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tudo-joia · 3 months ago

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Anatomy of a scene

"Freaks," directed by Tod Browning and released in 1932, is a film that explores themes of acceptance and the grotesque through the lives of carnival performers with physical deformities. The story centers on a beautiful trapeze artist, Cleopatra, who manipulates and ultimately betrays a kind-hearted but deformed man named Hans. As the film unfolds, it reveals the complex relationships within the circus community, particularly how the "freaks" band together to protect their own when they feel threatened. The pacing of "Freaks" is deliberate, allowing the audience to fully absorb the unique world of the carnival. Browning employs a mix of tension and dark humor, contrasting the lives of the "normal" characters with the rich emotional depth of the performers. The film's technical details, such as the use of close-ups and low-angle shots, emphasize the physical differences of the characters, enhancing both their vulnerability and strength. The scene where the "freaks" unite against Cleopatra is both chilling and empowering, as it subverts traditional horror tropes. Instead of the monstrous being the source of fear, the true horror lies in human betrayal and cruelty.

"Being John Malkovich," directed by Spike Jonze, is a surreal comedy-drama that follows Craig Schwartz, a puppeteer who discovers a portal into the mind of actor John Malkovich. This bizarre journey explores themes of identity, desire, and the nature of consciousness as Craig and others inhabit Malkovich’s psyche, leading to a tangled web of obsession and existential questioning.

One particularly effective scene occurs when Craig first experiences the portal. The sequence is set in a cramped, dimly lit office where he discovers the entrance to Malkovich’s mind. The setup is essential: the narrowness of the office symbolizes Craig's constrained life and desire for escape. The lighting is soft yet shadowy, enhancing the sense of mystery and intrigue surrounding the portal. The editing in this scene is crucial. As Craig approaches the portal, quick cuts between his anxious expressions and the ominous, dark entrance build tension and anticipation. When he finally steps through, the abrupt transition into the vibrant, surreal world of Malkovich’s consciousness provides a jarring contrast, emphasizing the disconnection between Craig’s mundane reality and the chaotic inner life of the actor. The acting, particularly John Malkovich's performance in The Portal, adds layers of both comedy and drama. Malkovich’s exaggerated reactions to the bizarre situations create a comedic tone, while the deeper implications of being trapped in someone else's mind evoke a sense of existential dread. This scene, while comedic, underscores the film’s broader message about identity and the human experience. The portal serves as a metaphor for the desire to escape oneself, a central theme in the film. The contrast of Craig’s drab life against the vibrant chaos of Malkovich’s mind reinforces the film’s exploration of yearning for connection and the sometimes intrusive nature of desire. Overall, this scene encapsulates the film’s unique blend of humor and existential inquiry, highlighting the complexities of identity and the longing for something beyond oneself.

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r0ckyc0llegej0urney · 6 months ago

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MODULE 11 Anatomy of a Scene

Spike Jonze directs Being John Malkovich, a surreal comedy created by Charlie Kaufman. The film follows Craig Schwartz, a poor puppeteer who discovers a doorway that takes him directly into the mind of actor John Malkovich. This unusual concept sets the setting for a sequence of amusing and thought-provoking events in which many individuals use the gateway for their own ends. The film's speed is quick, with each scene adding to the increasing absurdity and philosophical themes about individuality and desire. The technical aspects, such as using unique camera angles and smooth transitions inside Malkovich's head, add to the strange mood. At the same time, the snappy language and eccentric performances contribute to the darkly humorous impact.

Tod Browning directed Freaks, a 1932 horror film set in a circus sideshow filled by people with varied physical abnormalities. The plot revolves around Cleopatra, a gorgeous trapeze artist who conspires with her strongman boyfriend, Hercules, to marry and murder Hans, a midget performer, for his fortune. The film is renowned for its sympathetic depiction of the sideshow entertainers, who join together to get vengeance on Cleopatra and Hercules after discovering the conspiracy. Freaks' pace is purposeful, with suspense built through character development and the plot's progressively dark overtones. Browning's use of genuine sideshow performers gives the picture a dimension of realism and poignancy. At the same time, the intense lights and stark black-and-white photography contribute to its disturbing atmosphere. One very striking moment in Freaks takes place at the notorious wedding supper. This sequence is essential, combining drama and horror to highlight the film's themes of brotherhood and treachery. The arrangement has the sideshow performers gathering around a large table to celebrate Hans and Cleopatra's wedding. The action opens with medium shots that provide a cheerful tone as the performers sing, "Gooble gobble, we accept her, one of us!" The camera pans to catch the attendees' various faces, fostering a sense of community among the "freaks" while emphasizing the ordinary nature of their celebration.

Both films rely heavily on technical factors such as lighting, set design, and pace to express more profound concepts and captivate the spectator. While John Malkovich investigates identity through surreal comedy and philosophical questions, Freaks employs dramatic tension and genuine depictions to question conceptions of normalcy and ugliness.

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courtneyscreations · 10 months ago

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Module 11

Being John Malkovich –

Being John Malkovich is a surreal, dark comedy directed by Spike Jonze and written by Charlie Kaufman. It follows the story of a puppeteer, Craig Schwartz, who discovers a portal leading directly into the mind of the actor John Malkovich. As Craig manipulates this unique situation to escape his mundane life, the film delves into themes of identity, control, and desire. The pacing is deliberate, allowing the audience to absorb the increasingly absurd developments. Scenes are often tightly framed around the characters, contributing to a sense of claustrophobia and entrapment, echoing the characters’ struggles with their own identities. The technical details, including the use of puppetry and the stark, sometimes surreal set designs, underscore the film’s exploration of the manipulation of self and others. The comedic effect is often derived from the absurdity of the situation juxtaposed with the characters’ earnest engagement with their bizarre reality, highlighting the film’s critique of human desires and ambitions.

