#Martin Zoller

[coffeenewstom]

Die große 9-Euro-Ticket-Tour: Memmingen III

Bevor es zum Memminger Marktplatz geht, statte ich dem Hexenturm noch einen Besuch ab, auch bekannt als der schiefe Turm von Memmingen. Der Turm steht an der Nordseite der Altstadt zwischen dem Einlaß und dem Hafendeckelturm. Der rechteckige Turm besteht im Unterbau aus Tuffstein und im Oberbau aus Ziegel und besitzt ein Satteldach. Der Eingang befindet sich auf Höhe des alten Wehrganges circa…

[brokehorrorfan]

Guillermo del Toro's Pinocchio will be released on 4K Ultra HD, Blu-ray, and DVD on December 12 via The Criterion Channel. James Jean designed the cover art for Netflix's 2022 stop motion animated adapation of Carlo Collodi's 1883 novel.

Guillermo del Toro co-directs with Mark Gustafson from a script by del Toro and Patrick McHale (Over the Garden Wall). Ewan McGregor, David Bradley, Gregory Mann, Burn Gorman, Ron Perlman, John Turturro, Finn Wolfhard, Cate Blanchett, Tim Blake Nelson, Christoph Waltz, and Tilda Swinton star.

Pinocchio has been digitally mastered in 4K, supervised by del Toro and Gustafson, with Dolby Atmos sound. It's presented in 4K with Dolby Vision HDR.

Special features are listed below, where you can also see the full packaging.

Special features:

Handcarved Cinema - Making-of documentary with co-directors Guillermo del Toro and Mark Gustafson and cast and crew (new)

Directing Stop-Motion - Featurette with Guillermo del Toro and Mark Gustafson (new)

Interview with Guillermo del Toro by film critic Farran Smith Nehme (new)

Interview with curator Ron Magliozzi on The Museum of Modern Art’s exhibition devoted to the film (new)

Featurette on the 8 rules of animation that informed the production (new)

Panel discussion with Guillermo del Toro, Mark Gustafson, production designer Guy Davis, composer Alexandre Desplat, and sound designer Scott Martin Gershin, moderated by filmmaker James Cameron

Conversation with Guillermo del Toro, Mark Gustafson, and author Neil Gaiman

Booklet with essays by film critic Matt Zoller Seitz and author Cornelia Funke

A classic tale is reborn through the inspired imagination of cinematic dream-weaver Guillermo del Toro, directing alongside Mark Gustafson. Realized through boundary-pushing, breathtakingly intricate stop-motion animation, this dark rendering of the fable of the puppet boy and his maker daringly transfers the story to Fascist Italy, where the irrepressible Pinocchio gradually learns what it means to be human through his experiences of war, death, and sacrifice. This Pinocchio imbues the oft-told tale with a bold new resonance about living with courage and compassion.

Pre-order Pinocchio.

[lonesomedreamereccentriclover]

On December 12, the @criterioncollection are releasing a 4K edition of ”Guillermo del Toro’s Pinocchio” with following extras:

DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURES

4K digital master, supervised by directors Guillermo del Toro and Mark Gustafson, with Dolby Atmos

One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features

Handcarved Cinema, a new documentary featuring del Toro, Gustafson, and cast and crew, including the film’s puppet creators, production designers, and animation supervisor

Directing Stop-Motion, a new program featuring del Toro and Gustafson

New conversation between del Toro and film critic Farran Smith Nehme

New interview with curator Ron Magliozzi on The Museum of Modern Art’s 2022 exhibition devoted to the film

New program on the eight rules of animation that informed the film's production

Panel discussion featuring del Toro, Gustafson, production designer Guy Davis, composer Alexandre Desplat, and sound designer Scott Martin Gershin, moderated by filmmaker James Cameron

Conversation among del Toro, Gustafson, and author Neil Gaiman

English subtitles for the deaf and hard of hearing and English descriptive audio

PLUS: Essays by film critic Matt Zoller Seitz and author Cornelia Funke

Cover by James Jean

[rahelzoller]

‘Being with Others - Zusammensein’ Sebastián Arancibia and Sebastián Barrante, Fernanda Aránguiz M., Laura Fusaro and Edoardo Ferrari, Sveinn Fannar Jóhannsson, Na Kim, antoine lefebvre editions, Anja Lutz, Miguel Ângelo Martins and Laura Pilar Delgado, An Onghena, Claudia de la Torre, Robin Waart, Rahel Zoller Exhibition⎢Dec 9, 2022 – Jan 28, 2023 einBuch.haus⎢Florastr. 61, 13187 Berlin https://einbuch.haus/ For the exhibition Being with Others – Zusammensein einBuch.haus invited twelve⁣ contemporary artists and publishers who use the book as the main tool for their artistic practice. The title refers to the notion of connecting the artists’ book community and distributing their works by providing the exhibition space as a platform for presentation and exchange. It also points out the media-specific mobility and accessibility of books in the reception of their reader. ⁣ Coinciding with the exhibition, the publication Calendar 2023 is made by the same artists contributing artwork to their assigned month. The project is a homage to the “calendar-as-exhibition” March 1969 by Seth Siegelaub. The two exhibition formats—on site at einBuch.haus and potentially worldwide as a calendar—show the different possibilities of bringing together artists, their art works and the public. ⁣

[harleydirkbieder]

Spirit Summit 2019

sehr sehenswert 🙏 Rock’n’Roll & Namaste. Herzliche Grüße ciao Harley

Das kostenlose Online-Event startet am 14.01.2018

Quelle: Spirit Summit 2019

[geek-royalty]

When you make practical use of a Martin quote in reply to a thing and have one of your fave tv critics retweet and agree with it 👌👍

[daleisgreat]

Inglourious Basterds

I am jumping out of order with the third Quentin Tarantino film I am covering here is not QT’s third film, Jackie Brown, but instead for his 2009 alternate take on World War II, Inglourious Basterds (trailer). Click or press here for my article on Reservoir Dogs, and click or press here for my entry on Pulp Fiction. I have owned the BluRay since it first released well over a decade ago, and it is a shame yet another QT gem has sat in my backlog for so long. This takes place in occupied France with a riveting opening scene where German Col. Hans Landa (Christoph Waltz) conducts an interview with a local dairy farmer which eventually leads to questioning about missing Jews. This being a QT film, the dialog is intentionally drawn out, with Hans pausing the interview for a refreshing glass of milk, and digressing on other tangents before eventually getting to the burning question. Once again, QT absolutely nails the art of conversation like very few of his peers can. Every subtle body language flinch and pivot throughout their verbal exchange is not wasted, and it ultimately pays off with a unforgettable impact to close the scene. If it was almost any other filmmaker, my tolerance would have surely been tested, but there is something to QT’s scripts that without fail have me 100% invested in their surplus of verbiage as much as a climactic action scene in the latest summer blockbuster.

