we need to talk about dad is a 2011 television documentary film concerning mental health and domestic violence .

it was aired as part of channel 4 's cutting edge series .

the documentary was shortlisted for the 2012 british academy television awards and the 2012 grierson awards .

we need to talk about dad

we need to talk about dad | rté one | monday 16th january 9 . 35pm
we need to talk about dad | rté one | monday 16th january 9 . 35pm - youtube
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we need to talk about dad will be screened on channel 4 on november 21 , at 10 . 35pm .
if you ever need to talk to another human being about this , you can always talk to me .
around the year i . . . : we need to talk about kevin , by lionel shriver
the documentary we need to talk about dad aired in january and followed tv presenter brendan courtney as he dealt with the complexities of organising care for his dad frank .
we’d love your help . let us know what’s wrong with this preview of we need to talk about kevin by lionel shriver .
“can we talk about income ? we keep talking about race , when really it’s about income . it’s not about race . poor people are of all colors . ”
ya buddy readers ' . . . : we need to talk about kevin by lionel shriver - starting may 3rd , 2018
watching my latest documentary ‘we need to talk about dad’ go out on channel 4 was a novel experience because its transmission was punctuated by an ongoing commentary – courtesy of twitter .
this week , award winning documentary film maker , elizabeth stopford , discusses how her latest c4 documentary ‘we need to talk about dad’ was received on twitter , and what a “real time” response means from a filmmaker’s perspective .
ok , we ' re feeling a bit more relaxed about family pictures now , we have about 15 pictures we ' d like to take so we ' ll allow 45 minutes . we ' ll tell our families to be there 30 minutes ahead of time and we ' ll let you know about our family drama ! what about wedding party pictures ?
the controversial film we need to talk about kevin raises the question : can children be evil ? marlow stern watched the movie with child psychiatrist alan ravitz . warning : some spoilers .
when we head to ikea , we don ' t feel like we ' re shopping — we feel like we ' re going on an adventure . the swedish superstore is full of seemingly endless
before the film opens , the character referred to in the title of lynne ramsay’s we need to talk about kevin , at the age of 15 , has massacred a number of his fellow schoolmates . in flashbacks , we learn something about his short , unhappy life .
official trailer for brendan courtney ' s documentary on rte ' we need to talk about dad ' . the programme follows the story of courtney and his family as they weigh up all the options of caring for their father following his stroke . courtesy : rte
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amos tries to get charlie to talk to him and continue what gavin was trying to do .
we need to talk
is the 9 th episode of the second season of steven universe , the 61 st episode overall , and the fourth episode in the second stevenbomb .
documentaries provided some of last year’s most striking and talked - about moments on television . the bafta tv awards for single documentaries have picked out 9 / 11 : the day that changed the world , terry pratchett : choosing to die ( pictured ) , sports documentary the fight of their lives and cutting edge’s we need to talk about dad to honour with nominations .
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charlie does open up a bit to talk about noel and how he saw him collapse on the road and pulled over to help .
the documentary we need to talk about dad aired in january and followed tv presenter brendan courtney as he dealt with the complexities of organising care for his dad frank . brendan discussed with his sister how they might afford nursing home care , including remortgaging their homes .
you don’t want to be mean about it ,
brendan said after visiting a nursing home .
because people work really hard at it . but it is depressing . ”
british director lynne ramsay’s adaptation of lionel shriver’s novel , we need to talk about kevin , deals with a high - school massacre , raising uncomfortable questions about family and adolescence , as mark fisher discusses in his review . ( the film is now available on dvd from oscilloscope pictures . )
the past and present in ramsay’s adaptation of we need to talk about kevin are offered in fragments , which an audience member is asked to make sense of and which are intended to form a coherent picture . to a certain extent they do , but again , to what end ?
the rte documentary we need to talk about dad , focused on the difficult choices faced by the courtney family in trying to provide the best care possible for frank after he had a stroke . it highlighted in particular the difficulties in navigating the fair deal nursing home support scheme and the fact that it does not cover care in the home .
we need to talk about kevin is a mother’s horror story , or a horror story about motherhood . one could say it is every mother’s worst fear ( or one of them , a parent’s life being hardly lacking in worst fears ) ; or , conversely , that it is the wish - fulfilment fantasy for those who choose not to have children ( why shouldn’t this happen to any parent ? ) . in the novel , eva refers to both alien and rosemary’s baby , but these cinematic precursors are about the horrors of pregnancy ; in we need to talk about kevin , the real horror only ensues after a child’s birth .
it is with great sorrow that we announce the passing of our dad frank . he passed away peacefully this morning , details urltoken urltoken
but we need to have a heart - to - heart , all right ? i know this can be tough , but meet me halfway .
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half watching . what ever happened to dad , did he go to prison . is he out now ?
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kimmel asks kids
who do you love more . . . mom or dad ?
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what ? we keep hearing about this first look concept . isn ' t it bad luck to see each other before the ceremony ? i think we want to be more traditional . . .
in the video , you talked a little bit about how you used to be “emo , ” but now you’re more “scene . ” can you explain what that means ? i don’t want to talk about that . i just don’t want to .
in a perfect world , everyone would be treated equally and we don’t need to think so much about skin color and other identity traits , which is why it is so tempting to fall for color - blindness . but the ideal world does not exist yet , and the more that we believe that it does , the less likely we can bring it into being . we do not yet live in a racially just pooh corner’s . we never have . there is no equitable pooh’s corner to return to !
“xyz foundation decided to focus on organizations doing work with minorities . that’s great for organizations like yours , but what about the rest of us ? i just don’t understand . i just don’t get why we need to keep focusing on race . ”
the director observes that she “wasn’t interested” in the phenomenon of school shootings . “i wasn ' t trying to make an issue - based film . ” instead , she was intrigued by “the mother - son relationship , ” this “perverse love story . ” we need to talk about kevin , asserts ramsay , is “about the unexplainable . that sometimes evil comes from some , you know , somewhere unexplained . ”
hmm , we have divorced parents who ' ve remarried and they ' re not friendly , we also have new siblings and there ' s a little family drama . how will we handle this ?
i’ve watched lots of your videos , and i saw one where you talk about changing the name of your channel to “sceneable . ” can you tell me about why you decided to change the name ? i don’t know . i just liked it better .
- family pictures are about your families . looking relaxed and their very best . not about the epic view over the ocean .
lionel shriver’s novel , we need to talk about kevin , was published in 2003 , and lynne ramsay has been trying to make a film version for a number of years . the writer - director ( born in glasgow in 1969 ) first came to prominence for the much praised ratcatcher in 1999 . her far weaker morvern callar , with samantha morton , was released in 2002 .
the ai also wanted to warn us humans about the dangers of mass surveillance .
went according to plan — as a minor , he got nowhere near the sentence he deserved ) . kevin hates his dad ?
irish farmers and food producers don’t need bord bia to try and persuade vegetarians and vegans to eat meat , writes eva dowling .
i’d spent over 6 months producing the documentary ‘we need to talk about dad’ through rare day for channel 4 . the johnsons had twenty years of happy marriage , professional success , a lovely home , blond - haired children . they were nicknamed the ‘sunday supplement family’ by locals , and appeared to have it all . then one day , nick johnson , told his wife he had a surprise for her , led her blindfolded into the garden , and committed an awful act of violence .
