#Film Society Lincoln Centre

[marwahstudios]

Joshua Lincoln Addressed students of Asian Business School

Noida: Joshua Lincoln the descendant of Abraham Lincoln from Boston USA is a Senior Fellow (non-residential) at the Centre for International Law and Governance at Fletcher, the Graduate School of Global Affairs, Tufts University visited Asian Education Group in Noida to deliver address on current issues in the World.

Between 2013 and 2019, Dr. Lincoln served as Secretary-General of the Bahá’í International Community. In that role he represented the international governing council of the Bahá’í community in its external affairs; managed relations with governments, municipalities, universities and civil society; and developed multi-year programs and partnerships.

Between 2000 and 2013, he worked on global peace and security issues at the United Nations, including postings as Directeur de Cabinet to the Director-General of the UN Office at Geneva and as Senior Officer in the Executive Office of Secretary-General Ban Ki-moon in New York. He also worked in mediation and preventive diplomacy with the UN Cameroon-Nigeria Mixed Commission and in UN peacekeeping and peacemaking field missions in Ethiopia/Eritrea and North/South Sudan.

Earlier, as an academic/policy researcher, he carried out projects for several universities and think tanks and the World Bank. He holds a BSFS from Georgetown University in International Politics, and both a MALD and a PhD in International Relations from Tufts University. He speaks fluent French and basic Arabic, Hebrew, and Spanish.

Later Dr. Sandeep Marwah honoured Joshua with the memento and membership of International Business and Management Research Centre of Asian Education Group. The event was designed by Kazem Samandari and supported by International Chamber of Media and Entertainment Industry & Indo American Film and Cultural Forum.

[belvanera]

Alessio Rigo de Righi and Matteo Zoppis attend the screening for The Tale of King Crab during the 59th New York Film Festival at The Film Society of Lincoln Center, Walter Reade Theatre on September 29, 2021 in New York City.

(Sept. 28, 2021 - Source: Getty Images North America)

[ilsolengo-blog]

Alessio Rigo de Righi and Matteo Zoppis attend the screening for The Tale of King Crab during the 59th New York Film Festival at The Film Society of Lincoln Center, Walter Reade Theatre on September 29, 2021 in New York City.(Sept. 28, 2021 - Source: Getty Images North America)

[just-just-gyllenhaal]

Film Society Of Lincoln Centres 50th Anniversary Gala-Arrivals(2019) pics...

[jasonblaze72]

The Handmaid’s Tale: New Bethlehem Gilead Filming Locations

The Handmaid's Tale is based on the same-named 1985 book by Margaret Atwood. However, in this article, we will see the filming locations of New Bethlehem Gilead. Many viewers' attention has been drawn to the city of New Bethlehem Gilead in the series. It is a developed island within Gileadean territory that has undergone strategic liberalization and where some social and criminal rules are suspended. The narrative centers on June and the other handmaidens, who are abducted and made to carry children by and for the ruling classes because they are unable to conceive children of their own. It takes place in the apocalyptic society of Gilead, where the US government has been seized by fervent Christians years after universal infertility has engulfed the entire planet. Elisabeth Moss as June, Yvonne Strahovski as Serena Joy Waterford, Madeline Brewer as Janine Lindo, and Ann Dowd as Aunt Lydia are the main characters of the cast. So, without any further ado, let us check out New Bethlehem Gilead filming locations. New Bethlehem Gilead Filming Locations The fictional city of New Bethlehem Gilead actually captured viewers' interest more so than the television series itself. People were captivated by the stunning city depicted in the show, and their interest in learning more about it only grew. Where exactly was the series filmed? All of the series' filming locations are shown in this section. However, the majority of it has been shot in Canada only. Let's dig a bit deeper. Canada As mentioned earlier, the major parts of the Hulu series have been shot in Canada. The country provided some great shooting settings and excellent cinematography. New Bethlehem Gilead shown in the show is fake city that was entirely shot in Canada. As well, the well-known hit television shows and motion pictures were totally filmed in Canada.  City Hall, Toronto, Canada The majority of the series' episodes were filmed in and surrounding Toronto, Canada. While watching the series, we may recognize several Toronto monuments, such as City Hall, which is depicted in the first episode. It is one of Toronto's most recognizable landmarks and the location of the municipal administration. Here are the moments where Commander Waterford and George Winslow are at a Washington, D.C., federal building. Cambridge, Canada Filming took place in the nearby towns of Cambridge and Galt, including some of the most heartbreaking sequences, such the one where dissidents' corpses hang on a wall. This highly lauded, Golden Globes and Emmy Award-winning series, which is based on the internationally bestselling book by Canadian author Margaret Atwood, heavily features the City of Cambridge. In fact, Cambridge serves as one of the Republic of Gilead's main backdrops. The Presbyterian church and the Main Street bridge were used as backdrops for several sequences. Mill Race Park, Cambridge, Canada Another significant place in The Handmaid's Tale is the Canadian city of Cambridge. The Mill Race Park, which is also in Cambridge, is where Offred and Ofglen pass the wall in multiple episodes. It is situated near the Grand River. You can look at it because it is a really lovely area and because many occasions are also held there. Church of St. Aidan, Canada Remember, The Red Centre in the very debut season of the show? St. Aidan's Church on Queen Street East and Silver Birch Avenue in Toronto served as the setting for The Red Center's first season's filming. You can visit this lovely area to seek peace. Grand Cafe, Cambridge June and Moira hide from the soldiers as they enter The Grand Cafe at 18 Queens Square in season one. Moreover, this is where the big procession from season 3 was filmed. It is a bakery and coffee cafe that allows you to enjoy it. Washington Monument Here, one of the series' most breathtaking shots was captured. The Washington Monument was changed into a huge cross in the Republic of Gilead's capital. After the CGI effects, the top half of the Abraham Lincoln statue was blasted out of the hollow stone obelisk, which has a 500-foot-tall column. This was the ideal setting for the show. However, these were the filming locations of The Handmaid’s Tale: New Bethlehem Gilead. Check out these places anytime you visit. Happy weekend. Toodles! Also read: Heartland Season 16 Episode 7: Release Date, Preview & Streaming Guide Read the full article

