silly 90s exterior.GhostThis spooky romance has enough action to keep anyone interested. Patrick Swayze stars as a ghost who sticks around to help protect his wife from the bad guys. Ghost is silly but sweet, and it's required viewing for any fan of cheesy early 90s cinema.Jane EyreClassic romance novels don't always get the film adaptations they deserve, but this 2011 take on Charlotte Bront«'s classic novel was very well received. It stars Mia Wasikowska and Michael Fassbender. This version is better than the 1996 version, which is also available on Netflix.Legally BlondeThis cheeky comedy follows a blonde who isn't as ditzy as she seems. When Reese Witherspoon's character follows an ex-boyfriend to Harvard Law School, she ends up falling for a much better match. If you love this one, you'll be happy to know that the sequel, Legally Blonde 2: Red, White & Blonde, is also available on Netflix.Silver Linings PlaybookUnless you've been living under a rock for the past few years, you've probably heard of this one. Silver Linings Playbook stars Jennifer Lawrence and Bradley Cooper in a romance that mixes sports into the plot. There's something for everyone in this film.

Thursday the 8th of November is Bram Stoker’s 171st birthday. As I thought about Bram’s birthday, I began to reminisce about my own birthdays, in particular my 21st and 22nd birthdays. Both these days have a special connection to Bram and his famous character Dracula, or in this case, Nosferatu. I didn’t have a party for my 21st birthday. Instead I visited my mum during the day and was delighted when she surprised me with a stunning birthday cake decorated with an image of Dracula. In the evening I celebrated with a couple of close friends who came to my place with platters of Middle Eastern snacks and chunks of Turkish bread. We ate ourselves into a stupor. We then eyed off my birthday cake. Dracula looked so cute that I didn’t want to eat him. I sliced around him that night but eventually I devoured all the cake including my iced Dracula. After dinner we sat down to watch a newly released video of F.W. Murnau’s Nosferatu: A Symphony of Horror. This 1922 black and white silent movie is a classic from the German Expressionist period. Nosferatu was an unauthorised adaptation of Stoker’s novel Dracula. Hoping to avoid paying royalties to Stoker’s widow, the makers changed locations and character names so that they were different to the novel. Notably Count Dracula became Count Orlok and the word vampire was replaced by Nosferatu. These changes weren’t enough to stop Stoker’s heirs from successfully suing. A court ruled that all copies of the film be destroyed. Luckily a few prints survived. More than half a century after Nosferatu was released and almost destroyed, I finally got to see the film for the first time. I was mesmerised. The cinematography was haunting, the soundtrack unnerving and I loved watching snippets of dialogue appear in quaint, written form. I found the ending beautifully tragic. Love lured the vampire to his death and a part of me felt sad when he died. For a vampire fan like me, this was a truly magical way to celebrate my special birthday. A year later I invited a small group of friends to celebrate my 22nd birthday at the Valhalla Cinema in Richmond. They were screening Werner Herzog’s Nosferatu the Vampyre, a 1979 remake of Murnau’s film. There are two versions of the film. In one the actors speak English and in the other they speak German. There are other differences between the two films including different scenes and scenes shot with different camera angles. I had seen the English version many times but never the German one. Happily the Valhalla was screening the German version. Watching Herzog’s Nosferatu is like watching paintings come to life. It is a sumptuous and hypnotic visual treat accompanied by a bewitching soundtrack. What I love most is the twist at the end. You can view it as a sad or happy ending, depending on how you feel about vampires. I was so happy that I finally got to watch the German version and it was even more awesome that it was on my birthday. I couldn’t have wished for better birthday presents from Bram Stoker than being able to celebrate my birthdays with Nosferatu. This year I will be celebrating Bram Stoker’s birthday with a special bottle of gin. I recently discovered that there is a gin distillery right here in Melbourne called Nosferatu. Their signature gin is not surprisingly made with blood oranges. I’m not sure what I will be concocting with this gin but I’m sure it will be bloody and sticky 🙂 Some interesting facts related to F.W. Murnau’s Nosferatu: – Count Orlok is destroyed by sunlight in the film whereas sunlight is harmless to Count Dracula in the novel. – The Blue Oyster Cult wrote a song about the film called Nosferatu for their 1977 album Spectres. – In Stephen King’s 1979 miniseries Salem’s Lot, the appearance of master vampire Kurt Barlow is inspired by Max Schreck’s Count Orlok. – E. Elias Merhige’s 2000 film Shadow of the Vampire is a fictionalised account of the making of Murnau’s film. The surprise premise of the film is that the actor playing Count Orlok, is a real vampire. – Most deliciously, the film is the inspiration for the Nosferatu Distillery and their Blood Orange Gin.

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Whether new or old, big-budget or little, you can now set up your own movie screening at your local cinema. Vue’s teamed up with Ourscreen, and the two firms want people to sort-of-crowdsource screenings, presumably because the vast majority of new releases are utter shit, and nobody in their right mind wants to see them. If you want to set up a public screening, it’s not quite as straightforward as picking a movie and a screen, since you need other people to back your choice. A quick look online shows that someone’s already managed to get Cambridge’s Arts Picturehouse to show Meru at 9pm on March 7th, while another chap needs more support to get Scott Cinema in Bristol to show Labyrinth. Fancy a more intimate experience? Go down the private route, but you'll have to reserve tickets and sell them yourself. Oh, and if someone else has beaten you to the punch and organised a public viewing for a film you'd like to watch, get involved. Sadly, there’s no Jurassic Park or Star Wars on the list, but we do have Alien and its sequel, as well as classics like Dirty Dancing, Back to the Future, Jumanji and Die Hard to choose from. [Engadget]

The Honors Program offers students the opportunity to advance their liberal education in new areas by embracing academic challenges and experiences beyond those of our standard Program of Studies. Students in the Honors Program may complete a more extended honors thesis and graduate with a Latin, honors distinction. Each semester, through an honors colloquium seminar, students explore selected texts, themes, authors, or media that complement our larger Program of Studies. One of the benefits of the colloquium is that students from all four years come together in a common pursuit in a seminar setting. The Honors Colloquia have included the following courses, authors, and texts: |Course||Authors and Works| |Cinema and Narrative||Selected American and European films| |Lyric Poetry and Theology||Selected lyric poets, Lynch, von le Fort| |Houses of Mirth: The Comic Muse throughout the Ages||The Second Shepherd’s Play, Aristophanes, Plautus, Shakespeare, Voltaire, Chekhov, Moliere, O’Connor, Waugh, Wilde| |Classics of Children’s Literature||Alcott, Andersen, Hawthorne, MacDonald, Stevenson, Hodgsdon, and Grahame| |The Nature of Tragedy||Aristotle, Shakespeare, Eliot, Becket, O’Neill Tolstoy, Ibsen, Conrad, Racine, Nietzsche, et al.| |The Presence of the Past: Tradition and Reform in Christian Culture||Power and the Holy in the Investiture Conflict, Apocalyptic Spirituality, Chaucer, Langland, More, Bacon, Twain| |Dante, A Party of One||Dante’s Divine Comedy| |Man and Woman He Created Them||Pope Saint John Paul II, et al.| |Truth and Tolerance||Dawson, Kirk, Pope Saint John Paul II, Benedict XVI|

UAE-based Indian film maker Sohan Roy, whose recently-released movie ‘Dam 999’ has been banned in the southern Indian state of Tamil Nadu, has said that, following his appeal against the ban, the Supreme Court of India has sought the state government’s reasons for banning the movie. Director Roy appealed to the Supreme Court to lift the ban, saying that the movie nowhere mentions the controversial Mullaperiyar dam or refers to the people of the states of Tamil Nadu or Kerala. The first hearing of the plea for lifting the ban on release of ‘Dam 999’ in Tamil Nadu state was held in the office of the Principal Secretary (Home, Prohibition and Excise Department) in Chennai on December 12 and the verdict in favour of the TN government was announced on December 16. ‘Dam 999’ is a love story but the film became controversial as it features the collapse of a dam in Kerala. The more than 100 year- old Mullapperiyar dam has become the subject of a dispute between the states of Kerala and Tamil Nadu. The film’s case has now taken a different course with the apex court issuing a notice to the TN government, asking it to provide an explanation by Friday for the ban on the movie ‘Dam 999’ in Tamil Nadu. The previous clarifications given by the Tamil Nadu government for the ban on release of ‘Dam 999’ in the state has been rejected by the Supreme Court and won’t be taken into consideration anymore. The appeal by the TN government to shift the case to the High Court has also been rejected by the Supreme Court whose verdict is expected within a week. “Finally we will get some justice,” said Roy. He said his movie had been well received in Kerala. “For the first time, cinema goers in Kerala’s remote locations have seen an English movie. Though we had the Malayalam version, it is the English version of the film which is in demand. The movie has attracted people to protest camps demanding construction of a new dam as people living near the dam fear that their lands will be submerged if the dam collapses,” Roy said. ‘Dam 999’ was in the contenders’ list for this year’s Oscar nominations.

Faust has returned to the movies. He is no prop or backdrop character, but has taken center stage in a cornucopia of images, versions, and mediums. In Jan Svankmajer’s award winning Czech rendition of Faust (1994), the menacing and mysterious figure is portrayed by actors, puppets, and animation, all in a surreal universe crafted in darkness and shadow. Darkness and shadow become the wardrobe of Faust in modern cinema, as seen in the central motif of the most famous hero of the night: Batman. In Christopher Nolan’s much popular Batman Begins (2005) the life changing scene for young Bruce Wayne is the opera house where Boito’s Mefestofele is being performed. Bat-winged creatures swarm the stage in one scene disturbing young Wayne to the point where he must leave the theater. This decision becomes the catalyst ending in the murder of his parents and the deal Wayne himself has to make with the Devil. This is no idle set up. Batman becomes Faust in a cape, incorporating secret knowledge and even forbidden arts in his arsenal and identity. Faust even shows up on Saturday morning cartoons, where a bold and nearly unstoppable Felix Faust appears in an episode Paradise Lost of the Justice League (2002). The caped crusaders rarely find an opponent they cannot easily overcome, until an ancient magician sacks the home island of Wonder Woman and puts all the League in a spell. Indeed, the only being who can overpower Faust is Mephistopheles, who betrays him in the final scene allowing the League to escape with their lives. The story of Faust touches on something in the human psyche which makes the tale both repugnant and endlessly alluring. Perhaps this is so because the Faust tale addresses humankind’s relationship with evil. Why are we so fascinated by the forbidden? Why do we cling to evil when there are other choices? Why do we show more cunning than compassion? And what tips the scale in human consciousness allowing for a quest for the good and beautiful over and above evil? These are just some of the questions which haunt the darkness and shadows of the psyche. Questions which we as a species must reflect upon. In the modern medium of cinema these questions are asked and re-asked through parallel dramas, tragedies, and comedies with the essence of the questions of evil in mind. For example, John Lyden reflects in Film as Religion on the 1991 film Silence of the Lambs. Lyden sees why evil can be tempting, even when it is portrayed in its purest form: Anthony Hopkins essentially plays [Lecter] as Faust’s Mephistopheles, who tempts the heroine with greater knowledge in exchange for participation in his evil. In being able to deal with Lecter, Clarice (like Faust) confronts and deals with evil in order to be better able to contain it–to attempt to stop her private lambs from screaming, even though she knows they will never stop, for evil will always exist. All victories over evil are partial, it is shown, and there is also a recognition that the potential for evil is within us all, […].” (245) Clarice’s connection with the mass killer Lecter is both repulsive and attractive. Ironically, Lecter is a character who is steeped in knowledge and the world’s wisdom. Indeed, in the movie sequel Red Dragon (2002) Lecter is a much touted professor giving lectures on obscure, ancient rituals and arcana (involving acts of death of course). He is more than just super-smart, filled with eclectic trivia. Lecter is Mephistopheles incarnate. He kills ritualistically, without mercy, and even eats his victims. There is a perverse religiosity to his sins, for Hannibal Lecter shows the hypocrisy and vanity innate in all his victims, and in the world in general. Clarice is also super-intelligent, and she sees through Lecter how is actions, in an inept and topsy turvy world, conform to their own morality. Furthermore, and as Lyden observes, Clarice seeks out Lecter in her own search in understanding evil, not rooted in Lecter, but in herself. The story of Hannibal Lecter, in many ways, draws upon the nineteenth century, German drama Faust. This was a play where the very question of human identity was posed not in context of the Age of Reason, or the Reformation Movement, or the Industrialization of modern civilizations, but rather in the context of evil, through the character Mephistopheles, whose dominion and power ran through and over Reason, Christianity, and Industrialization. Goethe’s Faust begins with a discourse between the Devil and the Almighty, not unlike the deal struck between the two in the Book of Job: “And Satan answered the Lord, and said, Skin for skin, yea, all that a man hath will he give for his life. But put forth thine hand now, and touch his bone and his flesh, and he will curse thee to thy face. And the Lord said unto Satan, Behold, he is in thine hand; but save his life” (Job 2: 4-6). The figure of Job is an antithesis to the figure of Faust, however. Job is saintly, pure, and dedicated to the Lord from the first flash of sunlight, even declaring in the gall of his bitterness, “Though he [the Lord] slay me, yet will I trust in him […]” (Job 13: 15). Faust, on the other hand, holds his virtue as the knowledge of the earth and all things above and below, and not in his relationship with God. In fact, Mephistopheles chides God for this very fact, “[Men] would be better off, in life at least, Had you withheld the spark of celestial light; he calls it reason, using it as right to be more animal than any beast” (11). The Devil simply reveals what God already understands: humankind is a flawed creature. Yet the Almighty retorts: “Do you know Faust?” (11). Mephistopheles is surprised the Lord would mention such a creature. But God assures the Devil he has plans for this bent soul, “Although he serves me now bewilderedly, I soon will lead him where the light is clear” (12). Thus, the Lord and Satan strike a deal, “What do you wager?” poses Mephistopheles (12). Nothing but Faust’s soul will do of course, and the Almighty agrees, “As long as he remains on earth–agreed! Nothing is forbidden you contrive; Man errs so long as he will strive” (12). It is an interesting deal struck between these two antipodes of the cosmos. Unlike the case of Job, whose virtue and valiance is placed in the scales of judgement, Faust has his “celestial light” of reason placed in the scales. Faust in no Job. He is a worldly man of letters. “I’ve studied all Philosophy, Medicine, Jurisprudence too, Also, to my grief, Theology […]. I’m cleverer than all that tribe–Doctor, Lawyer, Parson, Scribe; All doubts and scruples I dispel, I have no fear of devil or hell […]” (14). Doctor Faust has no fear of evil or superstitions. Perhaps this is why the Almighty allows Mephistopheles the wager. In the case of Job, God knew his virtue would win out. In the case of Faust, God foresees that Faust’s uncompromising will of reason will eventually lead him to virtue. This is an irony of ironies, for Faust has ascended all earthly ranks of intellectual honor and station, yet recognizes the insignificance of it all, “I’m Master, Doctor, and I’ve found for ten long years, that as I chose I’ve led my students by the nose. First up, then down, then all around, to see that nothing can be known” (14). Faust’s seemingly unlimited knowledge has brought him to the revelation that human understanding has its limits, and apparently those limits are rather short. Perhaps this is why the theme of Faust in modern movies and television is recurrent. Maike Oergel, in Culture and Identity: Historicity in German Literature and Thought 1770-1815, interprets Faust clearly in the context of the failures of human reason, even in the ultra-rational world of the Scientific Revolution. “The primary focus [in Faust] is not, as has often been claimed, on a universal human identity, but on the emergence of a modern identity” (225). For Oergel, the character Faust is not so much an intermediary figure as he is an introductory figure of modernity. He is a character who has surpassed the initial fascination with modern technology and science to find that on the other end of it all is, still, an endless and even answer-less quest for meaning in life. Modernity has not brought paradise, but only has exasperated the realization of its absence. Faust is a man fully caught up in this realization, and thus is a primal character for our times. Christopher Falzon writes about this paradox in Philosophy Goes to the Movies: The catastrophic events of the twentieth century, including the technologically efficient carnage of two world wars, Nazi atrocities committed in the heart of an “enlightened” Europe and a nuclear arms race that at one stage threatened the very existence of humanity, have brought this faith in reason and science into question. The impact of technology and industrialization on everyday life has by no means been unequivocally positive; […]. Overall, it is no longer so clear that there is a necessary link between science and progress. Instead a range of concerns and anxieties have emerged about the role and effects of science and technology on human existence, along with more pessimistic, dystopian visions of the future. (158) As Falzon notes, “early expressions of this anxiety” are introduced in two literary works: Goethe’s Faust and Shelley’s Frankenstein (158). Faust, disgusted with the disappointments and anxieties of modernity, turns to magic, “No dog would stand this any more! Therefore I’ve turned to magic lore, so that, through supernatural force, I’ll trace many a secret to its source” (15). This theme is picked up in a recent film release, The Prestige (2006), where two magicians (illusionists) vie for power and control over each other in 19th century Europe. Both Angier (Hugh Jackman) and Borden (Christian Bale) have an engineer contriving their tricks. This person is the model of modern Europe, using science and mathematics to create unending illusions. Of course, this is Faust’s complaint of the scientific revolution, modern reasoning has brought nothing but eye wash and special effects. Modernity is a magic show where the true questions of life are still pushed into the back of consciousness. So it is, that the film begins with Angier on a quest for answers to see what is behind science. “Cypher. Engima. A search. A search for answers,” writes Angier in his notebook as he travels towards Colorado (07:50). In Colorado Springs works a man who has built a machine for each magician. His name is Tesla, the inventor, or rather technocrat of AC electrical current. Tesla plays the role of Mephistopheles, the grand, worldly wise, true magician who can fabricate things beyond science and technology. However, for Borden Tesla fabricates an electric device that simply provides special effects to his already planned illusions. Angier wants something more: “Magic. Real Magic!” he exclaims when seeing Tesla light up a field of electric light bulbs with no wires (44:30). Indeed, Angier pays Tesla an enormous amount of money to build a machine that is real sorcery. “I need something impossible,” Angier tells Tesla, who responds, “Have you heard the phrase, ‘Man’s reach exceeds his grasp?’ It’s a lie. Man’s grasp exceeds his nerve. Society can only tolerate one change at a time” (50:42). Tesla, true to his Mephistophelean morality, inquires “Have you considered the cost of such a machine” (51:30)? Angier replies that price is no object, but Mephistopheles understands what he is asking, “Perhaps not, but have you considered the cost” (51:38)? Ultimately, when any character who represents Mephistopheles asks such a question there can be no doubt that the true cost is one’s own soul. Money is irrelevant; it is nothing but a cog in the clockwork of the world. One’s soul, on the other hand, is beyond cogs and gears and all the modern estimations of life. Thus here is the central theme and question beyond the reach of any mundane approach in any age of history, regardless of the sophistication of one’s science and technology: what is the soul? And how does one fulfill its natural desire to transcend the mundane? And what will one exchange for his soul? The answers to the latter question is why evil is no illusion, for there is an endless list of obsessions for which humankind will always pursue at the cost of soul and with the engagement of evil. For Faust, the obsession is ultimate knowledge. Already admitting that nothing can be known, there must be some ultimate reality beyond the world that can be obtained, even perhaps dominated? What is beyond this life? Ultimately, what is life’s purpose? In the Age of Reason human beings find only disappointment in the answers to these questions. The modern philosopher of disappointment–Nietzsche–quotes Schopenhauer, “What gives to everything tragic […] the characteristic tendency to the sublime, is the dawning of the knowledge that the world and life can afford us no true satisfaction, and are therefore not worth our attachment to them. In this the tragic spirit consists; accordingly it leads to resignation” (10, italics his). Modern disillusionment retraces the Faust story in daily life. Individuals seeing that all their technologies, degrees, cable channels, and entertainments do not solve their most pressing problems within, simply give up trying to resolve the questions of interiority, thus making the deal with the Devil simple: give me whatever this life can afford and you take care of the rest! This certainly is the theme of the most recent Academy Award winning film The Departed (2006). Costello (Jack Nicholson) plays the part of Mephistopheles, whose first line and the first words of the film represent the movies entire theme which is the hope of the disillusioned: I don’t want to be a product of my environment. I want my environment to be a product of me. Years ago we had the church. That was only a way of saying – we had each other. The Knights of Columbus were real head-breakers; true guineas. They took over their piece of the city. Twenty years after an Irishman couldn’t get a fucking job, we had the presidency. May he rest in peace. That’s what the niggers don’t realize. If I got one thing against the black chappies, it’s this – no one gives it to you. You have to take it. Jarring. Violent. Gritty. Intolerant. These are the values of Costello’s world that work. Not unlike Enron executives who are Lords of the Corporation. Or scandal ridden board rooms of the stock houses who are Lords of Wall Street. Or the corruption engulfed conspirators of the mortgage markets who are Lords of Suburbia. Our modern world is full of Costellos whose prime motivation in life is completing the Devil’s deal by “taking it.” In The Departed Billy Costigan (Leonardo DiCaprio) and Collin Sullivan (Matt Damon) play the fated Faust character in duo fashion. Each make a deal with a devil. Costigan makes his deal with the cops to live and work for Costello. Like Clarice in Silence, Costigan is immersed in a world of evil where he must tenuously walk a rigid line between life and death, evil and more evil. Sullivan is a cop who makes a deal with Costello, a spy for the Italian maffia who ascends to the highest levels of law enforcement. In the world of “You have to take it!” everyone dies. In the ending of this film there are only funerals, showing that not even the Mephistopheles’ of this world come out ahead. Curiously, the modern psyche forewarns humanity that no amount of modernity can change this scenario. Indeed, in the special effects ridden and futuristic techno-tale of Star Wars III: The Revenge of the Sith (2005), George Lucas retells the Faust story in full as a message for our day. Anakin Skywalker (Hayden Christiansen) is the ultimate in Faustian roles, for he is a Jedi Knight not only versed in the learning of the universe, but trained in the magical arts. In Revenge of the Sith Anakin makes a deal with Mephistopheles who posits: “If one is to understand the great mystery one must study all the subtleties of the force, even the dark side. […] Only through me can you achieve a power greater than any Jedi” (1:03:30). Anakin betrays the noble priesthood of the Jedi and destroys their temple all in an exchange for knowledge of the “mysteries” underneath his new tutor, Supreme Chancellor Palpatine (Ian McDiarmid) who promises to reveal to him the knowledge of eternal life. This is a ruse of course, as Palpatine does not know it. In a twist of fate at the end of the film, with the Jedi completely undone, Yoda trains Kenobi in the ways of eternal life! In any case, Lucas’s film is a foreshadowing that no amount of technology in his futuristic world can replace probing the true questions of life dealing with evil. It’s as if to say, the soul, no matter where it is found, in whatever era or cosmos, must find its own relationship with evil. We all must turn into Faust. But how to make it through? Certainly not as the Devil (Costello) or as one obsessed with power (Angier) or personal demons (Clarice) or vengeance (Bruce Wayne) or even forbidden knowledge (Anakin). But then how? Interestingly, the answer to this question is revealed in all the works mentioned. In The Prestige Angier and Borden begin their journey not with Tesla, but in and through the presence of the feminine. Indeed, when Angier’s wife dies in a magic trick gone awry, and most likely caused by the wrong knot tied by Borden, Angier’s soul is permanently scarred. After his wife’s death, Angier is obsessed with outdoing every part of Borden’s life, and eventually to seek it. Ironically, Angier is the far more talented magician between the two, and when another assistant named Olivia (Scarlet Johansson) comes to Angier’s aid and offers him her love, he rejects it, blinded by his obsession to outdo Borden, or in other words, blinded by his flawed relationship with evil as revealed in his relationship with the feminine. In fact, the moment Angier dismisses Olivia, sending her to Borden as a spy, is the moment Angier loses what is left of his soul. Borden, on the other hand, takes Olivia in and falls in love with her. But Borden has a secret–a twin brother–who is the basis of his most spectacular magic tricks; for no one knows of Borden’s other half. So it is that Borden’s other brother also plays Borden, and he is married and very much loves his wife Sarah (Rebecca Hall). The brothers never reveal their identities to their lovers, and Sarah suspects her husband is having an affair with Olivia. In short, this lack of honesty by both Bordens and Angier shown to the women who love them is the poison which causes the loss of soul in each of them. In a film with so many doubles, the machine Tesla builds Angier clones any object that is placed within it. Angier uses this machine in an act of vengeance, setting up Borden for a false murder charge by both cloning himself and then murdering his clone with Borden as the fall guy. Here at least is the difference between the two magicians: Angier kills his clones as part of his magic trick while Borden uses the other Borden as the magic trick. In the end however, one Borden hangs for the crime of killing Angier (who is just a clone mind you). The other Borden kills the real Angier in the final act of vengeance. All this death and at its root one’s relationship with the feminine. It’s as if the twin brother of Borden and the clones of Angier are really the images of the psyche, the true individuality of each of them–their souls–each trying to grasp at the powers of the world while blinded to the feminine who would authentically empower them. This relationship is consistent throughout all the works discussed. The turning point in Goethe’s Faust is when the great Doctor meets Gretchen. Up until this point Mephistopheles has provided anything Faust desired, but none of it impressed him in the least. Yet, what does the world of a cold, calculating man of learning know of the world of woman? When Faust meets Gretchen for the first time he feels his soul lost, and can only confess, “Fetch me something the angel wears! Take me to her place of rest! Fetch me her garter as a token–fetch me the kerchief from her breast!” (96). But Faust’s first relationship with Gretchen is not authentic. He wants her for passion’s sake. And in truth, with Mephistopheles’ aid, he eventually takes Gretchen to his bed. Once lovers, and parted from the counterfeit world of culture and science, Faust comes to his primal revelation: “Now fully do I realize that man can never possess perfection! With this ecstasy which brings me near and nearer to the gods […]” (123). This revelation comes with a terrible price. The good Doctor impregnates Gretchen , then is forced to leave her. Her honor despoiled, her brother Valentine seeks revenge, but to no avail, for in a duel he is slain by Faust. In sheer torment Gretchen holds her dying brother exclaiming, “My brother! This is the agony of Hell!” (146). His response is cold, “Dry those useless tears, I say! You dealt my heart a fatal blow when you flung your honor away” (146). In his dying breath he accuses Gretchen of slaying his real self, his inner soul, by the loss of her honor. This realization overcomes the poor girl, who at this point is alone and pregnant. Eventually, imprisoned for killing her own illegitimate child, Gretchen can find no peace, “Dear God! Dear God! They’re coming! O bitter death!” (176). Only these turn of events can change the heart of Faust. And, as the Almighty knew all along, it is Faust’s heart (his compassion) that needs changed before his mind (reason) can do him any good. When Faust realizes what he has done to his lover, when he sees his true relationship with the feminine, he finally understands his relationship with evil, as he confesses to his trusted companion Mephistopheles: “Imprisoned! Lost in hopeless misery! Delivered over to evil spirits and to the pitiless judgment of men! And meanwhile you lulled me with insipid distraction, you concealed from me her increasing misfortune and allowed her so slide hopelessly into ruin!” (171). This is the changing point for Faust, who now seeks a completely different course in his life and has a fundamentally changed relationship with his tutor the Devil, who can only acquiesce, “It is the way of a tyrant to destroy the innocent opponent who crosses his path when he seeks a way out of his dilemma” (173). So it is that Bruce Wayne’s own inability to deal with the death of his mother and the loss of his boyhood girlfriend provides the real grist for his vengeance. It is not evil that turns Wayne into Batman, it is the loss of the feminine. Castigan and Sullivan both vie for the same woman in The Departed, neither with great success. But it is the more authentic relationship of Castigan with Madolyn (Vera Farmiga) which provides his impulse to overcome all the temptations of Costello and Costello’s world. In the end, it is Castigan who is awarded the highest medal of honor for maintaining his appropriate relationship with evil through his relationship with the feminine. And of course, it is Anakin’s illegitimate relationship to Padme (Natalie Portman) which seals his decision to join the dark side of the force, just as it is his legitimate relationship with his own daughter Leia (Carrie Fisher) in Return of the Jedi (1983) where he finds the courage to defeat Palpatine and vanquish the sinister side of the force permanently. In simple terms, what the movie goer learns is what Goethe’s Faust learns: without the authentic feminine in one’s life one is lost. Furthermore, no science, no technology, no amount of money, fame, privilege, or property, and especially not even real sorcery, can heal the soul. The soul’s quest is the quest for authentic individuality, which, ironically, must be done with the proper balance with the “ultimate other” that takes the identity of the divine feminine. Thus, one’s relationship with evil is one’s relationship with the authentic feminine. How these relationships play out is how we find our hope or our doom. The Departed. Dir. Martin Scorsese. Perf. Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg. Warner Bros. Pictures, 2006. Falzon, Christopher. Philosophy Goes to the Movies: An Introduction to Philosophy. Florence, KY: Routledge, 2002. Goethe, Johann Wolfgang. Faust. Trans. by Alice Raphael. Norwalk, CT: Easton Press, 1980. Holy Bible. KJV. Salt Lake City, UT: Deseret Book Company, 1998. Lyden, John. Film as Religion: Myths, Morals, Rituals. New York: New York UP, 2003. Nietzsche, Friedrich. The Birth of Tragedy. Cambridge: Cambridge UP, 1999, pp. 3-116. Oergel, Maike. Culture and Identity: Historicity in German Literature and Thought 1770-1815. Hawthorne, NY: Walter De Gruyter Inc., 2006. The Prestige. Dir. Christopher Nolan. Perfo. Hugh Jackman, Christian Bale, Michael Cane, Scarlet Johansson. Touchstone Pictures and Warner Bros. Pictures, 2006. Silence of the Lambs. Dir. Jonathan Demme. Perf. Jodie Foster, Anthony Hopkins, Scott Glenn, Anthony Heald. Orion Pictures Corp., 1991. Star Wars III: Revenge of the Sith. Dir. George Lucas. Perf. Ewan McGregor, Natalie Portman, Hayden Christiansen, Ian McDiarmid, Samuel L. Jackson, Christopher Lee. Lucasfilm Ltd., 2005.