Freaks –

Freaks, directed by Tod Browning in 1932, is a pre-Code horror film set in a circus, portraying the lives of sideshow performers. The film was controversial for its time, mainly due to Browning's casting of people with real physical deformities as the ‘freaks’. The narrative centers around a beautiful trapeze artist, Cleopatra, who marries and plots to poison Hans, a dwarf performer, for his inheritance. The film’s pacing builds tension slowly, with early scenes establishing the community of performers and their acceptance of each other, contrasting sharply with the cruelty of the so-called "normal" characters.

Scene Analysis: The climactic scene during a storm, where the ‘freaks’ exact their revenge on Cleopatra and her lover, Hercules, is particularly effective. This sequence is masterful in its use of lighting, shot composition, and editing to create a sense of horror and inevitability. The scene is shot mostly at night, with rain and shadows creating a gothic atmosphere. The use of low-angle shots makes the approaching ‘freaks’ seem larger and more menacing, a technique that inverses the power dynamic seen throughout the film. The editing is rhythmic, cutting between the terror on Cleopatra’s face and the relentless advance of the ‘freaks’, enhancing the suspense and the sense of encroaching justice.

Despite the dramatic tension, this scene, and indeed the entire film, can be interpreted through a comedic or absurdist lens, highlighting the absurdity of societal norms and the arbitrary nature of what is considered "normal" or "freakish." The ambience, especially the storm, adds to the dramatic effect, symbolizing both the chaos of the moment and the cleansing of the community from its betrayers. This scene is not only pivotal to the narrative but also encapsulates the film's broader message about humanity, acceptance, and the real meaning of monstrosity. It is a dramatic scene that serves as a culmination of the film’s exploration of these themes, using the technical aspects of cinema to enhance its impact and underline its message.

In conclusion, the use of specific technical elements such as lighting, shot composition, and editing in this scene from Freaks not only heightens the dramatic effect but also reinforces the film's critique of societal views on normalcy and deformity. This scene serves as a powerful commentary on the true nature of monstrosity, making it a key part of the film’s lasting legacy.

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loveboatinsanity · 3 years ago

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#marilyn joi #kentucky fried movie #cleopatra schwartz

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tilbageidanmark · 4 years ago

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Movies I watched this week / 7

One of my favorite films of all time, Wong Kar-wai‘s exquisite and repressive In the Mood for Love: Maggie Cheung and Tony Leung’s sad love story set in Hong Kong of 1962 - 10/10

Yumeji's Theme. (Re-watch).

✴️

David Byrne's new American Utopia, a minimalist, joyous concert film, that includes a moving version of Janelle Monae’s Hell You Talmbout. Directed by Spike Lee. Regarding that last credits scene, I just read that Byrne had always used a bike as his main means of transport throughout his life.

✴️

So how does it compare to the infectious Stop Making Sense, “one of the greatest concert films of all time”? Why compare them at all?

“Everyone is trying to get to the bar / The name of the bar, the bar is called Heaven”... (Re-watch).

Here’s David Byrne's Giant Suit Emporium Commercial.

The proudest moment of my blogging life was back in 2008 when David Byrne started following my Grow-a-Brain blog.

✴️

Another masterly Jonathan Demme re-watch: Silence of the Lambs, which 30 years later is now experiencing some push-back as transphobic. I couldn’t see it that way, but what do I know.

With favorite character actor Tracey Walter as Lamar.

✴️

Human Nature, Michel Gondry‘s surprisingly bizarre philosophical first film, with a script by Charlie Kaufman. How could I never even heard of it before?

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Easy Riders, Raging Bulls, a fascinating documentary of how the young generation of Hollywood movie ‘brats’ of the ‘60′s and ‘70′s changed the industry, for a while. I read the book, and didn’t realize that there was also a movie. Now i want to watch all of these movies again.

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Funny sketches Zinc Oxide and You and Cleopatra Schwartz from Kentucky Fried Movie, one of John Landis and The Zucker brother’s first films.

“With Donald Sutherland as the clumsy waiter “.

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Turning Tide, a short film about a 10 year old boy who witnesses a large aerial battle over 1940's Scotland.

How the filmmakers creatively made this epic WW2 movie with practically no budget.

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Supernova, about an elderly gay couple who takes one last road trip as Stanley Tucci’s dementia becomes too hard to manage. A moving drama but way too simple.

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Election Night, a 1998 Danish short about racism directed by Anders Thomas Jensen.

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Judas and the Black Messiah, a new Daniel Kaluuya vehicle about the betrayal of Fred Hampton. Another story about entrenched racism and injustice. Too depressing.

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Kristen Wiig’s brand new, unfunny “comedy” Barb and Star Go to Vista Del Mar - 2/10.

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On the other hand, Uncle Buck has scenes like the “Where do you live?” and “Honey, I have some bad news” which was copied verbatim by the “Daddy, I have to poop” scene in “People Places Things”. (Re-watch).

Ever hear of a ritual killing?

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Bad Education - Investigating corruption. Based on a true events, but it’s not exactly Spotlight.

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Throw-back to the art project:

Talking Heads Adora.

Silence of the Lambs Adora Poster.

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(My complete list is here)

#movies

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chiseler · 5 years ago

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Utopia and Apocalypse: Pynchon’s Populist/Fatalist Cinema

The rhythmic clapping resonates inside these walls, which are hard and glossy as coal: Come-on! Start-the-show! Come-on! Start-the-show! The screen is a dim page spread before us, white and silent. The film has broken, or a projector bulb has burned out. It was difficult even for us, old fans who’ve always been at the movies (haven’t we?) to tell which before the darkness swept in.