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you talk a lot about different forms of government , you’ve got some strong opinions of trump , is politics something you could see yourself getting involved in as an adult ? yeah .
then two years later you decided to start posting your own videos . what was the first video you uploaded ? um , well it was about a topic i can’t … i don’t even have the energy or the will to talk about … okay , so i used to like pokémon . i’m not interested in it anymore , and it was a video about that .
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if we are gender - blind , then we can’t address systemic sexism and misogyny that lead to , for example , women being paid less for the same or higher - quality work . if we are transgender - blind , then we can’t address the ingrained cissexism in society that leads to high violence rates against transgender individuals . if we are sexual - orientation - blind , we can’t effectively tackle the barriers facing many people not just in marriage equality but across a range of issues such as adoption and discrimination in housing . if we are age - blind , we can’t fight the implicit and explicit biases against older adults , such as when applying for jobs , or the challenges youth and younger adults face in the workplace . if we are rural - urban - dynamics blind , we can’t solve the inequitable distribution of resources and influence among geographic areas . if we are faith - blind , we cannot fight the persecution and discrimination people face for their beliefs . if we are intersectionality - blind , we can’t address the compounding challenges of multiple identities affected by implicit biases and systemic injustice .
you ' d think so but sadly no . 10 minutes just isn ' t realistic - heck it ' ll take us 10 minutes to even get started while we wait for your dad who ' s always late or for your grandmother to get out of the car . each family picture only takes seconds to capture but for each group of family members we need to allow 3 - 5 minutes to gather and arrange them and then take multiple exposure to make sure we have great expressions and no blinking . let ' s have a hypothetical couple - alex and sam - in ~ 30 minutes we ' d be able to take the following pictures :
lionel shriver ' s novels include the new york times bestseller the post - birthday world and the international bestseller we need to talk about kevin , which won the 2005 orange prize and has now sold over a million copies worldwide . earlier books include double fault , a perfectly good family , and checker and the derailleurs . her novels have been translated into twenty - five languages . her journalism h
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it would happen to you as well ,
marion says , levelly .
…as for the rest of your questions : we manage that pharmaceutically . you know we have class - a amnestics , for people who very badly need to forget things ? of course you do . who could forget about class - a amnestics ? well , in antimemetics , we have a different pill , for people who need to remember things that would otherwise be impossible to remember . mnestics , class w , x , y and z . same greek root as the word ' mnemonic ' . the m is silent .
at lunch , lachlan made rupert a promise .
we ' ll have a better relationship ,
he told his dad , which seemed to hearten rupert . to rupert ' s surprise , and lachlan ' s , their relationship did improve . almost immediately . it really did seem a kind of catharsis . suddenly , they talked excitedly about lachlan ' s plans .
my relationship with my dad is better than ever ,
lachlan told colleagues .
in two of her novels , shriver is not afraid to write about subjects which stick in the craw of most american ' s today . in her 2010 novel , so much for that she tackled to american health care system and in 2003 in we need to talk about kevin , it was school shootings . the story consists of eva khatchadourian ' s letters to her husband franklin ; they start from twelve months after their son kevin has done the unthinkable and killed seven classmates , one teacher and a cafeteria worker . eva is looking b
i feel the same about the whole book and i am just at the beginning ! your point about
sesquipedalian loquaciousness
of writing is spot on .
of baltimore area grantmakers are calling for a one - day where foundations and nonprofits can just get a beer together , or coffee or ice cream , without an agenda , and just talk about whatever .
cassandra truth : franklin simply refuses to believe that there is something wrong with his son , to a point where it almost grows demented . kevin is simply putting up a paper - thin guise as a happy boy to his dad to hurt eva , and resents his dad for failing to see the truth when he was throwing up such a painfully transparent disguise .
there have been quite a few controversial films in 2011 . human centipede 2 , banned in britain , offered one of the more violent , nihilistic entries in the “torture porn” subgenre , while steve mcqueen’s mesmerizing nc - 17 rated sex - addiction drama , shame , featured magneto engaging in a series of lurid sex acts , including an orgy . we need to talk about kevin , directed by lynne ramsay from a novel by lionel shriver , is sure to join them as one of the most talked - about films of the year .
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the 40 faces of st gemma ' s hospice is at leeds city museum until 23rd september . the charity ' s ceo kerry jackson and photographer olivia hemingway talk to neil mudd about # community and the narratives of . . . urltoken
with sunset at 6 : 47pm if we ' re taking all of the formal pictures after the ceremony we ' ll need to have daylight so the ceremony should be moved forward . there is a one hour gap from the end of the ceremony to the start of cocktail hour . the cocktail hour could also be extended for 90 minutes .
when rose tells greg about rainbow quartz , amethyst is missing from the drum set .
“maybe you should release a statement saying that you prioritize skills and experience above everything . that may help calm people down . ” this was said by a board development consultant after i said my organization has been trying to be thoughtful about ensuring we have a diverse board that’s representative of the communities we serve , but that it was complex and we were getting pushback on the fact that though our board is 90 % people of color , we still are not representative .
back at charlie’s office , he is guilt - ridden over what happened to the boy and wants to tell the family . dawn tells charlie to go home and rest and she will talk to the family . we see dawn go and tell the family with the mom crying over her son’s stuffed cat .
me ? i need no time for pictures ; ) the question is really how much time do you need for pictures ? ! do you have small families with parents still together ? 30 minutes should do us . larger extended families with divorced parents , new steparents and siblings ? we ' ll need more time ! what i mean to say is it ' s really up to you how much time we spend taking formal family / wedding party and couples pictures . it ' s your wedding day and they ' re your wedding pictures that will fill your album or hang on your wall . the majority of couples that hire me as their wedding photographer really value beautiful pictures and they want to make sure they have enough time to get the images they want . we can bust out an awesome picture of the wedding party in 5 minutes but if you want to do on - location , take pictures individually with each attendant and get more creative we ' ll need more time !
overwritten . arduous . boring . seeing as we need to talk about kevin is famous for being such a gritty , disturbing read , i always expected to love it in a sick , twisted kind of way . unfortunately , it is not what i expected at all . i had to force myself through one overstuffed sentence after another , only to be left feeling drained and dissatisfied . i knew i was in for a paint - dryingly slow read almost immediately . every sentence is padded out with big words and details that are clearly there to imp
we can truly only ever do one thing at a time , and in any given moment we only have one task that is at the top of the list , writes jeff sanders .