8 Secret Instagram worthy spots in Singapore As someone who has lived in Singapore, you might have encountered occasions where you are expected to show your friends from overseas around the island. The things that come to our mind are always Marina Bay Sands, Gardens by the Bay, Orchard Road, maybe even Haji Lane if they are a fan of Instagram worthy spots. To avoid feeling like a redundant tour guide who brings everyone to the same spot every-single-time, here are 8 secret insta-worthy spots in Singapore many do not know of. The best part? Most of these are free! 1. Bukit Timah Railway Tracks In the midst of the modern city, the black iron railway bridge is a rare sight to behold in Singapore. The disconnected railway tracks and surviving infrastructure serve as a perfect backdrop if you’re looking for a rustic feel in your Instagram feed. 2. ION Sky This is a gem. When you think of a sky rise view, the first question which comes to mind might be “how much is it?” But this spot is completely free! Located on the 56th floor of ION Orchard, this place gives you a 360-degree view of Singapore from above. However, there is a twist. Although free, it is open from 3pm to 6pm daily, with the last entry at 5:30pm. One tip, to avoid the queue, do not go during 3pm because that is when the queue is the longest. Be there thirty minutes or an hour after opening time and it will be a breeze. 3. Istana Woodneuk If you are slightly more adventurous, visit this abandoned mansion that once belonged to Sultan Abu Bakar of Johor. It survived bombing by the Japanese in World War II, and walking down the aisle will definitely send a chill down your spine. It is however, heavily guarded by security so a consent might be needed before entering. This is not really a hidden gem since it is a big white church located in the middle of the city, but many just pass by it thinking “it is just an ordinary white building”. If you would like to re-enact a scene from Cinderella, this is the perfect spot for you. The white building with intricate architecture details is not only a beautiful site, but it also has cafe, restaurants and bars which turns Chijmes into an exciting place to hang out at night. In fact, Chijmes is so architecturally beautiful that the place offered for photography sessions. If you are into the monochromatic theme, you can take some awesome #OOTD shots here with contrast outfit like white or light grey. Stacked together like Lego bricks in the middle of the city, these shipping containers houses two galleries, an artist’s studio and a hipster café. 6.Tanjong Pagar Railway Station Although the Bukit Timah railway tracks has been mentioned before, this one has the old rustic train lying there for models to pose endlessly. Although this station will be closed for 9 years for construction purposes, the first 80 metres of it will be preserved as a national monument. A sunset shot with the orange hue covering the rustic steampunk-themed rail station will definitely get you some quality likes in Instagram. 7. Tuas TV World If you have ever dreamt of stepping into a time machine, wait no more because this is a place where MediaCorp filmed those 1950s themed TV shows. This place was created to mimic the bustling city life of Singapore in the 1950s, with structures that resemble a cinema, fire station, church, train station, a city hall, mansions and rows of Chinese shophouses. However, the use of this area has been converted to a military training ground today. But still! Do your homework before you pay a visit to any of these sites! 8. Rochor Centre You should’ve noticed by now that I am advocating free and rustic venues which has a rich history to it. Rochor Centre is a group of colourful apartment painted in red, blue, green, yellow, portraying an aesthetic and vibrant background. However, this iconic building will soon be a memory as it makes way for the construction of a new North-South Expressway. So, head towards this place while it is still standing to take a once-in-a-lifetime photo!

Why stones were pelted on Chiranjeevi by the very people who threw flowers on him? Union Minister Chiranjeevi went to flood hit areas to console them and to assure them that he is by their side. When he went to Rajam in Srikakulam district, stones were pelted on him and his resignation was demanded by the irate people. Why so much of change in the people who treated him with high respect and love and affection when he was in the cinema field? He entertained the Telugu people with his acting talent and earned a Mega Star Status. He wanted to go more close to the public and engage in real service by entering politics and the problems started. His every move is criticized. If he keeps silence it is criticized and if talks something then also it is criticized. If he does something for the State he is blamed of wasting Government money and if he doesn’t he is still blamed. Chiranjeevi was never blamed if his film failed at box office. He was not blamed for acting this way and could have acted other way. That means only his choice of leaving that peaks he achieved in the field of cinema has to be blamed that too because he chose for the service activity which is possible as it empowers adequately if one goes in to the law making field. Leaving the heights for an ideology needs guts as one will be a beginner in the new field which usually no one likes without a strong will to do something better! After floating Praja Rajyam Party he merged it with Congress party which too was flayed by many. But if one takes a close look, he being a high command in his own party and leaving it to obey the orders of high command of other party needs an egoless quality. A number of times he innocently stated that he is new to the politics and he wants to learn it. But as a stamp of a politician is affixed on him and as he is not a person who believes in talking, he was labeled by everyone the way it suited them. When he did not figure in the news when devastating natural calamity was at full swing, a question arose where is the Tourism Minister Chiranjeevi? When he goes to see his own State’s people in their misery he was pelted stones! Politicians are usually measured with their glib talk and actively figuring in the news either with some promises or the other or by criticizing other leaders. So much of following can be seen to YS Jagan in spite of the highest scam of quid pro quo was that was charged on him. But Chiranjeevi is not learning from any of those politicians as he wanted to learn politics in real sense. It is very easy to throw a stone when others are doing it as it is a chance one gets without any effort to show valor. But if one thinks in a different way from others then the positive side of it is seen. Baba Ramdev was adored and no politician talked anything against him as long as he was limited himself to the activity of Yoga. Once he talked about the politics he was taken to the task. YS Jagan was a happy businessman as long as he did not come to active politics. A Meditation Master Subash Patri was a Guru and left alone to do the activities he liked till a political party was announced and a CM candidate of that party was introduced to the public in the Meditation camp at Kadtal. Even Anna Hazare with all his selfless motives was attacked by the politicians and media when he challenged the political decisions of the Union Government. His past records were dug up to get something against him! So it is only entering political activity that makes a difference in the image of a man!

GALLATIN RIVER TASK FORCE The Fly Fishing Film Tour will make a splash in Big Sky on Wednesday, March 21, at the Lone Peak Cinema with two showings at 5 and 8 p.m. The 2018 tour showcases nine fly-fishing films from around the world. “This year’s lineup of films … would blow the doors off a ’78 Buick,” promises the F3T website. “With an emphasis on the stories, characters and fisheries that help make up the vast world of fly fishing, the 2018 F3T will take you from Michigan to Honduras, from Wyoming to Greenland, from the mind of child to the heart of a musician, from the edge of your seat to the end of the earth and back.” The Big Sky show is a not-to-be-missed event for fishy folk of all ages. There will be a tasting gallery before the films featuring spirits by Willie’s Distillery, Glacier Distilling Company, Dry Hills Distillery, Bozeman Spirits and Wild Rye Distilling. The cinema bar will serve signature drinks to celebrate the original and preeminent exhibition of fly-fishing films. Two of the films will shine a spotlight on the power of fly fishing to change lives. “Beyond the Horizon” shares the journey of Rankin Jackson who escaped the drug trade to become one of the greatest guides in Honduras. In “Chandalar” a group of urban youth and veterans tackle fly fishing and healing during a three-week fly-fishing expedition. In addition to highlighting the best fly fishing films, the F3T partners with local fly shops and conservation organizations across the country. Last year, the tour raised more than $500,000 to support education and conservation projects that enhance the sport of fly fishing. Proceeds from the Big Sky event will support efforts to protect the Gallatin River by the Gallatin River Task Force. To learn more about the F3T, visit gallatinrivertaskforce.org/project/fly-fishing-film-tour. Entertainment6 days ago The Old Saloon presents uniquely old-timey musical experience Health4 days ago Social security scam impacting Montanans across the state Environment3 days ago Hail storm kills, maims more than 11,000 birds in Montana Entertainment5 days ago Arts Council to host Montana Shakespeare in the Parks

Bachelor of Arts in Film Since its early days, cinema has been one of the most influential art forms of the twentieth century. Uniquely situated in the “film” city of Cairo, the major in film integrates professional film production training with the study of the historical and theoretical nature of the medium. Another critical component of the degree is studying the dynamics of cinema as a complex cultural, economic, and industrial practice. In conjunction with this academic and professional framework, the degree also provides a balanced consideration of international, regional and local facets of the subject. The curriculum covers the following areas: the development of cinema as an art form; the impact of cinema on culture and society; the historical, thematic and stylistic trends within Egyptian and Arab cinemas; the development of the theoretical and practical background and appreciation of the art of filmmaking; Aesthetic techniques used in production; and the relationship between cinema and the increasingly mediated visual cultures of the world. , , , and . Declaration is prior to an interview. To be eligible for the interview, students must complete 5 courses: A total of 120 credits are required for the bachelor’s degree in Film:

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Mumbai Memoir 65- Mumbai to Goa- ‘In search of Fort Terekhol!’ Goa has always been an annual November getaway for me. The beaches, churches, temples and the Goan food beckons all travel freaks like me! This year, besides attending the 47th International film festival of India (IFFI) at Panjim, I was determined to check out few unexplored tourist spots in Goa. It was a delight to watch good quality cinema in the concluding days of the film festival. Films like ‘Life Animated’ (English), Een Echte Vermeer (A Real Vermeer) (Dutch) & K Sera Sera (Konkani) left a deep impact on my mind. ‘Life Animated’ is a documentary film featuring a young Owen Suskind who had been suffering from Autism as a child and now is almost normal. The film highlights the fact that how all Disney’s animation films helped the boy to recover! Here’s the trailer: https://www.youtube.com/watch?v=4n7fosK9UyY Een Echte Vermeer is a beautifully crafted biopic of the infamous art forger Han van Meegeren. The theme of the film raises questions in our mind, as to ‘Is forgery an art and how justified it is to appreciate forgers’? Here is it’s trailer link: https://www.youtube.com/watch?v=JJdRivDn67Y K Sera Sera is a simple Konkani film which discusses a simple philosophy ‘does life rules you or you rule life?’ Here’s its trailer link: https://www.youtube.com/watch?v=gjYrn4B-S3A. All in all I had a gala time at the film festival, enjoying the films and also the ambiance that glittered the promenade by the Mandovi river. My last day in Goa was spent in exploring a fort that I always wanted to visit. Hiring a car I set to find out the whereabouts of Fort Terekhol. As I left Panjim, a local traffic police helped me by verbally providing a couple of alternate routes to reach the fort. One route was from Shivolim from Mapsa and other was from Pernem (Pedne), which is at the northern tip of Goa. I chose the Pernem route which leads to the inner country roads that run adjacent to the back waters of many tiny villages that pass by. The river Terekhol acts as a beautiful backdrop as one passes the backwaters. It was tempting to stop by and click scenic photos. The one and a half hour drive from Panjim via Pernem leads to a place called Querim (Kheri). A Ro Ro ferry service further transports the traveler across the river where yet another uphill road trip finally leads to Fort Terekhol! On reaching the gate of the fort one notices a couple of memorial stones installed in memory of the Goan martyrs, named Hirve Guruji & Sheshnath Wadekar who fought against the Portuguese colonial rule under the leadership of Alfred Alfanso. The fort is believed to have been constructed by Khem Sawant, the chieftain of Sawantwadi during the medieval period. Later during the times of the Maratha warrior King Shivaji Maharaj, the fortress of Terekhol remained under the possession of the Bhonsale’s of Sawantwadi till the Portuguese captured it in 1746. The church and the statue of Jesus Christ were built after the Portuguese took over the fort. After Goa achieved its independence from colonial rule, the Goa State tourism department was managing the fort, until a couple of years back. Now the fort is a beautifully maintained resort managed jointly by Goa tourism and private entrepreneurs. More about the Fort Tiracol resort here: http://www.forttiracol.in/ As I strolled and explored the fort premise, my soul experienced a unique sense of tranquility. The serene surroundings of the fortress was a much needed treat for a Mumbaikar like me, who is surrounded by traffic, noise and chaos all the time. Having got the best spot at the Fort Tiracol resort’s restaurant named Tavern, I enjoyed my lunch by overlooking the seashore as my heart beats rejoiced along with the sound of the waves hitting the shore. The restaurant staff Michael Rodrigues and Sagar were at their best as they served me a three course meal that was a mix of Indian, Goan and Mediterranean flavors. As the sun set over the Terekhol river, I started my return journey to Panjim. Hill tops have always fascinated me. It makes me feel as if I am watching the world below from a bird’s eye view. My search for Fort Terekhol was indeed a beautiful experience which made me feel rejuvenated just like a bird would feel after gracefully flying over a hill top and then getting back to its cozy nest! Photo courtesy: Shraddha C Sankulkar *Special thanks to Tanvi Tavsalkar for offering her laptop (as mine was temporarily misplaced) to complete my article.