--from the last page of Gravity’s Rainbow

To begin with a personal anecdote: Writing my first book (to be published) in the late 1970s, an experimental autobiography titled Moving Places: A Life at the Movies (Harper & Row, 1980), published in French as Mouvements: Une vie au cinéma (P.O.L, 2003), I wanted to include four texts by other authors—two short stories (“In Dreams Begin Responsibilities” by Delmore Schwartz, “The Secret Integration” by Thomas Pynchon) and two essays (“The Carole Lombard in Macy’s Window” by Charles Eckert, “My Life With Kong” by Elliott Stein)—but was prevented from doing so by my editor, who argued that because the book was mine, texts by other authors didn’t belong there. My motives were both pluralistic and populist: a desire both to respect fiction and non-fiction as equal creative partners and to insist that the book was about more than just myself and my own life. Because my book was largely about the creative roles played by the fictions of cinema on the non-fictions of personal lives, the anti-elitist nature of cinema played a crucial part in these transactions.`

In the case of Pynchon’s 1964 story—which twenty years later, in his collection Slow Learner, he would admit was the only early story of his that he still liked—the cinematic relevance to Moving Places could be found in a single fleeting but resonant detail: the momentary bonding of a little white boy named Tim Santora with a black, homeless, alcoholic jazz musician named Carl McAfee in a hotel room when they discover that they’ve both seen Blood Alley (1955), an anticommunist action-adventure with John Wayne and Lauren Bacall, directed by William Wellman. Pynchon mentions only the film’s title, but the complex synergy of this passing moment of mutual recognition between two of its dissimilar viewers represented for me an epiphany, in part because of the irony of such casual camaraderie occurring in relation to a routine example of Manichean Cold War mythology. Moreover, as a right-wing cinematic touchstone, Blood Alley is dialectically complemented in the same story by Tim and his friends categorizing their rebellious schoolboy pranks as Operation Spartacus, inspired by the left-wing Spartacus (1960) of Kirk Douglas, Dalton Trumbo, and Stanley Kubrick.

For better and for worse, all of Pynchon’s fiction partakes of this populism by customarily defining cinema as the cultural air that everyone breathes, or at least the river in which everyone swims and bathes. This is equally apparent in the only Pynchon novel that qualifies as hackwork, Inherent Vice (2009), and the fact that Paul Thomas Anderson’s adaptation of it is also his worst film to date—a hippie remake of Chinatown in the same way that the novel is a hippie remake of Raymond Chandler and Ross Macdonald—seems logical insofar as it seems to have been written with an eye towards selling the screen rights. As Geoffrey O’Brien observed (while defending this indefensible book and film) in the New York Review of Books (January 3, 2015), “Perhaps the novel really was crying out for such a cinematic transformation, for in its pages people watch movies, remember them, compare events in the ‘real world’ to their plots, re-experience their soundtracks as auditory hallucinations, even work their technical components (the lighting style of cinematographer James Wong Howe, for instance) into aspects of complex conspiratorial schemes.” (Despite a few glancing virtues, such as Josh Brolin’s Nixonesque performance as "Bigfoot" Bjornsen, Anderson’s film seems just as cynical as its source and infused with the same sort of misplaced would-be nostalgia for the counterculture of the late 60s and early 70s, pitched to a generation that didn’t experience it, as Bertolucci’s Innocents: The Dreamers.)

From The Crying of Lot 49’s evocation of an orgasm in cinematic terms (“She awoke at last to find herself getting laid; she’d come in on a sexual crescendo in progress, like a cut to a scene where the camera’s already moving”) to the magical-surreal guest star appearance of Mickey Rooney in wartime Europe in Gravity’s Rainbow, cinema is invariably a form of lingua franca in Pynchon’s fiction, an expedient form of shorthand, calling up common experiences that seem light years away from the sectarianism of the politique des auteurs. This explains why his novels set in mid-20th century, such as the two just cited, when cinema was still a common currency cutting across classes, age groups, and diverse levels of education, tend to have the greatest number of movie references. In Gravity’s Rainbow—set mostly in war-torn Europe, with a few flashbacks to the east coast U.S. and flash-forwards to the contemporary west coast—this even includes such anachronistic pop ephemera as the 1949 serial King of the Rocket Men and the 1955 Western The Return of Jack Slade (which a character named Waxwing Blodgett is said to have seen at U.S. Army bases during World War 2 no less than twenty-seven times), along with various comic books.

Significantly, “The Secret Integration”, a title evoking both conspiracy and countercultural utopia, is set in the same cozy suburban neighborhood in the Berkshires from which Tyrone Slothrop, the wartime hero or antihero of Gravity’s Rainbow (1973), aka “Rocketman,” springs, with his kid brother and father among the story’s characters. It’s also the same region where Pynchon himself grew up. And Gravity’s Rainbow, Pynchon’s magnum opus and richest work, is by all measures the most film-drenched of his novels in its design as well as its details—so much so that even its blocks of text are separated typographically by what resemble sprocket holes. Unlike, say, Vineland (1990), where cinema figures mostly in terms of imaginary TV reruns (e.g., Woody Allen in Young Kissinger) and diverse cultural appropriations (e.g., a Noir Center shopping mall), or the post-cinematic adventures in cyberspace found in the noirish (and far superior) east-coast companion volume to Inherent Vice, Bleeding Edge (2013), cinema in Gravity’s Rainbow is basically a theatrical event with a social impact, where Fritz Lang’s invention of the rocket countdown as a suspense device (in the 1929 Frau im mond) and the separate “frames” of a rocket’s trajectory are equally relevant and operative factors. There are also passing references to Lang’s Der müde Tod, Die Nibelungen, Dr. Mabuse, der Spieler, and Metropolis—not to mention De Mille’s Cleopatra, Dumbo, Freaks, Son of Frankenstein, White Zombie, at least two Fred Astaire and Ginger Rogers musicals, Pabst, and Lubitsch—and the epigraphs introducing the novel’s second and third sections (“You will have the tallest, darkest leading man in Hollywood — Merian C. Cooper to Fay Wray” and “Toto, I have a feeling we’re not in Kansas any more…. –Dorothy, arriving in Oz”) are equally steeped in familiar movie mythology.