rupert agreed .
we do have a better relationship ,
he told a friend . three weekends ago , lachlan swung by rupert ' s farm in carmel , california , to laze by the pool with his little sisters and play tennis with his vigorous dad .
whether we like it or not , whether or not we are comfortable with the idea , there are people “born that way” when it comes to sociopathy or any of the range of personality disorders . it has to do with genetics , chemistry , nutrition in utero - a whole host of complex interactions that we are only beginning to understand .
flagging a post will send it to the goodreads customer care team for review . we take abuse seriously in our discussion boards . only flag comments that clearly need our attention . as a general rule we do not censor any content on the site . the only content we will consider removing is spam , slanderous attacks on other members , or extremely offensive content ( eg . pornography , pro - nazi , child abuse , etc ) . we will not remove any content for bad language alone , or being critical of a particular book .
henry comes across as the real victim to me . . . . . the dad has the emtional maturity of a kipper . . . boys come across as the lovliest people
it hasn’t been too long since we last spoke , but you’ve had a busy start to 2017 . what’s new ?
two general trends , which no doubt nourish each other , account for a film like we need to talk about kevin . a section of the upper middle class artists finds it uncomfortable to examine social life seriously , because such an examination would involve holding up a mirror too closely to a society in which they live quite pleasantly . second , decades of intellectual and cultural retrogression , unhappily , have produced a generation of artists who simply find it too taxing to work through a complex social problem . they throw up their hands and produce work like this .
“we couldn’t use fucking coke , we couldn’t use campbell’s soup cans . ” so said lynne ramsay of her remarkable adaptation of lionel shriver’s novel we need to talk about kevin . as a result of this excision of brand names which didn’t wish to be associated with its controversial subject matter , the film is marked by a kind of negative product placement . accordingly , it’s set in a kind of alternative america , an america , you might say , that is the exact inverse of the country invoked by the magical rituals of advertising . here , the family is not the gently glowing space where parents find the meaning in their lives , mothers do not always bond with their children , but teenagers—they kill other teenagers .
we need to talk about kevin is about the aftermath of a columbine - style shooting at a school in a small american town . it focuses on , and is entirely focused through , eva ( tilda swinton ) , the killer’s mother , and her attempts to come to terms with what her son , kevin , has done . eva is persecuted—her property is covered in red paint , she is struck in the street—as if she , rather than her son , was really responsible for the atrocity . eva herself somewhat shares this judgement , not least because kevin’s violence does not entirely come as a shock to her . she has long suspected him to be either psychopathic or evil .
imagine your mum and dad having sex . now imagine they both have a learning disability . immediately we’re at the heart of “mia” , the latest production from bradford - based mind the gap theatre , the only learning disability theatre company to be performing at the edinburgh fringe this year .
we need to talk about kevin is a 2011 psychological thriller drama film based on a book written by lionel shriver in 2003 . ( this film is not the first adaptation of the story ; a radio adaptation was made in 2008 . ) the film was directed by lynne ramsay and starred tilda swinton as eva , john c reilly as franklin , and ezra miller of californication as kevin . it has a soundtrack composed by radiohead ' s jonny greenwood , and was entered into the 2011 cannes film festvial .
bouhadana’s behavior is ultimately one that stems from a sense of entitlement — not just to copy and disseminate another culture ( that’s a whole other conversation ) , but to do so while diminishing the people who created it . as diners , we need to consider what it means when we support someone who disregards history and context in favor of a joke , even if their food is as remarkable as his .
mama didn ' t raise no criminal : large parts of the book are where did we go wrong ? about this trope . they tend to exonerate the parents of any blame for the kids ' actions . . .
greg tells steven and connie the story of how he learned about gem fusion . [ 3 ]
kevin is stunned when the doctors announce they need to amputate jack ' s foot , and sean ' s luck is in when liz offers him her . . .
το we need to talk about kevin μάλλον θα το έχει πάρει το αυτί σας . ανήκουν σε αυτά τα μυθιστορήματα που είναι γνωστά στους βιβλόφιλους , έχουν καθιερωθεί στο αναγνωστικό ασυνείδητο ως
καλά βιβλία
, ακόμα κι αν δεν ξέρει κανείς κανέναν που να τα έχει διαβάσει . συνήθως έχουν γίνει και ταινία , οπότε ο μύθος συντηρείται . όταν κανείς τολμάει να διαβάσει τέτοια βιβλία , βιβλία καλά , από συγγραφείς που δεν είναι στην επικαιρότητα παρά μόνο όταν κάνουν το μπαμ , δεν ξέρει τι να περιμένει . εγώ ένιωσα να π
the talk : eva tries to give a young kevin one , but given the kind of person kevin is , he catches on very quickly , and even refers to it as
fucking
.
he has a lot of potential . he also gets overlooked a lot . it’s hard to come up in this dubstep scene , even when you have awesome production quality , which is one thing jaye definitely has down . working with him was really cool . we managed to bang out tracks within days because we had this brief moment where we were skyping on an everyday basis . we would just be working on tracks around the clock . that’s when we wrote catastrophe and hellion . all of that music was written in almost a one or two week period .
alex and dana are attending layla rowland’s meditation class . the two ladies aren’t doing a good job at following the instructions as dana just wants to ask about alex and charlie . but their talk is interrupted when layla collapses in pain . dana and alex rush to her and determines she needs to go to hope zion and ends the class .
so one of your big topics — and obviously how a lot of people , myself included , have found your videos via reddit — is communism . what sparked your interest in communism ? one day , i heard about it and so i found out more about it . i found out about it’s history of being , um … it started when i first heard about communism and the idea of nations sharing the wealth . oftentimes , schools just spread this propaganda about it being a bad thing , and say you shouldn’t question it and you shouldn’t think about the fact that it brings money to people who need it ; you should just go along with the fact that it’s inherently evil , even though it would stop the problem of having so many poor people .
yes can understand his point of view . dad hit mum over the back of the head with a rock , or something . left her for dead . comletely unexpected .