In her seminal book Men, Women and Chain Saws: Gender in the Modern Horror Film author Carol J. Clover posits that horror films are not rooted in the joy of violence. Rather, the thrills this genre offer stem from an empathetic view by the audience of the (typically female) protagonist. She touches upon shifting gender roles, both in society and the cinema, and how the final girl is an empowering trope. If you haven’t read it, despite its age, it is well worth it for a dynamic take on horror. I believe Clover would be thrilled with Body At Brighton Rock’s exploration of female identity and strength of will. Marking the feature-length writing and directing debut of Roxanne Benjamin Body At Brighton Rock takes place in the titular park. Wendy (Karina Fontes) likes her job as a park ranger there but is consistently late. This is partially due to the basic assignments her superior Sandra (a fun Miranda Bailey) give her. However, those kid-centric and easy tasks are due to her low-level clearance. One day, her friend and co-worker Maya (Emily Althaus) wants to switch jobs with Wendy. Wendy agrees as this will let Maya hit on one of their co-workers. Wendy heads out to the woods to switch out the signage. While she’s dancing about the trail, her co-worker Davey (Martin Spanjers) scares her. He apologizes and offers to help her out since he caused her to scatter the papers to the winds. Wendy declines the offer, as she’ll be done soon. As she climbs to the peak of Hitchback Ridge, she takes a selfie to send to Maya. Maya informs Wendy that she is not on Hitchback and that there is a body just below the ridge she’s on. “…Wendy has just the corpse, her thoughts, and the stories of the woods being haunted to keep her company atop the mountain peak.” Wendy radios her superiors, and they call cops. However, due to the time of day, the authorities will probably not be able to get to Wendy until the morning. Now, Wendy has just the corpse, her thoughts, and the stories of the woods being haunted to keep her company atop the mountain peak. Or is she? While scouting the area, she stumbles upon Red (Casey Adams) investigating the body. Did he kill the man? Does Red now want to kill her or is he honestly just a hiker? Roxanne Benjamin has worked on a few horror anthologies such as the atmospheric Southbound. Her understanding of the genre is evident from the first frames. Body At Brighton Rock opens with a postcard-esque shot of the park’s forest as the bright yellow credits flash across the screen. This sense of ease is juxtaposed right away with Wendy’s fast running as she tries to get to work on time. Horror is all about jarring one out of their comfort zone, and the tranquil, almost comedic credits followed by scenes of such speed do just that. However, they do that in a non-threatening way. Benjamin’s mastery of these tricks is what make the truly horrifying moments so impactful. Before the creepy and bizarre begins, she has already subverted audience expectations by the rare use of jump scares and in sequences as described above. Thus, when things do get shocking, the audience feels it. Wendy, in an effort to properly secure the potential crime scene, discovers a tent and fire pit near the dead body. She calls out to see if anyone is around. No one replies. She gets near the shelter and calls out again. When she opens the tent, no one is there. There isn’t even a sign of a struggle. But, upon exiting the tent, she discovers a bleeding bag hanging in a tree. “Horror is all about jarring one out of their comfort zone…” Of note, especially in the scene just described is the outstanding sound design work. The wind shaking the trees go from a natural occurrence to an intense howling, suggesting Wendy’s gradually growing desperation. In the tent sequence, just before the discovery of the bleeding bag, the scraping of the rope grows incrementally louder until Wendy has convinced herself that someone, or thing, must be shaking the tent walls on purpose. These audible clues help chime the audience into Wendy’s questionable mental state. While all the actors do an excellent job, it is Karina Fontes’s movie from start to finish. She is in every scene and her arc from naive to scared to well, you’ll see, is engaging. The audience must be on Wendy’s side from the first moments of the film and stay with her the entire time. That is a lot to ask of any actor, much less someone with only three credited roles; Body At Brighton Rock included. Fontes is so happy and fun early on, most evident in her extended dance. Her reaction to a nightmare in which the corpse rises to kill her causes Wendy to have to calm herself. The way Fontes calls into question her character’s sanity during these hallucinations, while still being relatable makes her a force to be reckoned with. Provocatively toying with horror conventions, Roxanne Benjamin ensures maximum impact when the terror begins; though the occasional awkward edit rears its ugly head. Anchored by a star-making lead turn and sporting superb sound design, Body At Brighton Rock is a bloody good time. Body At Brighton Rock (2019) Directed by Roxanne Benjamin. Written by Roxanne Benjamin. Starring Karina Fontes, Casey Adams, Emily Althaus, Miranda Bailey, Martin Spanjers, Susan Burke, John Getz. Body At Brighton Rock screened at the 2019 SXSW Film Festival. 9 out of 10 Crags

Galway’s Palás cinema was one of the big winners at the World Architecture Awards this weekend. The arthouse cinema designed by architect Tom dePaor won Best Use of Colour at the architecture awards in Amsterdam on Saturday. The cinema on Merchant’s road was noted for its painted glass windows that light the interior in vibrant blues and yellows. The 22 resin-coated windows were created by Irish artist Patrick Scott. Judges at the architecture awards noted how “colour is completely integrated and critical to the conceptual design and experience of the building,” which was described as like “a magic lantern”. The Pálás was also nominated for an award as a completed cultural building, but lost to The Piano Mill in Stanthorpe, Australia. The grey-fronted concrete building in the heart of the Latin Quarter towers over surrounding buildings down by the Spanish Arch. Opening last February, the Palás cinema is run by Element Pictures who took over management from the original company Solas in 2016. Long a source of controversy in Galway, the Palás took 14 years and €9 million in public funding to deliver, on top of donations made by individuals to the project. The independent cinema features three screens and recently celebrated the opening of its downstairs bar and restaurant Merrow. Building from around the world were nominated for awards in 42 categories at the World Architecture Festival. The overall World Building of the Year 2018 is the Kampung Admiralty retirement village in Singapore.

- Development/Investment Potential - South Facing Garden - Private Parking - Walking Distance to Railway Station - Wood Burning Stove - Double Glazing 3 Station Road is an immaculately presented three-bedroom ground floor apartment situated in the heart of the charming village of Stow. Forming part of a large mansion, it was formerly a coffee shop, with an apartment, but has since been converted into a spacious dwelling with private driveway parking and a fabulous south-facing garden to the rear. Given it could have three separate entrances, the apartment could be split in to two separate dwellings, or reinstated as a dwelling with a commercial premise, subject to the necessary permissions. This would provide an unusual but viable investment opportunity in a strong village location. Only a short walk to the Borders Railway station, which runs to Edinburgh, there are amenities in the village which includes a village shop with post office, plus a primary school, a health centre and open countryside on the doorstep. Internally, the property comprises three bedrooms, an ensuite shower room, a bathroom, a sitting room, a generous kitchen with dining room off and a welcoming side vestibule. With double glazing throughout and a multi-fuel stove in the sitting room it provides a warm and comfortable home with good storage throughout. Externally, there is a charming south-facing garden to the rear with patio area, extensive decking and lawn. Attractive borders, with shrubs and trees in abundance make this a lovely place to sit out and enjoy informal entertaining. The garden could also offer an opportunity as a small building plot subject to the necessary permissions. Useful storage under the house plus a garden shed and private driveway parking are a particular feature of this property. Edinburgh and most Border towns are readily available from this highly accessible location with the A7 running from Edinburgh to Carlisle. Galashiels 7.5 miles. Edinburgh 26 miles. Melrose 12 miles. Lauder 5.5 miles (All mileage is approximate) EPC : D59 Council Tax Band : D 3 Station Road is situated in the heart of the village of Stow, which has a village shop with a post office, a coffee shop and a health centre. As well as being a sociable village with a range of activities, there is a very active pre-school, an excellent primary school, and a local church. The principal Borders town of Galashiels only seven and a half miles away, with a population of 12,000, offers a fuller range of shopping facilities, including Tesco, ASDA, Boots, Next, WH Smith and Marks & Spencer. Local tourist attractions include Old Gala House and Abbotsford House, the former home of Sir Walter Scott, with its award-winning visitor centre as well as many other attractions in nearby Melrose and other Border towns. Among the independent shops in Galashiels there is also a cinema, a health centre, a swimming pool, gym, dentists, orthodontist and a new Transport Interchange built primarily around the new train station in conjunction with the Borders Railway which is a particular bonus. Local sports teams include Gala RFC, Gala Fairydean FC, and Gala CC and local festivals include the historic Common Ridings held in the summer which is of particular note amongst neighbouring towns and villages. There are also a variety of outdoor pursuits in the area that include fishing on the River Tweed, fieldsports, horse riding, golf at Galashiels and Lauder, lawn bowling, mountain biking, and a selection of walks including the Southern Upland Way. Primary schooling is available in Stow with secondary schooling at Galashiels Academy, for which there is a school bus service. The well-known St. Mary’s Prep School is located in Melrose, to the South, along with a further selection of public schools in or around Edinburgh to the North. The Borders General Hospital, the largest hospital in the Scottish Borders is only twelve or so miles away on the fringes of Melrose. Stow sits in an easily accessible area and can be reached by the A7 which runs through the town and provides the links to Edinburgh or the north of England. The area is also served by the Borders Railway which runs from Tweedbank to Edinburgh, with the aforementioned station in the town. There is also a busy bus service which runs from the Interchange, beside the railway station in Galashiels with links to Newcastle and Carlisle in the South, as well as Edinburgh and the other Border towns. Edinburgh International airport – offers an excellent choice of destinations and is 32 miles away. For those with satellite navigation the postcode for the property is: TD1 2SQ Coming from Edinburgh take the A7 South signposted Carlisle and Galashiels. Continue South on the A7, passing Heriot, on your right. Approximately nine miles after the turning for Heriot, you will enter the northern side of Stow. Continue into Stow and through the village and take the first right turn after the pedestrian lights, which is Station Road. 3 Station Road is the first building on the left-hand side, occupying the corner plot. Coming from Galashiels take the A7 to Stow, and turn left immediately before the pedestrian lights. 3 Station Road is the first building on the left-hand side, occupying the corner plot.