These are all populist allusions, yet the bane of populism as a rightwing curse is another near-constant in Pynchon’s work. The same ambivalence can be felt in the novel’s last two words, “Now everybody—“, at once frightening and comforting in its immediacy and universality. With the possible exception of Mason & Dixon (1997), every Pynchon novel over the past three decades—Vineland, Against the Day (2006), Inherent Vice, and Bleeding Edge—has an attractive, prominent, and sympathetic female character betraying or at least acting against her leftist roots and/or principles by being first drawn erotically towards and then being seduced by a fascistic male. In Bleeding Edge, this even happens to the novel’s earthy protagonist, the middle-aged detective Maxine Tarnow. Given the teasing amount of autobiographical concealment and revelation Pynchon carries on with his public while rigorously avoiding the press, it is tempting to see this recurring theme as a personal obsession grounded in some private psychic wound, and one that points to sadder-but-wiser challenges brought by Pynchon to his own populism, eventually reflecting a certain cynicism about human behavior. It also calls to mind some of the reflections of Luc Moullet (in “Sainte Janet,” Cahiers du cinéma no. 86, août 1958) aroused by Howard Hughes’ and Josef von Sternberg’s Jet Pilot and (more incidentally) by Ayn Rand’s and King Vidor’s The Fountainhead whereby “erotic verve” is tied to a contempt for collectivity—implicitly suggesting that rightwing art may be sexier than leftwing art, especially if the sexual delirium in question has some of the adolescent energy found in, for example, Hughes, Sternberg, Rand, Vidor, Kubrick, Tashlin, Jerry Lewis, and, yes, Pynchon.

One of the most impressive things about Pynchon’s fiction is the way in which it often represents the narrative shapes of individual novels in explicit visual terms. V, his first novel, has two heroes and narrative lines that converge at the bottom point of a V; Gravity’s Rainbow, his second—a V2 in more ways than one—unfolds across an epic skyscape like a rocket’s (linear) ascent and its (scattered) descent; Vineland offers a narrative tangle of lives to rhyme with its crisscrossing vines, and the curving ampersand in the middle of Mason & Dixon suggests another form of digressive tangle between its two male leads; Against the Day, which opens with a balloon flight, seems to follow the curving shape and rotation of the planet.

This compulsive patterning suggests that the sprocket-hole design in Gravity’s Rainbow’s section breaks is more than just a decorative detail. The recurrence of sprockets and film frames carries metaphorical resonance in the novel’s action, so that Franz Pökler, a German rocket engineer allowed by his superiors to see his long-lost daughter (whom he calls his “movie child” because she was conceived the night he and her mother saw a porn film) only once a year, at a children’s village called Zwölfkinder, and can’t even be sure if it’s the same girl each time:

So it has gone for the six years since. A daughter a year, each one about a year older, each time taking up nearly from scratch. The only continuity has been her name, and Zwölfkinder, and Pökler’s love—love something like the persistence of vision, for They have used it to create for him the moving image of a daughter, flashing him only these summertime frames of her, leaving it to him to build the illusion of a single child—what would the time scale matter, a 24th of a second or a year (no more, the engineer thought, than in a wind tunnel, or an oscillograph whose turning drum you can speed or slow at will…)?

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Cinema, in short, is both delightful and sinister—a utopian dream and an apocalyptic nightmare, a stark juxtaposition reflected in the abrupt shift in the earlier Pynchon passage quoted at the beginning of this essay from present tense to past tense, and from third person to first person. Much the same could be said about the various displacements experienced while moving from the positive to the negative consequences of populism.

Pynchon’s allegiance to the irreverent vulgarity of kazoos sounding like farts and concomitant Spike Jones parodies seems wholly in keeping with his disdain for David Raksin and Johnny Mercer’s popular song “Laura” and what he perceives as the snobbish elitism of the Preminger film it derives from, as expressed in his passionate liner notes to the CD compilation “Spiked!: The Music of Spike Jones” a half-century later:

The song had been featured in the 1945 movie of the same name, supposed to evoke the hotsy-totsy social life where all these sophisticated New York City folks had time for faces in the misty light and so forth, not to mention expensive outfits, fancy interiors,witty repartee—a world of pseudos as inviting to…class hostility as fish in a barrel, including a presumed audience fatally unhip enough to still believe in the old prewar fantasies, though surely it was already too late for that, Tin Pan Alley wisdom about life had not stood a chance under the realities of global war, too many people by then knew better.

Consequently, neither art cinema nor auteur cinema figures much in Pynchon’s otherwise hefty lexicon of film culture, aside from a jokey mention of a Bengt Ekerot/Maria Casares Film Festival (actors playing Death in The Seventh Seal and Orphée) held in Los Angeles—and significantly, even the “underground”, 16-millimeter radical political filmmaking in northern California charted in Vineland becomes emblematic of the perceived failure of the 60s counterculture as a whole. This also helps to account for why the paranoia and solipsism found in Jacques Rivette’s Paris nous appartient and Out 1, perhaps the closest equivalents to Pynchon’s own notions of mass conspiracy juxtaposed with solitary despair, are never mentioned in his writing, and the films that are referenced belong almost exclusively to the commercial mainstream, unlike the examples of painting, music, and literature, such as the surrealist painting of Remedios Varo described in detail at the beginning of The Crying of Lot 49, the importance of Ornette Coleman in V and Anton Webern in Gravity’s Rainbow, or the visible impact of both Jorge Luis Borges and William S. Burroughs on the latter novel. (1) And much of the novel’s supply of movie folklore—e.g., the fatal ambushing of John Dillinger while leaving Chicago’s Biograph theater--is mainstream as well.

Nevertheless, one can find a fairly precise philosophical and metaphysical description of these aforementioned Rivette films in Gravity’s Rainbow: “If there is something comforting -- religious, if you want — about paranoia, there is still also anti-paranoia, where nothing is connected to anything, a condition not many of us can bear for long.” And the white, empty movie screen that appears apocalyptically on the novel’s final page—as white and as blank as the fusion of all the colors in a rainbow—also appears in Rivette’s first feature when a 16-millimeter print of Lang’s Metropolis breaks during the projection of the Tower of Babel sequence.