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: the film version ' s first shot / climax is of billowing curtains in a dark house with the click - click - click sound of a lawn sprinkler in the background . we hear the sprinker throughout the film whenever something really bad is about to happen , so when we reach the final flashback when eva returns home from the shooting scene and we see the same shot from the beginning of the film , with the sprinker going nuts in the background , we know that whatever she finds on the patio behind the curtains isn ' t going to be pretty .
i don ' t think a book has ever made me teary - eyed before ! i have been known to sob while watching a movie but haven ' t actually while absorbed in a book . we need to talk about kevin was it
impossible to put down
as suggested on the front cover ? no , out of the 400 pages of this book , i thought that the first 200 or so pages were extremely hard to get through because this was not an easy read for me . i did not particularly like the authors writing style , choice of words used , and all the details c
2 . it can be really special to see each other for the first time not surrounded by hundreds of people . it ' s just the two of you ( and me hiding out as far away from you as possible with a long lens to give you some privacy ) . you ' ll get to hug , kiss , talk about what ' s about to happen which you can ' t do when the person marrying you is just inches away
if the bride ' s reason is wanting to see his reaction as they walk down the aisle , i can assure you he ' ll be just as enamored after a first look . we are so happy we got to enjoy our pictures beforehand , and then spend the whole cocktail hour with our friends and family . it made me feel so much calmer seeing him before the ceremony . i can ' t imagine not being together for so much of the wedding day . i still felt so excited during the ceremony , but i was thinking about being in the moment rather than wanting to talk to him or say how handsome he looked ( because we already got to do that ! ) .
color - blindness is not good . it is not good to be color - blind . there’s been plenty written on why . psychology today calls it a form of racism . and here’s a piece on everyday feminism detailing how colorblindness perpetuates injustice ( the article also acknowledges that “color - blind” as a term is ableist ) . and here’s an article in the atlantic debunking the argument that focusing on race actually causes the nationalist movement we’ve been seeing more of recently . and here’s a thought - provoking ted talk on how we need to move from being color - blind to “color - brave . ”
righty - oh ! we ' ve talked about how much longer everything will take on your wedding day , how much time to allow for pictures and whether or not you might want to do a first look . let ' s post some sample timelines !
- - - immediate reaction after reading - - - i’m so horrified that i feel sick , and i’m nearly crying , not because of kevin but for kevin , and i don’t know who to blame anymore , or what to feel , or what to think . i only know that this book is unlike anything i’ve ever read , and in all likelihood , will ever read . how can i so deeply love a book that is this agonisingly ugly ? ? - - - full review - - - i knew before i started that reading this was going to be hard . we need to talk about kevin is listed as one of th
situations like this are sufficiently rare that we don’t have an evidence base to know what to do . if you’re trying to treat a sociopath , you have to back them into a corner so tightly that there’s absolutely no way for them to escape except to talk to you and open up . dexter [ from the showtime series ] is a sociopath and can’t relate to people , and it’s only when dexter is backed into a situation of incredibly intimacy that he starts to talk to himself , or people . so you try to build a relationship , but what’s the likelihood that you’re going to be able to do it ? i mean , this kid is beyond treatment . society needs to be protected from him . but it was a beautiful , beautiful film !
eventually , bron is sent off with sour face tarly ( aka sam ' s dad ) to coerce farmers to give up their harvests , which is basically what sansa wanted to do in the north , let ' s call a spade a spade .
i have to say i’m glad i went into this book not knowing what to expect . the element of surprise made it much more interesting albeit disturbing . i thought the writing was very good . it made the characters sound intelligent which made it even more disturbing . it felt very relevant to the events that are happening these days at an alarming rate . and as much as it’s not pleasant to talk about , it is helpful to be forced to think about this issue to try to understand and do something about it . i would like to think that there isn’t a mother out there that would respond to their baby from birth the way eva did . but then there’s the huge argument about nature versus nurture that really makes you contemplate what would reality be in a case similar to this one . i will not watch the movie ! !
before the attack , their relationship was great .
it was a real friendship . we would have debates about how the world works – in - depth talks about serious issues .
he remembers them watching a documentary together and hitting pause on the dvd throughout so that they could discuss the fine points of the programme .
scp - 055 is nothing ,
marion says , now relaxing entirely .
scp - 055 is , as described in the file , a powerful information autosuppressor . as far as experimentation has uncovered , it can only be defined in negative terms . we can only record what it isn ' t . we know it isn ' t safe or euclid . we know it isn ' t round , or square , or green or silver . we know it isn ' t stupid . and we know it isn ' t alone . but what we do know is that it ' s weak . it ' s weak because it ' s the only antimemetic agent in our possession which has a physical entry in the files . we have paper records of the thing . we have containment procedures . it ' s not safe , which means it ' s dangerous… but it ' s contained .
: one of eva ' s various theories about the reasons for kevin ' s rampage . she notes that
common sense is the nation ' s leading nonprofit organization dedicated to improving the lives of kids and families by providing the trustworthy information , education , and independent voice they need to thrive in the 21st century .
i ' ve started this review 6 times now , and each time , i ' ve deleted it because it doesn ' t quite convey the right thing . i think the problem is that i ' m not sure just what that thing is . but one thing i do know is that i love books that make me feel like this . . . that
i don ' t know what i need to say but i need to say something , to talk about this with someone because this book won ' t keep quiet in my mind
feeling . i guess it ' s lucky that this was chosen for our latest group read then , because i fil
when i called bouhadana to talk about it , he confirmed he does this . he characterized these bits of accented english as “little fun jokes , ” which he likened to how the japanese chefs who work for him use an american accent while quoting drake songs . “maybe in my mind i think i’m japanese , ” he said .
noodle incident : alan is very cagey about the exact circumstances of his mother ' s passing , which required a coroner ' s inquest , a closed - casket funeral and some soul - searching about what exactly she liked to get up to in her private life .
rose indirectly mentioned garnet ' s future vision when greg said he was worried about the future and rose told him to ask garnet .
well , this year we are continuing this now - annual tradition . nwb , along with grantmakers for effective organizations (
when garnet was about to throw the stick for amethyst to catch , the television behind amethyst is off , and in the next scene it turns back on .
i think the issue for henry was that he had been sympathetic and had played the game of happy families to keep mum happy - she clearly couldn ' t bear to consider that the dad had consciously intended to hurt her , she seemed to be living in a cloud of denial imo and the impact of that on her kids was awful . from what i read of the guardian article about it there are 3 children - i assume the girl at dinner was the 3rd , what is she teaching her about her value as a woman ! ? it ' s ok for a dh to crush your head with an axe ! ? henry ' s question of
if he could do it , then could i do it ?
was something he was struggling with because no - one would talk to him about why it might have happened .
the tinsel and sparkle of the faux game show credits gives way to a documentary interview featuring a real mother with a baby telling her story – before the fourth wall shatters , and the cast chat to each other about their real - life hopes and fears about parenthood .
sorry , kiddo ,
o5 - 8 says .
need to know . maybe when you ' re an o5 yourself .
he swallows the pill . marion swallows hers too .
it perpetuates the notion that diversity is bad for some reason : one of my colleagues of color , when told by another person that they don’t see her color , said , “why not ? is there something bad about my color ? ” the other person stumbled to find a response . “if you don’t think there’s anything bad about my color , ” continued my colleague , “then why do you need to say you don’t see it ? ” there’s nothing yucky or bad about being of color . by denying the existence of color , you turn it from something positive into something negative . diversity is good . there are now lots of studies that show that diversity leads to stronger business performance , increased board effectiveness , higher customer satisfaction , etc . diversity and inclusion are not scary . we don’t need to be afraid of them . they’re actually good things . you want to see good things in the world , right ?