Be prepared for some vintage-QT dialog-heavy scenes...I wouldn't want it any other way from him! This being a WWII film, one would think it would be safe to presume there is a fair amount of military combat scenes. While there is a significant body count by the end of the film, the firefights are not of the typical Hollywood WWII fare, so do not expect any all-out tanks, war planes, and massive artillery skirmishes. Most of the action that transpires here involves a team of Jewish American soldiers headed up by Lt. Aldo Raine (Brad Pitt). After the absurd fallout from their latest mission in a basement tavern, they receive intel from undercover operative Bridget von Hammersmark (Diane Kruger) that Nazi leadership including Hitler (Martin Wuttke) himself will be at the grand opening of the latest military propaganda film, Nation’s Pride.

The theater owner where Nation’s Pride will be premiering, Shosanna (Mélanie Laurent), has an intriguing arc on how she is roped into debuting the film at her cinema which is caused by the relentless intimate pursuit of German soldier, Frederick Zoller (Daniel Brühl). Without giving too much away, Shosanna has her own agenda too, and everything builds up splendidly to the big premiere night of Nation’s Pride. I vividly remember going into the theater not clued into the ending which I will not spoil here, and I was instantly stunned at the direction QT went for the final act. There is nearly an hour and a half of bonus material on the BluRay. The standout bonus is a half hour interview with Brad Pitt and QT, conducted by Elvis Mitchell with some highlights of their conversation being how energetic the overall shoot was, and what it was like premiering the film in Germany. Other extra features worth checking out is the full six minute cut of Nation’s Pride, a quick look back with interviews of the cast and crew from the original 1978 Inglorious Bastards, and a pair of interviews with Rod Taylor who has some fun behind-the-scenes stories with QT on how the two have the utmost respect for each other.

Inglourious Basterds did not disappoint with a highly entertaining second viewing where nearly the entire ensemble cast excelled in their performances! For a film that is two and a half hours long, it proved to be a swift viewing after being so engrossed with all the aforementioned dialog-dense scenes. I cannot fairly rank this among QT’s movies as I nearly love them all equally, but it goes without saying if you have made it this far then you know I am giving this the highest of recommendations! Other Random Backlog Movie Blogs 3 12 Angry Men (1957) 12 Rounds 3: Lockdown 21 Jump Street The Accountant Angry Video Game Nerd: The Movie Atari: Game Over The Avengers: Age of Ultron The Avengers: Endgame The Avengers: Infinity War Batman: The Dark Knight Rises Batman: The Killing Joke Batman: Mask of the Phantasm Batman V Superman: Dawn of Justice Bounty Hunters Cabin in the Woods Captain America: Civil War Captain America: The First Avenger Captain America: The Winter Soldier Christmas Eve The Clapper Clash of the Titans (1981) Clint Eastwood 11-pack Special The Condemned 2 Countdown Creed I & II Deck the Halls Detroit Rock City Die Hard Dredd The Eliminators The Equalizer Dirty Work Faster Fast and Furious I-VIII Field of Dreams Fight Club The Fighter For Love of the Game Good Will Hunting Gravity Grunt: The Wrestling Movie Guardians of the Galaxy Guardians of the Galaxy Vol 2 Hell Comes to Frogtown Hercules: Reborn Hitman I Like to Hurt People Indiana Jones 1-4 Ink The Interrogation Interstellar Jay and Silent Bob Reboot Jobs Joy Ride 1-3 Justice League (2017 Whedon Cut) Last Action Hero Major League Man of Steel Man on the Moon Man vs Snake Marine 3-6 Merry Friggin Christmas Metallica: Some Kind of Monster Mortal Kombat Mortal Kombat Legends: Scorpions Revenge National Treasure National Treasure: Book of Secrets Nintendo Quest Not for Resale Payback (Director’s Cut) Pulp Fiction The Punisher (1989) The Ref The Replacements Reservoir Dogs Rocky I-VIII Running Films Part 1 Running Films Part 2 San Andreas ScoobyDoo Wrestlemania Mystery Scott Pilgrim vs the World The Secret Life of Walter Mitty Shoot em Up Slacker Skyscraper Small Town Santa Steve Jobs Source Code Star Trek I-XIII Sully Take Me Home Tonight TMNT Trauma Center The Tooth Fairy 1 & 2 UHF Veronica Mars Vision Quest The War Wild The Wizard Wonder Woman The Wrestler (2008) X-Men: Apocalypse X-Men: Days of Future Past

[back-and-totheleft]

Dive deep into a monumental movie career

Is there another living American director with a greater run of movies than Oliver Stone? The dozen films he directed over a span of 13 years, from 1986-1999, form a body of work unparalleled in contemporary cinema. They came one after the other — artful provocations, sometimes clouded in disreputable airs, that delved into recent history and modern-day affairs with a defiant ferocity and style: “Salvador,” “Platoon,” “Wall Street,” “Talk Radio,” “Born on the Fourth of July,” “The Doors,” “JFK,” “Heaven & Earth,” “Natural Born Killers,” “Nixon,” “U-Turn” and “Any Given Sunday.”

That stretch of movies brought Stone Oscar glory and Hollywood clout. It also influenced a generation of film buffs and critics, including Matt Zoller Seitz, who describes the streak in the preface to his book “The Oliver Stone Experience” this way:

“It’s hard to describe to somebody who wasn’t alive at the time (and old enough to see R-rated movies — Oliver never made films for kids) how thrilling it was to watch him gain confidence and skill and break fresh ground with each project. His movies were brash, confrontational, sometimes assaultive, often tawdry or nasty, greedily sensual, anti-bourgeois, and fueled by the urgent energy of an artist who wanted to make big statements on subjects that the mainstream preferred to avoid.”

This might sound like Stone, who turned 70 on Thursday, has retired, although of course he hasn’t. His more recent films (“Savages,” “Wall Street 2: Money Never Sleeps,” “W.”) haven’t had the impact his earlier work did, but his artistic fire remains. His new movie “Snowden,” which opened Friday, stars Joseph Gordon-Levitt as Edward Snowden, the NSA whistle-blower who revealed the extent of the invasion of privacy the U.S. government had resorted to post-9/11 to combat home-grown terrorism.