Is such a physically and metaphysically similar affective climax of a halted film projection foretelling an apocalypse a mere coincidence? It’s impossible to know whether Pynchon might have seen Paris nous appartient during its brief New York run in the early 60s. But even if he hadn’t (or still hasn’t), a bitter sense of betrayed utopian possibilities in that film, in Out 1, and in most of his fiction is hard to overlook. Old fans who’ve always been at the movies (haven’t we?) don’t like to be woken from their dreams.

by Jonathan Rosenbaum

Footnote

For this reason, among others, I’m skeptical about accepting the hypothesis of the otherwise reliable Pynchon critic Richard Poirier that Gravity’s Rainbow’s enigmatic references to “the Kenosha Kid” might allude to Orson Welles, who was born in Kenosha, Wisconsin. Steven C. Weisenburger, in A Gravity’s Rainbow Companion (Athens/London: The University of Georgia Press, 2006), reports more plausibly that “the Kenosha Kid” was a pulp magazine character created by Forbes Parkhill in Western stories published from the 1920s through the 1940s. Once again, Pynchon’s populism trumps—i.e. exceeds—his cinephilia.

#Jonathan Rosenbaum #The Chiseler #Thomas Pynchon

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papermoonloveslucy · 5 years ago

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“Here’s Lucy” ~ Season 3

A handy dandy guide to helping you find your favorite episode blogs here at Papermoon Loves Lucy. Click on the hyperlinks to be taken directly to that episode’s trivia, background, and bloopers!

“Lucy Meets the Burtons” (S3;E1) ~ September 14, 1970

“Lucy the Skydiver” (S3;E2) ~ September 21, 1970

“Lucy and Sammy Davis, Jr.” (S3;E3) ~ September 28, 1970

“Lucy and the Drum Contest” (S3;E4) ~ October 4, 1970

“Lucy, the Crusader” (S3;E5) ~ October 12, 1970

“Lucy, the Coed” (S3;E6) ~ October 19, 1970

“Lucy, the American Mother” (S3;E7) ~ October 26, 1970

“Lucy’s Wedding Party” (S3;E8) ~ November 2, 1970

“Lucy Cuts Vincent’s Price” (S3;E9) ~ November 9, 1970

“Lucy, the Diamond Cutter” (S3;E10) ~ November 16, 1970

“Lucy and Jack Benny’s Biography” (S3;E11) ~ November 23, 1970

“Lucy and Rudy Vallee” (S3;E12) ~ November 30, 1970

“Lucy Loses Her Cool” (S3;E13) ~ December 7, 1970

“Lucy, the Part-Time Wife” (S3;E14) ~ December 14, 1970

“Lucy and Ma Parker” (S3;E15) ~ December 21, 1970

“Lucy Stops a Marriage” (S3;E16) ~ December 28, 1970

“Lucy’s Vacation” (S3;E17) ~ January 4, 1971

“Lucy and the 20-20 Vision” (S3;E18) ~ January 11, 1971

“Lucy and the Raffle” (S3;E19) ~ January 18, 1971

“Lucy’s House Guest, Harry” (S3;E20) ~ January 25, 1971

“Lucy and Aladdin’s Lamp” (S3;E21) ~ February 1, 1971

“Lucy and Carol Burnett” aka “The Hollywood Unemployment Follies” (S3;E22) ~ February 8, 1971

"Lucy Goes Hawaiian: Part 1” (S3;E23) ~ February 15, 1971

“Lucy Goes Hawaiian: Part 2” (S3;E24) ~ February 22, 1971

SEASON SUMMARY

Regular Cast: Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter), Desi Arnaz Jr. (Craig Carter)

Recurring Characters: Vivian Vance (as Vivian Jones), Mary Jane Croft (Mary Jane Lewis)

Celebrity Cast playing Characters: Wally Cox (Gustav Vandermeer), Carol Burnett (Carol Krausmeyer), Charles Nelson Reilly (Elroy P. Clunk), Marilyn Maxwell (Gloria Pendleton), Robert Alda (Dean Butler / Captain McClay), Jayne Meadows (Laura Trenton), Hayden Rorke (Judge Gibson)

Celebrity Cast playing Themselves: Richard Burton, Elizabeth Taylor, Jack Benny, George Burns, Sammy Davis Jr., Buddy Rich, Vincent Price, Rudy Vallee, Art Linkletter, Johnny Ukulele

Guest Cast playing Characters: Sid Gould, Vanda Barra, Rhodes Reason, Gary Morton, Dick Winslow, Carole Cook, Don Briggs, Bruce Gordon, Lyle Talbot, Mary Wickes, Ruth McDevitt, Herbie Faye, Phil Vandervoort, Jerry Maren, Parley Baer, Richard Deacon

Live Animal Cast: Parakeets (Anthony & Cleopatra), Goat (Willy) in “Lucy’s House Guest, Harry”

There were 24 new episodes

Episodes Written by: Bob Carroll, Jr., Madelyn Davis, Larry Rhine, Lou Derman, Sam Perrin, Ralph Goodman, Martin Ragaway, Milt Josefsberg, Al Schwartz, Fred S. Fox, Seaman Jacobs, David Ketchum, Bruce Shelly, Frank Gill, Jr., Vincent Bogert, Phil Leslie, George Balzer

Directed by Jerry Paris, Jack Donohue, Herbert Kenwith, Jack Baker, Coby Ruskin, Ross Martin, Charles Walters

Total Binge Hours: 12 hours (with commercials)

Papermoon’s Full Moon Pick: “The Unemployment Follies” (E22)

Papermoon’s Half Moon Pick: “Lucy and Ma Parker” (E15)

“Lucy Meets the Burtons” (E1) was CBS’s highest rated show on the air for the entire 1970-71 television season.