be ready for some polemic . we’re bombarded with lots more numbers , always illustrated in inventive ways , and the audience is tested on what we’ve learned in a surreal game show “don’t drop the baby” which is as hilarious as it’s grotesque .
to name just a few ) . unlike the old school wedding videographers who just stood at the back of everything with a tripod , these talented filmmakers product some of the most amazing wedding trailers ever . and they need time with you to get that footage . i ' d like to think i work really well with these film team and
share
the time we have with the couple ( at least i hope i do ! ! ! ) but it ' s worth checking with your film team to see if they need specific time with you .
situation comedy fresh meat objective productions , lime pictures / channel 4 mrs brown’s boy’s brendan o’carroll , stephen mccrum , ben kellett , martin delany bbc scotland , bbc productions co - production with bocpix in association with rte / bbc one friday night dinner robert popper , steve bendelack popper pictures , big talk productions / channel 4 rev . big talk productions / bbc two
lionel shriver ' s novels include the new york times bestseller the post - birthday world and the international bestseller we need to talk about kevin , which won the 2005 orange prize and has now sold over a million copies worldwide . earlier books include double fault , a perfectly good family , and checker and the derailleurs . her novels have been translated into twenty - five languages . her journalism has appeared in the guardian , the new york times , the wall street journal , and many other publications . she lives in london and brooklyn , new york . author photo copyright jerry bauer , courtesy of harper collins .
that was so sad . the boys came across as lovely and am sure the mum did her best but poor henry just desperately wanted to talk and noone would let him . what a sad repressed family .
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i’m not really sure i agree with the weakness of kevin as a character… since everything is told from the perspective of eva , i think we’re not watching so much an evil that defies explanation , but instead a mother that can’t really make sense of it . we’re not watching the story begin , we’re watching her recollection after the fact , tainted by the incident , so now she remembers her not planing the pregnancy , her despair at the changes of her life due to motherhood and her recalling of the child she never wanted as being evil from birth… but we don’t know how it all really happened , we’re just watching her fight to make sense of this .
anybody else watching ? the boys are so lovely , particularly henry . it ' s awful to watch him try to make sense of what his dad did and how his mum reacted top it . i hope making the programme has helped him to get the answers he needs .
lachlan could feel his happiness sinking . he had a big title but wondered about the extent of his real power .
o5 - 8 says ,
we have a memetics division , a telekontainment division , fire services , ops - a , ops - b , personnel , d - personnel and two dozen others . we don ' t have an antimemetics division .
he was about two or three then , wasn ' t he ? probably not old enough for proper manipulation , but old enough to know to do the opposite of what people want him to .
later , dawn sees the surgical board is filled with a lot charlie’s surgeries that he asked to be moved up . dawn tells the nurse to hold off on telling the patients and she goes to call the board concerned for charlie . we see charlie in his office not looking like himself and we all grow concerned for him .
he ' s described at least once as having scabbed knuckles , suggesting that his scuffles in prison may not be entirely one - sided . his fear about being transferred to an adult prison is more about the fact that he ' ll have to deal with much more than just fistfights there .
i’ve just seen the movie , and i find it obvious that is hard to put all the blame on one person . instead , here’s my view : – kevin clearly has what is called ‘the evil gene’ if you believe it that , or otherwise , he’s simply put : messed up ( call it reincarnation , karma , genealogical behavior , parent’s ego etc . ) – modern society forbids and doesn’t take kindly blocking the child’s personality by the parents . it’s like a golden rule , especially for rich families . no roadblocks , even if the kid’s behavior is messed up . – the main reason . indicated even by the title . “we need to talk about kevin” . there is no dialog between eva and franklin . when it comes about kevin , the two of them are opposed . she clearly sees the problem in him , but franklin as a modern father refuses to do anything about it and even more turns him self against her .
from sydney , lachlan put in a call to his dad . lachlan usually refers to him , even in business settings , as
dad
. rupert likes to keep in touch with his vast kingdom via frequent phone calls , and for most of lachlan ' s adult life few workdays passed without talking to his father about some business matter . mostly , lachlan looked forward to these calls . working closely with his father had been , for a long time , one of the job ' s pleasures . lately , though , there ' d been a shift , an unhappy one . something unarticulated had come between father and son , creating a strain . lachlan felt it keenly .
the mother seems very independent . she loves to travel , and we’re to assume that she’s a travel writer . all that goes away when she has kevin , and she becomes domesticated .
there isn ' t ,
clay asserts .
scp numbers aren ' t assigned sequentially . there are gaps . that number hasn ' t been assigned . it ' s not superstition , we have enough to be concerned about without arbitrary numerological mysticism . we have scp - 666 and scp - 013 . but there ' s no scp - 001 . and there ' s no scp - 055 .
with divorced parents it ' s worth thinking about which pictures you ' d want in your wedding album - sometimes parents get along great and they ' re happy to be in a picture together , other times they haven ' t spoken in years and it would be completely unnatural to have a picture of them together . also check in with your parents separately and find out which pictures will be important to them . sometimes to avoid spending hours duplicating every possible picture combination it can make sense to get a large group picture with mom ' s side of the family , a large group picture of dad ' s side of the family and then individual pictures with mom , dad and siblings .
unreliable narrator : eva . the book is her written account of what happened , and the movie takes place in her mind . however , we ultimately never know if anything is exaggerated or fabricated , since we never get a different account to compare hers to . her brutal honesty makes us trust her more , though .
first of all , i love you . i have met so many wonderful people while doing this work , and everyone i’ve encountered is trying hard to make the world better . the issues we tackle are so challenging and complex . we don’t all have the same backgrounds or upbringings or conversations , so we are on different points along the continuum . some people are at the beginner end , some at the more experienced end .


the hour of the furnaces ( spanish : la hora de los hornos ) is a 1968 film directed by octavio getino and fernando solanas .

' the paradigm of revolutionary activist cinema ' , it addresses the politics of the ' third worldist ' films and latin-american manifesto of the late 1960s .