The film, which reportedly cost $50 million, was made with the participation of the real-life Snowden, who currently lives in Russia and makes a cameo in the movie. The large cast — Shailene Woodley, Melissa Leo, Rhys Ifans, Tom Wilkinson, Timothy Olyphant, Nicolas Cage — could earn the attention of Oscar voters (the distributor is Open Road Films, which released last year’s Best Picture winner, “Spotlight.”)

“Snowden” is discussed in the last chapter of “The Oliver Stone Experience:” Seitz links the film to the theme of “The Beast,” or the military-industrial complex, that recurs throughout Stone’s work. But most of the 480 pages of this massive, six-pound volume, which you don’t so much read as you spend time with, are devoted to Stone’s life and career.

The bulk of the book is Q-and-A conversations between Seitz and Stone, drawn from more than 100 hours of interviews conducted from 2011-2015, that cover everything from Stone’s childhood to his tour of duty in Vietnam; his film school education at NYU (Martin Scorsese was one of his professors) to his early work as a screenwriter (including “Scarface,” “Year of the Dragon” and “Midnight Express,” for which he won his first Oscar); his smaller, lesser-known projects, such as his ambitious 10-part documentary “The Untold Story of the United States,” which Stone calls his best work, or his controversial interviews with Fidel Castro; and an endless number of irresistible anecdotes, such as the director’s combative relationship with producer Dino De Laurentiis, his original vision for “Conan the Barbarian” (a 12-film series) and his opinion of Stanley Kubrick’s “Full Metal Jacket” (Stone didn’t like it the first time around but grew to love it).

Seitz, who is best known as the TV critic for New York magazine, is also a veteran movie critic who was a 1994 Pulitzer finalist for his reviews for the Dallas Observer, wrote trenchant criticism for the now-defunct New York Press and is the editor-in-chief of RogerEbert.com. He has written two books about the films of Wes Anderson, elegantly illustrated in the style of Anderson’s movies.

But “The Oliver Stone Experience” is his biggest, most ambitious project to date. The book is a combination of film criticism (“For all its gore and cruelty … [‘U-Turn’] is ultimately a comedy about the universe’s indifference to our wants”), biography (Stone talks frankly about his parents’ divorce and losing his virginity to a prostitute his father hired for him), world history (extensive endnotes, compiled by Seitz and Keith Uhlich, annotate everything from Greek mythology to the Black Panther party) and coffee-table photography (the book is lavishly illustrated with photos, script pages, artwork, film frames and Stone’s personal memorabilia). The attention to detail is scrupulous: Short footnotes throughout double as a concise encyclopedia of popular culture (on Josh Brolin: “Ruggedly handsome leading man who is starting to feel like the next-generation Nick Nolte as he ages”).

Stone can be a prickly interview subject, but he’s also an uncommonly eloquent and informed artist who doesn’t back down from his opinions. When Seitz asks him about a controversial statement he made during a public panel discussion in New York City shortly after 9/11 in which he compared the attack to “a French Revolution moment,” Stone replies “I was on a stage and I was impassioned, but I meant those words. There’s nothing false in what I said.” Despite all the criticism he’s withstood throughout his career, Stone often comes off as surprisingly humble and vulnerable, although he doesn’t shy away from disagreement (on Seitz’s interpretation of “Talk Radio:” “You can criticize the movie, call it a five-finger exercise or whatever the f — — you call it later in the book. But at least try to understand what we’re trying to do.”)

“The Oliver Stone Experience” wouldn’t have worked if Seitz hadn’t prepared so well for his interviews with Stone, who is prone to running off on tangents. Seitz talks about the split diopter shots in “Talk Radio” as comfortably as he debates the currency of myth and how it relates to “Alexander,” Stone’s costly 2004 epic (Seitz may be the only film critic on the planet to have seen all four versions of the film, which add up to nearly 13 hours of movie). He spars with Stone about his portrayal of women in his early pictures, dives deep into the director’s editing techniques and use of film grammar and explores the autobiographical strands in his movies.

But what shines through brightest in “The Oliver Stone Experience” is Seitz’s profound admiration and respect for Stone’s work and, by extension, the man. The best critics are able to express how a piece of art affects their lives — they can personalize something by connecting with it on an emotional or intellectual level — and this lavish, beautiful book is as much a piece of serious criticism as it is an expression of pure movie love. When Stone tells Seitz he’s having a hard time picturing what kind of shape the finished book will take, Seitz tells him “It’s an Oliver Stone movie about Oliver Stone, but in the form of a book.” “The Oliver Stone Experience” turns out to be just that, complete with mysteriously redacted text like the Warren Commission report, gorgeous visuals, a sweeping sense of history and a bombshell revelation about the JFK assassination that Seitz saves for the final page — a last-minute plot twist before the end credits roll.

-Rene Rodriguez, Miami Herald, Sep 17 2016 [x]

[fritz-letsch]

[Gewerkschaften in der Revolution: 27. Nov 19 h DGB Haus München](http://fairmuenchen.de/gewerkschaften-in-der-revolution-27-nov-19-h-dgb-haus-muenchen/ "http://fairmuenchen.de/gewerkschaften-in-der-revolution-27-nov-19-h-dgb-haus-muenchen/")

Die Veranstaltungen des Archiv der Münchner Arbeiterbewegung begleiten uns durch die Zeiten vor 100 Jahren:

Wolfgang Kucera: Gewerkschaften in der Revolution

27. November 2018, 19 Uhr im DGB Haus München, Schwanthalerstr. 64, 80336 München

Vortrag im Begleitprogramm zur Ausstellung: Revolution in München. Alltag und Erinnerung

Eine Ausstellung des Archivs der Münchner Arbeiterbewegung

Die Ausstellung anlässlich des 100-jährigen Revolutionsjubiläums zeigt im ersten Teil die Lebensumstände der so genannten „einfachen Menschen“. Ernährungs- und Wohnverhältnisse, der Kampf um bessere Arbeitsbedingungen und die völlig neue Demonstrationskultur werden dabei ebenso beleuchtet wie das politische Engagement der Frauen.

Um das Panorama einer aufregenden und widersprüchlichen Zeit zu entfalten, reicht der Blick von der Unterhaltungskultur bis zur weitgehend vergessenen „Spanischen Grippe“. Der zweite Teil der Ausstellung widmet sich der Erinnerung an die revolutionären Ereignisse, die im Verlauf von 100 Jahren eine erstaunliche Wandlung vollzogen hat.

Die Ausstellung lädt dazu ein, den Spannungsbogen zwischen den historischen Vorgängen und ihrer nachträglichen Interpretation kennenzulernen.