[moviesandsets]

Gattaca - Andrew Niccol

In the famous science-fiction movie of Andrew Niccol, relased in 1998 and produce by Colombia Pictures and Jersey Film, Nancy Nye and Jan Roelfs have won the oscar of the best set design. Of course, we had to talk about it in this blog. First, let’s focus on these two set design directors.

Nancy Nye had learned decoration in the famous art school : Les Beaux-Arts de Paris (we can be proud of it !!). She had worked as the set designer in a lot of movies, and she is mainly known for Body Of Lies from Ridley Scott, The Lincoln Lawyer by Brad Furman or Matchstick Men from again Ridley Scott.

Jan Roelfs, for his part, is also a production designer. He is mainly known for Ghost in the Shell by Rupert Sanders and Bird Box from Susanne Bier.

Let’s focus now on what we want : the set design: Gattaca is an anticipation film set in the near future. All the sets and props must therefore have been invented or chosen by the director or his assistants with full knowledge of the situation.

Gattaca differs from many science fiction films in its science fiction films by its setting. Not everything is built in a studio, but is a real place, taken out of its original context. The imposing Gattaca space centre, for example, was designed by the American architect Frank Lloyd Wright (famous, among other things, for the spiral of the Guggenheim Museum in New York).

The straight lines and perfect curves recall the hardness of the human hand and many visual elements recall the symbolism of the DNA double helix, such as the spiral staircase in Jerome's flat. 

The environment is stripped of all vegetation and nature, in order to illustrate a world where nature no longer has a place and where the world and life are entirely shaped by the human hand.

There is also an importance in the choice of the color of the movie : the ochre colour: even if Gattaca is about DNA and perfection, there is still imperfections and the society is not so clean and wonderful that its wants to be.

[tigerstrikesasteroidnetwork]

PHL / Where Are You Now / Alejandro T. Acierto

Back to exhibition info

alejandro t. acierto is an artist, musician, and curator whose work is largely informed by legacies of colonialism found within human relationships to technology and material cultures. He has exhibited and performed projects for the 2019 Havana Biennial in Matanzas (Cuba), the Film Society of Lincoln Center (NYC), Radialsystem (Berlin), Yerba Buena Center for the Arts (San Francisco), MCA Chicago, Art Institute of Chicago, the KANEKO (Omaha), and Rapid Pulse Performance Art Festival (Chicago). Recent curatorial projects have been presented at Vanderbilt University (Nashville), Coop Gallery (Nashville), and online for the Wrong Biennial. acierto has held residencies at Skowhegan School of Painting and Sculpture, Virginia Center for the Creative Arts, Banff Centre, High Concept Laboratories, LATITUDE, Chicago Artists' Coalition, and Digital Artist Residency. A 3Arts Awardee, he received his undergraduate degree from DePaul University, an MM from Manhattan School of Music, an MFA in New Media Arts from University Illinois at Chicago (UIC) and was an inaugural Artist in Residence for Critical Race Studies at Michigan State University. He is currently an Andrew W. Mellon Assistant Professor of Digital Art and New Media and a Mellon Faculty Fellow in Digital Humanities at Vanderbilt University.

