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jpbjazz · 10 months ago

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LÉGENDES DU JAZZ

UN BATTEUR SOUS-ESTIMÉ, JIMMY COBB

“When I was first starting out I used to hear Kenny Clarke play a certain way. He could play a little splash cymbal and it wouldn’t splash because he had such a good touch on the cymbal. So I just kind of fell into that. I didn’t just play four quarter notes; the little [swung] note was just soft. But I guess people only heard the quarter notes. Now it’s a little different; I dance with it a little bit on the cymbal, but it still has that same feeling.”

- Jimmy Cobb

Né le 20 janvier 1929 à Washington, D.C., Wilbur James Cobb était le fils de Wilbur Cobb, un gardien de sécurité et chauffeur de taxi, et de Katherine Bivens, une domestique. Au milieu des années 1940, Cobb avait développé une grande fascination pour le jazz en écoutant l’émission de radio du disc-jockey Symphony Sid.

À l’âge de treize ans, après avoir travaillé comme plongeur dans un comptoir-lunch, Cobb s’était ramassé suffisamment d’argent pour s’acheter sa première batterie. Cobb précisait: “When I first got my set of drums, I just set them up and played them, without looking at any music. I was trying to get some technique and find out if I liked the drums. When I could play a little bit, then I learned to read.’’

DÉBUTS DE CARRIÈRE

Même s’il avait étudié brièvement avec le percussionniste de la National Symphony Jack Dennett, Cobb a essentiellement appris à jouer de la batterie en autodidacte.

Après avoir joué de la batterie avec le groupe de son high school, Cobb n’avait pas tardé à obtenir ses premiers contrats de musicien professionnel. Décrivant ses débuts, Cobb avait expliqué: "I figured it was something I'd like to do, and when I learned enough to do it, I figured that would be what I would do for the rest of my life." Au cours d’une autre entrevue, Cobb avait précisé: “It was during World War II, and it was easy for someone just getting started to get a job because many guys had been drafted and gone to war.”

Même s’il avait également ét�� influencé par Kenny Clarke, Cobb considérait Max Roach comme sa principale influence. Il expliquait: “At the time, that was the hippest music going. I also listened to Kenny Clarke, Shadow Wilson, and Big Sid Catlett. Then a little later there was Art Blakey and Philly Joe Jones.”

Cobb n’avait pas encore vingt ans lorsqu’il avait commencé à jouer avec les plus grands musiciens de jazz de l’époque. Après avoir accompagné la chanteuse Billie Holiday lors d’un de ses passages à Washington, Cobb s’était joint au groupe itinérant du disc-jockey Symphony Sid, ce qui lui avait permis de passer une semaine aux côtés de Charlie Parker et Miles Davis.

Cobb avait obtenu son premier contrat majeur dans le cadre d’une collaboration avec le saxophoniste Charlie Rouse. Cobb expliquait:

‘’He was from Washington and had been to New York. Rouse had worked with Dizzy Gillespie and all the bebop musicians, so he knew all the tunes. I had a job with him at the Republic Gardens on U Street in Washington. I was about 18. That’s how I started playing jazz. I wanted to play jazz because I always heard it in the neighborhood. My friends would play Billy Eckstine records—the hard swing, bebop thing. Eckstine’s band had stars like Dexter Gordon, Charlie Parker, and Gene Ammons. That’s the kind of music I’ve been listening to all my life.”

Durant son séjour à Washington, Cobb avait également joué avec Leo Parker, Benny Golson, Billie Holiday et Pearl Bailey. En 1950, à l’âge de vingt et un ans, Cobb s’était installé à New York où il avait fait ses débuts sur disque avec le groupe du saxophoniste Earl Bostic, qui comprenait à l’époque de futurs sommités du jazz comme John Coltrane, Benny Golson et Stanley Turrentine. Décrivant cette période de sa vie, Cobb avait commenté:

“During those times the band used to travel to different places. In each city there was a variety theater and the band would have to play the show. We had a sextet and they would add other musicians to make a 13-piece band. I only stayed with Bostic a year. After that I went with Dinah Washington, and the same thing prevailed. You’d have an augmented band and play for other acts. It was good experience. Also, when I was with Diana we did a good record called For Those in Love that had some of Quincy Jones’s first arrangements.”