DGB Haus München, Schwanthalerstr. 64, 80336 München 6. November – 21. Dezember 2018, täglich 9-20 Uhr, an Wochenenden und Feiertagen ist das DGB Haus geschlossen

Arbeitsgruppe Revolution Dr. Bernward Anton, Günther Gerstenberg, Michael Wittmann, Wolfgang Kucera, Sebastian Werder, Dr. Felix Bellaire , Dr. Martin Rühlemann

1918/1919. Was ist Demokratie.

Ein Programm zu 100 Jahre Revolution und Rätezeit in München. Dieses Projekt wird unterstützt von der LH München Kulturreferat Gestaltung: Sandra Tamas Grafikdesign

Die Arbeitgeber feierten mit den Gewerkschaften, mit dem Bundespräsidenten und diversen MinisterInnen 100 Jahre Sozialpartnerschaft und wohl die spätere „Volksgemeinschaft“, denn gut 12 Jahre waren die Gewerkschaften ja verboten und zum Teil in Konzentrationslagern, dafür bereicherten sich die großen Arbeitgeber in der Zeit an Militär-Aufträgen und Zwangsarbeit – mehr zum Stinnes-Legien-Abkommen

100 Jahre Sozialpartnerschaft und „Volksgemeinschaft“ …oder wie im Kampf gegen Rechts jede Opposition in Frage gestellt wird – Das [Stinnes-Legien](http://joker-netz.raete-muenchen.de/Stinnes-Legien "Stinnes-Legien")-Abkommen und die Absage an den Klassenkampf | Peter Nowak auf Telepolis

Es ging etwas unter, als am 16.10. 2018 der Gewerkschaftsbund DGB und der Unternehmerverband BDA das 100-jährige Jubiläum jenes Stinnes-Legien-Abkommens feierten, das eine wesentliche Ursache für die Niederlage der Novemberrevolution war.

Mit dem Abkommen wurde nach Meinung der Befürworter die „Sozialpartnerschaft“ in die Wege geleitet. Man könnte aber polemisch auch von „100 Jahre Volksgemeinschaft“ reden. Denn in diesem Abkommen wurde dem Klassenkampf eine Absage erteilt und die Gewerkschaften stellten die Arbeiter zum Ausgleich für einige sozialpolitische Zugeständnisse unter das Kommando des Kapitals.

Die Gewerkschaften hatten ihr Hauptziel erreicht, vom Sozialpartner Kapital anerkannt zu werden. Dafür gehörten sie zu den größten Gegnern der Räte, die sich nach der Revolution am 9. November 1918 überall in Deutschland spontan bildeten. Kaum waren diese auch mit Unterstützung der Freikorps blutig niedergeschlagen worden, wollte das Kapital auch von den Zugeständnissen nichts mehr wissen, die sie im Stinnes-Legien-Abkommen der vorrevolutionären Situation geschuldet noch machen mussten. Peter Nowak auf Telepolis

Gewerkschaften, Unternehmerverbände und Staat feiern „100 Jahre Sozialpartnerschaft“ Von Wolfgang Weber 29. Oktober 2018

Am 16. Oktober fand im Schlüterhof des Deutschen Historischen Museums eine Veranstaltung ganz besonderer Art statt. Die Spitzen von Gewerkschaften und Unternehmerbänden feierten „100 Jahre Sozialpartnerschaft“. Die Festrede hielt der erste Repräsentant des Staates, Bundespräsident Frank-Walter Steinmeier.

Eingeladen zu dem Festakt hatten Ingo Kramer, Präsident des Bunds Deutscher Arbeitgeber (BDA), und Reiner Hoffmann, Vorsitzender des Deutschen Gewerkschaftsbundes (DGB). Unter den illustren Gästen saßen Bundesarbeitsminister Hubertus Heil (SPD), Bundeswirtschaftsminister Peter Altmaier (CDU) und die französische Arbeitsministerin Muriel Pénicaud.

Bemerkenswert ist vor allem das Datum, das die Veranstalter zum Ursprung der „Sozialpartnerschaft“ erklärten: das Stinnes-Legien-Abkommen vom 15. November 1918. Man hätte dafür auch etliche Ereignisse der Nachkriegszeit finden können. <https://www.wsws.org/de/articles/2018/10/29/part-o29.html>

100 Jahre „Stinnes-Legien-Abkommen“ – Eine traurige Veranstaltung von DGB und Arbeitgeberverbänden | Hermann Zoller | NachDenkSeiten-Podcast

youtu.be/XqejWa5u-Qg?a zum Nachhören

Gastkommentar von Prof. Albrecht Goeschel: „Sozialpartnerschaft“, „Parität“, „Solidarität“: Matrix-Parolen aus Angela Orwells Sozialstaat Prof. Albrecht Goeschel

„Sozialpartnerschaft“: Leitbild des kapitalistischen Sozialstaats

… Die Gelegenheit für diese Selbstentblößung der Gewerkschaften in Deutschland bietet die 100jährige Wiederkehr des so genannten „Stinnes-Legien“-Abkommens vom 15. November 1918. Dieser Vertrag zwischen Sozialdemokratie in Gestalt des späteren Allgemeinen Deutschen Gewerkschaftsbundes und Unternehmerverbänden beinhaltete den Schutz der Unternehmen vor Verstaatlichung für den Preis der Anerkennung der Gewerkschaften als Tarifpartei. Es war dieses Bündnis, das die deutsche Arbeiterklasse nach der angeblichen „Revolution“ vom November 1918 wieder in den Schrebergarten des von der Sozialdemokratie als ihr Revier betrachteten Sozialversicherungsstaates pferchte.

Das 100jährige Jubiläum dieses nach dem Bauernkrieg und der Frankfurter Nationalversammlung erneute Ausbremsen einer fundamentalen Neuordnung in Deutschland wurde Mitte Oktober 2018 von der Unternehmerseite und von der Gewerkschaftsseite gemeinsam gebührend gefeiert – mit dem „Bundespräsidenten“ als Gast und passend im Berliner „Historischen Museum“. <https://clausstille.com/2018/10/28/gastkommentar-von-prof-albrecht-goeschel-sozialpartnerschaft-paritaet-solidaritaet-matrix-parolen-aus-angela-orwells-sozialstaat/>

Es-ging-um-Raete-als-Alternative-zur-buergerlichen-Demokratie

www.heise.de/tp/features/9-November-1918-Es-ging-um-Raete-als-Alternative-zur-buergerlichen-Demokratie-4217762.html

Quelle: [http://fairmuenchen.de/gewerkschaften-in-der-revolution-27-nov-19-h-dgb-haus-muenchen/](http://fairmuenchen.de/gewerkschaften-in-der-revolution-27-nov-19-h-dgb-haus-muenchen/ "Permalink")

original post

[loys-lettink]

Kaffee. Jetzt habe ich für heute wegen des Orkans in der SeelenArt abgesagt. Vorher habe ich mich für einen Zoom Vortrag von Martin Zoller angemeldet. Ich freue mich. #Kaffee #art #artist #Kunst #Künstler #SeelenArt #artbrut (hier: Munich, Germany) https://www.instagram.com/p/CaEwz3tLANk/?utm_medium=tumblr

[cinema-tv-etc]

Justice League’s Snyder Cut saga reminds us which fans’ voices get heard The HBO Max release of the fabled “Snyder Cut” happened thanks to a mix of entitlement, harassment, and privilege.