"These matters of possession" is an interventionist project of digital harm reduction, a two-part project where I invest in the removal of violent material culture found online through auction sites and use it as source material to produce lens-based performance works, (alternative) material cultures and ephemera, and databases that open conversations around the entanglements of networked culture, tourism, prisons, and image technologies. Focused on ephemera made during the US colonial occupation of the Philippines in the early 20th century, this project scans online retailers for images, objects, and ephemera that continue to sustain multiple formations of Pilipinx constraint, in what Catherine Ceniza Choy refers to as “corporeal colonization”, and remove them from the online marketplace through purchase. As image-objects that normalize the consumption of violent histories and spaces, ones developed under white supremacist values of settler-colonial possession, this project of removal continues the work of what Neema Githere calls “data healing” to respond to the “compounded effects of navigating digital infrastructures created to exploit, categorize, and discard personhood.” While material cultures of Pilipinx constraint are suspended indefinitely in servers online as digital images, they live in the purgatories of search results and haunt our queries with jpegs of abjection. While retailers are frequently unaware of these violent histories, they inadvertently contribute to the circulation of these formations of constraint through the digital imaging process needed to authenticate the objects as part of any online sale. In the project of reclamation and repossession of this material culture from the trappings of online circulation, I want to have the ability to shape how these images are used in the future and build different models for engagement through the screen. To reclaim these histories, I have begun to create images and performances for the camera – or in this case, the scanner bed – where I am mindful of the humans often excluded from the labor of imaging. As caretakers for these objects bound for digital transformation, the image of the hand begins to pull back the fourth wall, shaping how the image of the object is read, shifting the context altogether. No longer a singular object of study, the hand intervenes on historical anthropological practices that placed objects within neutral-toned settings for the sake of categorization and identification, further complicating the frame and focus of intention. In some ways, the hand becomes a different kind of metric, an alternative method of calibration that traces an object with its impact upon the body. In layering objects as assemblages that redact or obscure the violent content of the images purchased, I can construct a different kind of narrative to reveal broader networks of power that sustain today. Made in parallel with the movement for the removal of racist monuments in public space and with calls to end the circulation of mediated spectacles of Black death, this project extends the work of data healing through removal and recontextualization. It insists on locating other strategies for the futures of digital harm reduction while speculating alternatives for critical engagements with history.

in caring for horrific pasts, part of these matters of possession, archival inkjet print /.jpg, 12″x15″, 2020

"in caring for horrific pasts" is a work that gestures to the archival caretakers and speculates on ways history can be kept without inflicting harm. This particular object held by the gloved hand is part of a series of 8 postcards depicting the same event in a prison yard in a southern island in the Philippines. In many ways, it shares a parallel history and aesthetic to the lynching postcards that permeated the continental US at the same time. Noting these recurrent themes between racialized images across the Pacific allows for a broader, more nuanced understanding of the formations of militarized aggression and narratives of possession. Images like these remind us of the colonial legacy entangled in contemporary prison systems while refusing to engage in the sensationalization of Black and Brown death. Critical to this work, seen here with the hand, is to develop strategies for viewers to understand these complex histories without needing to experience violence without consent.

Index (working title), from these matters of possession, archival inkjet print /.jpg, 16″x20″, 2020

Excerpted from the series "these matters of possession", this image offers an initial contextualization of the source material from which all of the other images emerge. Noting how colonial images have and continue to do violence on people of colonized ancestry, this work highlights the entanglements of tourism within diasporic images. By reifying racialized tropes of savagery or reiterating power through images of militarized control and identification, image-objects such as these postcards helped establish the racial matrix of of posession, further justifying the project of manifest destiny. While these relics were made a century ago, they still manage to hold a peculiar power as they are able to continue to inflict harm, particularly as they permeate and circulate within auctions sites such as ebay. Thus, to turn over the front of the postcard is to refuse the harmful impact of its content while offering viewers a context under which to understand their existence.

yet untitled [eBay listing], ongoing performance, 2020-ongoing

As part of this ongoing work, I have turned to the site of circulation directly by refiguring the images of picture postcards purchased on eBay and have begun to redistributing them in the same ways they were sourced. Interrupting the feedback loop of continual sales that profit from Brown death, I instead offer curious consumers images of refusal that appear original but are otherwise digitally processed images. No longer imaged or captured, sought after moments of execution are covered, removed, displaced and transformed (in custom software) and printed on cardstock paper similar to their original counterparts. As interruptions on the materiality of constraint, these newly devised "picture postcards" gesture to the originals without allowing the viewer the capacity of a colonial gaze. Enacting a proactive form of digital harm reduction whereby consumers may be disuaded from future purchases of this material, this work ideally begins to complicate collectors' intention to collect.

current workspace image

I've had to rethink how I approach making and what my relationship is to material objects in relation to digital projects. With so many exhibitions and spaces migrating to online platforms, I had to really spend more time thinking through the logistics of file sizes, web-compatible formats, and the extent to which viewers would be able to experience the work.