Par la suite, Cobb avait travaillé durant trois ans et demi avec la chanteuse Dinah Washington, amorçant ainsi une collaboration de vingt ans avec le pianiste Wynton Kelly. Cobb a également participé à plusieurs des enregistrements de la chanteuse, dont le très sous-estimé ‘’For Those In Love’’, pour lequel Quincy Jones avait écrit les arrangements. C’est lors de sa collaboration avec Washington que Cobb avait commencé à saisir le fossé qui existait entre son éducation catholique et les traditions de l’église baptiste. Il précisait: “When I heard that Baptist sound, it took me over. I wasn’t used to hearing that. It would make the hairs stand up on my arms and neck, where people are singing and shouting in church. That struck me right away. She taught me to put the passion into what I was doing.”

Après avoir quitté le groupe de Washington en 1956, Cobb s’était joint au quintet des frères Cannonball et Nat Adderley dont il avait fait partie durant environ un an. Cobb expliquait:

“I met Julian [Cannonball] when I was with Dinah Washington. He was still in Florida, and when we played there, he came to the hotel we were staying in because he wanted to talk to somebody from New York and find out what the scene was because he was thinking about coming up. After Charlie Parker died, I guess he figured he had a shot. So later on when he and Nat came to New York he hired me for their band, and we made an album called Sharpshooters, which was a pretty good album.”

Cobb avait enregistré trois albums avec les frères Adderley: ‘’Sophisticated Swing’’, ‘’Quintet In Chicago’’ et ‘’Takes Charge.’’

Parallèlement à sa collaboration avec les frères Adderley, Cobb avait travaillé avec Stan Getz et Dizzy Gillespie. Il avait également enregistré avec le percussionniste Tito Puente. En 1957, Cannonball Adderley s’était joint au groupe de Miles Davis. Un jour, le batteur Philly Joe Jones n’avait pu se présenter, et Cannonball avait invité Cobb à se joindre à la formation. Cobb précisait:

“So Julian told me to come by when they were playing, and if Joe didn’t show up I could play. So I did that a lot,and then I went to a record date with them one day and Joe didn’t show up, so they pressed me into service, and that record date was for Porgy and Bess. They had already done about half of it with Joe, and I’m on the other half. Sometimes we’re each doing half of the same tune. So I finished the date, and a little while after that Miles asked me to be in the band.’’

Cobb avait déjà travaillé avec Davis auparavant. Cobb expliquait: “When I was with Diana {Dinah Washington}, a disc jockey called Symphony Sid gathered a lot of musicians together and called them Symphony Sid’s All-Stars, and he had Charlie Parker, Miles Davis, Milt Jackson, and Toots Thielemans, who had just come from Belgium, and Diana’s rhythm section. We played together for a week.”

L’album ‘’Kind of Blue’’ avait été enregistré au printemps 1959 peu après le 30e anniversaire de naissance de Cobb. Faisaient également partie du groupe les saxophonistes John Coltrane et Cannonball Adderley, les pianistes Wynton Kelly et Bill Evans, et le contrebassiste Paul Chambers. Davis, qui faisait énormément confiance à Cobb, lui avait donné une seule instruction: "Jimmy, you know what to do. Just make it sound like it's floating." Enregistré dans une ancienne église de la 30e rue de New York qui avait été transformée en studio pour l’occasion, l’album avait été pratiquement réalisé en une seule prise. Comme Cobb l’avait expliqué lors de la célébration du 50e anniversaire de l’album en 1959, «Miles pensait que le premier coup était toujours le meilleur, sinon c’était du rabâchage». Cobb avait ajouté: «Miles est juste arrivé avec quelques idées sur un bout de papier. On a dû travailler pour construire à partir de ce peu de choses, mais ça a été facile.»

À l’époque, personne ne se doutait que ‘’Kind of Blue’’ deviendrait un des meilleurs disques de jazz de tous les temps. Cobb précisait: “It was just another Miles Davis record date. When we went in, I didn’t have any music. He probably had some lead sheets for the guys. It was an ordinary date, but we were playing some different music that sounded like Bill Evans, Gil Evans, and Miles Davis. It was the modal thing, and that was the first time we had done that.”

Rémunéré au tarif de base (c’est-à-dire environ 100$ pour l’ensemble des sessions de l’album), Cobb n’avait jamais reçu aucun droit d’auteur pour sa participation à l’album qui s’était écoulé à plus de quatre millions d’exemplaires, devenant ainsi l’album de jazz le plus vendu de tous les temps. Transcendant les limites du jazz, l’album avait été classé au 12e rang des 500 plus grands albums des tous les temps par le magazine Rolling Stone.