By Aja Romano Mar 22, 2021

It’s hard to overstate just how giddy many geeks are about the long-awaited HBO Max release of the once-mythical Snyder Cut.

It’s true that fans have spent four years demanding that director Zack Snyder’s vision of the 2017 DC Extended Universe film Justice League see the light of day. But as the film itself became available to the public, so, too, did breathless over-the-top accolades.

“A lifetime’s worth of iconography. Operatic, synesthesia intensity a to z,” director and actor Jay Baruchel declared.

“This four-hour cut is the kind of brazen auteurist vision that Martin Scorsese was calling for when he complained (rightly) that most modern superhero movies don’t resemble cinema as he’s always understood and valued it,” wrote critic Matthew Zoller Seitz in his review of the film, referring to Scorsese’s inadvertent feud with the Marvel fan base.

“Snyder’s Justice League is more, more, more in a way that most films wouldn’t dare,” wrote Slate’s Karen Han of the film’s epic scope. “It’s impossible not to be swept away.”

Setting aside the argument that the Snyder Cut is mostly just pretty good — as Vox critic Alex Abad-Santos sagely notes, “improving on something as horrendous as the original Justice League isn’t difficult” — it’s important to understand what’s on the other side of so much of the film’s praise. Namely, four years of toxic harassment and a parade of troubling online behavior from male fans that has far more in common with abusive right-wing campaigns like Gamergate than with most of mainstream geek culture in 2021.

The new film has undeniably brought joy to a lot of people. But the entire process by which the Snyder Cut came to exist also reveals how distorted a major cultural narrative can be.

The Snyder Cut is a toxic conspiracy theory that’s somehow been triumphantly reframed as a glorious myth

Zack Snyder’s Justice League, a.k.a. the Snyder Cut, did not exist in any sort of finished form when rumors of it began to spread. When director Zack Snyder, who was originally at the helm of the 2017 superhero film Justice League, stepped away from the project for personal reasons, he did not complete a personal director’s cut first; as he would later recall to Vanity Fair, the fabled cut existed nowhere except as footage stored on his own laptop, and it “was devoid of visual effects, music, and all the fine-tuning that make a movie a movie.”

Director Joss Whedon took over Justice League after Snyder’s departure, and the results were widely panned as a patched-together mess that, as Vox’s Abad-Santos argued at the time, “fails to deliver anything beyond the primal fun of smashing action figures together.” Since the movie was meant to be the pinnacle of Snyder’s superhero filmmaking and the culmination of years of solo superhero movies in the DCEU, uniting fans’ favorite characters at last, the film’s phoned-in quality outraged many of them.

In 2017, a relatively small group of these fans channeled the anger they felt toward Whedon and the film’s studio, Warner Bros., into the belief that the unreleased Snyder cut would have fixed everything they didn’t like about the movie. That a finished director’s cut didn’t actually exist was abundantly clear at the time from set reports. yet against all rational objections, many fans became convinced the cut did exist. A #ReleaseTheSnyderCut hashtag campaign was born.

Over the next two years, Snyder himself picked up the theme, using the hashtag and posting clips from the film he would have made. By 2019, what had been a niche subset of the fandom had grown into a major fan crusade. After Justice League actors Ben Affleck and Gal Gadot both tweeted the hashtag, it gained major media attention and escalated in intensity.

The fans’ demands frequently came with violent threats that drove creators and producers off social media. As Joanna Robinson summed up for Vanity Fair, the social media campaign that arose around the #ReleaseTheSnyderCut hashtag was rife with violent language:

Plenty of earnest pleas came with [the hashtag], but also vitriol that was extreme even for Twitter, including harassment campaigns targeted at critics, HBO Max, Warner Bros, and its employees. Former DC Film chief Geoff Johns left the platform entirely after receiving endless Twitter attacks, and director James Gunn, who was hired to write and direct a Suicide Squad sequel for the studio, discovered that his new gig came with at least one death threat from a user with a Batman avatar.

KEEP Reading: https://www.vox.com/22339680/zack-snyder-cut-justice-league-hbo-max-toxic-fandom-backlash

When we valorize the Snyder Cut, then, it’s possible that what we’re valorizing is really a patriarchal, cultlike view of geek culture that rewards fans who behave badly and ignores fans who just want to be heard and included. Again, all this attention originated around a film that effectively was just a pipe dream. The Snyder Cut campaign became, in essence, a quest to create reality.

If only Hollywood responded to other, more meaningful attempts with similar deference.

Justice League Trailer Comparison [Full Speed + Slo-Mo, Perfectly Synced, 4K UHD]

A comparison of all the major differences among the four Justice League trailers released by WB. You can see some of the changes and the progression the filmmakers made during the movie's post-production. Some changes were due to Joss Whedon's take-over of the project, while the others were due to the special effects being in various stages of completion. The 2nd half of the video shows the comparison of shots with obvious differences in 10X "slow-motion", in case you want to see them more clearly. ENJOY!😄

[multimediajournalassignment-blog]

Multimedia Journal Summary

The three media's Dear White People (2019) created by Justin Simien, Selma (2014) directed by Ava DuVernay, and ACLU nonprofit organization led by Anthony Romero all creatively meet the course goals of "reflecting critically on your own cultural identity and background" and show what I have learned about privilege, power, and the differences in Multicultural America. Particularly Dear White People (2019) and Selma (2014) improve my understanding of my own cultural identity and background. Black history is often skipped over throughout education, even though it is American history. I have personally learned about myself and my culture through movies, books, art, and other forms of media. Through these forms of media, I can see experiences that have happened to me or other ethnic people and recognize privilege and power that is missing within my community. The Netflix series Dear White People highlighted things I am used to now. For example, the Black students at the Ivy League university feeling like they had to prove that they belonged and were smart enough or even smarter than the white students in the university. Feeling like Black students need to continually explain that Affirmative Action did not get them into the school or that it does not just get any ethnic student into any school without the grades and knowledge, it just makes a more accessible academic consideration. The disadvantages put against Black people in America are systemic because they are built into the foundation. From slavery to Jim Crow, to the War on Drugs and mass incarceration, to the New Jim Crow and inadequate education, to the lack of employment and poor cities, and now police brutality. These examples can be seen throughout Dear White People, Selma, and highlighted in the ACLU legislative work. 