the hour of the furnaces

now is the hour of the furnaces , and only light should be seen .
la hora de los hornos / hour of the furnaces by fernando solanas and octavio getino ( 1968 ) . online at : urltoken
thanks . . love your intertextual video essay ! by the way , your link to len lye ' s film gives the url to hour of the furnaces ( as if free radicals is now absorbed - merged in hour of the furnaces . . . . interesting idea ! )
cemas has fi̇ni̇shed i̇nstalli̇ng 2 new i̇nducti̇on furnaces each wi̇th 6 tons / hour melt abi̇li̇ty whi̇ch wi̇ll i̇ncrease the melt capaci̇ty % 75 and fi̇rst li̇qui̇d metal has been obtai̇ned .
sound counts down to the september issue’s once - a - decade poll to find the greatest film of all time , french critic nicole brenez makes the case for one of the key revolutionary activist films of the 1960s , the hour of the furnaces .
robert stam , ‘ the hour of the furnaces and the two avant - gardes’ , in julianne burton , ed . , the social documentary in latin america ( pittsburgh : university of pittsburgh press , 1990 ) , pp . 251 - 66 .
coming up on august 3rd , rivers of steel national heritage area and the young preservationists association will be co - hosting happy hour with carrie – a one hour tour of the carrie furnaces followed by beer and socializing at voodoo brewery homestead . ypa members receive a discount on tour tickets with the code ypa2016 . this is a great opportunity to network with others who share a passion for preservation while checking out the incredible carrie furnaces site ( and the awesome craft beer at voodoo ) .
rivers of steel arts ( rosa ) is excited to welcome the pittsburgh community to our first annual community day at the carrie furnaces on july 15th , 2017 from 3 - 7pm ! bring the kids and meet your neighbors at the national historic landmark carrie furnaces for a day filled with creative projects , outdoor fun , raffle prizes , local food and entertainment . visitors get behind - the - scenes look at the exciting programming rosa offers throughout the season including hands - on workshops , photo safaris , graffiti art projects , foundry work and much more . create your own unique piece of aerosol art or cyanotype . explore the massive furnaces through one of our inspirational tours . or simply come down and enjoy dinner with the family outdoors amidst the serene and awesome carrie furnaces !
the film’s elegant radicalism inspired many later visual essayists such as chris marker , the dziga vertov group , the cinéthique group , patricio guzmán , alexander kluge and films such as the spiral ( 1975 ) made by armand mattelart , jacqueline meppiel and valérie mayoux ( with the help of chris marker ) . in fact the analysis of conditions in chile found in the spiral and guzmán’s the battle of chile ( 1977 ) can be considered fourth and fifth chapters of the hour of the furnaces .
having proved its power to inspire , the hour of the furnaces remains incendiary because it affirms its thesis as if it were throwing grenades , accepting that the wind of history drives some of the flames back towards the thrower . among its arguments urging armed struggle there is one slogan , however , that’s proving false in these times of lethal neoliberalism : “no social order commits suicide . ” let’s hope that some collective , somewhere in the world , is preparing the tinder .
the film la hora de los hornos ( the hour of the furnaces , 1968 ) , a third cinema manifesto against neocolonialism , has a brilliant installation specification . 1 a banner was to be hung at every screening with text reading : “every spectator is either a coward or a traitor . ” 2 it was intended to break down the distinctions between filmmaker and audience , author and producer , and thus create a sphere of political action . and where was this film shown ? in factories , of course . now , . . .
the chronicle of the political tension in chile in 1973 and of the violent counter revolution against the democratically elected government of salvador allende .
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the hour of the furnaces : notes and testimonies on neocolonialism , violence and liberation is a didactic essay organised into 14 chapters : ‘introduction’ ; 1 ) ‘the history’ ; 2 ) ‘the country’ ; 3 ) ‘daily violence’ ; 4 ) ‘the port city’ ; 5 ) ‘the oligarchy’ ; 6 ) ‘the system’ ; 7 ) ‘political violence’ ; 8 ) ‘neoracism’ ; 9 ) ‘dependence’ ; 10 ) ‘cultural violence’ ; 11 ) ‘models’ ; 12 ) ‘ideological welfare’ ; 13 ) ‘the choice’ . in other words , the film conducts a comprehensive analysis of the history , geography , economy , sociology , ideology , culture , religion and daily life of latin america . each dimension and source of oppression is documented and pondered , as is each link between determinations and their consequences .
because no movie genre makes quite as personal de mands on the viewer as the political documentary , or plays on his prejudices with such accuracy , perhaps i should explain something of my own experiences , which , of course , i took with me when i entered the theater to see “the hour of the fur naces . ” i ' m no student of either argentina or latin america , and just about everything i know of them is the more or less chance result of several short visits to argentina in the early 1960 ' s .
one of the key films of the 1960s , don’t miss this extremely rare chance to see on the big screen the film that established the paradigm of revolutionary activist cinema .
while chronicle of peronism drew on a reservoir of familiar images forming part of the audiovisual memory of argentinian popular classes , ‘chronicle of resistance’ incorporated a fresco of reports and testimonies about argentine popular struggles during a long period of proscription .
not only is farocki’s workers leaving the factory , on the level of content , a wonderful archaeology of the ( non ) representation of labor ; on the level of form it points to the spilling over of the factory into the art space . workers who left the factory have ended up inside another one : the museum .
the former director of the austrian film museum on the preservation of film heritage & what it means to preserve cinema in the 21st century .
the seminar will consider how film can be used to explore changes in the architectural understanding of space that were central to emergence of the new architecture after world war i . starting with the explanation of architectural space offered by sigfried giedion ' s hugely popular space time and architecture , the first half of the session will contrast the spatial composition of charles garnier ' s opera house , paris , one of the heroic celebrations of the beaux arts approach , with le corbusier ' s villa savoye , one of the best - known paradigms of the new architecture of the 1920s .
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a quote from frantz fanon’s the wretched of the earth . the film was of course banne d and had to be shown clandestinely .
as its title implies , the film is a series of interviews with five enlisted men who participated in the mylai ac tion and all of whom are now out of the army . the effect of the testimony—rueful , matter‐of‐fact , unsentimen tal , a lot of it smiling ( at the interviewer and at the fact of being interviewed , rather than at the subject ) —is ter rifying , and almost indescrib ably sad .
arl schmitt , groys assigns the role of sovereign to the artist who—in a state of exception—violently establishes his own law by “arresting” a space in the form of an installation . the artist then assumes a role as sovereign founder of the exhibition’s public sphere .
in october 1969 jean - luc godard interviewed solanas and getino in paris , and then published the following pronouncement in the maoist magazine cinéthique : “during the screening of an imperialist film , the screen sells the voice of the boss to the viewer ; the voice flatters , represses or bludgeons . during the screening of a revisionist film , the screen is only the loudspeaker of a voice delegated by the people but which is no longer the voice of the people , for the people watch their own disfigured face in silence . during the screening of an activist film , the screen is just a blackboard or the wall of a school providing a concrete analysis of a concrete situation . ”
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from what i have seen , taekwondo is labyrinth of bodies . the male body in the film transforms into a generalized spectre , a site of struggle of sexuality . what i liked about the film is that it withdraws from the penetrative approach of contemporary gay films by exhuming the liminal power of the body to question the politics of visibility of lgbtq cinema . in withdrawing from penetrative paradigm of gay identity politics , the film reconstructs a ‘minotaurian dilemma’ of bodies and orientations . in the end , theseus , in parallel to the character of german ( played by gabriel epstein ) , will slay the minotaur , in parallel to the character of fer ( played by lucas papa ) , at the center of labyrinth with a kiss .
this production transcends the usual run of shakespearean presentations in taste , beauty and imagination . many of the misgivings one is
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to mark the centenary of the russian revolution and its cultural impact we present a season of films which were born from the revolutionary spirit and influence .
completed two years after the battle of chile : part i ( 1975 ) and the battle of chile : part ii ( 1976 ) , this film deals with the creation of thousands of local groups of
popular power
by . . . see full summary »
the second part of la hora de los hornos caused the greatest degree of controversy internationally . the recovery of peronism as a revolutionary popular movement , and particularly of perón as a charismatic leader , was called into question . however , other critics rescued the new treatment of peronism which the film came to offer , as well as the more complex reading of a phenomenon which most of the european traditional left had wrongly and hastily associated with fascism .
we’ll have a complete list of prizes at the ballot box . please see the bottom of the article for some ( totally reasonable ! ) terms and conditions for the prizes .
founded in 1999 , senses of cinema is one of the first online film journals of its kind and has set the standard for professional , high quality film - related content on the internet .