Cobb a également participé à plusieurs autres albums de Davis, dont ‘’Sketches of Spain’’ (1960), ’’Someday My Prince Will Come’’ (1961), ’’Live at the Blackhawk’’, ’’Miles Davis at Carnegie Hall’’ (1961), ’’In Person Friday and Saturday Nights at the Blackhawk'' (1961) et ''Complete’’. Cobb a aussi fait de brèves apparitions sur les albums ‘’Porgy and Bess’’ (1959) et ‘’Sorcerer ’’ (1967).

Parallèlement à sa collaboration avec le groupe de Davis, Cobb a aussi enregistré avec plusieurs autres grands noms du jazz, dont Cannonball Adderley, John Coltrane, Paul Chambers, et Wynton Kelly (tous des membres du groupe de Davis), ainsi qu’avec Kenny Dorham, Wayne Shorter, Paul Gonsalves, Art Pepper, Bobby Timmons, Donald Byrd et Pepper Adams. Cobb a également fait une apparition sur un album de 1960 intitulé ‘’Son of Drum Suite.’’ L’album faisait suite à un premier album intitulé ‘’The Drum Suite.’’ La pièce ‘’’Son of Drum Suite’’ était une composition en six mouvements écrite et arrangée par le saxophoniste Al Cohn. Outre Cobb, l’album avait été enregistré avec une formation composée de Mel Lewis, Don Lamond, Charli Persip, Louis Hayes, Gus Johnson, Clark Terry, Bob Brookmeyer et Zoot Sims. À peu près à la même époque, Cobb avait participé à Gretsch Drum Nights, des performances mettant en vedette les batteurs Elvin Jones, Alan Dawson et Art Blakey.

Lorsque Cobb avait quitté le groupe de Davis en 1962, Tony Williams avait assuré sa relève. Cobb expliquait: “I was playing on some records for Riverside at the time, and the day after I left Miles Davis’s band, I recorded Boss Guitar with Wes Montgomery.’’ Peu après, Cobb avait formé un trio avec deux ex-membres du groupe de Davis, Paul Chambers et Wynton Kelly. En plus de jouer et d’enregistrer avec le Wynton Kelly Trio, les trois musiciens étaient partis en tournée avec Montgomery tout en l’accompagnant sur quelques-uns de ses albums, dont ‘’Smokin’ at the Half Note’’ et ‘’Willow Weep for Me.’’ Le trio, qui avait également collaboré avec J.J. Johnson, John Coltrane, Wayne Shorter, Benny Golson, Hank Mobley, Art Pepper, Kenny Burrell et Joe Henderson, avait poursuivi ses activités jusqu’à la mort de Chambers en 1969.

De 1970 à 1978, Cobb avait également accompagné la chanteuse Sarah Vaughan. Décrivant sa collaboration avec la chanteuse, Cobb avait commenté: “Since joining Sarah, I’ve been around the world. One year we went to four continents. It’s an education just to be on this job, because we do a lot of things—trio, big-band, and symphony jobs. It’s educational.” Cobb considérait d’ailleurs l’album ‘’Sarah Vaughan: Live in Japan’’ comme un de ses favoris.

Parmi les musiciens que Cobb avait accompagnés dans les années 1970, 1980 et 1990, on remarquait notamment Sonny Stitt, Nat Adderley, Ricky Ford, Hank Jones, Ron Carter, George Coleman, David “Fathead” Newman, David Liebman, Art Farmer, Kenny Drew, John Hicks, the Great Jazz Trio, Nancy Wilson, Dave Holland et Warren Bernhardt.

DERNIÈRES ANNÉES

Très appécié comme accompagnateur, Cobb n’avait pas enregistré sous son nom avant le début des années 1980. Publié en 1983, le premier album de Cobb comme leader éait intitulé ‘’So Nobody Else Can Hear.’’ L’un des principaux groupes de Cobb était une formation appelée Jimmy Cobb’s Mob. Le groupe avait publié plusieurs albums, dont ‘’Four Generations of Miles’’ (un hommage à Miles Davis enregisré avec le guitariste Mike Stern, le contrebassiste Ron Carter et le saxophoniste George Coleman), ‘’Yesterdays’’ (enregistré avec Michael Brecker au saxophone ténor, Marion Meadows au saxophone soprano, Roy Hargrove à la trompette et au flugelhorn, et Jon Faddis à la trompette), ‘’New York Time’’ (avec Christian McBride à la contrebasse, Javon Jackson au saxophone ténor et Cedar Walton au piano), ‘’West of 5th’’ (avec Hank Jones au piano et Christian McBride à la contrebasse), et ‘’Cobb’s Corner’’ (avec Roy Hargrove à la trompette, Ronnie Matthews au piano et Peter Washington à la conttrebasse).