Season 3 was #3 in the ratings (up from #6) with a 26.1 share

Season 3 was released on DVD on June 15, 2010

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blogparanormalexpresso2stuff · 3 years ago

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Remote Viewing the Year 2060 with Stephan A. Schwartz

Stephan A. Schwartz is a Distinguished Consulting Faculty of Saybrook University. He is the columnist for the journal Explore, and editor of the daily web publication Schwartzreport.net in both of which he covers trends that are affecting the future. His other academic and research appointments include: Senior Fellow for Brain, Mind and Healing of the Samueli Institute; founder and Research Director of the Mobius laboratory. Government appointments include Special Assistant for Research and Analysis to the Chief of Naval Operations. Schwartz was the principal researcher studying the use of Remote Viewing in archaeology. Using Remote Viewing he discovered Cleopatra's Palace, Marc Antony's Timonium, ruins of the Lighthouse of Pharos, and sunken ships along the California coast, and in the Bahamas. He is the author of more than 130 technical reports and papers. He has written The Secret Vaults of Time, The Alexandria Project, Mind Rover, Opening to the Infinite, and The 8 Laws of Change. Here he reviews his earlier project, starting in 1978, of asking remote viewers to describe life in the year 2050. Recently he initiated a new project to look at the year 2060, so that it could be compared to his 2050 results. He describes his careful use of consensus methodology in remote viewing. Furthermore, he is now able to take advantage of several analytical tools involving "big data" that were not available for the earlier research. Preliminary results suggest that, by 2060, society will have adjusted to an enormous transformating occuring between 2040 and 2045.

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cento40battute · 5 years ago

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Artemisia, una donna che può ispirarci

In questo momento in cui abbiamo bisogno di figure ispiratrici, scopriamo un’artista straordinaria. Attraverso libri, mostre e persino un profumo

Se la nostra reclusione momentanea ci sembra difficile da superare, ci aiuterà conoscere la storia di una donna che ha superato prove ben più difficili.

Artemisia Gentileschi, “Autoritratto come suonatore di liuto”, circa 1615-17. Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Charles H. Schwartz Endowment Fund 2014.4.1 © Wadsworth Atheneum Museum of Ar

Subì uno stupro. Lo denunciò nell’Italia del Seicento. Fu la prima donna ad essere ammessa all’Accademia delle Arti a Firenze. È stata un’artista straordinaria.

Non può trasmetterci che forza la storia di Artemisia Gentileschi

Figlia del pittore Orazio, che la avviò precocemente all’attività pittorica, durante una sorta di tirocinio venne stuprata da un amico di famiglia ma non subì passivamente e portò l’uomo in tribunale. L’iter fu estremamente umiliante ma anche un potente caso di rivendicazione.

Dopo il processo Artemisia si trasferì da Roma a Firenze, dove fu la prima donna ad essere ammessa all’Accademia delle Arti. Visse anche a Napoli, Genova, Venezia, Londra, emancipandosi dallo stile del padre e affermando la sua personalità artistica presso corti ed élite artistiche.

Artemisia dipinse in modo potente, epico. Uno dei suoi capolavori è Giuditta che decapita Oloferne, di cui esistono versioni nel Museo Nazionale di Capodimonte (Napoli) e nella Galleria degli Uffizi (Firenze).

Potremo vedere sue opere in Italia, esposte in modo permanente in musei e gallerie.

Artemisia Gentileschi Corisca and the Satyr, about 1635-7 Oil on canvas 155 × 210 cm Private collection, Italy © Photo courtesy of the owner

Come Palazzo Blu a Pisa, Galleria Nazionale della Puglia a Bitonto (Bari), Gallerie di Palazzo Zevallos a Napoli, Museo Correale di Terranova a Sorrento, Cattedrale di Pozzuoli e Palazzo Pitti a Firenze.

Londra le dedica interamente una retrospettiva: la National Gallery omaggerà la sua carriera durata circa 40 anni, celebrando una delle più grandi artiste del Barocco.

Artemisia Gentileschi Cleopatra, about 1633-5 Oil on canvas 117 × 175.5 cm Private collection © Private Collection / Photo Giorgio Benni

Lo farà attraverso una trentina di opere provenienti da musei e collezioni private, per la prima volta in UK.

Artemisia Gentileschi Mary Magdalene in Ecstasy, about 1620-25 Oil on canvas 80 × 106 cm Private European collection © Photo: Dominique Provost Art Photography – Bruges

Le date previste attualmente sono 4 maggio-26 luglio, nella speranza che la situazione globale si possa normalizzare.

Nel frattempo possiamo leggere di lei. Il bellissimo romanzo storico ispirato alla sua biografia La passione di Artemisia di Susan Vreeland.

Staremo al suo fianco, ricaveremo l’azzurro pestando lapislazzuli nel mortaio e conosceremo Cosimo II de’ Medici, Galileo e Michelangelo Buonarroti. Ci affascinerà scoprire come lei infranse tutte le regole del tempo per affermare la propria libertà ed esplorare il potere dell’arte.

Grande donna e grande artista, inclusa anche nel recentissimo volume Le donne dell’arte edito da 24 Ore Cultura (un viaggio nel mondo femminile dell’arte attraverso oltre cinquanta artiste attive dal XVI secolo ai giorni nostri).

Le pagine su Artemisia ci ricordano le sue opere e il suo carattere: “Finché avrò vita, sarò io ad avere il controllo della mia esistenza”.

Artemisia Gentileschi, “Autoritratto come l’allegoria della pittura”, circa 1638-9. Royal Collection Trust / © Sua Maestà la Regina Elisabetta II 2019

E nell’attesa di poter ammirare le sue grandi tele, in Italia e in Inghilterra, oltre a leggere possiamo lasciarci ispirare da un profumo, che da poche settimane le è stato dedicato da Coquillete Paris: Artemisia G.