Greetings, gentle readers of Rotten Ink, Juliet here. I’ve decided to take advantage of Matt’s longstanding invitation to do a guest post and give him a break after a busy Halloween season by exploring one of The X-Files comic series with you. The X-Files premiered on September 10, 1993. Realizing that I was 10 when the show premiered 20 years ago this fall is the first thing to truly make me feel old. Although there were other shows I was a huge fan of as a child, The X-Files is the first and only show where I’ve watched ever single episode as it aired for the entire run of the show. It was without question my favorite show during its 9 year run and if pressed to pick an all-time favorite TV show, that’s my answer. There are plenty of shows I absolutely adore: The Avengers, The Rockford Files, Star Trek, Sports Night, Six Feet Under and my current TV crush, Fringe, but my affection for The X-Files simply cannot be matched. It’s everything I love in a show: some kind of detective or spy element (the more strange/covert, the better), strong female characters, the ability to be both dramatic and funny, an element of the supernatural or paranormal and, as my mom best put it, “a super complicated plot with plenty of twists and turns that you can babble on and theorize about nonstop.” But The X-Files was even more than those elements combined. As the seasons and the mythology progressed, I became so emotionally invested in the show. Both characters’ quests to believe in something whether it be aliens or religion, Scully’s battle with cancer and Mulder’s feeling of responsibility for putting her in harm’s way, the ideas of trust and truth and how both can be twisted and broken, these are the things that made it easy to become so completely invested in this show, to the point that I can still remember how devastating the end of season 4 was and how agonizing it was waiting all summer to find out whether or not it was going to be okay. If you don’t know what I’m talking about, I won’t spoil it for you, though given that 5 more seasons and two feature films followed, I don’t know that you’ll be able to experience the uncertainty about that particular moment the way those of us watching in 1997 did. The X-Files was an important turning point in television for a lot of reasons: one of the first television shows to be released in season sets on DVD and as one of the 20th anniversary articles pointed out, one of the first shows whose fandom thrived on the internet yet one of the last shows set in present day where the internet was not yet an integral part of day to day life. More on the internet/fandom points in a bit. The X-Files DVDs are among my favorite items in my movie collection. I have the original run of giant, fat, fold out cases, and wouldn’t trade them for the world even though they take up an insane amount of shelf space . The season sets started coming out right around the time I got my first job in high school at a locally owned CD & DVD shop. I didn’t even own a DVD player when I began saving up and buying those sets with my employee discount (which still made them over 10 times as much as the sets cost nowadays). Admittedly, even when I was younger, the thought crossed my mind that my infatuation with The X-Files would fade, and certainly the later seasons sometimes made the show hard to love. Both before and after The X-Files’ run, there were shows that began as my FAVORITEST.SHOW.EVER. That either got increasingly stupid (Lois & Clark) or increasingly repetitive (C.S.I. – more on that if Matt ever lets me write another one of these – which is really a promise and a threat). It says a lot about my attachment to show the and its characters that 20 years later, I can still not only watch it over and over on DVD, but am also still hoping that the oft-rumored third movie will one day materialize. I’d also be lying if I said my fangirl heart didn’t do a little flipflop upon seeing David Duchovney and Gillian Anderson’s latest Entertainment Weekly cover. Wait, what? For those of you who know what I’m talking about, feel free to skip the next four paragraphs ahead or nod along as you read the testimony of your fellow nerd…as in Nerd…capital N. None of this trendy nerd business, not that there’s anything wrong with that. I say capital N Nerd because that’s seriously how I felt about fandom and shipperdom when I was younger – painfully nerdy. Of course, as a grown up, I’ve met many many people who are into fandom, hell, who taught me the term fandom, but as a younger person, it was at times isolating to be so.freaking.into. something in a way that goes beyond liking a TV show, movie, book series, etc. Remember, this is all happening right as the internet is very slowly becoming commonplace in people’s homes (yes, children, there was a time before we all had all of the internets at our fingertips 24-7). As I got older, it was amazing to meet people who shared this similar kind of obsessive love for a fictional series, whether it be the same series I loved or not, the first of these folks being my best friend Anne. When I met her in high school, Anne was super into the Buffy fandom, a love that she passed on to, and that I’ll write about at some future point. She’s also the person who introduced me to online fandom, which really opened up a whole world and connected me to people who were the exact type of obsessive, yet creative fan that I was previously so embarrassed to be. The X-Files became my first formal foray into fanfiction, though, as I recently told another friend I had really been writing fanfiction from a very early age as a young Star Trek fan, though never really knew that there was name, let alone a community of people who write it. Fanfiction is another one of those weird to talk about things, especially because of the whole 50 Fifty Shades of Grey situation. And actually my discussion of fanfiction would be much better suited to a blog about C.S.I. So look forward to that at some point (again, if Matt ever lets me do this again). Now to return to the digression from which I digressed, what is shipperdom? Shippers are typically members of a fandom who are want to see or are supportive of two of the characters getting together in a romantic relationSHIP. It goes beyond just wanting to see the characters end up together though. If you’re a shipper (or at least this is how all of the shippers I know, including myself, are), you study every interaction between your pairing in a given episode. You look for the subtle, the subtext of the conversation; you analyze everything. It’s a huge emotional investment for many. If you happen to watch a show where there are two major but opposing ships (C.S.I. is a huge, personal example…again, more on that another time), it’s that much more intense. And remember, this is all for fun. Again, if you’re into fandom and/or a shipper, I’m probably just hitting the tip of the iceberg. If you’re not, you just might be questioning my mental health and relationship to reality. Here’s my disclaimer in the simplest of terms possible: yes, as with anything else, there are people within the fandom community who don’t have a good handle on reality and thus form a unhealthy obsessive relationship with whatever fiction they’re a fan of. There are plenty of people, however, for whom even a seemingly obsessive relationship with fiction is relaxation, a creative exercise and is leisure-time and balances can be struck, line can be drawn between fandom, work, family, etc. So long-story short (too late): I was/am a Mulder-Scully shipper. You can imagine, I’m sure, my excitement when in the third theatrical trailer for the first film, Fight in the Future, it looks like we’re finally going to get the kiss we’ve all been waiting for. To be fair, that was only one of many things that had me completely hyped to see Fight the Future, and it’s one of those films I have a very distinct memory of seeing in the theater. I went with my dad (also a big fan of the show) to see it at the Beaver Valley Cinema (yes, the same theater Matt recently talked about in his rundown of now defunct independent movie houses). We had to see it at Beaver Valley because right when the film opened, there was some kind of issue with 20th Century Fox and Showcase Cinemas (at the time, the main first-run theater chain in the Dayton area), and I think the Showcases got the film a week or two late or it closed early. I can’t remember precisely how it all went down, I just remember that we felt lucky that Beaver Valley had the film because it was the only theater in the area showing it for a while. It was a packed house, and (SPOILER ALERT) coming back to the kiss, I will never forget the loud groan from the audience when Scully gets stung by the bee. A side note about Fight the Future: its soundtrack remains one of my favorites to listen to front to back. The show soundtrack, Songs in the Key of X is also great, but the Fight the Future soundtrack is the perfect combination of dark, moody late 90s songs and some really unexpected covers (Filter’s rendition of “One,” anyone?). I just might be listening to it as I’m writing this…maybe…. Another side note: I was researching who wrote the Fight the Future paperback adaptation on Amazon, and a beekeeping book was the first item in the related searches. Ha! When Matt and I saw the second film, I Want to Believe, it was a nearly opposite experience. Although the film was available most everywhere, we were two of maybe five people in the entire theater, and I really ought to apologize to those 3 other people and to Matt because I may have been, uhm, a bit vocal about (more SPOILER ALERTS ahead) the lack of aliens, any mention of the 9 seasons of mythology, any acknowledgement of the fact that Mulder knows the date of colonization or comments about a certain infant. I have really mixed feelings about I Want to Believe. On one hand, it’s a miracle that it got made so long after the end of the show. The new content was a pleasant surprise and felt like a good extended episode that was not mythology related but served the characters well. On the other hand, for a fan who stuck with the show for 9 years of twists and turns in the mythology, sometimes brilliant and other times horrendous, it felt like such a betrayal to loyal fans to not even have a passing mention of what had come before. I understand the bind the writers were in; one of the flaws cited about Fight the Future was that it wasn’t very accessible for folks who didn’t know the show. Luckily when it came out, The X-Files was one of the most popular shows on TV. However, when I Want to Believe came out in 2008, The X-Files hadn’t been on TV for 6 years, and many loyal fans hadn’t even made it through the last 2 sans-Mulder seasons of the show or had only watched the admittedly lackluster series finale. So yes, including a lot of mythology in the main plot of I Want to Believe would have made an uphill battle of a film that much more difficult, but I feel like the message to diehard fans was, “well guys, at least you got another movie…” There have been, of course, on-going rumors about a third X-Files film especially this year with the 20th anniversary giving the show renewed media coverage. Chris Carter, David Duchovney and Gillian Anderson have all been quoted as saying that they’d be interested in doing a third, but there’s been no movement from Fox yet. I wouldn’t be surprised if happens though. Despite years of rumors about a second film, I had just about given up hope when I Want To Believe materialized. Until then, we’ll have to settle with the season 10 comic series that’s currently being put out by IDW, which I’ll probably touch on in a future guest post once the series is a bit farther along. But comics are why we’re here so let’s get onto it, shall we? Today I’m going to look at the Topps X-Files Season One tie-in comics as well as the comics for Fight the Future. During the show’s original run, Topps had a 41-issue main series of comics based on the X-Files with stories that different from what was on television. In the middle of this run, in 1996, they began to publish a special series of episode adaptations from season 1. The idea was actual to do comic adaptations of the whole show, but that fell through before the season 2 books were ever completed. We start with the Pilot, naturally. The following is inspired by actual eyewitness accounts. In Oregon, a young woman is found dead in the woods, and the authorities begin wondering if “it” is happening again. Meanwhile, in Washington, DC, a young FBI agent named Dana Scully receives her new assignment working with Fox “Spooky” Mulder on an unusual case docket known as the X-Files. These cases deal with the unexplained, the paranormal, and they’re Mulder’s passion in life. Scully’s job, per her superiors, is to use her scientific knowledge to debunk these cases, the first of which is figuring out who killed Karen Swenson, the young woman in Oregon. Mulder thinks this is a classic example of alien abduction, while Scully maintains there must be some logical explanation for what’s been happening to Karen and her fellow schoolmates from the notorious class of ’89. The truth is, of course, out there, but will our daring duo be able to figure it out before more kids are abducted? Ah, the pilot episode. It will always have a special place in my heart. Although not the best story of the series, it’s certainly a strong start – better than many first pilots, and some first seasons of the average TV show. The comic version is an extremely faithful adaptation, to the point that X-Files creator Chris Carter is given the writer credit for the comic, while Topps’ Roy Thomas is merely credited for script adaptation. More on that later. John Van Fleet did both the cover and the interior art, while his style works for the cover, I’m not wild about the interiors. I get what he was going for with the shadowy, painted look, but it tends to look sloppy in more panels than not and doesn’t serve the story well. In 1997, your options for re-experiencing the pilot episode were to track it down on VHS, read the YA paperback adaptation or read this comic. But today, the DVDs are so readily available that if the comic doesn’t have anything to add, it’s hard to make a case for it over the actual episode. Let’s see how Deep Throat fares next. The X-Files Season One: Deep Throat *** 1/2 Released in 1997 Cover price $4.95 Topps Comics 1 of 8 There’s something strange going on with test pilots at Ellens Air Force Base, and Mulder takes it upon himself (and Scully) to investigate. But before they can get rolling, Mulder meets a mysterious man who advises him to drop the case, citing “a certain interest” in Mulder’s work. But that doesn’t stop Mulder’s quest for the truth, which puts he and Scully into harm’s way as well as the path of young UFO nuts, faux journalists, military wives and, perhaps, the spaceships they seek. I always forget how much I really love this episode. It’s certainly not extraordinary like “Bad Blood,” “Jose Chung’s From Out Space,” and many of my other favorites, but it’s a strong episode. While the Pilot establishes the paranormal aspect of the show, and teases the conspiracy, Deep Throat ushers in the mythology that, for better or worse, would sustain the show for nine years. I think I especially connected with this one because of the idea of the Air Force pilots flying either UFOs or planes built with UFO technology because I grew up not far from Wright-Patterson Air Force Base where it’s rumored UFOs and or aliens were brought after the Rosewell crash. Hangar 18, anyone? Comic-wise, Roy Thomas gets a title change from Script Adaptation to Writer, and while the comic still doesn’t deviate from the television episode, that fact doesn’t seem so completely obvious this time around. What may have helped with that was the addition of Claude St. Aubin on pencils and Rick Magyar on ink. The art was so much better in this issue and served the story well. Mulder and Scully, for the most part, looked like Mulder and Scully, and the UFO scenes that were super dramatic onscreen looked really nice on the page. John van Fleet is back on the cover with a nice painting of our heroes. The X-Files Season 1: Squeeze *** Released in 1997 Cover Price $4.95 Topps Comics 2 of 8 People are getting their livers ripped out, and Scully’s former classmate is on the case. He asks her opinion on the case, and she and Mulder end up joining the investigation. The other FBI agents think their suspect, a name named Tooms, is a serial killer. Mulder posits he’s a 100+ year old genetic mutant who comes out of hibernation in his creepy newspaper nest to feed on livers every so often. Who’s right about the killer? Read and see. This is one of those X-Files episodes that even people who didn’t watch the X-Files seems to know: that one with the guy that eats the livers. Actually they’re referring to two episodes because Eugene Victor Tooms is so delightfully creepy that he makes a comeback later in the season. Squeeze was the first Monster of the Week episode (the ones that were not connected to the mythology/conspiracy story), and we’ve once again got Roy Thomas writing the comic. Val Mayrick is on pencils this time around, and the art is good, but we’re back to a more painted coloring style. While it works on some pages, I still prefer the artwork from Deep Throat. John Van Fleet did two covers this time: one of Tooms and one of Mulder and Scully. Overall, it was really hard to capture the super creepy vibe of this episode on the page, especially those last few minutes that were so effective on screen. The X-Files Season 1: Conduit **1/2 Released in 1997 Cover Price $4.95 Topps Comics 3 of 8 A girl vanishes in a flash of light and her little brother claims to have the key to her disappearance. While the validity of the X-Files division is debated, Mulder finds him drawn to this case from reasons beyond the surface paranormal occurrences that are very similar to an important event from his childhood. For being such an important episode, this is one I often forget about. Or maybe it’s that I take it for granted. After so many years of being a fan, it’s just ingrained in me that Mulder’s sister got abducted that I tend to forget when we actually learned that for the first time (hint: it was in this episode). This is also the first time “I Want To Believe” takes on a greater meaning beyond the UFO poster on the wall of the basement office. Roy Thomas is once again our writer. Upon further investigation, I found out that he wrote the comics based on the episode scripts and then would watch the episode to confirm that everything matched up correctly. So that explains the near perfect adaptation of the story/lack of additional scenes. On the art end of things we’ve got our fourth artist in four issues with Sean Scoffield on pencils. He’s a little sketchier than the others, but still okay. I do like John Van Fleet’s cover for this one. The X-Files Season 1: Ice ** Released in 1998 Cover Price $4.95 Topps Comics 4 out of 8 Mulder and Scully are sent to a remote Arctic research station to investigate what’s making the team members freak out and kill each other. A prehistoric worm is the culprit, but things get complicated when our agents are stuck at the station with the remaining scientists and no one knows who precisely is infected. With issue 5 of the comic, we’re now going out of air order for the episodes. I do like this episode. It’s another Monster of the Week (though when you consider Fight the Future, it might almost fit into the mythology), and it’s got a guest appearance from Felicity Huffman, though if you were to rely on the art for the comic, you wouldn’t know it was her. John Van Fleet’s back on the cover and interiors. So things are bit, uhm, painty in the image department. Roy Thomas is once again writing so the story is tight like the episode its based on. The X-Files Season 1: Space **** Released in 1998 Cover Price $4.95 Topps Comics 5 of 8 Mulder and Scully are sent to investigate a potential saboteur of a space shuttle mission. The mission’s supervisor is experiencing flashbacks from a 1977 Mars mission during which it appeared that a face was sculpted onto the planet’s surface. But soon others on the mission are seeing the ghostly face. Is it a message from another world or simply a man at the end of his rope? Alright guys, I’m going to level with you. This comic really surprised me. The episode as it aired was extremely lackluster. In fact, it’s regarded as one of the weakest in the first season and is reported to be Chris Carter’s least favorite. What was boring on screen actually almost works better in the comic format. What was way too slow on the screen seems to be better told on the page. Roy Thomas once again writes and Alexander Savink delivers some really nice artwork, which I think also lends to the good storytelling. John Van Fleet’s cover is one of my favorites of the Season One series, in part because it’s simple and striking. I really expected that getting through this one would be a total chore. I was happy that wasn’t at all the case. The X-Files Season One: Fire *** Released in 1998 Cover Price $4.95 Topps Comics 6 of 8 An arsonist is targeting British ex-pat aristocrats and is able to make them seemingly spontaneously combust. Mulder and Scully are lured into the case by Mulder former flame (see what I did there?), Phoebe Green. The arsonist poses a caretaker at the vacation home of his next target while Mulder and Scully race to identify the criminal. Oh, and did I mention that Mulder is afraid of fire? The overwhelming theme of this is one that you hate Phoebe Green, which I think is the point. She’s a rival for Mulder’s affections and therefore she must go. Granted, she’s significantly less annoying in the comic than she was onscreen. Speaking of being less annoying, for once John Van Fleet’s artwork serves the story well. The super painty style makes the fire look really menacing and all-encompassing. The cover, also done by Van Fleet is really nice – one of the standouts of the series along with Space. The X-Files Season One: Beyond the Sea ***1/2 Released in 1998 Cover Price $4.95 Topps Comics 7 of 8 A young couple is kidnapped and Luther Boggs, a serial killer on death row, claims to have had psychic visions that can help the police. While in the midst of this investigation, Scully is dealing with the death of her father and some visions of her own. Boggs tries to convince her that he can channel her dead father, while Mulder is injured trying to track down the kidnapper. This is one of those great character episodes that added a lot of depth and background to Scully. The comic does a good job of interpreting it, and the artwork pairs really nicely with the story. Scott Scoffield is on pencils this time around. The coloring is done to look painted, almost in Alex Ross’ style (maybe capitalizing on the success of Kingdom Come?), which serves the story really well. I was wondering how they’d capture Boggs’ creepy vibe in the art, and this seems to have done the trick. John Van Fleet’s on cover duty again; this one is okay, but not the one of the better of the series. The X-Files Season One: Shadows ** Released in 1998 Cover Price $4.95 Topps Comics 8 of 8 Mulder and Scully are brought into a strange case involving two men found dead with their throats crushed from the inside. The men are found to have ties with a terrorist organization and are linked to a women named Lauren who seems to have some force protecting her. This was one of those rather forgettable episodes, and the comic is much of the same. If I could trade this one in for a comic adaptation of Eve, consider it done. John Van Fleet’s on cover and interior artwork, but this time his interiors are really different. They’re way sketchier than his other work, lots of pencil hatching instead of blobby painty coloring. I know that they had planned to do all of season 1 and into season 2, but this was such a lackluster way to end this run. Speaking of plans for continuing the episode tie-ins, I find it interesting that the comics did not go in order of the air dates and that they completely skipped some of the episodes. Part of me is not bothered that they skipped Jersey Devil and Ghost in the Machine, though I’d be curious to see if the latter could’ve been better served by a comic like Space. It’s totally disappointing, however that they skipped Fallen Angel and Eve, the former such a important building block in the early days of the series mythology. Speaking of mythology, how about a bonus review in the form of the comic adaptation for Fight the Future. The X-Files: Fight the Future ** Released in 1998 Cover Prize $5.95 Topps Comics 1 of 1 It all begins with cavemen (doesn’t it always?), but soon we are in modern times in Northern Texas, the very land where the cavemen walked hundreds of years ago where children now play and fall down holes that may be the ancient home of a certain living black oily substance. With the X-Files closed down at the end of season 5, Mulder and Scully are investigating a bomb threat at a federal building in Texas. The building explodes, and our heroes quickly realize that all is not what it seems. What follows is a twisted tale into the heart of the conspiracy filled with bees, cornfields, black oil, more bees at really inopportune times, and a giant UFO in the middle of the arctic. If it’s not already obvious, I love Fight the Future. I’ve seen the movie more times than I can count, have read the paperback adaptation more times than any sane person should, and yet, somehow I missed out on the comic adaptation until now. So I was really excited to see what the comic treatment would be for such a complex story. How could they cram that much story into a 56 page comic? Well, I’ll tell you how: by formatting the darn thing like an intermediate reader for kids with paragraphs of text and a few pictures on each page. LAME. Seriously, what a disappointment. The page count is just enough to cram all of text in, but not really enough to give the story a thorough treatment. Give me the paperback any day. John Rozum did the story adaptation and our old pal John Van Fleet did the artwork, which is sometimes pretty nice and others really just too dark and indistinguishable. The stuff in the arctic in particular is really hard to parse out what’s happening if you don’t know the movie extremely well. If you’re not a super fan, I don’t recommend wasting your time with this one. Thus concludes my brief journey into the comic world of The X-Files. Provided I haven’t scared away all of Matt’s readers, I may return at some point to cover the original Topps run of X-Files comics (that don’t have episode tie-ins) and explore other titles that I enjoy. In the meantime, I return you to his capable hands when next time he’ll be telling you all about the comics based on Steve Reeves’ Hercules movies. And remember: the truth is out there!

Contact for Price To Learn More Contact The Oceanic 140’ Fast Expedition is the flagship of the Oceanic line. She truly emphasis the Oceanic concept with all the advantages of an expedition, the comfort of a luxury yacht and the speed of a fast planning hull. For more information, call us today! Oceanic Fast Expedition With her triple counter rotating propellers pods systems, the Oceanic 140’ engine room has been moved far in the aft section of the boat. This concept allowed the architects to install the main tender garage in the center of the hull. This allows for a 6-meter plus tender to be stored inside. Once launched, this space can also be used as a Beach Club. And apart from the practicability of this layout, its influence on the comfort is a true advantage. The tender bay being located between the engine room and the lower deck cabins is acting as a sound buffer, offering the lowest possible sound level in the industry. Even underway, you will enjoy astonishingly quiet times in the main saloon; thanks to the engine room installed under the outdoor deck unlike all yachts that size. Finally, a yacht in a reasonable size package that accommodates family, friends and guests who can all enjoy their own privacy. The fly bridge with exterior and interior access offers not only wing stations for easier port maneuvers, it is also equipped with day head, bar, sofas and sun cushions with adequate protection from the wing shaped hard top. The transom garage offers enough volume to store jet skis, Seabobs® and an additional tender that can be used exclusively by the crew. Loading of supplies can be done via the tender bay not to interfere with your privacy when enjoying the aft deck saloon. An Oceanic 140’ has simply been thought with your comfort and enjoyment in mind! All our custom-made interiors are first evaluated with a scale 1 mock-up that allows us and the interior designer to double check that everything works properly. The client can also inspect a “prototype” cabin to confirm the layout is what he expected from the layout plans. The main deck saloon and dining room will be extensively used, as it is a true extension of the outdoor spaces. The lateral floor to ceiling windows offer a spectacular sea view and flood this entire space with natural light. Onboard the Oceanic 140’, you will continue watching the water from anywhere you seat in the saloon or the dining area. Further forward on this deck are the day head, galley, captain’s cabin and the wheelhouse with two lateral doors. The port side stairwell leads down to the crew quarters while access to the guest cabins on the lower deck or up to the owner’s deck is gained through a spectacular stairwell. Access to the fully private owners deck is via the super-yacht styled stairwell that is also equipped with skylights. The master suite is divided in four different zones. Aft is the private terrace where you will enjoy breakfast protected by the overhang of the flying bridge, sip your favorite cocktail on the sofas and take a nap on the sun-pad. The aft section of the interior is devoted to the night zone with a king size bed, salon and office. Here too, the window surface is the most amazing feature a yacht can offer. Further forward is the full beam bathroom with toilets, tub, double marble sinks and an oversize all glassed shower with view to the outside. From here, you will gain access to your second terrace to the front that is in reality an outdoor spa. Where else will you be able to enjoy such comfort and privacy? Suddenly, a bathroom becomes a living space, not only for Madame! Right above the edge of the tub, a panoramic window will allow you to relax while enjoying the sea view. The shower cabin, entirely surrounded by glass, offers the same view to the front, but the windshield that separates it from the outside offers a privacy system. No wonder why, like at home, you will feel your wife spends too much time in the bathroom…but she now has the best excuse! Here, as with the entire layout of the Oceanic 140’, this is a design that can be adapted to your wishes, not only in terms of marble, wood or lacquers choices, but also in terms of space planning. You always have the same concern. You don’t want your VIP guests or close friends to feel tight in the usual cabins available in such size yacht. Onboard the 140’ Oceanic, you will never feel ashamed to invite your business partners or close friends to cruise with you. The two VIP suites offer first class bathrooms with marble showers and a cabin with king size bed, oversized closets and corner sofa with coffee table. Another important feature is the large porthole that allows watching the sea during navigation. For the first time, lower deck cabins sound levels are so low that your guests will be able to keep sleeping while the boat heads to destination at a good 20 knots cruising speed. The two twin guest cabins located forward of the lower deck are also very size generous. Not only the space between the two beds is unusually wide, the two beds can also slide to convert into a queen size. The level of luxury, both in the cabin and in the bathroom, is equivalent to the one you can find in the VIP suites. The décor is also fully customizable, thus, these illustrations are only indicative. One of these cabins can be turned into a gym if needed or into a home cinema with high tech sound systems by Linn. Like in every other cabin, the double portholes allow to keep an eye on the water while the boat is underway. Like in every other cabin, your guests or kids will also be able to follow the navigation on the dedicated channel linked to the wheelhouse chart plotter. Located to the front, right before the crew quarters, the only noise you will be able to hear is the one of the waves being slashed by the hull. This listing is presented to you courtesy of a member of the International Yacht Brokers Association and may be centrally listed with another broker. It is offered as a convenience by this broker/dealer to its clients and is not intended to convey direct representation of a particular vessel. The Company offers the details of this vessel in good faith but cannot guarantee or warrant the accuracy of this information nor warrant the condition of the vessel. A buyer should instruct his agents, or his surveyors, to investigate such details as the buyer desires validated. This vessel is offered subject to prior sale, price change, or withdrawal without notice.

The FIFA World Cup women's soccer tournament just ended. So did the ICC Cricket World Cup. And the Rugby World Cup doesn't start 'til September. So where can Cup junkies turn during these long, lonely weeks of midsummer to fill that deplorable Cup deficit? Fortnite, of course. Epic Games has organized a massive worldwide tournament for its hit multiplayer battle royale videogame. And thankfully, the company is streaming all the action live. You can watch the livestream below, or keep reading to learn about other ways you can tune in. What Is It? Qualifying matches for the Fortnite World Cup began earlier this year, with over 40 million contestants from around the world competing in a handful of categories. Now in late July, we're down to the finals, and there's a total of $30 million in prize money on the table. The top prize for the final match is a cool $3 million. The finals run Friday, Saturday, and Sunday, July 26–28. Over those three days, the world's most elite Fortnite players will be competing live in front of a sold-out audience at Arthur Ashe Stadium in New York City. But you don't need a ticket to see it happen. You just need an internet connection. How to Watch Fortnite has its own YouTube channel, and every second of the Finals and the Pro-Am contests will be streamed there. Fortnite also has a Twitch channel, and you can watch every broadcast match there as well. Both YouTube and Twitch are available through the browser or in their respective smartphone apps. The best option for big groups is to watch the stream from a comfy couch. Just download the YouTube or Twitch app to your Roku, Apple TV, or whatever smart TV rig you use, and put it on the biggest screen in your house. And get this: You can even watch the Fortnite World Cup finals from within Fortnite itself. Epic Games has added a picture-in-picture option to the game, so when you launch Fortnite and enter the game lobby, you'll see a little window in the upper right inviting you to watch the livestream. Select that and it launches a Durrburger minigame while the livestream plays in the corner. The PIP setting will be on by default, but you can opt out by simply closing the livestream window. If you do that, Fortnite will remember your preference and not show you the window again. However, if after playing a few games you decide you want to watch the finals, you can reopen the PIP window. Just go to the main menu, and at the bottom of the list of options, you'll see an option for "Watch In Match Start Video." Click it and the PIP window will relaunch. When to Watch The Fortnite World Cup finals tournament runs Friday, Saturday, and Sunday, July 26–28. Each day begins with a pre-show starting at 9:30 am PT, 12:30 pm ET. The first matches start 30 minutes later at 10 am PT, 1 pm ET. The livestreams end each day at 4 pm PT, 7 pm ET. Here's a full schedule. Each day of the World Cup finals offers different matchups and types of gameplay. Friday's tournament is the Creative Finals, where teams compete on user-submitted maps. Then at 1 pm PT, 4 pm ET on Friday, there's a Pro-Am tournament where celebrities will team up with Fortnite pros to fight it out, with all of the winnings going to charity. The competing celebrities include Marshmello, Alison Wonderland, Wax Motif, and a couple dozen other folks, some of whom are not EDM DJs. Saturday's finals tournament is for the duos, and Sunday's finals tournament is for solo players. There will be award ceremonies at the close of each day. You'll get to see the winners freak out as they're handed a $3 million prize. The duos winners on Saturday will split that three mil, but Sunday's solo winner gets to keep the whole pot. That's everything you need to know, but really, that just covers the basics. Epic Games has all sorts of surprise guests and side events in store for people who tune in to watch. It's going to be a long three days, so get ready to drop in on the livestream and load up the salsa bowl. More Great WIRED Stories - The hard-luck Texas town that bet on bitcoin—and lost - The inside story of Twitter's new redesign - How it feels to drive—and crash—this Corvette - The simple way Apple and Google let abusers stalk victims - Disney's new Lion King is the VR-fueled future of cinema - 📱 Torn between the latest phones? Never fear—check out our iPhone buying guide and favorite Android phones - 📩 Hungry for even more deep dives on your next favorite topic? Sign up for the Backchannel newsletter