Dans les années 1980, Cobb a également travaillé régulièrement avec le trompettiste Nat Adderley. En 1986, Cobb avait enregistré son premier CD (et son premier vidéo) pour le réseau A & E.

Dans les années 1990, Cobb avait continué d’enregistrer et de participer à de nombreuses tournées aux États-Unis et en Europe.

Au début des années 1990, Cobb avait également été en vedette dans un spécial télévisé intitulé "So that Nobody Else Can Hear", dans lequel on le voyait jouer aux côtés de grands noms du jazz comme Freddie Hubbard, Gregory Hines, Bill Cosby, Dave Leibman et Pee Wee Ellis. L’émission était produite par son épouse Eleana Tee Steinberg Cobb.

Dans les années 1990, Cobb avait commencé à prendre sous son aile plusieurs jeunes musiciens comme les trompettistes Roy Hargrove et Wallace Roney, le guitariste et compositeur Peter Bernstein, le saxophonise ténor Eric Alexander, le contrebassiste Christian McBride, et surtout le pianiste Brad Mehldau, qui avait fait partie de la première édition de son groupe Cobb's Mob à la New School of Music. Saluant les qualités d’enseignant de Cobb, un autre de ses anciens étudiants, le guitariste Peter Bernstein, écrivait dans les notes de pochette de l’album ‘’This I Dig Of You’’: "As a drummer, he makes you feel so comfortable. Like, this is what it's supposed to feel like."

Cobb avait continué de jouer et d’enseigner autour du monde jusqu’à sa mort. La famille de Cobb - Eleana Steinberg Cobb et ses deux filles Serena et Jaime, avaient planifié l’agenda de Cobb à la fin de sa vie. Cobb avait été marié auparavant à Ann Porter, mais celle-ci était décédée en 1987.

Jimmy est mort le 24 mai 2020 à sa résidence de Manhattan York d’un cancer des poumons. Il était âgé de quatre-vingt-onze ans. De nombreux musiciens de jazz avaient souligné le décès de Cobb sur les médias sociaux, dont Todd Barkan, qui avait déclaré: ‘’his is a devastating loss—the death of a beloved musician, but also the end of an era, as we lose the last surviving member of a historic ensemble.’’ Quant à Ralph Peterson, il avait commenté: ‘’Grandmaster Jimmy Cobb has joined the ancestors… Thank you for leaving so much to so many… Rest In Peace Jazz Warrior.’’ Trois mois avant sa mort, une des filles de Cobb, Serena, avait lancé une campagne de financement afin d’aider son père à défrayer les coûts de son hospitalisation qui étaient devenus trop élevés pour ses faibles revenus. Serena avait déclaré dans le communiqué qui accompagnait dans le communiqué qui accompagnait le lancement de la campagne de souscription: “He’s dedicated the last 70 years of his life to the art of jazz, and although there’s nothing he’d rather do than continue to support himself and his family while doing what he loves, it has become far too difficult of a task.”

Considéré comme un des batteurs qui avaient contribué à définir le style post-bop dans les années 1950 et 1960, Cobb a influencé de nombreux batteurs, dont Jack DeJohnette, qui avait déclaré à son sujet:

“The first time I heard Jimmy was on Kind of Blue, and what got my attention was his touch and keen sense of dynamics. You can always count on Jimmy to provide the rightsupport for whatever the music or musicians call for. That’s why Jimmy was always called upon by the greats in jazz and will always be respected by the community. Also, he is a really good human being, and I am happy to know him.”

Malgré le succès de l’album ‘’Kind of Blue’’, Cobb n’était pas aussi bien connu du grand public que certains autres batteurs, sans doute parce qu’il était beaucoup moins charismatique et extraverti que ses contemporains Philly Joe Jones, Elvin Jones et Roy Haynes. Cobb était par contre très estimé des autres musiciens qui appréciaient son jeu subtil et discret et sa façon de tenir le rythme qui pouvaient ainsi s’intégrer plus facilement dans le son de leurs propres formations. Particulièrement influencé par Kenny Clarke, Cobb avait expliqué:

Reconnu internationalement, Cobb s’est produit un peu partout à travers le monde, de Newport à Monte Carlo, en passant par Los Angeles et le Japon. Cobb a également joué devant le président Jimmy Carter, le Shah d’Iran et plusieurs autres personnalités politiques.