[suzylwade]

Dean Cornwell Dean Cornwell (1892-1960) was nicknamed "The Dean of Illustrators" by his peers. A cartoonist at age 18 for ‘Louisville Herald’ by 1911 he was in the ‘Chicago Tribune’s' Art department while studying at the city's ‘Art Institute’. In 1915, Cornwell became a student of Harvey Dunn and, in turn, taught artists and developed talents for the next generation. Cornwell’s body of work consists of oils for ‘Cosmopolitan’, ‘Redbook’, ‘True’, ‘American Weekly’, ‘Life' and ‘Good Housekeeping’. Book art for ‘Man from Galilee’ and others. Advertising contracts for ‘GM’, ‘Eastern’, ‘Pennsylvania Railroad’, ‘Paul Jones Whiskey’, ‘Aunt Jemima’, ‘Seagram's Gin’, ‘Woodbury Soap’, ‘Palmolive’, ‘Coke’, ‘Goodyear’, ‘New York Life’ and ‘Squibb’. Cornwell was also an excellent muralist after a stay in London with Frank Brangwyn. In 1927 began a five-year period of mural painting in California including the ‘Los Angeles Public Library’ and the ‘Lincoln Memorial Shrine' in Redlands. Other murals can be found at the ‘Rockefeller Centre’, ‘Bethlehem Steel’, ‘New York's General Motors Building’ and at the 1939 ‘World's Fair’. In 1959, he was inducted into the ‘Society of Illustrator’s Hall of Fame’. The monograph on Cornwell by Patricia Broder is back in print and well worth purchasing. ‘Dean Cornwell: Dean of illustrators’ by Patricia Janis Broder. ‘The Art of Dean Cornwell’ by Daniel Zimmer. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #words #pictures #neon #urchin #artist #illustrator #muralist #harveydunn #frankbrangwyn #thedeanofillustrators #bold #lightdrenched #deancornwell https://www.instagram.com/p/CGroh7yFdwQ/?igshid=18zscdwj55p7k

[ratingtheframe]

A film set 50 years ago that speaks for today - Mangrove REVIEW

Steve McQueen’s Mangrove is everything you could want in a film and nothing you want in this world.

Steve McQueen has a courageous and powerful voice on screen. If you haven’t seen any of his work to date, then it’s likely you may have not heard of him, for his films are simple, elegant and bold in their telling, minus the big showbiz action packed elements most blockbusters carry. His films speak for voiceless communities, from the Irish men being tortured in British prisons in Hunger (2008) to slaves in the 1800s in Twelve Years A Slave (2013). You come to learn something when watching McQueen’s work. 

Mangrove is set in Britain in 1968, a few decades after World War II, and during that time, thousands of migrants from the West Indies were shipped over to the UK to help rebuild the economy in Britain through working here. They were known as the Windrush generation, and although they played a significant part in helping Britain restore itself after the war, many of those living in Britain had never seen a black person in their entire life. Through this fear came hatred and racism for West Indian communities who had now built spaces for themselves in places such as Notting Hill and Brixton. The police in particular were notably harsher on black people than on white, often arresting them without cause and raiding their businesses. This aggravated prejudice is depicted without filters in Steve McQueen’s Mangrove and although Britain can somewhat say they are past this prejudice, the US has some catching up to do. 

Notting Hill 1968. West Indian restaurant owner Frank Crichlow (Shaun Parkes) has had his restaurant “The Mangrove” raided by police 9 times in the past six weeks. For what reason is unknown, apart from the fact that police say Frank is involving himself in drug dealing, prostitution and gambling in his establishment. We can see that this far from the truth, as the Mangrove sits at the centre of the film as a community hub, where people in Notting Hill come to socialise and find common ground amongst the prejudice being inflicted upon them by British Citizens. 

Enough is enough and Frank along with other members of his community, including black panther member Altheia Jones (Letitia Wright) take to the streets to express their grievances. It showed they weren’t going to tolerate being scrutinised any longer and their bravery is met with disastrous consequences. A riot breaks out as police attempt to tear the protest apart, and nine of them are arrested and put on trial. What’s striking about this ordeal is that at the time, August of 1968, anti-war protestors descended on Lincoln Park in Chicago to express their anguish of the Vietnam War. Seven of those protestors were also put on trial, as well as black panther founder Bobby Seale. The fact that the UK and the US both put seven protestors on trial at the same moment in time is unbelievablely coincidental and shows a distinct correlation of the justice system in both countries. 

Whilst on trial, two of the nine defendants Darcus Howe (Malachi Kirby) and Altheia decide to represent themselves, a risky move in court but one that is favoured by their lawyer (Jack Lowden). He believes that the more they rile up the judge (who will obviously be bias against them), the more they stand a chance at proving their innocence in the correct way. 