The Idea in Brief Even the most compelling strategy is useless if it isn’t implemented. But in many companies, no one’s driving execution. CEOs, grappling with the complexity of doing business in a global economy, are too overloaded to stay on top of strategy implementation. COOs and CFOs are too wrapped up in day-to-day dealings. Some companies, including AIG, Kimberly-Clark, Motorola, and Yahoo!, have discovered a way to fill the execution void: hire a chief strategy officer. CSOs ensure corporate strategy gets translated into action, say Breene, Nunes, and Shill. CSOs communicate strategy to people throughout the organization and help them see how their work supports it. They ride herd on change initiatives needed to carry out strategy. And they make sure decisions at all levels align with strategic objectives. Hire a CSO, and you help your senior team deliver faster, better decisions while building world-class execution capabilities throughout your company. The Idea in Practice Why You Need a Chief Strategy Officer CSOs handle three critical strategy implementation tasks: - Engendering commitment to strategic plans. CSOs articulate a clear definition of your company’s strategy and explain how each person’s work relates to it. This clarity enables CSOs to build the federation necessary to put strategic plans into action. - Driving immediate change. CSOs facilitate the change initiatives required to execute the strategy. One health care company rebounding from bankruptcy in 2005 formulated a strategy focused on growth. A newly appointed CSO recognized that growth would hinge on rebuilding the company’s sales pipeline, offering additional product lines, and repositioning its brand. Therefore, he worked with the heads of Sales, Marketing, M&A, and Strategy Development to address stalled growth, identify attractive new markets, and formulate aggressive acquisition strategies. By the end of 2006, the firm had achieved dramatic growth and acquired several critical new businesses. - Promoting decision making that sustains change. CSOs ensure that strategic decisions don’t get watered down or ignored as they’re translated throughout the organization. They communicate with managers at all levels to determine whether decisions being made over time continue to be aligned with the strategy. How to Find a Qualified Chief Strategy Officer Look for CSO candidates with these characteristics: - Deeply trusted by the CEO. A long professional and personal history helps. - Star players. They’ve achieved impressive business results earlier in their careers. - Jacks of all trades. They have significant line-management experience in disparate areas, such as technology management, marketing, and operations. - Comfortable with ambiguity. Because their actions typically won’t pay off for years, and the role evolves rapidly as circumstances dictate, CSOs require the ability to embrace an uncertain future. - Influencers. They will need to sway others with their deep industry knowledge, connections throughout the organization, and ability to communicate effectively at all levels of the company. - Multitasking masters. They’ll be responsible for many major business functions and activities, including M&A, competitive analysis, market research, and long-range planning. - Doers. They will need to split their time between strategy development and execution, with a bias toward execution. “What we’ve been doing isn’t in line with the company’s strategy—and we need to fix that.” Someone in your organization has the mandate to walk into any office, speak those words, and spark some sort of transformation. Maybe it’s the CEO and the CEO only. That’s the traditional model, after all—vision, planning, and directives flow from the very top, and people at all levels of the organization act. But it may be that a different C-level executive bears the burden of strategy execution in your company—a senior leader like AIG’s Brian Schreiber. He’s been the strategy chief under two CEOs at the insurance giant. As senior vice president of strategic planning during Maurice “Hank” Greenberg’s tenure, Schreiber’s focus was on implementing investment decisions and acquiring companies selected by the management team. Under the new CEO, Martin Sullivan, Schreiber’s role has expanded to include formalizing the company’s strategic-planning processes, forging new working relationships and synergies across the organization, and establishing greater transparency and accountability for those people carrying out the company’s strategy. Nowadays, Schreiber says, the successful creation and execution of strategy requires not only good processes but also the ability to make quick decisions. So he also considers himself the point person for assessing whether strategic initiatives, at all levels of the organization, are in line with the company’s standards and objectives. Schreiber’s experience, while impressive, is not unique. Our research and many years of experience working with leaders in large organizations confirm that CEOs are formally handing the reins of strategy execution to individuals known by a variety of titles but with increasing frequency as “chief strategy officers.” In the past few years, the number of CSO appointments has surged. Interviews with executive recruiters point to the growing prevalence of this role in many industries, and CSOs are already serving large multinational companies around the world. Companies are adding CSOs to their management teams (or at least considering doing so) for several reasons. Start with changes to the business landscape—complex organizational structures, rapid globalization, new regulations, the struggle to innovate—that make it ever more difficult for CEOs to be on top of everything, even an area as important as strategy execution. Then consider the nature of strategy itself. By nearly all accounts, strategy development has become a continuous, not periodic, process. Successful execution, therefore, depends more than ever on rapid and effective decision making. Further, as Harvard Business School professor Joseph L. Bower has noted in these pages, iron-fisted control of execution often eludes the top team’s grasp, as line executives seek to define strategy on their own terms. (See Bower and Clark G. Gilbert’s “How Managers’ Everyday Decisions Create—or Destroy—Your Company’s Strategy,” February 2007.) In circumstances such as these, a CEO needs an executive near at hand to share the load and maintain—or regain—control of a process that constantly threatens to become chaotic. The COO or the CFO may seem like obvious resources to tap, but there are risks in delegating the oversight of strategy to either. Nearly three decades ago, one executive arguing for the creation of a new top strategy role explained why it should not be folded into the COO’s duties. As he put it, “a fundamental conflict between what is easy to execute and what is right to execute often leads the chief operating officer away from the tougher decision.” (See William W. Wommack’s “The Board’s Most Important Function,” HBR September–October 1979.) One could easily envision similar conflicts of interest for the CFO. To help existing and aspiring CSOs be more effective, and to aid CEOs who think they might need to hire or appoint a strategy chief, we’ve been studying these executives as a class: Who are they? What is their mandate? What makes them successful? Our research was complicated by the existence of a great diversity of titles that fit the role of chief strategy officer—more than 90, in fact. We didn’t want to get bogged down by this abundance of titles, so we surveyed a sample of large global companies to find executives who were considered—and who considered themselves—the chief strategy executives at their organizations. This study yielded a database of more than 200 senior managers who fit the bill. We also took a closer look at the increasingly popular “chief strategy officer” title, analyzing the press releases and media coverage of more than 100 CSO appointments to determine how the role is evolving. We rounded out the research with in-depth interviews of chief strategy officers from various industries and backgrounds. Our initial observation was that CSOs are, in many ways, as diverse as the titles they hold. They do not emerge from predictable backgrounds with easy-to-map career paths or aspirations, and their skills, experiences, best practices, and preferences run the gamut. Yet, deeper exploration revealed many common traits in these individuals—characteristics that, taken together, help define a consistent, although often unfamiliar or misunderstood, role. Fundamentally, these are people who wield the authority, and have the complex range of skills, to make strategy happen. To borrow a term from French cinema, they act as réalisateurs. Don’t Call Them Strategists It’s easy to misjudge the role of the chief strategy officer, in part because the title itself is misleading. These executives are not, for example, pure strategists, conducting long-range planning in relative isolation. And they are not specialists who have breathed in only the rarified air of strategy over long careers of thinking rather than doing. Rather, they are seasoned executives with a strong strategy orientation who have typically led major initiatives or businesses and worn many operating hats before taking on the role. Most of the chief strategy executives we spoke with and studied had significant experience in formulating strategy, often gained at top management consulting firms or through years of strategy-related work in companies—but this was rarely the dominant portion of their careers. Indeed, we found only one who was directly hired from a consultancy. Most entered their companies in planning, functional, or line-management capacities and were not tapped until years later for the top strategy post. “I’m not a career strategist,” says Bob Black, Kimberly-Clark’s senior vice president and CSO. “My years in consulting taught me how to develop and critique strategy, but the value-added probably comes more from my business leadership experience. As a result, I’m bringing more of a running-the-company kind of approach to the role.” Black’s attitude and approach to his job map closely to another of our research findings: Most top strategy executives are star players more so than professional coaches. They instruct others and serve as mentors, certainly. But most CSOs consider themselves doers first, with the mandate, credentials, and desire to act as well as advise. Most important, they understand how to focus the organization on executing today, not just on planning for tomorrow. CSOs consider themselves doers first, with the mandate, credentials, and desire to act as well as advise. Consider the backgrounds of a few chief strategy officers. Immediately before becoming Campbell Soup Company’s CSO, M. Carl Johnson was the executive vice president of Kraft Foods, where he led the former New Meals division through a three-year transformation that helped the unit restore its sales and earnings momentum and significantly grow its operating income. WellPoint’s CSO, Marjorie Dorr, was plucked from her position as president and CEO of the company’s northeast region, where she had increased membership in the health care company’s plans from 800,000 to 2.6 million. And AMD’s William T. “Billy” Edwards had a rich set of experiences before being named CSO in 2004, including time as CEO of Hesson Labs, line management roles at Motorola, positions with medical equipment start-ups, and nearly a decade with a top strategy consulting firm. (In 2005, he was named AMD’s chief innovation officer.) The CSO at times functions as a sort of “mini CEO,” someone who must see the issues confronting the company from as broad a perspective as the chief executive does, says Kimberly-Clark’s Black, who previously served as COO of Sammons Enterprises, a conglomerate with $27 billion in assets, and as president of Steelcase’s international operations. “Over the course of a week, I’m spending time on consumer innovation, business process outsourcing, financial structure, international expansion, communications, acquisitions—most people in today’s functionally oriented career paths don’t have the experience to address so many diverse challenges at once. They haven’t run a whole company before.” Some companies look outside for a CSO, as Kimberly-Clark and Campbell’s did, but that’s not the norm. Eighty-four percent of the top strategy executives who responded to our survey were internal hires; most of the rest came from competing companies in their industries. Our research shows that top strategy executives work for their companies nearly eight years, on average, before being appointed to the role. For some, that tenure is much longer: In early 2007, Walgreens promoted John Gleeson, a 37-year veteran of the company, to the company’s newly created CSO post. Whether they are groomed or recruited, chief strategy executives must be able to work with and influence people across entire organizations and beyond; that’s the heart of the job. The broad mix of skills and experience required of a CSO is rare, which makes those who possess this combination highly valued. These individuals are rarely abandoned by top executives who recognize their worth. Many CSOs therefore have long-standing relationships with their CEOs. The strategy chiefs we surveyed said they had known the CEO at their companies for five years, on average, before becoming the CSO. One strategy chief we spoke with said he and the CEO of his company had worked together at three different businesses over a seven-year period before they both ended up at a health care management firm. After the CEO’s six-month search for a strategy chief proved fruitless, he turned to his longtime colleague. “It’s a huge job,” the CEO told the manager, “but you’ll have more impact doing this than you would leading a division—and you’re the person I’d feel most comfortable with.” His colleague accepted. Help Wanted: Finding a Qualified CSO When a Plan Comes Together The chief strategy executive position, then, is “a huge job” that should be filled only by highly accomplished business veterans. But one shouldn’t take the capaciousness of the role to mean anything goes—just slot someone in and let her figure it out. Our investigation revealed that strategy executives are charged with three critical tasks that together form the very definition of strategy execution. CSOs must engender commitment to clear strategic plans. The CEO and the leadership team create the company’s strategic vision and set its course. But in large companies, that vision may be opaque to many, which can create resistance or confusion among senior managers and frontline employees and can thwart execution and change. “No strategy can just be handed down to an organization,” says Kirk Klasson, former vice president of strategy for Novell. “Without achieving real understanding and agreement, there will be lots of grinning and backslapping over the strategy but zero change when people get back to their offices.” CSOs must therefore resolve the strategy—that is, clarify it for themselves and for every business unit and function, ensuring that all employees understand the details of the strategic plan and how their work connects to corporate goals. It’s often easier for an insider to resolve this vision for colleagues. Indeed, a CSO’s long experience within a single company—specifically, his or her deep knowledge of the chief architects of the existing strategy and its history—can be crucial for building the federation necessary to enact change. Yet there are times when an outsider is called for, particularly when a fresh strategic perspective is required. Because he was coming from outside the organization, Kimberly-Clark’s Black told CEO Thomas Falk he wanted to take 60 days to get to know the company better before he signed off on strategic objectives that had been developed before he arrived. By the time the two months were up, Black and Falk had together created an updated list of goals, informed by Black’s newly acquired understanding of the company’s operations and aspirations plus his rich store of leadership and strategy experience. It’s true that CSOs can’t effectively resolve a strategy without having had a hand in its creation, but these executives quickly get beyond creation to action. “All our divisions have strategic plans, and I’m part of making them happen,” says Janet Matricciani, the head of strategic planning and chief strategy officer at Countrywide Bank. “When we’re starting a new business, I’ll help create the business plan, find the right people, do whatever it takes to make the business happen.” CSOs must drive immediate change. Clarifying the corporate vision for others can sound like a relatively leisurely activity, involving meandering chats in offices and conference rooms across the enterprise. The reality is far more urgent, however: One-third of our survey respondents went so far as to describe their companies as “under siege.” Most characterized their industries as highly volatile. These are the circumstances that prompt companies to seek out CSOs in the first place, and they are partly why CSOs are drawn to the role. As a result, the primary focus of the job almost always quickly evolves from creating shared alignment around a vision to riding herd on the ensuing change effort. Clarifying the corporate vision can sound like a leisurely activity, but the reality is far more urgent. One-third of CSOs surveyed described their companies as “under siege.” Of course, different companies have different strategic imperatives that influence the nature of the CSO role and the type of executive best suited to the task. One health care company we studied was rebounding from bankruptcy in 2005, so its strategic emphasis was on fast growth. Recognizing a need for high-level help, the CEO initially sought a “chief growth officer.” The person chosen for the role, an internal business leader with whom the CEO had a long working relationship, realized that in order to grow, the company needed to rebuild its sales pipeline, explore different product lines, and reposition its brand. That meant the heads of Sales, Marketing, M&A, and Strategy Development would have to report to the CGO. Within months of taking on the role, the CGO became the CSO and analyzed the underlying causes of the company’s stalled growth, identified attractive new markets, and developed aggressive acquisition strategies. In short order, the health care firm began to enter the new markets, and people who had been hesitant to do business with the financially ailing organization gained confidence in it. By the end of 2006, the company had achieved dramatic growth and acquired several critical new businesses. At other companies, innovation is at the core of the change effort. When Douglas Conant, the CEO of Campbell Soup, hired CSO M. Carl Johnson in 2001, he cited Johnson’s track record of revitalizing big brands, launching new ones, and improving financial results at Kraft Foods. Conant was confident the new CSO would help do the same for the soup company. By 2005, according to an article in Advertising Age, the “low-key, thoughtful, and almost professorial” Johnson had helped propel a turnaround at Campbell’s by pushing for innovations in products, packaging, and shelving and by supporting it all with investments in marketing. Johnson had broadened Campbell’s competitive positioning in the market—from “soup against soup” to “soup as a meal”—thereby greatly expanding the range of the company’s offerings. CSOs must drive decision making that sustains organizational change. A strategy that is clear one day can become fuzzy the next as people and competitive environments change. Alignment can bend and then break if it is not continually reinforced. Chief strategy executives, therefore, must ensure that the members of the leadership team come to agreement on strategy decisions. Just as important, the CSO must make certain that those decisions aren’t watered down or ignored as they are translated throughout the organization. He or she must be that person who, in the CEO’s stead, can walk into anyone’s office and test whether the decisions being made are aligned with the strategy and are creating the desired results. “Someone at the center has to bring focus and discipline to the decision process,” says Kimberly-Clark’s CFO, Mark Buthman, or strategic discussions and initiatives will stall and business opportunities may be lost. The strategy chief, he explains, is often the one person in the room who is in the best position to “put the moose on the table”—to challenge thinking and discuss the subjects no one else wants to touch so that these issues no longer serve as barriers to agreement and action. Indeed, many of the CSOs we interviewed said that both candor and tact were critical for doing their jobs well. The strategy chief at a software company, for instance, recalled having to help members of the senior management team realize that their lack of international experience was preventing the company from carrying out its plans to expand overseas quickly and decisively. CSOs can also help steer the top team away from groupthink and from focusing too much on past practices and accomplishments—problems that can afflict executives who have worked together for a long while. For instance, the top management team of one company held a consensus view that IT was an “overhead activity” until its CSO helped it adopt a new perspective: technology as a partner in and enabler of strategy. The members of the senior team had been looking at the issue, in the words of one executive, through a “heritage lens.” Their shared history in the company was clouding their perspective on the need for change. To make sure decisions align with strategy through all levels of the organization, top strategy executives must be comfortable working at 50,000 feet, 500 feet, 50 feet, and on down. They must be able “to tell [the strategy story] in a way people can understand and buy in to,” says Countrywide’s Janet Matricciani. The senior team might need a big-picture view of the strategy, whereas those people actually executing the plan on the ground might need a more pragmatic view. Strategy chiefs must therefore be practical and analytical as well as visionary, Matricciani notes. Half the job involves learning why decisions aren’t being made in accordance with strategy and quickly determining whether to stay the course. This isn’t to say that CSOs just reflexively push strategic initiatives downward. Half the job involves learning why decisions below the executive suite aren’t being made in accordance with strategy and quickly determining whether to stay the course or change tack—so CSOs must be good listeners as well as good translators. In fact, nearly every CSO in our survey said strategy development and execution in their companies is half deliberate and half emergent. Direct interaction with and feedback from the troops is essential for CSOs to keep their companies agile and their strategies flexible. What It Takes There’s no simple, step-by-step recipe for success in the role of chief strategy officer—but there are a few essential ingredients. To follow through on their mandate, successful strategy executives employ a handful of high-level principles. Mind the time horizons. All executives split their time to varying degrees across three strategy horizons—usefully defined in Mehrdad Baghai, Stephen Coley, and David White’s The Alchemy of Growth to mean extending and defending the core business in the short term (horizon one), building emerging businesses in the medium term (horizon two), and creating viable options for the long term (horizon three). But CSOs particularly keep their eyes trained on horizon two and work to present a seamless picture of all the horizons. According to our research, they spend an estimated 39% of their time on horizon two, while 36% of their time is devoted to horizon three, and 25% is spent monitoring horizon one. Others in the top team divide their time differently, spending more time on both the short term and the long term and less on the medium term. So the CSO’s attention to this period underlines the unique perspective this individual brings to the organization. “It’s crucial for me to ask, ‘What implicit decisions have we made that need to be explicit? Or what decisions have we not made that we need to make, because we’re heading down a path and it’s going to be hard to reverse course?’” explains Kimberly-Clark’s Black. The CSO has to be, in effect, the guardian of that space one to three years out, when the decisions made (or not made) today will show consequences. Balance strategy formulation and execution. Most of the top strategy executives we polled said they split their time almost evenly between strategy formulation and execution, yet their statements reveal a tilt toward the latter. “Money is made executing, not strategizing,” reported one chief technology officer, who is also responsible for strategy at his professional services firm. An aviation company executive emphasized the point: “We can have the best plan in the world, but if we can’t execute, we won’t be able to pay the bills.” Driving change and enforcing the consistent application of decisions may require taking things as far as Kimberly-Clark’s Black would go: shrinking strategic planning to a small internal team and leveraging the expertise of outside consultants. Our survey indicates that this is a common attitude among CSOs: 47% say they use external consultants extensively in their formulation of strategy. Exert influence appropriately. CSOs must be adept at exerting their influence on other executives who might be skeptical—52% of the strategy executives in our survey said having this skill was critical for achieving their goals. Countrywide’s Matricciani told us that thorough due diligence on new products and potential partnerships helps her to be persuasive when presenting opportunities to the rest of the company (or when explaining why it should stick to its knitting). Of course, simply having the CSO title can help: About one-fourth of our respondents said they accomplish their goals through direct authority. And while a tiny fraction reported that they influence others through reflected authority—that is, by having the implicit or explicit support of the CEO—we know that the CSO’s relationship to the chief executive is more critical than that figure indicates. “The role is so peculiar, if you’re not working every angle, I’m not sure how you get anything done,” explains Stephen Dull, vice president of strategy at VF Corporation. “I report to the CEO, and I sometimes represent his issues and concerns more directly when I need to. You’ve got to use every arrow in your quiver—and you have to be prepared to do so again and again.” Develop IT and HR smarts. The CEO’s vote of confidence and a strong résumé confer the credibility that gets you a fair hearing as a top strategy executive. But even more important for swaying opinions and conveying authority is having deep knowledge in two functional areas that are central to execution these days: technology and human capital. More than half the CSOs in our survey said they are spending more and more time looking at issues within these domains, which aren’t traditional strengths of strategists. Nearly one-third of the CSOs we polled reported “very high confidence” in their knowledge of and comfort working in these functional areas; nearly all said they are at least “comfortable” with their level of knowledge of these topics. “Half the time I spend with the CEO, [we’re talking about] people and cultural issues,” one strategy chief told us. And while in many ways IT is the bailiwick of the CIO or CTO, it’s also a critical domain for CSOs, because technology is critical to virtually every aspect of strategy—for instance, creating new products and services, developing new business models, and improving processes. Do You Really Need a CSO? The strategy management challenge has become more and more complicated, in virtually every industry, over the past decade. Increased volatility, rapid globalization, the rise of new technologies, industry convergence, and changes in the workforce—all have contributed to an environment in which top-down planning needs to be balanced with quick and agile execution. That is why more and more companies—including Motorola, Marsh & McLennan, NationsHealth, Universal Pictures, and Yahoo, along with the other organizations we’ve discussed in this article—have found it necessary to hire CSOs. But recent CSO appointments aren’t necessarily just a reaction to today’s complex times. There are clear short-, medium-, and long-term benefits for companies that name strategy chiefs—advantages that justify the added expense and complexity at the top of the organization. The CEO’s Burden From day one, the CSO, by being the go-to person on all strategy matters, can focus and speed up decision making. AIG’s Brian Schreiber wanted to be the “first call people made every time they had a new [strategic] opportunity.” That way, he could quickly get the right people involved in making a decision—calling on members of the senior team, for instance, or experts in functional areas like treasury and risk management. He could also ensure that the decision was based on a strong strategic rationale as well as a financial one. Schreiber and other CSOs don’t just wait for the phone to ring, however: They preemptively take the lead on strategic questions that overwhelmed business-unit heads just don’t have time to deal with. CSOs don’t just wait for the phone to ring. They preemptively take the lead on strategic questions that business-unit heads don’t have the time to deal with. In the medium term, CSOs add value by building world-class strategy development and execution capabilities within the company. Many strategy chiefs are creating departments specifically for this purpose, hiring people with strong strategy-related skills and competencies (business development, competitive analysis, M&A expertise, and the like). CSOs also ensure that the capabilities they help to develop are implemented by managers and integrated throughout the organization. Indeed, chemical company H.B. Fuller recently announced it was hiring its first-ever CSO specifically “to emphasize and align the key functions of strategy planning, business development, process improvement, and information technology.” And when Marjorie Dorr was named WellPoint’s CSO, the company’s CEO said in a press release that Dorr would be “working with and across all business units to [establish] specific plans, deliverables, and measurable objectives…in order to drive progress and achieve desired results.” In the long term, the role of top strategy executive can become an effective succession-planning tool. At Cadbury Schweppes, Todd Stitzer went from being CEO of Dr Pepper/7 Up to becoming chief strategy officer to becoming deputy CEO of the entire company to finally being appointed CEO—all between 1997 and 2003. And PepsiCo CEO Indra Nooyi was in charge of corporate strategy at both ABB and Motorola before being named Pepsi’s senior vice president of corporate strategy and development in 1994; from that role, she moved to president and CFO in 2001 and then to CEO in 2006. As Heidrick & Struggles’s managing partner Krishnan Rajagopalan told us: “People take on the chief strategy role because they want to run the business sooner or later. There are usually one or two steps, however, between taking over the CSO role and becoming the CEO.” While the potential benefits are clear, bringing on a CSO is not without its challenges. One C-suite executive we spoke with was so glad to have a CSO come on board at his firm that he voluntarily gave up his office near the CEO to the strategy chief—but not all executives will be as receptive to the change. The CEO may need to do a hefty amount of evangelizing and relationship management to get the top team to buy in to this restructuring of the org chart. And executive recruiters confirmed what our interviews revealed: The search for the right candidate, whether internal or external, takes longer than most CEOs expect—a fact that is particularly frustrating for those chief executives looking to implement a growth or innovation agenda quickly. Despite such challenges, more and more companies are exploring the CSO option. CEOs are tapping longtime company veterans with the experience and the social and political capital to cross boundaries quickly and effectively, or they’re bringing outsiders and their fresh growth perspectives into the C-suite. Either way, CEOs are recognizing the ever-changing nature of strategy development and execution, the ever-compressed time frames they have in which to achieve results—and the ever-growing value of having a trusted, in-house strategy executive at the ready.