La liste des musiciens avec lesquels Cobb a collaborés au cours de sa carrière était un véritable Who’s Who de l’histoire du jazz: Dinah Washington, Pearl Bailey, Clark Terry, les frères Cannonball et Nat Adderley, Dizzy Gillespie, John Coltrane, Sarah Vaughan, Billie Holiday, Wynton Kelly, Stan Getz, Wes Montgomery, Gil Evans, Miles Davis, Paul Chambers, Kenny Burrell, J. J. Johnson, Sonny Stitt, David Liebman, Hank Jones, Ron Carter, George Coleman, David ‘’Fathead’’ Newman, Geri Allen, Earl Bostic, Leo Parker, Charlie Rouse, Ernie Royal, Philly Joe Jones, John Hicks, Bobby Timmons, Benny Golson, Walter Booker, Jerome Richardson, Art Farmer, Kenny Drew, Keter Betts, Jimmy Cleveland, Sam Jones, Art Pepper, Pepper Adams, Paul Gonsalves, Red Garland, Joe Henderson, Eddie Gomez, Bill Evans, Stefan Karlsson, Donald Byrd, Jeremy Steig, Wayne Shorter, Hank Mobley, Richard Wyands, Dave Holland, Kenny Dorham, Peter Bernstein, Richie Cole, Nancy Wilson, Ricky Ford, Sarah Vaughan et David Amram, pour n’en mentionner que quelques-uns.

Cobb, qui était aussi professeur, a donné des classes de maître à la Stanford University Jazz Workshop. Cobb a égalemen enseigné dans plusieurs autres institutions scolaires, dont The New School for Jazz and Contemporary Music de New York, la New School for Social Research, le Brooklyn-Queens Conservatory of Music, la Florida State University, l’Université de Greensboro en Caroline du Nord, et l’International Center for the Arts de la San Francisco State University. Cobb a également enseigné dans des écoles d’été organisées en Europe par l’Université Duke, en Caroline du Nord.

Décrivant son travail de professeur, Cobb avait déclaré: “Most of the drummers I get can already play. The first thing I ask them is, what do they want that they think they can get from me? Most of them want to learn that cymbal beat." Jusqu’à la fin, les étudiants de Cobb n’avaient jamais cessé de lui demander comment il pouvait jouer avec une telle facilité. Cobb répondait le plus souvent qu’il n’y avait aucun secret, avant d’ajouter: "The first thing is they have to love it, and stay with it." Loin de s’enfler la tête avec ses nombreuses réalisations, Cobb avait commenté: "I've been in the right place at the right time a lot of times. [But today] things are more mechanical than human, than they used to be. [Students today] got some advantages, because they have videos and all that, but it's not walking up and shaking the dude's hand and talking about things, or asking him questions."

Jimmy Cobb a remporté de nombreux honneurs au cours de sa carrière. En juin 2008, la Michigan State University avait décerné à Cobb le Don Redman Jazz Heritage Award. Le 17 octobre suivant, Cobb avait fait partie des six musiciens qui avaient obtenu le titre de ‘’Jazz Master’’ attribué par la National Endowment for the Arts (NEA). Cobb avait accepté son prix en lisant la déclaration suivante:

"I am humbled to be included among the great musicians in our American history. I express my gratitude to these jazz giants, many of whom were close friends, who shaped this great American art form called jazz and ultimately helped to shape my life as well. I thank the NEA committee for recognizing America's jazz masters and the art of jazz itself and I am honored and privileged to be a part of this legacy."

Interrogé dans le cadre d’un programme d’histoire orale parrainé par le musée Smithsonian après la remise de son prix, Cobb avait attribué une grande partie de sa sensibilité comme batteur au fait d’avoir accompagné des chanteuses comme Dinah Washington et Sarah Vaughan. Il expliquait: "I guess the sensitivity probably comes from having to work with singers, because you have to really be sensitive there. You have to listen and just be a part of what's going on." En 2006, à l’occasion de son 75e anniversaire de naissance, Cobb a également été honoré par Wynton Marsalis dans le cadre de la Marsalis Music Honor Series.

En décembre 2009, la Chambre des Représentants avait honoré Cobb à l’occasion du 50e anniversaire de l’album ‘’Kind of Blue’’. La même année, Cobb, qui était le dernier membre survivant du groupe de Davis, avait dirigé le groupe ‘’So What’’ qui visait à commémorer le 50e anniversaire de la publication de l’album ‘’Kind of Blue.’’ Le groupe, qui comprenait le trompettiste Wallace Roney et les saxophonistes Javon Jackson et Vincent Herring, avait par la suite fait une tournée au Royaume-Uni. En 2000, Cobb a également écrit la préface de l’ouvrage ‘’Kind of Blue: the Making of the Miles Davis Masterpiece’’ d’Ashley Kahn. Cobb avait aussi enregistré un album en hommage à Davis intitulé ‘’Remembering Miles.’’ Au cours de la même période, Cobb était également parti en tournée avec son groupe afin de rendre hommage à John Coltrane.

