ellauri101.html on line 155: Joseph Campbell, arguably the greatest mythologist of the twentieth century, was certainly one of our greatest storytellers. This masterfully crafted book interweaves conversations between Campbell and some of the people he inspired, including poet Robert Bly, anthropologist Angeles Arrien, filmmaker David Kennard, Doors drummer John Densmore, psychiatric pioneer Stanislov Grof, Nobel laureate Roger Guillemen, and others. Campbell reflects on subjects ranging from the origins and functions of myth, the role of the artist, and the need for ritual to the ordeals of love and romance. With poetry and humor, Campbell recounts his own quest and conveys the excitement of his lifelong exploration of our mythic traditions, what he called “the one great story of mankind.” Hemmetti nää sen sankarit on lähes yhtä tuntemattomia kuin se ize.
ellauri115.html on line 1138: Hare appeared in the 2003/4 award-winning documentary film The Corporation, discussing whether his criteria for psychopathy could be said to apply to modern business as a legal personality, appearing to conclude that many of them would apply by definition. However, in a 2007 edition of Snakes in Suits, Hare contends that the filmmakers took his remarks out of context and that he does not believe all corporations would meet all the necessary criteria in practice.
ellauri133.html on line 602: The miniseries was shot at The Stanley Kubrick Hotel in Estes Park, Colorado, King's inspiration for the novel, in March 1997. S everal notable writers and filmmakers who work in the horror genre also cameo in the miniseries' ballroom scene, King himself appearing as an orchestra conductor. Retrospective critics have viewed the miniseries less fondly, comparing it unfavorably to Kubrick´s film version.
ellauri135.html on line 577: It was rumored that Richter was homosexual and that having a female companion provided a social front for his true sexual orientation, because homosexuality was widely taboo at that time and could result in legal repercussions. Richter was an intensely private person and was usually quiet and withdrawn, and refused to give interviews. He never publicly discussed his personal life until the last year of his life when filmmaker Bruno Monsaingeon convinced him to be interviewed for a documentary.
ellauri150.html on line 602: We start with the filmmaker's take on the birth of Christ. We see, after a bit of Roman Empire background, Joseph and Mary arrive at the census point; we see the Star of Bethlehem shine, the shepherds see it, the wise men see it; we see the Star of Bethlehem shine down; we see the filmmaker's vision of a nativity scene. Finally, we see the Star of Bethlehem dim back down, as somebody blows a shofar horn. It's very tastefully done, but still effective.
ellauri156.html on line 74: Before we begin to look carefully at verses 1-4 of chapter 11, allow me to make a couple of comments about this event as portrayed in these two chapters of 2 Samuel. First, I want you to notice the “law of proportion” in this text. Only three verses describe David's sin of adultery with Bathsheba. Second, the author pulls no punches in describing the wickedness of this sin. History is not written in a way that makes David look good. Third, the sin of David and Bathsheba is dealt with historically, but not in a Hollywood fashion. Hollywood filmmakers would perform a remake of this account to dwell on the sensual elements. Nothing in this text is intended to inspire unclean thoughts or actions. Indeed, this story is written in a way that causes us to shudder at the thought of such things. I know it is something of a letdown, but at least myself, I was totally capable of imagining the rest. (I got 5 streetwalking girls and a wife, for God's sake.) If you need help with unclean thoughts here, please consult Gonorrhé Ballsack's Comtes Droolatiques.
ellauri161.html on line 673: The grim satire is usually pretty tame and ranges anywhere from hilarious to stupid. But the nastiness and negativity here just makes the filmmaker come off like a jerk. At the end of Don’t Look Up, you’re left feeling agitated and angry– not at republicans, but at McKay for making such a dismal affair. If you are a closet republican like me, that is.
ellauri204.html on line 791: Today, at the New York University Woolworth building, filmmakers, NGO staff, foundation representatives and UN agency workers came together to discuss the problem of poverty porn and the potential power of social media to prevent it. The discussion was conducted privately (in accord with so-called Chatham House rules) in order to protect the identity of the participants and encourage a more honest conversation.
ellauri285.html on line 660: Since 2002 Schoenman has worked with documentary filmmaker, Mya Shone, providing commentary for radio stations in many parts of the United States and Canada, and produces the "Taking Aim" radio show, billed as "Uncompromising, fact intensive exposés of the hidden workings of a capitalist system addicted to permanent war". In about 2009 they moved from broadcasting over WBAI to an Internet webcast.