The trial begins with a plea to have an all black jury, with the Mangrove nine’s lawyer believing that his clients should be tried by their own people. However, the judge denies this request, believing it insinuates that a white jury will be prejudice towards the all black defendants. 

The police who supposedly saw the Mangrove nine initiating the rioting behaviour, were also those who chased and beat a black boy, raided The Mangrove times without cause and labelled Crichlow a “black bastard”. Though some may believe McQueen’s depiction of the police force in 60s Britain to be quite villainous, it wasn’t far from the truth. Police officers would taunt, arrest and attack black individuals out on the street, with most of them not being punished for it. They know they have the power and immunity to inflict pain and suffering amongst the black community, and abuse their status in disastrous ways. 

Nevertheless, the policemen weren’t all that smart, as during a cross examining of Police Constable Pully (Sam Spurell) Darcus points out that four police officers couldn’t all at once see the riots from a tiny slit on the back of a police van. Their witness testimonies are further debunked when Altheia draws up the fact that her alleged bite marks on a police man would have faded after 3 hours. The doctor who examined the police man for these bite marks admits this to be true, and only treated him 4 days after the riots. Therefore, there wouldn’t have been any bite marks at all, and Altheia triumphs in court. 

The pressure almost got too much for the nine, as Frank wanted to withdraw his statement and plead guilty to avoid continuing the trial. His relief is shown best when all nine are let off. 

What we are experiencing today is a repetition of the past. More black men are  incarcerated in the US than there were black slaves in the 1800s. This is a staggering statistic, and one that comes down to people abusing their power. They abuse their right as police officers whilst still believing in a racial superiority complex that has them shooting black people dead in the street for petty crimes. The Mangrove Nine did nothing but build a community and stick by it, with Frank telling one of his friends that “it’s dem or we” which is so necessary for today. Black people have a responsibility to look out for one another and use their platforms to bring about change for themselves and their society.  We have such a long way to go, but with awareness and a reflection, an acceptance of the past, we can make sure that black people are no longer gunned down by police or arrested without cause.

[belvanera]

Alessio Rigo de Righi and Matteo Zoppis attend the screening for The Tale of King Crab during the 59th New York Film Festival at The Film Society of Lincoln Center, Walter Reade Theatre on September 29, 2021 in New York City.

(Sept. 28, 2021 - Source: Getty Images North America)

[ilsolengo-blog]

Alessio Rigo de Righi and Matteo Zoppis attend the screening for The Tale of King Crab during the 59th New York Film Festival at The Film Society of Lincoln Center, Walter Reade Theatre on September 29, 2021 in New York City.

(Sept. 28, 2021 - Source: Getty Images North America)

[just-just-gyllenhaal]

Film Society Of Lincoln Centres 50th Anniversary Gala-Arrivals(2019) pics...

[thelondonfilmschool]

What I wish I'd Known

By Sophie McVeigh

Samuel Johnson may have been right when he said that 'when a man is tired of London, he is tired of life', but that doesn't mean it's without its challenges, and when you move to a big, bustling capital city, it's easy to feel like everybody knows exactly what they're doing except you. With this in mind, we spoke to students past and present to find out what pearls of wisdom they could pass on – about London, about the UK and the London Film School (LFS) itself – to help make the transition that little bit easier.

Head Space

Not everybody finds it easy to work at home, what with the fridge always there to distract you and those cupboards that suddenly need reorganising. Thankfully there are some great spots not too far from school where you can get your homework head on. All of London’s public libraries are free to join and have free WIFI - Charing Cross, Westminster and Holborn are the nearest to school, while the British Library near St Pancras is a great place to feel inspired. A short and Instagram-friendly walk across the river will take you to the BFI library, which is not only peaceful and free to use, but also crammed with so many books on film that the Work and Research Journal will practically write itself.

(Jonathan O’Donnell)

https://www.gov.uk/local-library-services

Photo Credit: Working on the WRJ at the BFI Library, Christina Morelli

Speaking of the Work and Research Journal...

We're at film school, so it's tempting to want to focus ALL our time on our films, but they're not kidding when they tell you not to leave the journal the last minute. Make notes as you go along and your life will be a whole lot easier when it comes to the deadline. Personally, whenever something came up in class that I thought I could use, I wrote a massive WRJ!!! next to it so it was easier to find later in my notes. People get frustrated with the journal when they leave it until the Thursday before it's due, but if you use it as a space for reflection on what you've learnt it can end up being pretty … enjoyable? OK, I won't say enjoyable. Useful though. It's definitely useful.

(Ulla Prida)

Photo Credit: Choose a quiet time for those free BFI tickets, Jackie Mahoney

Free Films!