, which is one of the oldest building in one of pittsburgh’s most revered and notable historic districts , the mexican war streets .
taking the marxist concept of praxis seriously , the hours of the furnaces wages its battle not only on the argentinian political front but also on the aesthetic and theoretical fronts . considering its modest underground provenance and its growing historical influence , the film seems to have fought victoriously because it attacked all three areas with equal energy and ingenuity . as jean - luc godard once said about solzhenitsyn : “we already knew all about what he wrote , but he was listened to because he had style . ” the film’s renewal of the economic - political treatise as cinematic form can be traced in many subsequent films whose activism operates through similarly diverse experimental energies : godard’s le rapport darty ( 1989 ) , raoul peck’s profit
jürgen habermas , the structural transformation of the public sphere : an inquiry into a category of bourgeois society , trans . thomas burger with the assistance of frederick lawrence ( cambridge , ma : the mit press , [ 1962
ranjana khanna , ‘the battle of algiers and the nouba of the women of mont chenoua : from third to fourth cinema’ in third text , 12 : 43 ( 1998 ) , 13 - 32 .
cinema , which integrated the logic of taylorist production and the conveyor belt , now spreads the factory wherever it travels . but this type of production is much more intensive than the industrial one . the senses are drafted into production , the media capitalize upon the aesthetic faculties and imaginary practices of viewers .
in an interview in cahiers du cinéma , solanas rescued the historical meaning of peronism and the place of nationalism in liberation processes , and maintained that many had failed to understand the film’s theses : the limits of bourgeois nationalism ; the impossibility of a democratic bourgeois revolution if it was not continued as a socialist revolution ; the latin american horizon of national struggles .
over the course of the last century , the us has silently encircled the world with a web of military bases unlike any other in history . no continent is spared . they have shaped the lives of millions , yet remain a mystery to most .
one of the most popular attractions last year were the suits of armour we had set up . people loved to pose with them .
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it is quite curious that the first films ever made by louis lumière show workers leaving the factory . at the beginning of cinema , workers leave the industrial workplace . the invention of cinema thus symbolically marks the start of the exodus of workers from industrial modes of production . but even if they leave the factory building , it doesn’t mean that they have left labor behind . rather , they take it along with them and disperse it into every sector of life .
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rivers of steel arts ( rosa ) supports artistic place - based projects that further the interpretation of local history and re - imagine the future of familiar places . . . learn more
they are shown in the museum , or the gallery—the art space . that is , in any sort of white cube .
. ] the workers who left the factory in 1895 have today been recaptured on the screen of the cinema within the same space . they only left the factory to reemerge as a spectacle inside it .
an impassioned three - part documentary of the liberation struggle waged throughout latin america , the film uses argentina as an historical example of the imperialist exploitation of the continent . the first part , neo - colonialism and violence , is an historical , geographic , and economic analysis of argentina and part two , an act for liberation , examines the ten - year reign of juan perón ( 1945 - 55 ) and the activities of the peronist movement after his fall from power . the final part , violence and liberation , studies the role of violence in the national liberation process and constitutes a call for action .
protective custody is no simple arrest . it refers to a state of exception or ( at least ) a temporal suspension of legality that allows the suspension of the law itself . this state of exception is also addressed in boris groys
16 thinkers gathered together to discuss the political issues in japan , such as reuse of nuclear plants , accepting right of collective self defense , tpp , the secrecy law and the revision of constitution by abe regime .
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we’ve invited corinne betchel , director of tourism of rivers of steel national heritage area , to contribute to the ypa blog as our first guest blogger . check out what’s happening with rivers of steel this summer !
styles of substance : the extraordinary image : orson welles , alfred hitchcock , stanley kubrick , and the reimagining of cinema , by robert p . kolker
the last part of the film is presented as a study supported by testimonies ( letters from fighters , interviews , reports ) relating to the meaning of violence in the process of national liberation . from the beginning of this part , there is an insistence on the open nature of the film , related to its disposition to encouraging open dialogue . there is also a specific explanation of its ‘unfinishedness’ , as it intends to incorporate new materials which might arise from the process of liberation itself in which the film seeks to be inserted . the film ends with footage of latin american and third world struggles , accompanying a discourse questioning the possibility of pacific coexistence , as well as a song on violence and liberation , written by solanas himself .
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there is however one interesting difference between cinema and factory : in the rebuilt scenery of the lumière museum , the opening of the former gate is now blocked by a transparent glass pane to indicate the framing of the early film . leaving spectators have to go around this obstacle , and leave through the former location of the gate itself , which no longer exists . thus , the current situation is like a negative of the former one : people are blocked by the former opening , which has now turned into a glass screen ; they have to exit through the former walls of the factory , which have now partly vanished . see photographs at ibid .
divided into three segments , namely 1 neocolonialism , 2 act for liberation , 3 violence and liberation , the documentary lasts more than 4 hours this deals with the defense of the revolution and the revolution of the third world such as the revolt of the students in the united states and western europe , czech citizens protest against the soviet union ' s state bureaucracy and also the revolution that ( probably ) is unprecedented in argentina .
at this point , a decisive difference emerges between classical cinema and the museum . while the classical space of cinema resembles the space of the industrial factory , the museum corresponds to the dispersed space of the social factory . both cinema and fordist factory are organized as locations of confinement , arrest , and temporal control . imagine : workers leaving the factory . spectators leaving the cinema—a similar mass , disciplined and controlled in time , assembled and released at regular intervals . as the traditional factory arrests its workers , the cinema arrests the spectator . both are disciplinary spaces and spaces of confinement .
one example of a development that capitalized on a historic pittsburgh building was a recent ypa happy hour destination . the ace hotel on s . whitfield street in the east liberty neighborhood was once a ymca . built in the early 1900’s , the ace hotel franchise purchased the building in 2006 and completed an extensive renovation . the building has been restored to its original glory , with a few minor adaptations : a bar and restaurant now occupy the entrance and the gym now holds dance parties as opposed to high school basketball games . an over $ 20 million dollar investment , the ace hotel leveraged tax credits , grant money , and private money to restore the boutique hotel . while a valid argument can be made about the benefit of the ace hotel for the existing east liberty residents , i know i would much rather see a historic building repurposed rather than bleak new construction erected or another building left to deteriorate .