Partisan de l’élection de Cobb au sein du Percussion Arts Society Hall of Fame, le batteur Peter Erskine avait déclaré: “It’s fitting and appropriate that this assembly of percussionists give Jimmy Cobb the greatest honor possible. Simply put, the world’s a better place because of Jimmy Cobb’s drumming, and it’s delightful to know he is being inducted into the PAS Hall of Fame. The PAS is a better place now for this.”

#jazz

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Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

2 notes · View notes

intouchables2011 · 4 years ago

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[Intouchables] (2011)HD Film Complet Streaming VF en Français

Regarder Intouchables Film Complet Streaming VF En Français — HD 2011 Voir Intouchables 2011 Film Complet En Français, Voir Intouchables 2011 Film Entier En Français, Voir Intouchables 2011 Film En Français, Voir Intouchables 2011 Film Complet, Voir Intouchables 2011 Film Complet VF, Voir Intouchables 2011 Film Complet Streaming, Voir Intouchables 2011 Film Entier, Intouchables 2011 Film Entier VF, Voir Intouchables 2011 Film Entier Streaming, Voir Intouchables 2011 Film Streaming VF, Voir Intouchables 2011 voir en streaming gratuit,

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⭐⭐⭐⭐⭐⭐⭐

Intouchables 2011

8.3/10 de 13137 utilisateurs À la suite d’un accident de parapente, Philippe, riche aristocrate, engage comme aide à domicile Driss, un jeune de banlieue tout juste sorti de prison… Bref la personne la moins adaptée pour le job. Ensemble ils vont faire cohabiter Vivaldi et Earth Wind and Fire, le verbe et la vanne, les costumes et les bas de survêtement… Deux univers vont se téléscoper, s’apprivoiser, pour donner naissance à une amitié aussi dingue, drôle et forte qu’inattendue, une relation unique qui fera des étincelles et qui les rendra… Intouchables.

🎬 VISIT THIS LINK : https://t.co/k10juwiLYX?amp=1

Sortie: 2011-11-02 Durée: 112 minutes Genre: Drame, Comédie Etoiles: François Cluzet, Omar Sy, Audrey Fleurot, Anne Le Ny, Clotilde Mollet Directeur: Olivia Bloch-Lainé, François Emmanuelli, Jean Goudier, Jean-Paul Hurier, Mathieu Vadepied

🎬 VISIT THIS LINK : https://t.co/k10juwiLYX?amp=1

🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

1 note · View note

rayaetledernier2021 · 4 years ago

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【™FILM'COMPLET】RAYA ET LE DERNIER DRAGON (2021)-HD Streaming VF en Français

Regarder RAYA ET LE DERNIER DRAGON Film Complet Streaming VF En Français — HD 2021 Voir RAYA ET LE DERNIER DRAGON 2021 Film Complet En Français, Voir RAYA ET LE DERNIER DRAGON 2021 Film Entier En Français, Voir RAYA ET LE DERNIER DRAGON 2021 Film En Français, Voir RAYA ET LE DERNIER DRAGON 2021 Film Complet, Voir RAYA ET LE DERNIER DRAGON 2021 Film Complet VF, Voir RAYA ET LE DERNIER DRAGON 2021 Film Complet Streaming, Voir RAYA ET LE DERNIER DRAGON 2021 Film Entier, RAYA ET LE DERNIER DRAGON 2021 Film Entier VF, Voir RAYA ET LE DERNIER DRAGON 2021 Film Entier Streaming, Voir RAYA ET LE DERNIER DRAGON 2021 Film Streaming VF, Voir RAYA ET LE DERNIER DRAGON 2021 voir en streaming gratuit, Image for post

RAYA ET LE DERNIER DRAGON 2021

VOIR: ▶️▶️https://tinyurl.com/3za3wv6b

8.6/10 de 1042 utilisateurs Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission.