Also while you’re at the BFI, don’t forget to take advantage of the free cinema access for LFS students. You’ll need your LFS badge, and to get there a good half an hour early to secure seats, but as long as the showing isn’t sold out they’ll be happy to let you in. Hang around at non-peak times and you’re sure to bag a seat. Horror fans, don’t miss the current Stephen King season to celebrate the author’s 70th birthday.

Cheap films!

If that's still not enough silver screen for you, Odeon does a £17.99 per month ‘Limitless’ cinema pass (£19.99 if you include central London), which, if you went everyday, would work out as 58p per film - for trivia fans, that's the equivalent of going to the cinema in 1975. Speaking of bargains, for the annual membership of £7.50, the Prince Charles Cinema just off Leicester Square does weekly £1 members screenings, randomly chosen from a program which includes anything from the latest releases to classic musicals.

http://www.odeon.co.uk/limitless/

https://princecharlescinema.com

(Xiao Tang)

Photo Credit: Don’t forget to make the most of those student discounts, Ulla Prida

Cheap everything!

The National Union of Students (NUS) extra card will get you discounts on everything from pizza to Apple products, and even your supermarket bill. The Unidays app does a similar thing without the £12 annual fee, while the Student Oyster card gets you a third off London transport. Since London has one of the most expensive underground networks in the world, you might want to think about this. If you’re planning on travelling much outside of London, the Young Person’s Railcard also gets you a third off tickets. And don’t miss Amazon Prime’s 6 months free for students.

https://cards.nusextra.co.uk

https://www.myunidays.com

https://tfl.gov.uk/fares-and-payments/adult-discounts-and-concessions/18-student

https://www.16-25railcard.co.uk/

https://goo.gl/9UcZ86

Money in the bank

Now that you've made all those savings you're going to need somewhere to keep them. It can take a while to get an appointment to set up a bank account, so you should start trying as early as possible - the further out from zone one (Central London) you go, the quicker it is. You'll need to take a letter confirming your enrolment at the school, signed by LFS. The vast majority of UK banks don't charge you to hold an account and actually give you stuff to attract your custom, so it's worth shopping around for the best deal. The major ones like Barclays, Lloyds, Santander and HSBC are currently offering incentives such as free NUS cards, Young Person's Railcards (see above) and Amazon gift vouchers, as well as the standard interest-free overdraft. Be careful with these though and read the small print – most are only free while you're studying, and you'll be charged interest if you're still in it when you graduate.

Photo Credit: Hidden squares for a picnic near LFS, Jackie Mahoney

Your health is your wealth

In order to get registered with your local GP ('general practitioner', or family doctor), you will need a piece of mail to prove where you live (since GPs serve their local area). Your first official appointment with the GP is then only to fill out the registration info, so if you actually need to start seeing a doctor sooner rather than later, try to make your first TWO appointments at the same time. There are urgent care centres around London where you can go without an appointment if you are having an immediate issue and can't wait for your doctor's appointment, and they do take your NHS insurance but you will need to have your NHS number. If you don't have it, your GP's office can provide it to you at the front desk. In the UK, healthcare is free at the point of delivery, and although we pay £8 per prescription, students can avoid this charge by filling out an HC2 certificate – see below for more information.

www.nhs.uk

https://www.studentmoneysaver.co.uk/article/how-to-get-free-prescriptions-and-check-ups-at-the-dentist/

(Thanks to Braden LuBell for these words to the wise)

All work and no play ...

OK, so now you've got your money and your health covered, it's time to enjoy yourself. Time flies at graduate school and the best way to make the most of it is to throw yourself into whatever opportunities come your way. Whether it's the photography society, script clinic, the running club or volunteering for the SU, taking a break from your work while also widening your social circle is the best way to find people who share your passions that you want to work with. Talk to Emily Marquet, the Student Union's Community Liaison, or if something doesn't exist, start it yourself. Cheese appreciation society, anyone?

(Christina Morelli, joiner-inner extraordinaire)

Photo Credit: Barbecue in Lincoln’s Inn Fields, Jackie Mahoney

And on the subject of food ...

The canteen is a great place to socialise, but sometimes after a morning in Cinema A you want to take those sandwiches outside for a bit of fresh air, Vitamin D and some down time. Of course, in Covent Garden you’ll find an abundance of café terraces, but they’re not always designed for the student budget. Thankfully, within 5 minutes of the school there are some beautiful courtyards to picnic in - some well-known (Neal’s Yard, St Martin’s Courtyard) and some more hidden - Ch.Ramphal Sangwan Park and The Phoenix Garden are two of my favourites. If you feel like stretching your legs even more, a ten-minute walk will take you to Lincoln’s Inn Fields, an unexpectedly lovely park right in the heart of the city, where they even let you barbecue if the mood takes you.