A guide to Brazil in Toronto With World Cup in full swing, Brazilian culture has come to the forefront of Toronto's collective attention - though there are more than just sports bars that deserve recognition. We surveyed the city to discover that there's a lot more to Brazilian culture than steakhouses and soccer. The list below culls the best restaurants, cafes, dance venues and festivals to get a real taste of what this Latin American giant has to offer in Toronto. Here is a guide to Brazil in Toronto. RESTAURANTS, BAKERIES AND CAFES Mata Petisco Bar (1690 Queen St. West) Newly opened in Parkdale, this Latin American snack bar leans towards Brazil while nodding to neighbouring countries. Try the burger made of Picanha (a favourite cut of meat) and wash it down with Caipirinha cocktails chilled with coconut water ice cubes. Sabor Brasil (1702 St. Clair Ave. West) This Corso Italia restaurant is home to authentic Brazilian standards coxinha (chicken rolls), kibe (ground beef rolls) and Frango com queijo e mandioca (cheese covered fried chicken served with fried cassava). Braz.1.L (7 Maitland St.) This Brazilian snack bar in the Church Wellesley Village is known for its pao de queso - cheese buns made with cassava starch - (50 cents) and frozen acai bowls ($10) topped with granola, guarana syrup and fruits. Rio 40 (1256 St Clair Ave. West) A taste of Brazil in the heart of Corso Italia does Brazilian staples like feijoada, a baked black bean with smoke meat stew, as well as a fusion of Portuguese and Italian dishes. Try the frango com catupiry, a pizza topped with tomato sauce, chicken, oregano and house-made Brazilian cheese. Caffe Brasiliano 849 Dundas St. West) A stalwart on Dundas West known for strong coffee and a daily roster of Latin comfort foods. Brazil Bakery (1554 Dundas St. West) This popular Dundas West bakery is a reliable source for specialty coffees, sandwiches, salads and desserts like queijadas (custard tarts) and and bolos de arroz (rice flour cupcakes). Copacabana (230 Adelaide St. West) Two Toronto rodizios and one in Niagara are a meat lover's paradise where all-you-can-eat barbecue is paraded around the restaurant and carved table-side until you tell the waiters to stop. Rodeo Brazilian Steakhouse (95 Danforth Ave.) Another example of an ACYE steakhouse on the Danforth that offers a prix fixe for $40 on weekdays or $50 on weekends. Help yourself to the salad bar or wait as over a dozen cuts of meat are offered to each table. Touro Churrascaria (125 York Blvd.) This massive Richmond Hill restaurant does both rodizio and Brazilian brunch. In addition to the meat-heavy menu, try visiting on a Thursday when seafoods are on special too, including grilled swordfish kebab, jumbo prawns, bacon-wrapped scallops and more. Nosso Talho (1326 Dundas St. West and 1042 Bloor St. West) On Dundas West, this butcher claims allegiance to Portugal, though Brazilian expats will find imported goods and familiar cuts of meats used in traditional dishes. Segovia Meat Market (218 Augusta Ave.) In Kensington Market, this Latin American butcher is known to carry Brazilian bonbons and serve up comfort foods like feijoada. Brazilian Star (1242 Dundas St. West) In Little Portugal this Brazilian bar and grill boasts a lovely back patio furnished with picnic tables. Inside is an ideal spot to watch sports events while snacking on fried cassava or pastel (Brazilian empanadas). Novo Horizonte Sports Bar (1430 Dundas St. West) Also in Little Portugal, this sports bar where fans of team Brazil congregate. If cheering works up an appetite, try the Brazilian hamburger, fully loaded with strips of bacon, a fried egg, ham, chicken, cheese and all fresh toppings like lettuce, tomato, corn. Lula Lounge (1585 Dundas St. West) The dancehall is home to live salsa, jazz, Brazilian, African and world music, though they book everything from classical to punk. Look for their salsa dancing and dinner packages on Friday and Saturday nights. Mana Bar & Lounge (722 College St.) While not specifically Brazilian, the nightclub hidden in the basement of The Mod Club hosts rioplatense nights on Saturday nights, featuring a cross-section of Latin styles including cumbia, cuarteto, salsa, merengue and bachata. Touche Martini Bar (669 College St.) The restaurant and martini bar hosts Banda ZĂŠ Fua, Brazilian folk dance music on Thursday nights and Brazilian samba jazz on Fridays. Bavia Arts (898b St. Clair Ave. West) A hub for Brazilian culture, this studio lists Brazilian drumming, African drumming, Samba bateria drumming, Afro-Brazilian dance, and capoeira on its programming and classes schedules. Founded in 2003, The Toronto International BrazilFest (BrazilFest) attracts over 30,000 people to its annual summer showcase of Brazilian culture, featuring the best food, arts and entertainment from the Brazilian community. The Brazilian film and television festival takes place annually in the fall. The display of Brazilian culture in film screenings encompasses a curated showcase of films both submitted for competition and invited as well as Bra-zoo-kah (films by Brazilians living abroad), and Brazil Through Foreign Eyes (films by non-Brazilian filmmakers about Brazil). Brazil Film Fest Dedicated to Brazilian cinema, this showcase takes place over four days each year to showcase a selection from the new wave of Brazilian filmmaking, including fiction features and documentaries. What did I miss? Bolster this guide to Brazil in Toronto in the comments. Top photo by Black Tux in the blogTO Flickr pool. Additional photos by Jesse Milns and Irina No. Join the conversation Load comments

British Cinema at Cph Pix – Playing for Laughs CPH PIX is Denmark’s largest feature film festival. Now in its tenth year, it is one of the most important film festivals, offering emerging and established film-makers the chance to preview some of the most exciting cinema of our times. The festival lasts for two weeks and takes place in Copenhagen. The fourteen day programme is packed with around 200 films from around the world as well as 700 film related events and activities. Every year, British film is given pride of place. In 2018, with an emphasis on absurdity and eccentricity, we consider three films on show, each of which reveals how humour, unconventionality and a sense of optimism can help transcend difficulties. According to CPH PIX’s Programme Coordinator, Casper Andersen, "The festival programme reflects the world around us, and diving into the 2018 edition, you will be thankful for every comic relief you find. Humour is essential, and the British kind has always been our favourite, silly, sharp and self-reflective as it is". The Man who Killed Don Quixote – from funny man on a mission, Terry Gillingham 27th, 30th September and 9th October The Man Who Killed Don Quixote is a 2018 adventure-comedy film directed by Terry Gilliam and written by Gilliam and Tony Grisoni. It is loosely based on the novel Don Quixote by Miguel de Cervantes, but widely recognized as one of the most infamous examples of development hell in film history: Gilliam unsuccessfully attempted to make the film many times over during a span of twenty-nine years. Originally intended for the actors John Hurt and Jean Rochefort, both of whom have since passed away, it now stars Adam Driver and Jonathan Pryce in leading roles, together with Stellan Skarsgård and Olga Kurylenko. In keeping with the director’s reputation, the film is full of energy and gaiety, little less than an all-consuming delight of cheerful good nature. Such is its lightness that it has been described as a children’s movie. But while the unusual twists and turns good-humouredly, and appositely, depart from the novel on which the film is partly-based, they also relate to real life. Driver plays Toby, an egotistical, overpaid ad director who has been given the chance to make a feature film out of the story of Don Quixote. He is shown filming in Spain, shooting the giants scene and enduring those same nightmares of delay that, in fact, famously tested Gilliam’s faith in his own project. Pin Cushion – a strange, upsetting fairy-tale imagined by Deborah Haywood 27th, 30th September and 9th October It has been said that Deborah Haywood’s feature debut heralds a distinctive new voice in British film. It has also been said that the film makes for troubling viewing. Writing in the Guardian, Wendy Ide described the film as ‘a cross between a crocheted bunny and a nail bomb.’ The story goes that Mother Lyn and daughter Iona (also known as Dafty One and Dafty Two) are excited to be starting a new life in a small British town. Resolute in the wish to make a success of things after a tricky start at a new school, the clumsy Iona becomes ‘best friends’ with three girls: Keeley, Stacey and Chelsea. But used to having Iona to herself, Lyn feels left out and tries to make her own relationships. While Lyn and Iona pretend to each other that things are going well, Iona struggles with her schoolmates who start to behave more like 'frenemies' than friends. Meanwhile Lyn is treated with varying degrees of indifference by neighbours. The film is undoubtedly a cross between a fairy-tale and a tragedy. To achieve this effect more wholesomely, Haywood dug into her own teenage memories and, in the process, created something that is peculiar and unclassifiable, but also alarming by way of the acting but also the cinematography and set which make for an outlandish experience. The film was shot in Haywood’s hometown in the Midlands – a place often associated with drabness and industrialisation. But the colours of cartoons are used to amplify every emotion blighting the lead characters. As the New York Times described, Pin Cushion looks as if a craft store has exploded in Lyn and Iona’s living room. This only adds to the film’s bright, muscular hues which describe how Iona escapes into dreamy fantasies. An Evening with Beverly Luff Linn – comical ideas from Jim Hosking 30th September, 6th and 7th October The buzz word in this film is magic, as Lulu Danger's unsatisfying marriage takes a turn for the worse when a mysterious man from her past comes to town to perform an event called "An Evening With Beverly Luff Linn; For One Magical Night Only." Indie provocateur Jim Hosking’s British-American made follow-up to The Greasy Strangler, continues the filmmaker’s fondness for weird unpleasantness and deliberately off-putting, but curiously striking stories. Enclosed in a make-believe set based on the worst style from the 1970s, a host of nasty, angry characters do unpleasant things which keep the audience guessing. The film has been described as a puzzling anti-comedy committed to catering for a particular type of audience. But it doesn’t fail to cause some laughter, especially from the antics and one-liners that come from the shaggy-haired character, Colin. Played by the New Zealand actor, Jermaine Clement, the director manages to give this character some pathos in a misanthropic universe. Dressed in outstandingly horrific yellow-tinted glasses and clothing of many shades of brown, Clement’s Colin looks a sight but packs a punch with his one-liners. Still, his sincerity shines through in amusing scenes, especially when trying to woo Lulu and when referring to his childhood confession about getting candy for his proper “poopies”.

Djali, the teen protagonist of the new Australian film Spear, has lived a life of assent. Now cusping adulthood, he is waking up and coming to terms with what it means to be an Indigenous man – to tread in the space between a white urbanised society and that of his ancestors, whose spirits follow him throughout the film and might eventually save him. Spear, however, is not your usual coming-of-age drama. Rather than finding an anchor in dialogue, Spear is a piece of art cinema with a heavy focus on pure audio-visual communication. Not only is director Stephen Page the artistic director of Bangarra Dance Theatre; in an age of cinematic adaptations from books, comics and theatre, Spear lived first as a dance performance by Bangarra, in 2000. Commercial success has long been prized as Australian cinema’s salve, and the values of that commerce-based vision of success have deeply permeated the national conversation. Spear sets this conversation aside entirely, raising in its stead the ‘the possibility of an art cinema in Australia’ (to quote Rebecca Harkins-Cross in her discussion of the films of Paul Cox in The Lifted Brow #28). Spear returns us to the question of how to bring small, unusual, human-sized films to audiences more regularly smothered with big, brash, mega-marketed superhero movies. Last year saw the big local box-office boom that much of the industry has long craved, but there are other aesthetic questions at play. Spear is part of an alternative approach to storytelling in local film, supported by executive producers Robert Connolly and Liz Kearney, Screen Australia’s Indigenous department and Adelaide Film Festival’s HIVE Initiative, which supports artists to make films. For the past few years, Connolly has been nurturing non-filmmakers toward their directorial debuts to see what creative people from other disciplines might bring to the big screen. Stephen Page first experimented with cinema in Connolly’s The Turning, an episodic film that harnessed the directorial talents of actors (Mia Wasikowska and David Wenham), artists (Shaun Gladwell) and theatremakers (Yaron Lifschitz). The aim of this approach is to transfuse a raft of ideas and inspirations from outside the film industry and, mentored and guided by established filmmakers, bend them towards cinema’s unique conventions. In making Spear, Page hasn’t just planted four cameras on a stage and filmed the original Bangarra show. Much of Spear depends on its lead actor, Hunter Page-Lochard, an intuitive performer with a real gift for stillness. The sparse words we do hear are mostly sung in an unsubtitled Aboriginal language. Spear makes movement and sound paramount to communicate mood, relying on an episodic structure of loosely connected scenes. Freed from the strictures of conventional plotting, the film unfolds as a dreamlike stream of encounters: Djali realises an ancestral spirit is accompanying him through the city, takes the place of a bat-like spirit in a cave, is in a car accident, and forms a connection with a beggar (Suicide Man, a difficult role played with great sensitivity by Aaron Pedersen). Film is an audio-visual medium, and while many writer-directors seem to conceive of a film’s script as necessarily dialogue-driven (I’m thinking of films like Sue Brooks’ drama Looking For Grace, currently in cinemas), Spear has been collaboratively conceived as something that can push more possibilities of cinematic communication. A scene set in a jail is signalled by the clanking sound of chains and bouncy acoustics, rather than by visual markers. David Page’s soundtrack combines spacious synths with staccato Indigenous percussion. And Simon Njoo’s graceful editing creates a cinematic rhythm and pace that rhymes fully with the choreography. This narrative abstraction is furthered by the choice of smoke-filled, horizonless interior locations. Page has avoided the horizontally-cleaved orange deserts and blue skies familiar to us from such classic films as Wake in Fright and Priscilla Queen of the Desert. This is not the tourist-postcard vision of Australia we’re used to being sold. Though the beginning features streetscapes and train stations, these real-world spaces are gradually replaced by empty, industrial spaces shot on Cockatoo Island and at Sydney’s Carriageworks warehouse art precinct. Page and his team have created a wide passage around the film for us as viewers to feel our way through. I found two viewing modes I could adopt for this type of cinematic experience: I could switch on my analytical toolkit and try to decipher the connections between the scenes and the narrative arc of the characters, or I could let go entirely. I found it liberating to be rid of plot analysis: to relax into the emotional arc of the story and swim through it. Engaging with any art requires a level of surrender from an audience member: you have to be willing to get onto the right wavelength. Unsurprisingly, some film critics are already unable to ‘get’ Spear. Many white audiences and cynical seen-it-all critics are poorly equipped to interpret the film’s Indigenous knowledge and information. Many Indigenous filmmakers lately have created feel-good films pitched toward a mainstream audience: The Sapphires and Bran Nue Day, which Page provided choreography for, fall into this category. Spear occupies a field closer to Warwick Thornton’s art-house drama Samson & Delilah, but creates an entirely different experience based on a divergent cinematic language, calling into question the very role of narrative in feature filmmaking. There’s another parallel between Spear and Rolf de Heer’s Charlie’s Country, in that they both engage a collaborative production approach and a quiet, expressive style of visual communication and performance. Other cinematic precedents include Wim Wenders’ 3D dance documentary Pina, which includes lengthy non-verbal sequences translating dance into cinema, and of course, musicals as a genre have always stage dance sequences as an essential part of expression and character development. But Spear clearly diverges from the Australian film canon, as a piece of art cinema based almost purely on audio-visual communication. I suspect the potential for a thriving culture of local art cinema in Australia atrophied when the early success of experimental directors like George Miller, Gillian Armstrong and Peter Weir saw them absorbed into the Hollywood vortex. A whole generation of storytellers disappeared from the national scene. David Michôd (Animal Kingdom) is the latest, and it remains to be seen whether the same holds true of Jennifer Kent, whose extraordinary film The Babadook shifted the horror genre towards new emotional themes and earned her a spot directing the forthcoming US drama Alice + Freda Forever. At present, there are few Australian directors whose works are hotly anticipated on the international film festival stage to the same extent as, say, Korean director Hong Sang-Soo or American independent Kelly Reichardt. Art-house director Ivan Sen’s Mystery Road also explored Spear’s ‘living between two worlds’ theme. Sen has turned increasingly toward conventional narrative and commercial acceptance, which makes me curious about his next crime drama, Goldstone, and his long-planned futuristic sci-fi project. Artist Tracey Moffat has never followed up on her 1993 feature film, beDevil, which premiered at Cannes Film Festival. Other directors like Jane Campion have migrated to television, where longer running times and assured distribution to large viewerships satiate the creative needs of both storytellers and audiences. Cinema can be and do many things. Spear reminded me that film is not just a set of genres and conventions to be learned, but a whole range of ways of representing and communicating to be broken and redefined. In recent years, the hybridisation of documentary and fiction forms has been furthered by films such as Sarah Polley’s Stories We Tell and Joshua Oppenheimer’s The Act of Killing. Now Page has hybridised dance and cinema, in a way that parallels the art world’s current meeting of dance and conceptual art, as in Xavier Le Roy’s recent work Temporary Title for Kaldor Public Projects. Spear is a fascinating cinematic experiment, one that feels like the beginning of something. Australian history and film history is full of silences. Spear fills some of these silent spaces by exploring how an Indigenous cinematic language based on movement and sound might be realised. What Spear signifies for art cinema is, as producer John Harvey said at a Sydney screening at the Opera House in January 23, an ‘Indigenous spirit and philosophy of being and of telling stories. And I think to have a place that thinks outside the Western paradigm of telling stories onscreen is a great thing for all of us.’ Spear is screening on limited release around Australia over the coming months. See here for locations and dates.