Sortie: 2021-03-03 Durée: 114 minutes Genre: Animation, Aventure, Fantastique, Familial, Action Etoiles: Kelly Marie Tran, Awkwafina, Izaac Wang, Gemma Chan, Daniel Dae Kim Directeur: James Newton Howard, Fabienne Rawley, Peter Del Vecho, Paul A. Felix, Jamie Sparer Roberts

⭐⭐⭐⭐⭐⭐⭐

REGARDER : ▶️▶️https://tinyurl.com/3za3wv6b

Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission. 31 mars 2021 / Animation, Fantastique, Aventure De Don Hall, Carlos Lopez Estrada, Paul Briggs … Avec Kelly Marie Tran, Awkwafina Nationalité Américain RAYA ET LE DERNIER DRAGON RAYA ET LE DERNIER DRAGON vf RAYA ET LE DERNIER DRAGON grand rex RAYA ET LE DERNIER DRAGON sortie france RAYA ET LE DERNIER DRAGON youtube RAYA ET LE DERNIER DRAGON telecharger RAYA ET LE DERNIER DRAGON age RAYA ET LE DERNIER DRAGON durée RAYA ET LE DERNIER DRAGON bande annonce RAYA ET LE DERNIER DRAGON casting RAYA ET LE DERNIER DRAGON sortie RAYA ET LE DERNIER DRAGON au grand rex RAYA ET LE DERNIER DRAGON affiche RAYA ET LE DERNIER DRAGON à partir de quel age RAYA ET LE DERNIER DRAGON avis RAYA ET LE DERNIER DRAGON avant premiere RAYA ET LE DERNIER DRAGON au cinema RAYA ET LE DERNIER DRAGON age minimum RAYA ET LE DERNIER DRAGON a telecharger RAYA ET LE DERNIER DRAGON age conseillé RAYA ET LE DERNIER DRAGON âge RAYA ET LE DERNIER DRAGON bande annonce youtube 🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

1 note · View note

rayaetledernier · 4 years ago

Text

[RAYA ET LE DERNIER DRAGON] (2021)HD Film Complet Streaming VF en Français

RAYA ET LE DERNIER DRAGON 2021

REGARDER : ▶️▶️https://tinyurl.com/3za3wv6b

VOIR: ▶️▶️ RAYA ET LE DERNIER DRAGON 2021

Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission. 31 mars 2021 / Animation, Fantastique, Aventure De Don Hall, Carlos Lopez Estrada, Paul Briggs … Avec Kelly Marie Tran, Awkwafina Nationalité Américain RAYA ET LE DERNIER DRAGON RAYA ET LE DERNIER DRAGON vf RAYA ET LE DERNIER DRAGON grand rex RAYA ET LE DERNIER DRAGON sortie france RAYA ET LE DERNIER DRAGON youtube RAYA ET LE DERNIER DRAGON telecharger RAYA ET LE DERNIER DRAGON age RAYA ET LE DERNIER DRAGON durée RAYA ET LE DERNIER DRAGON bande annonce RAYA ET LE DERNIER DRAGON casting RAYA ET LE DERNIER DRAGON sortie RAYA ET LE DERNIER DRAGON au grand rex RAYA ET LE DERNIER DRAGON affiche RAYA ET LE DERNIER DRAGON à partir de quel age RAYA ET LE DERNIER DRAGON avis RAYA ET LE DERNIER DRAGON avant premiere RAYA ET LE DERNIER DRAGON au cinema RAYA ET LE DERNIER DRAGON age minimum RAYA ET LE DERNIER DRAGON a telecharger RAYA ET LE DERNIER DRAGON age conseillé RAYA ET LE DERNIER DRAGON âge RAYA ET LE DERNIER DRAGON bande annonce youtube 🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

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denimatio · 4 years ago

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Dans les inspirations de la nuit précédente, ce qui me semble neuf c’est la place d’Antigone dans l’histoire des femmes. La liberté est toujours représentée comme une femme et une mère. Antigone est seulement fille et sœur et amante. Sa virginité semble nécessaire aux actes de liberté qu’elle pose en ne s’inclinant pas devant la pression sociale qui agit si fort sur nous.

[…] la révolution des femmes en Occident est peut-être l’événement social le plus important de ce siècle. C’est depuis le temps où Mao disait, de façon si belle, que la femme est la seconde moitié du ciel, ce que je pense aussi. La façon dont j’ai parlé, et parlerai encore, d’Antigone est peut-être ma pierre ou mon caillou, dans l’édifice de cette révolution.

[…] Je ne la voyais pas si importante en commençant. Je la vois maintenant indépendante d’Œdipe et de Clios, comme de ses frères, de Créon et de Thèbes. Elle aime mais ne dépend pas. Elle fait voir une façon d’être plus humaine, elle meurt non pour Polynice mais pour transmettre à Sophocle et à nous ce qu’elle est devenue, ce qu’elle a acquis dans sa longue épreuve avec Œdipe et ses efforts vains pour éviter l’affrontement et la mort de ses frères. Ce qu’elle nous transmet c’est une vision plus juste, plus complexe aussi des rapports entre l’homme et la cité. Une vision plus libre de la femme, de sa pensée, de son cœur et de l’énergie douce qu’elle peut déployer. Elle est celle qui sait que pour dire totalement oui à la vie il faut parfois être capable de dire non à l’événement et à la collectivité. Elle demeure une image essentielle et une des raisons de fierté de notre civilisation.