Language barriers

Don't feel bad if, when you arrive at the school, it feels like your English isn't quite as good as everyone else's. This is an international school and we're here to share our influences and inspiration, not our mastering of the present perfect. If you need help, ask, and if you find it difficult at first just trust that after a couple of terms of intense classes, film watching, discussion, socialising and set life you're going to be chattering away like John Oliver.

(Andrea Garcia)

You can stand under my ...

Umbrella. The most important piece of advice I can give you. Carry an umbrella at all times. You might be lucky enough to come from a country where the weather in the morning gives you some indication of what it will be for the rest of the day, or even the next half an hour, but London likes to keep you guessing.

(Sophie McVeigh, who needs to learn to follow her own advice)

What about you? What are your tips for getting the most out of life in London? Share below anything you think new (or current) students would find useful/life-saving.

  

[lifeismagnifique]

NEW YORK TRAVEL GUIDE

Be sure to visit our New York Travel Guide for things to experience during your stay at Sofitel New York. One of those must see places is the Lincoln Center. The Lincoln Center is an important cultural centre in New York. It was founded in the 1960s, with the aim of bringing together different types of cultural institutions in one place. This complex is the result of an urban renovation plan in New York as thought up by Robert Moses.

The Lincoln Center is made up of 19 performance rooms and it hosts dozens of resident companies, including the New York City Ballet, the Film Society of Lincoln Center, the Metropolitan Opera and the New York Philharmonic.

[katiewattsart]

WEIRD AND WONDERFUL : 15/10/19

William Mulmer became famous for his ‘Spirit’ Photographs in the 1860’s (Double exposures) for clients such as bereaved relatives or images of famous people for sale- Here Abraham Lincoln ‘photobombs’ an image of his wife, Mary Todd Lincoln.

The ghost of Lord Combermere ? By Sybell Corbett, 1891 (long exposure)

‘Creepy Images’...

Unheimlich

The uncanny (or ‘unheimlich’) is the psychological experience of something as strangely familiar, rather than simply mysterious. It may describe incidents where a familiar thing or event is encountered in an unsettling, eerie, or taboo context.

THE UNCANNY

A concept in art associated with psychologist Sigmund Freud which describes a strange and anxious feeling sometimes created by familiar objects in unfamilar contexts

Marina Warner-Managing Monsters: six myths of our time (Reith Lectures,1994 )

Myths and Fairy Tales that continue to grab our imagination in fantasy, dreams and prejudice through art, film, advertising and the media.

For eg Myths around Savages/cannibals/wild men and racism Childhood innocence and crime Women and sexuality/motherhood Masculinity and heroism. Home and nationhood/identity.

PT Barnum (founder of the Barnum and Baily Circus) and the ‘Feejee mermaid’- accused Mulmer of fraud

Freaks is a 1932 American pre-Code horror film produced and directed by Tod Browning.

Diane Arbus

‘The photographer’s unflinching gaze has been both celebrated and criticized since she rose to prominence in the 1960s, and after her death in 1971. Much of that attention is due to the subjects she was most drawn to: sideshow performers, nudists, dwarfs, transgender sex workers—people living on the fringes of society, but who also possessed a strong sense of identity. It’s well-known that Arbus would visit the homes of many of her subjects, who would invite her into their lives; she was able to connect with the people she met in a truly unique way.Her gaze is most potent in her last body of work, “Untitled” (1969–71), both her most comprehensive and most incomplete series, made at residences for people with developmental disabilities. Much of the work was kept private until it was published in a 1995 monograph put together by her daughter, Doon; 66 images from the series—some never exhibited before—are on view now at David Zwirner in New York.’

Diane Arbus, Untitled (49) , 1970–71. © The Estate of Diane Arbus.

Roger Ballen

SPIEGEL ONLINE: But surely apartheid didn't just pass you by?

Ballen: Not at all. I felt the best way for me to make political change was through photography -- my kind of photography. My book "Platteland" had a huge impact on South Africans' perceptions of themselves. It showed white people who lived at the margins of society. It broke the myth of white supremacy. When it was published, I was subjected to a lot of accusations. I was considered a whistleblower like Edward Snowden at the time.

SPIEGEL ONLINE: Does that make "Platteland" a primarily political book?

Ballen: Not in my eyes. For me, the purpose of the book was to deal with aspects of the human condition as I perceived it. And that comes across to this day. The images in "Platteland" have meaning even to a generation in the United States and Europe that knows little about apartheid.

Cindy Sherman

Untitled, 1975

Hitchcock and the uncanny

‘Carlotta’s Way’, 2014, Laurent Fiévet

Carlotta’s Way makes use of superimposition to bring together a short extract of Alfred Hitchcock’s Vertigo that has been greatly slowed down and reworked to play backward and forward with a series of details of Diego Velasquez’s Las Meninas.