Image credit: Spider Martin, courtesy of Birmingham Civil Rights Institute.

Sources:

Seitz, Matt Zoller. “Netflix's Dear White People Is a Feat.” Vulture, Vulture, 27 Apr. 2017, www.vulture.com/2017/04/netflix-dear-white-people-review.html.

IMDb. “Dear White People.” IMDb, IMDb.com, 28 Apr. 2017, www.imdb.com/title/tt5707802/.

IMDb. “Selma.” IMDb, IMDb.com, 9 Jan. 2015, www.imdb.com/title/tt1020072/.

“About the ACLU's Racial Justice Program.” American Civil Liberties Union, 2020, www.aclu.org/other/about-aclus-racial-justice-program.

American Civil Liberties Union, 1920, www.aclu.org/.

[bibliothekbibliothek]

Bücherliste

Wohnen+ : von Schwellen, Übergangsräumen und Transparenzen Ulrike WietzorrekBasel u.a. : Birkhäuser, 2014

60s fashion : vintage fashion and beauty ads Jim Heimann [Herausgeber] Hong Kong ; Köln ; London ; Los Angeles ; Madrid ; Paris ; Tokyo : Taschen, 2007

Erschließungsräume : Treppen, Rampen, Aufzüge ; Wegeführung ; Entwurfsgrundlagen Christian Schittich1. Aufl., München : Ed. Detail - Inst. für Internat. Architektur-Dokumentation, 2013

Schnittmuster-Strategie : eine dialogische Entwurfslehre Dagmar Jäger 1. Aufl., Berlin : Reimer, 2008

Szenosphäre & Szenotopie : künstlerische Forschungen zur Raumwahrnehmung und -struktur der Szenografie Ruth Prangen Bielefeld : transcript Verlag, 2016

Datenbanken : Grundlagen und Design Frank Geisler 4., aktualisierte und erw. Aufl., Heidelberg u.a. : mitp, 2011

Architektur und Atmosphäre Gernot Böhme 2., korr. Auflage, Paderborn : Fink, 2013

The language of space Bryan Lawson Repr., Amsterdam u.a. : Architectural Press, 2003

Konstruktion, Design, Ästhetik : allgemeine mathematische Methode zur objektiven Beschreibung ästhetischer Zustände im analytischen Prozeß und zur generativen Gestaltung im synthetischen Prozeß von Design-Objekten Rolf Garnich 2. Auflage, Esslingen : Selbstverlag des Verfassers, 1968 

Mode, zeichnen & entwerfen Hannelore Eberle ; Tuula Salo ; Hannes Döllel 3. Aufl., Haan-Gruiten : Verl. Europa-Lehrmittel Nourney, Vollmer, 2001

Accessoires der Mode : Entwurf, Herstellung, Marketing Olivier Gerval München : Stiebner, 2010

In Material gedacht : Material im Prozess des architektonischen Entwerfens = Thinking through material: material in the process of architectural design and conception Uta Graff [Herausgeber] München : Detail Business Information GmbH, 2018

Graphic anatomy Atelier Bow-Wow. 2 2014

In den Himmel bauen : Hochhausprojekte von Otto Kohtz (1880 - 1956) Wolfgang Schäche ; Brigitte Jacob ; David Pessier ; Otto Kohtz [Illustrator] Berlin : Jovis, 2014

Gedanken über Architektur Otto Kohtz Berlin : Baumgärtel, 1909

Nicht-Orte  Marc Augé Orig.-Ausg., 3. Aufl., München : Beck, 2012

Lernen von Las Vegas : zur Ikonographie und Architektursymbolik der Geschäftsstadt Robert Venturi ; Denise Scott Brown ; Steven Izenour 2. Aufl., unveränd. Nachdr. [der Ausg. Braunschweig, Wiesbaden, Vieweg], 1997, Gütersloh ; Berlin : Bauverl., 2007

Das Bild der Stadt Kevin Lynch 2. Aufl., 6. unveränd. Nachdr., Basel u.a. : Birkhäuser, 2010

Finnland : Architektur im 20. Jahrhundert ; [anläßlich der gleichnamigen Ausstellung im Ausstellungszentrum der Wiener Städtischen Allgemeinen Versicherung AG in Wien, ...6.12.2000 - 19.1.2001] Adolph Stiller ; Wiener Städtische Allgemeine Versicherung Aktiengesellschaft Salzburg ; München : Pustet, 2000

Mies van der Rohe - Das kunstlose Wort : Gedanken zur Baukunst Fritz Neumeyer ; Ludwig Mies Berlin : Siedler, 1986, Hartmann, Nadine Nicole - Design und Designdiskurse der Moderne - U_Hartmann

Mies van der Rohe im Diskurs : Innovationen - Haltungen - Werke ; aktuelle Positionen ; [Dokumentation des Symposiums, das 2011 anlässlich des 125jährigen Geburtstages Mies van der Rohes von der Hochschule Niederrhein, Fachbereich Design ... initiiert wurde: "Mies125 - Kulturspeicher und Imagefaktor"] Kerstin Plüm [Herausgeber] ; Kerstin Meincke ; Hochschule Niederrhein Bielefeld : transcript, 2013

Konzentrat der Moderne : das Landhaus Lemke von Ludwig Mies van der Rohe Wita Noack München ; Berlin : Dt. Kunstverl., 2008

Dachräume : Entwerfen, Konstruieren, Bewohnen Thomas Jocher ; Ulrike Wietzorrek [Verfasser] ; Deutsches Dach-Zentrum Erste Auflage, München : Edition DETAIL, 2018

Urbanes Wohnen : = Urban housing Christian Schittich [Herausgeber] ; Institut für Internationale Architektur-Dokumentation

Architektur mit dem Computer Gerhard N Schmitt ; Nathanea Elte Braunschweig u.a. : Vieweg, 1996

Modellbau für Architekten : Handbuch und Planungshilfe Ansgar Oswald Berlin : DOM publ., 2011