[…] j’en suis d’une certaine façon amoureux et […] cette intimité entre nous éclaire ma vieillesse. Par contre j’ai dit qu’elle était pour moi la plus haute et étonnante figure féminine de la tradition grecque. Seule, dans la tradition judéo-chrétienne la Vierge Marie a la même stature. Mais Marie existe par et pour son fils, elle ne parle qu’à travers lui. Antigone dit sa propre parole. Elle décide elle-même de suivre Œdipe, elle ne le décide pas d’ailleurs, elle le fait. Elle y va. Elle décide de retourner à Thèbes alors qu’elle pourrait rester à Athènes. Dans sa lutte avec Créon elle ne conteste pas la loi de la cité qui est alors la loi des hommes. Elle affirme seulement qu’il y a une loi plus haute et qu’en tant que femme elle entend suivre. Elle reste encore aujourd’hui un modèle de ce que pourrait être une pensée, une éthique, une action féminine délivrée des modèles masculins qui pèsent encore tant sur les femmes. En face d’Antigone un homme peut entrer dans une colère meurtrière comme Créon, il ne peut plus craindre d’être victime de sa séduction ou de sa ruse.

Entre Antigone et Ismène. Le non croissant d’Antigone et le oui croissant d’Ismène. Je m’interroge : est-ce que ce non que je n’ai jamais vraiment prononcé, est en moi ? Est-ce que c’est un non à la vie comme elle va et que pourtant j’accepte, pour un oui à l’œuvre ? Il me semble que le non est en Antigone, dans la mesure où elle m’échappe. C’est un non aux hommes. Non, je ne veux pas être comme eux, même pas comme ceux que j’ai aimés : Œdipe, Clios, Hémon, les deux frères. Non, non, je ne veux pas être comme eux. Et toi Ismène qui portes un enfant, tu ne le veux pas non plus. Tu veux faire une œuvre de vie, pas de mort, pas de puissance, pas une cité avec son or, son armée, ses prisons. Non, rien qu’un tout petit enfant qui veut naître de toi. N’apportant rien. Rien que sa vie.

— Henry Bauchau (Journal d’Antigone, 1999)

photo : Étudiante inconnue jouant Antigone, 1953 [archives Hartke Theater, Université catholique d'Amérique à Washington DC]

#henry bauchau #Antigone #hartke theater #catholic university of america #bauchau

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dance2gether · 2 years ago

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Tanz der Lebendigkeit im Sommer 2022

Liebe Freunde, auch im Sommer laden wir euch ganz herzlich zum Bewegen, Spüren, Forschen und Tanzen in die Natur – zum Tanz der Lebendigkeit, Tanz mit allen Sinnen – ein. Dabei kannst du den sonnengewärmten Boden und das Gras unter deinen Füßen spüren, die Sonne und die laue Sommerluft auf deiner Haut, dem Brummen der Hummeln und Bienen lauschen sowie das satte Grün der Bäume genießen. Tanz der…

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#Claudia #Essentielles Theater #Rückverbindung #Sinne #Tanz #Tanz der Lebendigkeit #Tanzen in der Natur

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borell-helene · 3 years ago

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Avoir un carnet de dessin sur soit est quelque chose d’essentielle en toutes circonstances. On ne sais jamais quand la fougue créatrice va frapper. Capturer une idée ou un moment et le rassembler dans un petit carnet de vie m’est essentiel à mon bien-être, à ma créativité et à mon évolution.

04.01 Réinterprétation personnelle d’un souvenir de déménagement avec des connaissances. J’ai essayé de montrer le bien-être du moment tout en y incluent la joie d’être ici. 04.02 Interprétation de l’abondance du bruit 04.03 Tickets de cinéma et de théatre, tests graphiques aux pastels 04.04 Interprétation libre et abstraite de l’omniprésence de la conscience 04.05 Recherches et essais de styles graphiques 04.06 Interprétation des bienfaits de la solitude, essais graphiques, observations et souvenirs du Munstrum Theater 04.07 Observation de Lörrach et du film Délicatessen 04.08 Interprétations de mes émotions

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complethd · 4 years ago

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