ellauri346.html on line 307: Titled "Friendship Song," the video in question featured a group of children reportedly singing in a re-recording of an old song originally written by Israeli poet Haim Gouri after the 1948 war that led to the creation of the state of Israel, but with amended lyrics referring to Gaza. David Sheen, an independent filmmaker and writer, translated these new lyrics for The Electronic Intifada into English from Hebrew. Per his translation, the children sang:
ellauri352.html on line 625: Notable modern Nyingma teachers include Kyabje Dudjom Rinpoche (c. 1904–1987), Sogyal Rinpoche, Dilgo Khyentse Rinpoche, Khenpo Choga Rinpoche, filmmaker Khyentse Norbu (better known as Dzongsar Jamyang Khyentse Rinpoche), and Penor Rinpoche.
xxx/ellauri068.html on line 278: In Thomas Pynchon's novel Gravity's Rainbow, a group of Argentine anarchists led by Francisco Squalidozzi collaborate with a German filmmaker, Gerhardt von Göll, to create a film version of Martín Fierro.
xxx/ellauri085.html on line 120: Sidney Peterson (November 15, 1905, Oakland, California – April 24, 2000, New York City) was an American author, artist, and avant-garde filmmaker. He attended UC Berkeley, worked as a newspaper reporter in Monterey, and spent time as a practicing painter and sculptor in France in the 1920s and 1930s. After World War II, Peterson founded Workshop 20 at the California School of Fine Arts (renamed the San Francisco Art Institute), initiating filmmaking courses at the school.
xxx/ellauri085.html on line 128: Similarly to the film ‘ Potted Psalm’ (made by the same filmmaker) ‘The Cage’ was firstly created with no soundtrack. A soundtrack was added later on to accompany the visuals. The copy right of this film belongs to the Californian School of Fine Arts.
xxx/ellauri085.html on line 133: When the eyeball falls out of the male protagonist’s head, i personally believe that the filmmaker wants to emphasize to the viewer the fact that we don’t necessarily “see” and perceive the world around us only as individuals but rather as a collective self. The way we perceive objects, people, the world around us in general is partly shaped by society and it’s rules. We have been taught how to look at life…
xxx/ellauri085.html on line 135: On location shooting as well as alot of constructed scenes, chaos, industrialization, urban streets, the search of a sexual identity, representation and the male gaze, even race. Notions explored by the filmmaker. Intense camera movement (ups and downs, left and right pans, even circular movements)
xxx/ellauri122.html on line 1051: dad George Roberts (filmmaker of course)
xxx/ellauri128.html on line 488: Peter Alexander Freiherr von Ustinov (16 April 1921 – 28 March 2004) was born at 45 Belsize Park, London, England. His father, Jona Freiherr von Ustinov, was of Russian, German, Polish, and Ethiopian Jewish descent. Peter´s paternal grandfather was Baron Plato von Ustinov, a Russian noble, and his grandmother was Magdalena Hall, of mixed German-Ethiopian-Jewish origin. Peter was a British actor, filmmaker and writer and a fixture on television talk shows and lecture circuits for much of his career. Peter oli kuraverinen äiskän puolelta.
xxx/ellauri193.html on line 400: Gordimer had a daughter, Oriane (born 1950), by her first marriage in 1949 to Gerald Gavron, a local dentist, from whom she was divorced within three years. In 1954, she married Reinhold Cassirer, a highly respected art dealer who established the South African Sotheby's and later ran his own gallery; their "wonderful marriage" lasted until his death from emphysema in 2001. Their son, Hugo, was born in 1955, and is a filmmaker in New York, with whom Gordimer collaborated on at least two documentaries. Olikohan Gavron ja Cassirer juutalaisia? Ernst Cassirer oli (Cassirer tarkoittaakin kasööri), ja Gavron kuulostaa heprealta. Joku Laurence Gavron löysi Senegalista mustia kipapäitä heimoveljiä, mutta rabbit eivät hyväxyneet niitä.
xxx/ellauri228.html on line 358: Kurosawa commented: "I love all of Tarkovsky's films. I love his personality and all his works." The Turkish filmmaker Nuri Bilge Ceylan stated that: "To be bored in films is not important, it may be because you are not ready for that movie. It's not the fault of the movie."
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