Builders in the sun : five Mexican architects ; [Mario Pani, Mathias Goeritz, Felix Candela; Luis Barragan, Juan O'Gorman] Clive Bamford SmithNew York : Architectural Book Publ., 1967

Mathias Goeritz : e. dt. Künstler in Mexiko Elke Werry ; Mathias Goeritz Marburg : Jonas-Verl., 1987

Mathias Goeritz, El Eco : 1915 - 1990 ; Bilder, Skulpturen, Modelle ; 13.9. - 13.12.92 Akademie der Künste Mathias Goeritz ; Christian Schneegass ; Akademie der Künste Berlin, 1992

André Werner, Frank M. Zeidler : Klang, Bild, Architektur 5/VII ; eco art 1 ; Mathias Goeritz ; el eco Akademie der Künste Berlin : Akademie der Künste, 1992

Simplexity Fernando Romero 1. Aufl., Ostfildern : Hatje Cantz, 2010

Ferdinand von Rayski und die Kunst des neunzehnten Jahrhunderts Mathias Goeritz Berlin : Hugo, 1942

Herausforderung Erdgeschoss : = Ground floor interface Doris Zoller ; Wüstenrot Stiftung Berlin : Jovis, 2014

Rammed earth : Martin Rauch = Lehm und Architektur = Terra cruda Otto Kapfinger ; Martin Rauch Basel u.a. : Birkhäuser, 2001

Exactitudes® Ari Versluis ; Ellie Uyttenbroek [Fotograf] ; Jason Coburn Sixth revised edition, Rotterdam : Nai010 Publishers, 2014

Einführung in die Stadt- und Raumsoziologie Martina Löw ; Silke Steets ; Sergej Stoetzer 2., aktualisierte Aufl., Opladen ; Farmington Hills : Budrich, 2008

Vom Raum aus die Stadt denken : Grundlagen einer raumtheoretischen Stadtsoziologie Martina Löw Bielefeld : transcript, 2018

Raumsoziologie Martina Löw 7. Aufl., Frankfurt am Main : Suhrkamp, 2012

W.I. Lenin Was tun? https://www.marxists.org/deutsch/archiv/lenin/1902/wastun/

Über Trotzki https://www.marxists.org/deutsch/archiv/trotzki/

[mrmichaelchadler]

#330 June 12, 2018

Matt writes: In her latest edition of Thumbnails, Chaz Ebert has chosen to place a spotlight on in-depth conversations with various critics including Matt Zoller Seitz, Claudia Puig, A.O. Scott, Susan Wloszczyna, Dan Callahan and more. In addition to reading the full slate of articles, make sure to watch the video embedded below of the epic critics panel from this year's Ebertfest, featuring such esteemed writers as Leonard Maltin, Michael Phillips and Richard Roeper.

Trailers

Suspiria (2018). Directed by Luca Guadagnino. Written by David Kajganich. Starring Dakota Johnson, Tilda Swinton, Mia Goth. Synopsis: A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up. Opens in US theaters on November 2nd, 2018.

Ralph Breaks the Internet: Wreck-It Ralph 2 (2018). Directed by Phil Johnston and Rich Moore. Written by Pamela Ribon. Starring John C. Reilly, Sarah Silverman, Anthony Daniels. Synopsis: Six years after the events of "Wreck-It Ralph," Ralph and Vanellope, now friends, discover a wi-fi router in their arcade, leading them into a new adventure. Opens in US theaters on November 21st, 2018.

White Boy Rick (2018). Directed by Yann Demange. Written by Andy Weiss, Logan Miller, Noah Miller and Steve Kloves. Starring Jennifer Jason Leigh, Matthew McConaughey, Eddie Marsan. Synopsis: The story of teenager Richard Wershe Jr., who became an undercover informant for the FBI during the 1980s and was ultimately arrested for drug-trafficking and sentenced to life in prison. Opens in US theaters on September 21st, 2018.

Widows (2018). Directed by Steve McQueen. Written by Gillian Flynn and Steve McQueen (based on the television series by Lynda La Plante). Starring Viola Davis, Elizabeth Debicki, Colin Farrell. Synopsis: Set in contemporary Chicago, amidst a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities, take fate into their own hands, and conspire to forge a future on their own terms. Opens in US theaters on November 16th, 2018.

Bumblebee (2018). Directed by Travis Knight. Written by Christina Hodson. Starring Hailee Steinfeld, John Cena, Martin Short. Synopsis: On the run in the year 1987, Bumblebee finds refuge in a junkyard in a small Californian beach town. Charlie, on the cusp of turning 18 and trying to find her place in the world, discovers Bumblebee, battle-scarred and broken. Opens in US theaters on December 21st, 2018.

The Lego Movie 2: The Second Part (2019). Directed by Mike Mitchell and Trisha Gum. Written by Phil Lord, Christopher Miller, Matt Fogel and Raphael Bob-Waksberg. Starring Chris Pratt, Alison Brie, Stephanie Beatriz. Synopsis: It's been five years since everything was awesome and the citizens are facing a huge new threat: LEGO DUPLO® invaders from outer space, wrecking everything faster than they can rebuild. Opens in US theaters on February 8th, 2019.

The Children Act (2018). Directed by Richard Eyre. Written by Ian McEwan. Starring Emma Thompson, Stanley Tucci, Fionn Whitehead. Synopsis: As her marriage to Jack flounders, eminent High Court judge Fiona Maye has a life-changing decision to make at work - should she force a teenage boy, Adam, to have the blood transfusion that will save his life?  US release date is TBA.

Poor Boy (2018). Directed by Robert Scott Wildes. Written by Robert Scott Wildes and Logan Antill. Starring Michael Shannon, Amanda Crew, Justin Chatwin. Synopsis: Two misfit brothers hustle cash and chase dreams in the desert. When a mysterious woman threatens to repo their beloved houseboat the brothers cook up an epic con to finally leave their dusty town and sail off on a beam of sunshine to California. US release date is TBA.

Con Man (2018). Directed by Bruce Caulk. Written by Bruce Caulk and Jonathan Meyers. Starring James Caan, Armand Assante, Mark Hamill. Synopsis: The story of Barry Minkow, a young charismatic business man who becomes a wealthy CEO by lying, cheating and stealing his way to the top. US release date is TBA.

Peppermint (2018). Directed by Pierre Morel. Written by Chad St. John. Starring Jennifer Garner, Juan Pablo Raba, Richard Cabral. Synopsis: A revenge story centering on a young mother who finds herself with nothing to lose, and is now going to take from her enemies the very life they stole from her. Opens in US theaters on September 7th, 2018.