Pensando a questa femminista ante litteram la maison non ha meramente inventato un’essenza ma ha indagato la sua vita e ha voluto ricrearne le atmosfere. Dalla bottega del padre e da quei chiaroscuri ha attinto cuoio, tabacco, ambra, legno di cedro. Dagli ambienti maschili, in cui era impossibile affermare la colpa di un uomo e il valore di una donna, legni scuri, agar oud e vetiver. Tutto addolcito da note di patchouly, bergamotto, e l’artemisia in fiore, a rappresentare la femminilità.

Luisella Colombo

Un’artista e una donna straordinaria Artemisia, una donna che può ispirarci In questo momento in cui abbiamo bisogno di figure ispiratrici, scopriamo un’artista straordinaria.

#Artemisia #Artemisia Gentileschi #Coquillete Paris #Galleria degli Uffizi #La passione di Artemisia #National Gallery

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path11podcast · 6 years ago

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191 The Alexandria Project with Stephen A. Schwartz

Stephan A. Schwartz is a Distinguished Consulting Faculty of Saybrook University, and a Research Associate of the Cognitive Sciences Laboratory of the Laboratories for Fundamental Research. He is the columnist for the journal Explore, and editor of the daily web publication Schwartzreport.netin both of which he covers trends that are affecting the future. He also writes regularly for The Huffington Post. His other academic and research appointments include: Senior Samueli Fellow for Brain, Mind and Healing of the Samueli Institute; founder and Research Director of the Mobius laboratory; Director of Research of the Rhine Research Center; and Senior Fellow of The Philosophical Research Society. Government appointments include: Special Assistant for Research and Analysis to the Chief of Naval Operations, consultant to the Oceanographer of the Navy. He has also been editorial staff member of National Geographic, Associate Editor of Sea Power. And staff reporter and feature writer for The Daily Pressand The Times Herald. For 40 years he has been studying the nature of consciousness, particularly that aspect independent of space and time. Schwartz is part of the small group that founded modern Remote Viewing research, and is the principal researcher studying the use of Remote Viewing in archaeology. Using Remote Viewing he discovered Cleopatra's Palace, Marc Antony's Timonium, ruins of the Lighthouse of Pharos, and sunken ships along the California coast, and in the Bahamas. He also uses remote viewing to examine the future. Since 1978, he has been getting people to remote view the year 2050, and out of that has come a complex trend analysis. His submarine experiment, Deep Quest, using Remote Viewing helped determine that non-local consciousness is not an electromagnetic phenomenon. Other areas of experimental study include research into creativity, meditation, and Therapeutic Intent/Healing. He is the author of more than 130 technical reports and papers. In addition to his experimental studies he has written numerous magazine articles for Smithsonian, OMNI, American History, American Heritage, The Washington Post, The New York Times, as well as other magazines and newspapers. He hás produced and written a number television documentaries, and has written four books: The Secret Vaults of Time, The Alexandria Project, Mind Rover, Opening to the Infinite,and his latest,The 8 Laws of Change. Websites: www.stephanaschwartz.com www.schwartzreport.net www.explorejournal.com/contents/schwartz The Alexandria Project: The Alexandria Projectis the true story of how researchers from five universities and organizations went to Egypt to put the claims of a psychic ability known as Remote Viewing to the ultimate test. Was it possible, under rigorously controlled conditions, for some part of the human mind to locate and describe ancient sites known to exist, but now lost to history? How good was Remote Viewing when compared with electronic remote sensing technologies traditionally used by archaeologists? This book, and the research papers and film that accompany it, provides the surprising answers.

Check out this episode!

#spirituality #consciousness #podcast #science #OBE #NDE #monroe institute #hemi sync

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clint-stevens · 6 years ago

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Cleopatra Schwartz

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scottwah · 7 years ago

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She was six feet of black dynamite! He was a short Hasidic Jew. While he burned the Sabbath candles, she was burning the ghetto to the ground... sigh, if only Cleopatra Schwartz had been made. #kentuckyfriedmovie #cleopatraschwartz #samuellbronkowitz (at McCrae, Victoria)

#cleopatraschwartz #samuellbronkowitz #kentuckyfriedmovie

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decaffeinatedlightluminary-blog · 8 years ago

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Psychic Archeology

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Psychic Archeology

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I had the chance to interview Stephan Schwartz, who has been pioneering “psychic archaeology,” where physics ‘sense’ the location of an ancient site by drawing circles on the map.

One of his projects was in Egypt where they found Cleopatra’s palace and Mark Anthony’s Palace- the Timonium and the Light House of Pharaohs, one of the seven wonders of the ancient world. He shows me pictures, where they are busy discovering the edge of the ship.

They used electronic remote sensing equipment like side-scan sonars or proton precision magnetometers and ground penetrating radars.

Schwartz: “I always want to see: could you have found this using electronic sources? Because one of the criticisms is that: Well anybody could’ve found it.

I use multiple remote viewers, I get the information before we go to the site, I get additional information before we are at the site. Some of this info is turned over to a third party before any actual field work is done. Then we dig and then we have independent experts evaluate the accuracy of what the viewers gave us compared to what was actually found.”

Schwartz enthusiastically showed me pictures on his computer: “Now here’s an example – we had a very skeptical archaeological department from the university of Alexandria and they said ‘Well we’re not going to cooperate with you unless you can find something and we can control it all the way through.’ And so they wanted to find a buried building in a buried city that had a tiled floor.And so we went with two psychics into the desert looking for this one spot.

So here’s George McMullen – a psychic, and I, and we’re out in the middle of the desert. Where would you look? And we have to search about 1500 square kilometres. Well after a while we had George make a location and then we had Hella Hamid (another psychic) do the same thing. Then we bring George back in and we literally say to him-‘now put a stake in the ground at the corners of the building.’ Now think about that, you can’t be more than a few inches off. So then we dug down and there you see the walls beginning to emerge.”