In 1852 following the fantastic success of the Great Exhibition in Hyde Park, an enterprising group of businessmen, including some of the Great Exhibition's committee and Paxton himself, pulled off one of the most audacious coups in London history. They bought up the remains of the Crystal Palace, the glass structure which housed the contents of the 'Manufacture of Nations', and free of planning restrictions, rebuilt it almost twice the size on a 350 feet high ridge overlooking London at Sydenham to which they then ran a railway branch line to service it. They added what Walt Disney would a century later term 'attractions' and sat back and awaited the profits. A devastating fire, under-insurance and waning public interest pushed the venture towards bankruptcy. It was only sentiment and patriotism and perhaps a national guilty conscience over the neglected role of Queen Victoria's Prince Consort which rescued it for the first time from oblivion. A generation later it needed to be rescued again and when it was finally destroyed by a devastating fire in November 1936 at a time when the edifice and its contents were looking decidedly threadbare, it seemed an overdue yet appropriate end to what at times was a remarkable enterprise. The financial crisis of the '30's, the outbreak of war and the austerity which followed precluded making any kind of plans for the future of Crystal Palace. Following the success of the 1951 Festival of Britain, which marked the centenary of the Great Exhibition, hopes were raised by the idea of establishing a National Exhibition Centre on the site to compliment the National Recreation Centre built by Sir Gerald Barry, fresh from his triumph on the South Bank (of which the Festival Hall still survives). It was at this point that the tradition of protest at Sydenham evolved. There were fears about access and transport, despite the fact that the high-level branch line was still operating, but the protest and procrastination allowed the city of Birmingham to steal a march on London and go ahead with a scheme for its own exhibition centre. In 1979 a band of enthusiastic Sydenham residents staged an exhibition of the Crystal Palace's former glories at the National Recreation Centre. Attended by two thousand visitors and with the interest and enthusiasm thereby generated, it led to the formation of the Crystal Palace Foundation. The Foundation set about conducting an urban excavation, shifting tons of earth which covered the site and gradually uncovered the terraces. Later it opened the museum in one of the original buildings which had survived the fire. Twenty years then passed and it was the threat that something was actually going to be done about the site by Bromley Council which galvanised the local population once again. The application for a multiplex cinema, restaurants and car parking on the prominent top site beside Crystal Palace Parade seemed to horrify the majority and protests groups formed, united and eventually triumphed and the application was withdrawn. The various groups which had so successfully cooperated in their protest now began to fall out with each other as each pursued a different agenda for the future of the Crystal Palace site and the Park. But there were other factors which would muddy the water. The area surrounding both the Park and the site is shared between Southwark, Bromley, and Croydon councils with Lewisham and Lambeth edging in as well. Over the years, Croydon Council had approved numerous applications for change of use from shops to restaurants in the area although there was insufficient space for parking. The only viable space had been the old high level railway line and station area which had lain empty for years below the Crystal Palace Parade but which was eventually given building permission by Southwark Council after being used for a lengthy period as a temporary housing site. Depending on your viewpoint, a Good Fairy or a Demon King, in the form of the London Development Agency then entered the story and announced that following negotiations with Bromley Council it would take over the running of the National Sports Centre in March 2006, and have an option to take over the rest of the Park by 2009. It is currently proposing to redevelop the park and rebuild the sports centre at a cost of between £90-100 million. Some of this sum it expects to fund by developing parts of the site for housing. As these plans include the provision of a 150-200 space car park, the traders in area are delighted. However, campaigners for the Park are appalled and are contesting the developments with especial venom being reserved for the proposed development at the Norwood Triangle end. Local residents meanwhile are alarmed at the proposed development at the Rockhills end of the Park close to the top of Fountain Drive, although some appear to be mollified by the fact that the development is intended to be for individual, architect designed dwellings. According to the press release, the LDA's proposals to rejuvenate Crystal Palace Park received 82 per cent support. The devil, however, appears to be in the detail. To confuse the issue still further there has been a sudden new initiative at Crystal Palace Park which the Dulwich Society's Vice-Chairman, Ian McInnes explains: The London Development Agency is currently running a competition for a new multi million pound sports centre near Crystal Palace station which could mean the end of the Grade II* listed National Sports Centre. The Twentieth Century Society, with active support from the Victorian Society and the Garden History Society, has put forward an alternative proposal to show how new sports facilities could be provided in Crystal Palace Park without any need for the demolition of the threatened NSC. The C20 Society hopes to encourage the LDA to take a broader view on the park and to view their involvement as being a positive opportunity to not only save its best building but to actively integrate additional state of the art sports facilities into the park and bring back to life the park's rich and varied history. Architect Julian Harrap's alternative scheme shows a new Sports Centre as a single structure within the re-created landscape of the Victorian park located over the footprint of the archaeological remains of the Crystal Palace above the surviving terrace. The new building would respect and protect the archaeological remains of the Palace and is capable of providing financial subsidy to the other sports facilities in the park. The National Sports Centre would be refurbished and turned into a pavilion whose great hall could either be retained as existing with a new pool, or alternatively converted to non-swimming sports use. The demolition of the peripheral less significant buildings and much of the surrounding tarmac will enhance the natural elements of the park. Besides the re-created Victorian landscape the park will also incorporate several layers of sports history like the memory of the former football pitch or the reinstatement of the former motor racing circuit as an access armature. The scheme demonstrates that a range of more imaginative plans for the country's most important municipal park are long overdue and that the LDA should reconsider its current proposals and be encouraged to take a more holistic approach both to future sports provision and this important historic landscape. So dear reader, you can see that this long running 'Soap' has still plenty of mileage in it yet! Modified Bacchanalian Rapture - Bill Higman writes Some of us local backwoods-folk have expressed ourselves a mite apprehensive about recent expansive government commitments to encourage unrestricted alcoholic bliss all about us. Not all of us embrace with enthusiasm the vision of extended weekend rave-ups throughout our leafy areas, or even the prospect of re-enacting picturesque Hogarthian scenes of Gin Lane in Dulwich Village. To help neighbourhood revellers and their convenors to add more iced-water to their more high-octane plans the Society has drawn up, with professional guidance, the following statement of our intended response to applications for extended licensing hours in Dulwich. This we shall make available to applicants, to the local authorities and to residents or residents' associations who may wish to know what our response to an individual application is likely to be. The Dulwich Society has a role to preserve the local amenity. We have adopted the following criteria for supporting or opposing applications to extend alcohol licensing hours in this area and to set these out in order that they may assist applicants. Dulwich is an attractive residential neighbourhood, most of which is within conservation areas, and it follows from this that we consider any proposals to change or extend the use of residential or commercial premises should not have the effect of detracting from residents' quiet enjoyment of their properties. This area also attracts a considerable number of visitors and it is right that appropriate provision should be made to cater for them. We accept that it can positively help to maintain neighbourhood security, especially in the evenings, that well-managed licensed premises should be popular and fully patronized, particularly those which serve meals. Consequently we are glad to support applications by establishments catering to the public for moderate extensions of their licensing hours, provided these extensions do not result in creating any nuisance and if applicants can demonstrate their ability and willingness to stop any arising. Applicants are less likely to encounter objections from the Society or local residents if they have consulted locally before making their application, and if they demonstrate clearly in their operating schedule the measures which they propose to prevent nuisance or crime and disorder resulting from extended hours. Such measures may include acoustic lobbies, double glazing, use of noise limitation devices and other sound proofing, preventing use of outdoor areas after 11 p.m., earlier closing on week-nights, dispersal policies, use of door staff, formal liaison with residents, publishing the telephone number of the designated premises supervisor, preventing glasses and bottles leaving the premises, avoiding irresponsible drinks promotions etc. We shall oppose blanket applications for extended licensing hours and for 24-hour licenses because we believe that the effect of these is more likely to disturb residents and to attract more people from further afield, whose activities and noise of departure may be more difficult to control. Our opposition applies both to the greatly extended licensing of regularly-frequented premises and to greatly extended licenses for special events in local parks, sports grounds, and other premises or open spaces. The factors which adversely affect local residents most are: These all constitute actionable nuisances for which residents are able to hold licensees accountable, and we should support them in doing so. Where there is evidence that there has been a nuisance this would affect the Society's view of further applications for the grant or extension of licenses and may prompt us to make or support applications for existing licenses to be varied or revoked. We shall make residents aware of the importance of taking notice of all applications for extended licenses and the conditions attached to them. We regard it as essential that these conditions should be displayed clearly at the premises to which they apply. Residents should be aware of the importance of raising representations in response to extended license applications, because as a general rule Councils are obliged to grant the application if there are no objections from interested parties, which includes residents living in the vicinity. Many people who use West Dulwich and Sydenham Hill stations have thought that, compared with other routes; the train service is infrequent, being basically a train every half hour in each direction. One of the main reasons for this is the number of train paths allocated to Eurostar trains. In 2007, when Eurostar goes to St.Pancras instead of Waterloo, these trains will no longer be coming through West Dulwich and it will be possible to improve the local train service. Early in 2005 a document was published inviting companies to apply for the franchise to operate the South Eastern trains, and setting out the level of service that was planned, which included the local trains serving West Dulwich and Sydenham Hill. The franchise has been awarded to Govia, and they took over on 1 April 2006. In the Dulwich Society Transport Committee we learned that there are indeed plans to improve the local trains on this route to four trains an hour, instead of two, by running two additional trains an hour between Victoria and Beckenham Junction, alternating with the existing trains between Victoria and Orpington. However, we were dismayed to find that the intention was that the Victoria-Orpington trains would no longer stop at West Dulwich and Sydenham Hill and the Victoria-Beckenham trains were to be the only ones to serve these two stations, every half hour. This meant that for anyone going towards Victoria there would be no improvement, while for anyone going in the other direction the service would be worse, because the train would only go as far as Beckenham. We recently took this up through our MP, Tessa Jowell, with the managing director of South Eastern Trains, who replied that the timetable planners were even now at work on the train service from December 2007, and that he was optimistic that we would approve of what they will be proposing for the local trains at West Dulwich and Sydenham Hill, although he did say that the exact details would be up to the new operator. The reason for this short note, is to let people who use these stations know what the position is. Then, if anyone is minded to write to the new train operator of this route, whose particulars should be published in the next timetable starting on 11 June 2006, they will be armed with all the facts. In a nutshell, all that is needed to provide a better service is for trains between Victoria and Orpington to continue stopping at West Dulwich and Sydenham Hill. At the Annual General Meeting in March, the Treasurer, Russell Lloyd announced that the total assets of the Society amounted to £10,097, an increase of £4020 on 2004. The Edward Alleyn Statue Appeal had closed with a balance of £1401 outstanding which was included in the account. However, during the evening it was announced that this sum had been forthcoming and there would be no liability to the Society. A provision in the accounts of £1500 had also been made for the restoration of the postal cart purchased by the Society in 2005. Ken Jeffries has been the Honorary Auditor of the Dulwich Society for its entire existence - over forty years! His decision to retire was received with much regret at the AGM and a heartily endorsed Vote of Thanks was entered in the Minutes. We are delighted to announce that Ken's daughter, Sally-Anne, a partner in the accountancy firm of K.A. Jeffries & Co has agreed to accept the office of Honorary Auditor. Southwark have unfortunately not continued their policy of rejecting planning applications for masts in conservation areas. An application by T Mobile for a site on the north eastern corner of Dulwich Common and College Road was recommended for approval and passed by the Community Council on March. This is very bad news and will set an unfortunate precedent for other areas in Dulwich. On the positive side, the Society understands that discussions are continuing over the proposed locations of the mast in the Pelo sports ground and that an equitable solution may be in sight. The purchaser of this old house has now submitted a planning application to extend it, convert it into ten flats, and build three new houses in the wooded garden. Southwark rejected a previous application to build two houses in the garden a couple of years ago and the current scheme, despite its apparently innovative design, is much worse - a large part of the site is used for car parking and many trees will be lost. The access to the site is also dangerous being right on the corner of Crystal Palace Parade. The Society has objected to this gross over development of the site. S G Smith have now submitted a revised application to take down the former petrol station canopies, refurbish the elevations of the workshop building and provide larger areas of landscaping to the frontage to Calton Avenue and Gilkes Crescent. They are not currently looking to demolish the old tyre bay building in Gilkes Place. While the scheme is an improvement on the original, the Society feels that there is still scope for additional planting along Calton Avenue to hide the car park completely. The Estate's new guide lines on the design and construction of hard standings are now available. There is a current planning application to extend the building at the rear along Aysgarth Road and to change it from Bella Italia to Café Rouge. Bella Italia appears to have suffered from the increased competition from newer restaurants in the Village and a change of style and name may be just what's needed. A revised planning application to demolish this pub on the Kingswood Estate and replace it with a block of flats has now been approved by Southwark. The design is more in keeping with the adjoining houses and Velux windows in the rear roof elevation should minimise overlooking of the properties in Little Bornes. The building is now boarded up. The Estate have confirmed that they have instructed the house behind the mile post in Red Post Hill to rebuild the part of the garden wall that was recently demolished without their consent. At the same time it appears that Southwark are trying to relocate the post in a safer position. What is not clear is whether the two authorities are talking to each other. Despite assurances from the Estate, it is very obvious that work has not started on the refurbishment of the dilapidated house next to North Dulwich Station. The Society feels that the arguments have gone on long enough and looks to the Estate to enforce their covenants and make sure that this eyesore is put back into good condition. Many residents, particularly those who go up to London from North Dulwich Station, will know the garden wall that surrounds the northern section of the garden of Lyndenhurst, 19 Village Way. It has gradually been deteriorating for over two years and substantial parts of it have now been taken down. Despite the apparent lack of activity the Society has discovered that some work has been going on behind the scenes without, unfortunately, much success. The garden behind the fallen wall no longer belongs to Lyndenhurst although it used to - it was sold off separately as a development site when the house changed hands in 1990. The purchaser attempted without success to obtain planning consent for a series of different developments finally losing on appeal to the Secretary of State. He sold the site in November 2002 to the current owner, a company called Hausman Hughes. This company then submitted a series of planning applications to secure access to the site from Red Post Hill but was turned down each time by Southwark Council. It is not clear why the developer thinks that Southwark Council will change their previous policies of refusal on the site but be that as it may. In addition both the Dulwich Estate and the residents of Pond Mead, the 1960s development to the rear, have also confirmed that they will not allow access through their site so there is an impasse. Without access there is no possibility of any development and the owner will lose money as the land only has a limited value as a garden - and ideally as the garden to Lyndenhurst. It is alleged that the first section of wall, on the northern extremity, was knocked down by the site owner in December 2003 because it was dangerous and further sections along Red Post Hill were cut out between March and June 2004. The wall is listed Grade II so Southwark Council conservation officers were advised and served a notice on the owner to rebuild the wall. They did not enforce the notice and further sections of the wall continued to be taken down until Southwark felt bound to serve a dangerous structure notice and, when it was ignored, they organised a contractor to take down the most dangerous sections. The owner of Lyndenhurst has attempted to persuade both Southwark Council and the Dulwich Estate to take action and, it seems while they are both happy to serve notices, lack of funds (or a concern that they will not be able to get their money back from the site owner) means that no progress has been made. The Society's view is that both the Dulwich Estate and Southwark should come together and resolve the situation - the former is supposed to be concerned over maintaining the amenity of Dulwich while the latter is bound under listed building legislation to make sure that listed structures are kept in proper condition. It is time for action.

Elegant sculpture in flexible shoring In the City of Arts and Science, the Eficio Ágora is currently being built. A huge birdcage scaffold on the basis of PERI UP Rosett, provides safe access ways and working areas for various trades up to a height of nearly 75 metres. For the Edificio Ágora, 49 vaulted steel fins have been arranged in an elliptical ground plan. Along a length of almost 100 metres and a width of 60 metres, the arched supporting structure spans a surface area measuring 5,000 square metres. The particularly ingenious feature here is the folding roof with its lamellae-type construction: when closed, the building´s shape is in the form of a conquistador´s helmet. If the movable part is opened, the Edificio Ágora resembles the helmet of a general. In addition, the hinged glass roof regulates the amount of natural light entering into the room below. Sophisticated scaffold construction The key requirement placed on the scaffold was that it should provide safe access means and working areas. The complex design of the building and the range of activities which are carried out from the scaffolding itself have determined the degree of difficulty for this particular task. For the erection of the load-bearing building construction – assembling the steel segments as well as the welding and coating work – the individual steel fins must be accessible from all sides. These are arranged with two-metre axis centre distances and curved both vertically and horizontally. All access ways and work platforms must be constantly adapted to match this form. For subsequent work such as installing the insulation or mounting the glass facade, the scaffold is limited in size on the inside of the Ágora, i.e. dimensionally reduced in part. For assembly of the steel construction, machinery and the drive mechanism for the sliding roof, the scaffold has to be then extended up to a height of nearly 75 metres. Due to the scheduled construction period of only 13 months, a particularly fast solution is required. The contractor has to strictly adhere to the planned completion date as the "Valencia Open 500" tennis tournament at the beginning of November 2009 has already been scheduled as the opening event. The contractors decided in favour of the PERI UP Rosett scaffold system. The modular scaffolding fulfils all requirements and is currently proving its considerable advantages on a daily basis on the construction site through a wide range of applications. Flexible scaffold erection With the installation of the steel fin assembly, the height of the scaffold increases in step with the construction progress. The basis is a PERI UP birdcage scaffold with a grid dimension from 3.00 metres by 2.00 metres which varies according to the form and position of the ribs. The 50 centimetre rosette height increments, together with the metric basic grid, provide optimal adjustment options for the height, width and depth. In the direction of the facade, the grid size is halved by simply mounting standards on the ledgers so that the platforms can also be positioned between the steel fins through to the outside of the eventual building shell. Due to the tapering building form between the individual steel ribs, cantilevered scaffold units are also required for the work carried out on the facade. These cantilevers are assembled using UBK node diagonals and UCB brackets. The brackets are able to carry high loads and can be mounted at any height - regardless of existing decking or ledger levels. In many areas, reinforced UHV ledgers are also used which in turn serve to support the rising standards. This means that the form of the scaffold can be problem-free and optimally adapted to the complex building structure. As soon as the steel supporting structure is completed, the scaffold is altered to correspond with the construction progress. The wide cantilevers are to a large extent reduced in size so that the outside steel sheeting, insulation and the curtain wall construction can be installed. At the top of the building, the scaffold helps construction crews to attach the glass cladding and to install the movable steel structure including the required machine and drive technology. Also four freight elevators have been integrated without any problem, each offering a lifting capacity of 1,500 kg up to 70 metres. Easily accessible working areas Not only do site personnel always have to reach their designated working areas quickly and safely, the required materials must also be efficiently transported to the respective place of work. For integrating the PERI UP stairs, simple adaptive measures to the scaffold is sufficient. Using PERI UP UDI industrial decking with 25 cm width sections, working platforms and access ways are installed throughout without leaving any gaps. The integrated lock against lifting secures the deck without the need of any additional measures, and immediately after being installed. The surface of the decking is perforated as well as non-slip. Even in completely assembled scaffold sections, PERI UP decks can subsequently be removed and re-installed without any problems – a big advantage regarding continuous adjustment, not only for the scaffolding in Valencia. Safe and fast working The short construction period of the Edificio Ágora requires an extremely fast assembly procedure. In this respect, PERI logic simplifies and accelerates the erection of the PERI UP scaffold – also at large heights. The low weight of the individual system components and the fact that each system part can be handled by only one person, facilitates fast and energy-saving work operations. The high rigidity of the PERI UP standard connections reduces the number of both bracing levels and required diagonals. All PERI UP system components are compatible with each other. Through this, working platforms, stairways and guardrails are easy to install. The self-locking ledger connection, Gravity Lock, provides a high level of work and assembly safety: when mounting the ledger, the wedge drops automatically into the opening of the rosette through the force of gravity and is securely locked in position. PERI UP is certified and has proven itself over many years, and the modular scaffold fully complies with system scaffold requirements according to EN 12810 and EN 12811. Ciudad de las Artes y de las Ciencias The City of Arts and Science is a science centre in Valencia and has been designed by the architect Santiago Calatrava. Started in 1991, the complex has been constructed along almost two kilometres of the old riverbed of the Turia. The area features a number of different buildings including „L'Hemisfèric“ with a 3D cinema and a planetarium. It represents a huge human eye open to the world. With the L'Oceanogràfic, designed by the concrete shell pioneer Félix Candela, the complex also includes the largest aquarium in Europe. Contractors: U.T.E. Agora, Valencia (Augescon, Lindner, Estrumaher) Field Service: PERI S.A.U. Sociedad Unipersonal, Spain PERI Systems In Use - PERI UP Rosett Flex - PERI UP Stair Tower PERI was founded in 1969 and is today one of the leading providers of formwork and scaffolding systems. Along with the headquarters in Weißenhorn, Germany, the company has 47 international subsidiaries and 100 stock yards around the world. The company has over 5400 employees of which 850 are engineers. 2008 revenues was 1,220 million Euros. P.O. Box 1264 Phone: +49 (0) 7309.950-1180 Fax: +49 (0) 7309.951-1180 Re-prints are free of charge quoting "Source: PERI GmbH". Please send a copy to the PERI Editorial Office. This release was published on openPR. Permanent link to this press release: You can edit or delete your press release Elegant sculpture in flexible shoring here News-ID: 87244 • Views: 4181

Motoryacht REBORN accomplished a major multi-million dollar refit in late 2010. She then entered the Mediterranean yacht charter fleet. She was built by Amels, and she accommodates many. For instance, she has space for 12 overight guests plus 2 supernumeraries in 8 cabins. Regular assistants include bodyguards and nannies. Vast deck space onboard motor yacht REBORN leads into interiors with immense volume and every possible amenity, from cinema and theater, to a spa and beach club. There’s even a doctor’s cabin and medical treatment room. In the impressive main salon, a huge double-height atrium and gallery features a ceiling height of over five meters. Adding emphasis to this large space are floor-to-ceiling windows along the entire length of the salon. In the enormous full-beam master suite, a silk printed headboard frames a California king-sized bed, with the space defined by full-height windows and an adjacent full-beam private terrace. Additional guest cabins include the VIP suite located on the main deck, and six large suites on the lower deck, all with marble bathrooms, handmade Italian leather and raw silk. All decks of the gigayacht are accessible by elevator. The ultimate corporate entertainment yacht this season in the Western Mediterranean, deck space is more than ample for relaxation and cocktail parties. For al fresco meals, the aft deckoffers not one, but two, ten-person dining tables. Additionally, there are extensive dining and sunbathing areas, as well as a six meter, resistance-flow pool on the sun deck. Guests can come and go via one of four transportation tenders, or by aircraft via the aft deck’s touch and go helipad. The Vikal Limousine Covered Tenderis perfect for transporting guests wearing evening gowns and cocktail attire, while the Vikal Explorer Glass Bottom Tender is capable of shallow water beach landings. Did we forget to mention the beach club and spa on the lower deck, and the upper deck with live garden plants??? The unending list of aquasport equipment makes this yacht the kingpin of watersports activity in the Med. The toy inventory includes two Sea-Doo waverunners, three Windsurfers (for all skill levels, including children), a Laser sailing dinghy, towable wakeboards and inflatables, SCUBA gear for certified divers, and on and on and on… For beach fun, there are shallow water inflatable armchairs, beach sun beds, children’s beach toys, and a gazebo. HOW TO BOOK A YACHT CHARTER Bring your family and friends, and come be “Reborn” this summer. Weekly rental rates begin at €570,000 per week plus expenses. For more information, contact our specialists HERE.