Dark River (2018). Written and directed by Clio Barnard. Starring Ruth Wilson, Mark Stanley, Sean Bean. Synopsis: Following the death of her father, Alice returns to her home village for the first time in 15 years, to claim the tenancy to the family farm she believes is rightfully hers. Opens in US theaters on June 29th, 2018.

The Sisters Brothers (2018). Directed by Jacques Audiard. Written by Jacques Audiard and Thomas Bidegain (based on the novel by Patrick Dewitt). Starring Jake Gyllenhaal, Joaquin Phoenix, Carol Kane. Synopsis: In 1850s Oregon, a gold prospector is chased by the infamous duo of assassins, the Sisters brothers. US release date is TBA.

Night School (2018). Directed by Malcolm D. Lee. Written by Kevin Hart, John Hamburg, Nicholas Stoller, Joey Wells, Abraham Mayne, Matthew Kellard and Harry Ratchford. Starring Kevin Hart, Tiffany Haddish, Anne Winters. Synopsis: A group of troublemakers are forced to attend night school in hope that they'll pass the GED exam to finish high school. Opens in US theaters on September 28th, 2018.

Shadow (2018). Directed by Yimou Zhang. Written by Yimou Zhang and Wei Li. Starring Chao Deng, Li Sun, Ryan Zheng. Synopsis: The latest visionary film from the director of "Raise the Red Lantern" and "Hero." US release date is TBA.

The Wild Pear Tree (2018). Directed by Nuri Bilge Ceylan. Written by Nuri Bilge Ceylan, Ebru Ceylan and Akin Aksu. Starring Dogu Demirkol, Murat Cemcir, Bennu Yildirimlar. Synopsis: An aspiring writer returns to his native village, where his father's debts catch up to him. US release date is TBA.

Yardie (2018). Directed by Idris Elba. Written by Brock Norman Brock and Martin Stellman (based on the novel by Victor Headley). Starring Stephen Graham, Aml Ameen, Fraser James. Synopsis: Adaptation of the 1993 novel of the same name. Opens is US theaters on September 7th, 2018.

McQueen (2018). Directed by Ian Bonhôte and Peter Ettedgui. Synopsis: Alexander McQueen's rags-to-riches story is a modern-day fairy tale, laced with the gothic. Mirroring the savage beauty, boldness and vivacity of his design, this documentary is an intimate revelation of his McQueen's own world, both tortured and inspired, which celebrates a radical and mesmerizing genius of profound influence. Opens in US theaters on July 20th, 2018.

Operation Finale (2018). Directed by Chris Weitz. Written by Matthew Orton. Starring Oscar Isaac, Mélanie Laurent, Haley Lu Richardson. Synopsis: 15 years after World War II, a team of secret agents are brought together to track down Adolf Eichmann, the infamous Nazi architect of the Holocaust. Opens in US theaters on September 14th, 2018.

Sidney Lumet's "Daniel"

Matt writes: The 54th installment of Scout Tafoya's The Unloved series celebrates Sidney Lumet's 1983 drama, "Daniel," starring Oscar-winner Timothy Hutton. Click here for the full video.

Laura Moss on "Fry Day"

Matt writes: Collin Souter chats with filmmaker Laura Moss about her acclaimed short, "Fry Day," which won the Audience Award at the Chicago Critics Film Festival. Click here to watch the film and read their conversation.

Free Movies

The Devil's Rain (1975). Directed by Robert Fuest. Written by Gabe Essoe, James Ashton and Gerald Hopman. Starring Ernest Borgnine, Eddie Albert, John Travolta. Synopsis: A satanist cult leader is burnt alive by the local church. He vows to come back and haunts down, and enslave, every descendant of his congregation by the power of a book of blood contracts, in which they sold their souls to the devil.

Watch "The Devil's Rain"

Michael (1996). Directed by Nora Ephron. Written by Nora Ephron, Delia Ephron, Peter Dexter and Jim Quinlan. Starring John Travolta, Andie MacDowell, William Hurt. Synopsis: Two tabloid reporters checking out a report of the Archangel Michael living with an old woman find that it's true. But that's not the only surprise.

Watch "Michael"

Pheonomenon (1996). Directed by Jon Turteltaub. Written by Gerald Di Pego. Starring John Travolta, Kyra Sedgwick, Forest Whitaker. Synopsis: An ordinary man sees a bright light descend from the sky, and discovers he now has super-intelligence and telekinesis.

Watch "Phenomenon"

from All Content https://ift.tt/2MiMp4h

[notesonfilm1]

In Conversation with Catherine Grant

In Conversation with Catherine Grant

Catherine Grant is one of the scholars working in the area of video essays and videographic criticism I most admire. Her work ranges from fan videos to explorations of form, the transnational, queering, interventions into theory, materialising criticism and artistic self-expression. I very much wanted to talk to her about her work and the result is this podcast below,  a wide-ranging reflection…

[artwalktv]

HEADPHONES FOR BEST EXPERIENCE :) Presented at the 2018 Independent Spirit Awards and made possible by Film Independent, IFC, and Visit Seattle. As an elderly Native American woman looks back on her life, the line between reality and fantasy are blurred. Written, Directed, & Edited by Matty Brown Executive Producers - Alan Nay, Matt Ackerman Producer - Mandy Ward Cinematographer - Todd Martin (http://bit.ly/2FusQFL) Production Manager - Jenni Bedel First Assistant Camera - Joel Phillips Gaffer - Mike Astle Production Designer - Darcey Zoller Art Director - Kalani Akuna Wardrobe - Lisa Montalvo Makeup & Hairstylist - Nancy Leonardi Casting - Amey Rene Casting Data Management - Champ Ensminger, Caleb Albright Production Assistants - Brian Glinski, Tony Fernandez, Brian Fox CAST Elder Woman - Priscilla Blackwolf Sr Younger Girl - Priscilla Blackwolf Jr Little Boy - Parker Hall Teen Girls - Claudia Coulibaly, Charlisa Villar Dinner Guests - Larry Cali, Marji Friedman, Sandra MacPhearson, Steve Gallion, Lyn-Felice Calvin POST PRODUCTION (World Famous) Head Of Production - Casey Steele Post Producer - Paul Williamson, Marni Dworkin Assistant Editor - Champ Ensminger Visual Effects Supervisor - Rogelio Salinas Title Design - Juan C Arenas Compositors - Todd Perry, Emma Frost, Mandy Wong, Jacob White COLOR PROVIDED BY - THE MILL (themill.com) Agency- PB& Made Possible by - Film Independent, IFC, and Visit Seattle