Tracy Moffat, Other , 2009 

The Wickerman, made in Scotland,1973

A wicker man was a large wicker statue reportedly used by the ancient Druids (priests of Celtic paganism) for sacrifice by burning it in effigy.

The Museum of Witchcraft and Magic (MWM) (in Boscastle)

: explores British magical practice, making comparisons with other systems of belief, from ancient times to the present day. We aim to represent the diversity and vigour of magical practice respectfully, accurately and impartially through unique, entertaining and educational exhibitions, drawing upon cutting-edge scholarship along with the insights of magical practitioners.

BAIT, 2019

A celebration of cinema as a physical medium, this delirious whatsit from Cornish director Mark Jenkin is quite unlike any feature film you’re likely to see this year. Martin (Edward Rowe) is a cove fisherman whose brother has started using their father’s boat to shuttle tourists, soon causing latent familial tensions—not to mention antagonisms between tourists and locals—to explode in ever-surprising fashion. Shot on tactile hand-processed black-and-white 16mm and unfolding with the staccato rhythms of avant-garde cinema, Bait marks a singular achievement: an idiosyncratic work of social realism fascinatingly pitched somewhere between documentary and political melodrama. The Lincoln Centre, 2019

Modern-day Cornish fisherman Martin (Edward Rowe) is struggling to buy a boat while coping with family rivalry and the influx of London money, Airbnb and stag parties to his harbour village. The summer season brings simmering tensions between the locals and newcomers to boiling point, with tragic consequences. Stunningly shot on a vintage 16mm camera using monochrome Kodak stock, Mark Jenkin’s Bait is a timely and funny, yet poignant new film that gets to the heart of a community facing unwelcome change.

References:

https://media.newyorker.com/photos/59f39a3e109d3025526d4dad/master/pass/Mumler-Photo.jpg   

https://combermereabbey.co.uk/wp-content/uploads/2018/02/header-combermere-ghost.jpg 

https://upload.wikimedia.org/wikipedia/en/thumb/2/22/FreaksPoster.jpg/220px-FreaksPoster.jpg 

https://www.bfi.org.uk/sites/bfi.org.uk/files/styles/full/public/image/freaks-1932-002-group-photograph-bfi-00o-8jf.jpg?itok=dv7BSwrs 

https://static01.nyt.com/images/2018/11/16/arts/16arbus1/merlin_146536074_39d9eac2-83b1-4ae4-851c-e62fc54a3a58-articleLarge.jpg?quality=75&auto=webp&disable=upscale 

https://cdn1.spiegel.de/images/image-520375-860_poster_16x9-gjlr-520375.jpg 

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS7E1IyknI9IL2uuoPJfrN2WRQTGg5aVuNu2kHToR2QS9O8wAdw 

https://www.ladbible.com/community/interesting-harrowing-portraits-of-disturbed-women-from-19th-century-asylum-20180317 

https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwiLtuGWn57lAhWH2hQKHau7BikQjRx6BAgBEAQ&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FFiji_mermaid&psig=AOvVaw35sZt5GAhWj85E0RiHYK5O&ust=1571228163782479 

https://www.bfi.org.uk/whats-on/bfi-film-releases/bait 

[gigsoupmusic]

DELANILA releases single ahead of poignant video for Time Slips Away

New experimental rock group, DELANILA, is spearheaded by internationally celebrated composer, Danielle Schwob. Through the medium of cinematic audio, DELANILA aims to draw attention to controversial topics. The project's debut, Time Slips Away, demonstrates society’s obsession with screens and constant connection. The release comes ahead of a new video that’s set to reveal and exaggerate a dark side to 2019’s technologically centred culture through haunting symbolism and beautifully modern interpretative dance. https://soundcloud.com/delanila/time-slips-away-6 Danielle Schwob has built a successful career from her creation of concert work and score arrangement for an array of films. The mountain of notable works from this sophisticated creative includes features at Lincoln Center, BRIC Celebrate Brooklyn!, Philip Glass’ MATA Festival and the Metropolitan Museum of Art. She is also recognised for her work on The Pogues musical and How to Follow Strangers. Well established in this competitive industry, Danielle felt a thirst for a new project. A musical space that could gracefully explore a sombre facet, laced with controversial and political messages. The new single, Time Slips Away, has been described as a sleepy and brooding track that shines a light on our somewhat compulsive social media behaviour. Fronted for the first time by Danielle Schwob, DELANIA hosts her haunting vocals that talk of stranger’s lies and the disintegration of the world as we know it. Through the medium of music, DELANILA vigorously and bravely tackles the biggest social issue we face today. Check out the new single, here. Read the full article