I asked him why aren’t more people doing the kind of archaeological research that he has been doing?

Schwartz: “I think probably underlying it all is, that the whole premise which says that there is an aspect of consciousness which is independent of time space- is simply too much for some people to take aboard and they go into a kind of reality vertigo.

I don’t think for a moment that this is new or previously unknown; I think that much of this particularly from Buddhism and Hinduism has been known for thousands of years.”

SCIENCE FICTION?

Stephan talked about Jules Verne, father of science fiction, who was an inspiring French writer.

He envisioned in 1863 space flight and trips to the moon, guided missiles, skyscrapers of glass and steel, global communications networks, and submarines carrying hundreds of men miles below the surface of the sea. He predicted with startling accuracy all of these inventions, and the things that would be accomplished by them, long before they became reality. Some believe that many of these insights were self-fulfilling. This may very well be the case.

Schwartz then told me how over the past years he has asked about 4000 people to remote view the year 2050. This is what they found according to Schwartz:

People will live in small communities; People will travel in virtual reality.

Will it be safer? No there will be small wars, and terrorism will still be there.

We now think that because of overpopulation there will be a shortage of resources, but they ‘saw’ that under-population will be the problem. The pharmaceutical industry will disappear. Chronic illnesses will be identified before birth. We will communicate through devices that are implanted in our bodies. There will be no more money being used. There will be an energy revolution, and huge mass migrations of people. Global warming will be very clear 15 years from now. Water will be a huge issue. And we will all carry a small box with us. (RS: maybe a solar battery?)

A REMOTE VIEWER

Remote viewing has gone from being an obscure laboratory protocol to a social movement with its newsletters, conferences and variety of techniques. It has become a vocational interest for hundreds of thousands of people in the US.

Paul Smith, a teacher and Chief Coordinator for the CIA spy program in the 90’s, actually conducts real remote viewing sessions.

There are a variety of people all teaching different techniques. There are rules in RV to ensure the information one is obtaining could not be accessible to the psychic through any other means.

These rules, taken as a set, are called “the Protocol”.The protocol does not affect one being psychic; it doesn’t have much to do with the psychic process itself. Rather, it affects the situation one is being psychic within.

Paul Smith was taught by Ingo Swann, who compiled a set of methods in the 1980s.

I had to pick up him up at his home in a suburb of Austin (Texas) and we drove to a conference room in a hotel where he usually holds his RV sessions.

Paul Smith: ” I was an army Intelligence officer working at the Middle East desk. Actually I was a mild sceptic of ESP, but they approached me and said “Hey we think you’d be good at this thing.” I said well what is it? And they were secretive and said they could not tell me until they had tested me. So they gave me some tests and then they told me that they were collecting intelligence against the enemy using a psychic skill known as Remote Viewing, and they said: “We want you to be a psychic spy.” And I said- ‘WHAT? That’s just amazing. Are you crazy?’ Obviously this looked like it would be pretty fun. A lot more fun than what I was doing at the time, so I said: ‘okay I’ll try it, what the heck’. So I spent 7 years in their military program. And we were used to spy on the Soviet Union; to spy on the Chinese, the Hezbolah; Narco traffickers in the Caribbean- whatever or whoever they thought to be a threat at the time.”

I did a simple test with Smith. A week before we met, I had visited the Balboa Park in San Diego, and filmed around the area, and in particular the Apollo space shuttle in the Aerospace Museum. I left the tape with the footage in an adjacent room in the hotel. I asked Smith if he could ‘see’ the video footage on the film.

Smith prides himself on best preserving the methodology. He meditated first before he began the session.

Smith: “First I will describe the basic sensory impressions: its red, its spongy, its shiny, its rounded, hollow, or airy.”

He told me he teaches remote viewing because there is a demand for it, and as a way of making some income for his family. He added, “But more to the point I think remote viewing tells us a lot about human nature.”

For proper remote viewing you need a monitor. So Paul has asked one of his pupils to help him focus and prevent him from thinking or analyzing too much. This is because the left brain does all the analysis, but a remote viewer needs to shut the left brain down, so somebody (the monitor) has got to perform the adult functions so to speak.

I asked him, “So you’re not supposed to think too much?”

Smith: “Exactly, in fact the more you think, the more trouble you get into. Remote viewing is easy to learn but it takes a lot of work to get good at it. I would say that I am on target significantly more often than I am off. I usually say roughly 70% of the time I am correct.”

Smith explained how you have to first write down your name and date on a piece of paper: “Remote viewing crosses space and time boundaries so we have to lock in where you are at so that your subconscious mind knows where you are starting.”

After three minutes of meditation, Paul started the remote viewing session. Could he ‘see’ what is on my video tape?

Smith said: “Southern California setting, I see educational corners, remind me of having kids at a pool. Motor speedway, fascinating California coast.”

Indeed now that I think of it: The Balboa Park is next to the highway. There is a pond.

Paul seemed to describe the whole area, and not just the aerospace museum I had visited. There is an education centre. This was quite incredible.

Smith continued: “Brown, black, metallic… I like this place- I would like to go there myself. People here are thrilled- It reminds me of a state fair or something like that….Break… “A space capsule”.

The session ended after about half an hour. How many words are there in the English dictionary? 171.476. So the chances are 1 to 171.476 that Paul would mention the word: “space capsule.” Or was he reading my mind? Although that would be quite a miracle in itself. I left a brochure of the San Diego Air Space Museum in my hotel room, and brought it to him.

Smith: “That’s exactly what I sketched! Did I sketch that? And the space capsule right here. I had this impression of this tapering space capsule just like the Apollo. That’s good! I’m impressed with that.”

I asked him if he is not actually reading my mind?

Smith:” I don’t think so, but who knows? There’s no way of knowing. Maybe we just all gain information from the same source or we just trade the information back and forth.”

I soon learned that mind reading or telepathy does not typically happen between strangers.

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