Pssst… we can write an original essay just for you. Any subject. Any type of essay. We’ll even meet a 3-hour deadline.Get your price 121 writers online The mental cracks of an unstable mind loom large over Michelangelo Antonioni’s first color film. But although main character Giuliana (Monica Vitti) is parallel to the film, it isn’t her student. Red Desert is too unresolved, too contingent, too woolly to reduce to a purely psychological reading rooted in Western cinematic bylaws where expression is distinctly and unambiguously a refraction of the protagonist’s mental geometry. The common reading that Giuliana is “mentally ill” mistakenly clarifies and pacifies an instability that the film intentionally, beautifully, cannot quantify. The mistaken assumption unduly emphasizes the individual, the protagonist, as a “special” or “unique” case-study that is different from, or tangent to, the world around her. Contrarily, Antonioni is the great filmmaker of the relationship between the world and the self, specifically the impact of the world on the self, rather than a bard of the lone individual at odds with the world (American cinema adores the latter). The minds of his protagonists expressionistically stretch across the film’s physical exterior, but the space of his films project a mental consciousness that exists outside of his characters, a consciousness locked in dialectical tension with those characters without an obvious answer as to whether the world or the character is the primary agent. Antonioni’s worlds do not justify their presence by groveling at the characters’ feet; instead, they assert, they interrogate, they even make demands of the characters. And when the character isn’t enough, they leave the frame and the film is too fascinated and intoxicated with the world that it refuses to follow the protagonist to their new locale; the resting pace on physical space denies the audience’s desire to gift a film to its individual characters and find catharsis only in the actions of those characters. Antonioni’s film isn’t a portrait of an arbitrarily dissonant individual but of a dispassionate world with disaffected individuals who bleed into that world as offspring. Antonioni’s films aren’t argumentative then, nor are they conclusive; they interrupt and unfurl rather than stitching together loose ends for a solution, a “point”. His films don’t function according to conceptual edicts about theme and symbol; like a whirlpool and a trance, Red Desert is far too unstable in structure and stridently unbalanced in its luxuriantly ominous color scheme to fit our categories for indexical meaning. An unmoving hurricane of inertia, Antonioni conjures something we can only consider, something we can never compartmentalize. Although meditative and languid, Antonioni never subsists on connect-the-dots metaphors for the world. He never sands down the unknown secret violence with a literate emphasis on concepts and themes that can be mapped, charted, and explained. Rather, Antonioni’s films, like Malick’s, Murnau’s, Tarkovsky’s and many others, are experiential and lyrically suggestive rather than mathematically structured to achieve a set goal. Red Desert, although a starling commentary on the listlessness of modern ennui, is unpolluted by obviousness, uneclipsed by fixed meaning. Always slipping away from us, it asks us not to clarify but to observe, to interact, to float around in its mysteries, marooning its characters and its audience within patterns of light and movement that ultimately resist structured purpose or identity.Thus, as Vitti stumbles in a state of mental inebriation around an indecipherable melding of hostile dust and deformed modern industry, the overwhelming sensation is distinctly ambivalent. On the surface, the world of the film is ensnared in dialectical tension between elusive, capacious, repressed nature and the consequential disarray of modernity infringing on nature (billowing factories and polluted smoke infringe on the landscape and suffuse it in a putrescent green). Yet this forced dialectic between the modern and the antiquated or natural is merely a chimerical top-soil for a more metaphysical sense of imbalance found in the act of searching through the world, acclimatizing to it, exploring it, rather than compartmentalizing it along specific prefigured pathways of “nature” and “modernity” or “artifice” Mental categories aren’t simply analyzed but confounded in the way Carlo Di Palma’s luxuriant, searing, fire-and-brimstone cinematography casually dips between natural deserts and industrial geometry, all photographed as a wasteland of enormity and intimacy, rapturous beauty and deathly, infected clouds of horror that are, for Antonioni, inseparable from another. The crags of rocky social outcroppings overlooking beaches, the domes of the human head, and the industrial, Bauhaus corrosion of modern human architecture are all photographed in unison to suggest the overlap in each, to bleed flesh, dirt/stone, and concrete, to conceptualize each as a world of beauty and malevolence. Certainly, the film tethers ennui to the shifting contours of technological development (a shift that is, for Antonioni destabilizing more than specifically positive or negative) not matched to a corollary advancement of mental states that can cope with the fluxional and destabilized nature of progress. But Antonioni’s goals are more lyrical than a mere privileging of the past over the present; the plastic beauty of the super-saturated reds, yellows, and oranges somehow both inject life into this world and only lie about life, erecting a false, overly-mediated scheme of artificial beauty that elides something deeper and more sensuous. At the same time, for Antonioni, these man made constructs and the realm of beauty aren’t mutually exclusive. Exultancy can flower from within the modern world (Antonioni’s camera is undeniably fascinated with the corporeal energy of physical spaces both constructed and natural). But the energy is also disfiguring because modernity redraws the world and forces people to perceive the world anew, to keep up, to acclimatize to new spaces. Fantastical, otherworldly wonder and frigid alienation whirl around in the collective narcosis of contradiction, where the only seeming solution to an adrift world is to wander around adrift in a liminal state between wakefulness and sleep. A liminal state that is Giuliana’s fate, her syndrome of stasis, even throughout her provisional escapades with her husband’s co-worker Corrado (Richard Harris). She’s left threshing around the rust of modernity and humanity oxidized by the existential editing rhythms (the shots exist in perpetual crisis about where they will cut to next, what to follow, rather than coasting along a presumed narrative pathway). Red Desert, as with many of Antonioni’s ‘60s fables, exteriorizes destruction not in a diegetic event (a hurricane, a meteor, a giant lizard) but in the venomous paralysis of a formal, visual collapse as the camera distinctly refuses, or struggles to, locate humanity in the frame anymore. Drawing attention away from the people while implying the lethargy in their own souls, Red Desert both invokes the flickering, dormant, even undetected desires of the characters and suggests that emotional fulfillment should be located not from within the human but from without, from the physical world and perception of it that Antonioni’s cinema is so entangled in. The paradox is that the vibrant color is both a chroma catalyst for rapturous luminescence and beauty and an aesthetic scheme that infringes, impedes, reconstitutes, and sabotages the narrative and the diegesis rather than simply serving as acquiescent and passive backdrop to fore-grounded people and events. People are displaced by space, they must read just to it, the world won’t grant them safe passage on their own terms. Modernity and morality here are not in opposition but in heated combat that actually verges on attrition, humanity now tired, aimless, and cast astray in a drunken wake for their own souls. Antonioni corrodes dichotomies between the self and society, between the inner sanctum and the outer surface, finding the essence of the world not hidden deep within but on the surface, in the transformable world. Antonioni’s artistic expressiveness, his rejection of naturalism, doesn’t simply reject the reality of the modern world for an escape into endless internal and psychological abstraction; it works within the world and with the world, recasting the physical space of existence for prismatic purposes and thus, despite the tension, ultimately reaffirming the potential emotional and philosophical quotient of the modern physical world. This concrete sculpture garden evokes both the possibility of uprooting the self and exploring the world as well as the ominous emptiness of this potentially asocial freedom. Relying on a style of free indirect discourse (the modernist term associated with Joyce in the literature field), the style merges the first-person subjectivity of the character and the third-person subjectivity of the camera/art, ultimately visualizing a thematic merging of person and world, an exploration of a person trying to understand the world’s mysteries rather than attempting to affect the world and to transgress the world as in most Western narratives. The filmmaker of the landscape, Antonioni transforms the world into the parched sizzle of loneliness as his camera crawls and creeps with anxiety through scenes rather than striding through them confidently like a protagonist who dominates the landscape (indeed, Antonioni’s conception of omnivorous, overarching space is antithetical to the idea of personal conquest against a world that cannot be fully controlled). Even a chromatic intermezzo, a garishly hued and super-saturated bedtime story of mutual escape between Giuliana and her son, is too strained to feel conclusively liberating. Inscribed with tones of pastel tan, light blue, and white for an angelic, spiritual, pure demeanor, this exteriorization of a mental flight from modernity both recedes and advances into a realm of near-abstraction. Ultimately, it is ambivalent, reflective of something that is partially a bold and baroque escape from the world and partially a refusal to cope with that real world. To export a reference to this article please select a referencing style below: Sorry, copying is not allowed on our website. If you’d like this or any other sample, we’ll happily email it to you. Your essay sample has been sent. Want us to write one just for you? We can custom edit this essay into an original, 100% plagiarism free essay.Order now Are you interested in getting a customized paper?Check it out!

If like me you love watching classic Hammer films, especially the horror kind, then keep an eye out for Studiocanal’s October Blu-ray line-up which is sure to cheer you up. First up is Blood From The Mummy’s Tomb (1971) starring Valerie Leon and Andrew Keir. Fancy something you can really get your teeth into? How about Scars Of Dracula (1970) starring Christopher Lee, Patrick Troughton and Dennis Waterman. Now that’s a pretty good cast in my opinion. Changing things up a little is Fear In The Night (1972) this ones more of a psychological horror. It does however star a Hammer legend in Peter Cushing alongside Judy Geeson, Joan Collins and Ralph Bates. The last Hammer film of Studiocanal’s October releases is Demons Of The Mind (1972). You can purchase all of these titles from Amazon, links below. The Powerhouse and Network titles can be purchased directly from their respective websites if you prefer. - The Howling (1981) Blu-ray Review - IT Blu-ray Review (TV Mini-Series) - Cinema Releases October 13 2017 - The Howling releases on Blu-ray in the UK - Blu-ray Release Dates slip including the Hammer Horror Boxset - Stephen King’s Carrie on Blu-ray (4K restoration) in December - Arrow Video to release The Thing Blu-ray in November Judging the previous Hammer titles released by Studiocanal these should hopefully have excellent picture quality. Note: The Amazon links on this page are affiliate / associate links. By buying through the links we may receive a commission for the sale. This has no effect on the price you pay.

Holograms are impressive sci-fi mainstays but for Marvel Studios’ Black Panther, futuristic technology had to be much more than “light in air,” says Jeremy Lasky, co-founder of New York City-based Perception. For more than a decade, Perception has created much of the advanced technology seen in Marvel films, including Iron Man 2, Thor: Ragnarok, Captain America: Civil War and The Avengers. Experts at creating gadgets, interfaces, screen graphics and other future tech, Perception knows just how far to push innovation without letting it become unbelievable. But Black Panther presented new challenges because the African nation of Wakanda—Black Panther’s home world — is far more technologically advanced than any society in the Marvel Cinematic Universe. In this case, Perception collaborated with Marvel Studios for 18 months and used Cinema 4D, X-Particles, Houdini and Redshift to design, develop, animate and render the visionary technology seen in the film and end title sequence. Here, Lasky and Perception’s creative director, John LePore, explain their process for creating Black Panther’s future tech, which was used alongside the work of other collaborators on the film, including Trixtor, Framestore, Storm VFX and Method Studios. What kicked off Perception’s involvement with Black Panther? Lasky: In the summer of 2016, I got an email from Nate Moore, who has produced several Marvel films and we have a great relationship with him. He asked if we wanted to work on Black Panther and, of course, we did because we are Marvel fanatics so we already knew Black Panther’s story and mythology. Marvel already knew they wanted tech to play an important role in the film because Wakanda is such an advanced society. We’ve been working with them so long, they trust us to be technology consultants. Something like this comes up and the initial brief wasn’t, ‘Hey we have a scene that needs a gadget.’ They wanted a whole presentation for director Ryan Coogler and the rest of the Marvel executive team on technology that was not simply more advanced than anything we’ve seen – they wanted the technology to have a distinct character, almost a soul, and something that fit with the secluded world of Wakanda. What do you mean when you say the technology needed a soul? LePore: We wanted the technology to be physical matter, something that could be touched. Vibranium is a natural resource in Wakanda. The metal is the country’s main source of energy, and it also powers Black Panther’s bullet-proof suit. Vibranium is in the comic books and it was used in Captain America’s shield, but there isn’t any rulebook to explain its properties or what it’s capable of. We spent a lot of time thinking about those things. Whenever we work on a film like this, we want to make sure the concept feels like it has a lot of depth to it. If you dig into the Marvel archive, you’d get a lot of scientific detail about it. It also has to be capable of capturing an audience, so they feel like, ‘Oh, wow! I want to travel to that universe and experience that myself.’ Explain how vibranium works technologically. LePore: Knowing that vibranium is bulletproof and absorbs sound, we looked at a lot of research on things like sonic weapons, the concept of echolocation and various tests and experiments by Carnegie Mellon and MIT Media Lab. Jeremy is a Carnegie Mellon alumni so he is always popping his head in there to see what’s happening. And with our experience working on emerging technologies with companies like IBM and SpaceX, we already have a lot to draw from. Also, while working with some hardware related to mid-air haptics, we discovered some interesting possibilities. Researchers used a pad with an array of transducers on it emitting ultrasonic soundwaves into the air. When they held their hands over the pad, they could feel the sensation on their palms. The idea is that one day we will be able to have the sensation of touching an object that isn’t really there. And we found out that the University of Tokyo is using that same pad to levitate Styrofoam particles. That led us down the path of having vibranium particles, which are a lot like sand, morph and reassemble into different shapes and forms. Lasky: The sand starts moving in response to sound waves, and you see it appear in several different forms in the film, like T’Challa’s (Black Panther played by Chadwick Boseman) vibranium suit, the tactical strategy table in T’Challa’s Royal Talon Fighter jet and as a communication device. T’Challa can actually pull energy from the vibranium in the ground when he is in Wakanda, so the smart sand echoes the film’s emphasis on the land. LePore: Before those scenes were even filmed, we used Cinema 4D and X-Particles to create various animations depicting vibranium sand interactions. That allowed us to explore different possibilities and ultimately create references for the filmmakers and cast to use on set. Talk about how Perception’s ideas and concepts were also used in the end title sequence. LePore: Because we had already contributed to the film in many ways, we didn’t have to do a competitive pitch for the title sequence so we were able to focus on a single idea that felt appropriate for the film. We told them that we thought the titles should show events from the film—that had been rendered in vibranium sand—being entered into Wakanda’s history. They liked that idea and let us see a rough cut of the film. That was terrific because we were able to think about iconic images and how we could graphically present themes of the film in the title sequence. When each actor’s name appears on screen, we also show something that represents them. We do that same thing with writers, producers, the VFX supervisor, everyone. And we depict everything using this flexible, beautiful medium of vibranium sand. We were honored to have a music track to work with by Kendrick Lamar. He created a song specifically for the end titles and having that sonic bed by this legendary musician made it possible for us to use Cinema 4D’s sound effectors to make the sand particles pulse and undulate to the music. Everything is slow and sensual and flows beautifully with the music. For us, creating this end title sequence was a great conclusion to our 18-month contribution to the film. How did you ensure that what you created fit with the Wakanda universe? Lasky: Marvel’s team really kept us grounded throughout the project. Nate [Moore] was the reality police and if he thought something felt too much like magic, he would bring us back down to the rulebook that was established. The studio provided us with what they called the Wakanda Bible, a 500-page document that was assembled by the production department. All of the visual cues were in there and every component of Wakanda’s culture and history was explained in great detail. Perception Website on Black Panther: http://experienceperception.com/black-panther-fui.html Jeremy Lasky - Principal/Founder Danny Gonzalez - Principal/Founder John LePore - Chief Creative Director Eric Daly - Senior Producer Russ Gautier - Art Director Doug Appleton - VFX Director Justin Molush - Lead Animator Sanu Sagar - Lead Design Alex Rupert - Lead Artist Sekani Solomon - Artist Handel Eugene - Artist Brandon Uloho - Artist Trevor Kerr - Artist Blain Klitzke - Artist Khairul Ahmed - Artist Bhakti Patel - Artist Nick Woythaler - Artist Paul Zagorsky - Artist Willie Russell - Artist Ed Traquino - Artist James Williams - Artist Meleah Maynard is a writer and editor in Minneapolis, Minnesota.

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The action movie genre is one that needs to constantly innovate in order to stay afloat. Filmmakers today in the action industry need to be aware of the trends and tropes of action films over the years if they want to make original and critically acclaimed films. In the 70s, films like Dirty Harry, Rocky, Alien and Enter the Dragon relied mainly on strong storylines and character development, exotic and often breathtaking locales and excellent casting to ensure cinematic excellence. The ‘action’ in these action films would seem dull by today’s comparison, but it is the finer points of filmmaking that would appeal to viewers if they watched these films today. After all, there’s a reason they’re called classics! The 80s saw a rapid change in the action movie cinema that would define the genre for years to come. This decade saw the release of the some of the most iconic action films ever made, such as Die Hard, The Terminator, Aliens, First Blood, Predator, Lethal Weapon and Robocop. Suddenly guns, explosions, grizzled and muscled heroes, out-of-this-world villains and generally high-concept storylines were the recipe for a blockbuster action movie. Die Hard in particular set the standard for many future films in its pioneering (at the time) themes of one man against several baddies, a sophisticated and calculating villain and a henchman that proves to be more than a match for the hero. Several later films, even great ones like Under Siege, Speed and Sudden Death were unfortunately seen to be Die Hard clones and did not receive their due praise. This decade also saw the creation of several action movie stars who would become the mainstay of the action movie industry. Actors like Bruce Willis, Steven Seagal and, of course, Arnold Schwarzenegger and Sylvester Stallone became the go-to guys for a sure-hit action film. The 90s saw mainly a continuation of the tropes and themes created in the previous decade, and was dominated by Terminator, Rambo and Robocop sequels and similar films like True Lies, Demolition Man, The Rock, Con Air and Hard Target. Hard Target was notable in that it was among the first examples of Asian directors experimenting in American markets. John Woo, Tsui Hark and other East-Asian directors had worked extensively in Asian cinemas, specializing in kung-fu and crime based films like Hard-Boiled, Once Upon a Time in China, Drunken Master and Police Story, which often won critical and box-office acclaim. Now, as American audiences got their first taste of the Asian masters, we got films like Face/Off and Broken Arrow (directed by John Woo) and Asian stars Jet Li, Jackie Chan and Chow Yun-Fat in films like Rush Hour, Shanghai Noon, Lethal Weapon 4, The One and Bulletproof Monk. A gradual shift from guns, mayhem and one-man-army themed films to martial arts, character development and comedy themed ones occurred. The late 90s films were complex, varied and quite distanced from the gung-ho ones established in the 80s, even if they were not as wildly popular. It is safe to say that very few actors have managed to surpass or equal the impact and popularity of action stars established in the 80s and early 90s. In the twilight years of the decade came The Matrix, The Lost World and The Mummy, action films that were trailblazers in the merging worlds of action and fantasy – the action-fantasy or action-adventure genre – that would take audiences by storm.

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