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beginning in the mid - 1990s , young directors , the majority of whom had graduated from one of many film schools in argentina , began producing low - budget , independent films in a style that earned this group the classification of the new independent argentine cinema .
the second half of the seminar will concentrate on architectures d ' aujourd ' hui ( 1930 ) , a collaboration between film - maker pierre chenal and le corbusier . it constitutes le corbusier ' s most tangible foray into film - making and highlights the crucial contribution he made to the field of cinema and architecture as one of the first examples of ' narrative expressive space ' . this will be illustrated by the analysis of the ' promenade architecturale ' scene in the villa savoye .
one of my book finds in lav diaz’s library - kubler’s the shape of time . i wonder if he ever read this .
some of solanas ' s juxtapo sitions are so obvious they are unworthy of the quality of the passion of the film that contains them . mostly , however , the images , the edit ing and the sound track are fine , even witty , as in the section on the argentine aristocracy , defined by its grandiose cemetery that looks like washington ' s resurrec tion city , sculptured in mar ble . the aristocrats , he notes , “take the past as [ if it were ] a future . ”
diaz’s eurocentric audience also poses a problematic politics of reception . one of my cinephile friends from italy , renato loriga , expressed his distaste on european cinephilia’s instant positive appraisal on diaz’s cinema after winning three successive major awards from the top european film festivals of locarno , berlin and venice in the span of three years . renato told me that the italian critics , especially those who have ignored some of his early long - form works in the 2000s , were suddenly appreciative of his cinema because of the awards he won . diaz was almost suddenly under the radar of critics , scholars , producers , distributors and the media , earning him a title as one of the world’s most renowned filmmakers .
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grupo cine liberación ( fernando e . solanas , octavio getino ) , argentina , 1968 . the work is one of the most important films of third cinema .
a film about the true reasons for the 1989 us invasion of panama and big media complicity in these activities .
souriau developed his idea of the agogic as an explicit reaction to the ‘rather banal description [ of ] arts of space in contrast to the phonetic and cinematic arts’ . [ of ] interest is popper’s use of the term to describe the quality of temporal pattern that he identifies in a range of works . at one extreme [ . . ] . ] is the velocity and dramatic choreography of a len lye installation . the term agogic conflates speed , acceleration and duration and would appear to be a significant aspect of kinetic form . [ jules moloney , designing kinetics for architectural facades : state change ( new york : taylor and francis , 2011 ) , p . 64 . ]
in continuing this written monologue about conversation , i am becoming aware of the sheer weirdness of thinking in this way about something that behaves so differently than writing “for the record . ” but if , as maurice blanchot demonstrates , conversation can be defined as a series of interruptions—perhaps the most powerful of which being the neutrality of silence—then writing , which is a kind of silent speech , may itself constitute an interruption to the way conversation is imagined . 1 . . .
anhui xinke new materials stock co . ltd . , the chinese copper strip manufacturer based in wuhu city , anhui province , had signed a contract for the supply of two induction furnace systems with induga in october 2012 . as part of a drive to expand production capacity , the equipment is intended to provide copper - iron alloy stock for the production of leadframe strip of high electrical conductivity . for melting down copper cathodes and return scrap , a 10 - tonne medium - frequency coreless furnace with a rated power of 3 , 000 kw at 250 hz is to be provided by otto junker gmbh . the system can achieve a maximum melting rate of 7 . 5 tonnes / hour . the furnace will be equipped with a stepless tilting feature allowing the vessel to be tipped backwards by up to 20º to facilitate de - slagging . from the melting furnace the liquid metal will be transferred directly to a mobile sidewell - type pouring furnace equipped with a 300 kw coreless inductor . both furnace systems are to be fitted with power converter and switchgear equipment based on igbt technology , apart from receiving the most advanced process control technology . our scope of delivery will likewise comprise the water recooling systems as well as the charging equipment for the melting furnace . delivery of these furnace installations is slated for october 2013 . the customer aims to commission the production line in april 2014 .
paul a . schroeder is author of tomás gutiérrez alea : the dialectics of a filmmaker ( routledge , 2002 ) , and is currently working on a general history of latin american cinema .
the processes of the factory have entered the museum in ways that warhol and duchamp could never have dreamed : the amount of art production now by far exceeds what can be processed or understood , and this often creates a degree of mistrust and an absence of common points of reference with which to not only discuss , but also to gain anything from the sheer volume of artworks placed on display today . the time to engage and digest work is often replaced by additional work—it just keeps coming . . .
prior to this , the filmmakers’ voice addressed compañeros ( comrades – a privileged kind of spectator ) , those ‘protagonists of the process which the film somehow attempts to bear witness to and deepen’ , reaffirming the idea of openness ( and even collective authorship ) contained in the concept of film act : ‘the film is a pretext for dialogue , for the search and the meeting of wills . this is a report we place before you for your consideration to be debated after the screening . what counts is the conclusions you can draw as the real authors and protagonists of this story… above all , what counts is the action that might spring from these conclusions… that’s why the film stops here and opens up for you to continue it . ’
lotte eisner , ' the beginnings of the expressionist film ' , in the haunted screen : expressionism in the german cinema and the influence of max reinhardt [ 1952 ] , transl . r . greaves ( berkeley and los angeles 1973 ) , pp . 17 - 27
how did this happen ? first of all , the traditional fordist factory is , for the most part , gone .
every week until the show we’ll be giving away a pair of free tickets to the show on our facebook page .
manuel castells , “the space of flows” , in the rise of the network society , 2nd edn . ( chichester ; malden , ma : wiley - blackwell , 2010 ) , pp . 407 - 59
tom gunning , '
now you see it , now you don ' t
: the temporality of the cinema of attractions ' ( pp . 41 - 50 )
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while questions of creative sovereignty ( hurriyat al - ibda‛ ) tend to loom large in egyptian academic writings , the artistic trajectory of the annual juried competition known as the youth salon has been marked , historically , by structural inertia . established in 1989 by the ministry of culture , the exhibition was meant to encourage a new generation of egyptian artists and increase their international visibility . 1 jessica winegar has explored the salon as a “tournament of values” that is . . .
the period of the 1960s in latin american cinema was revolutionary . third cinema emerged during this period as collective effort to decolonize latin american culture and resist the cultural imperialism of the united states . how’s the third cinema project in your respective regions now ? is the tradition of militant filmmaking , as inaugurated by getino and solanas , still practiced among militant filmmakers ?
without notice , the question of political cinema has been inverted . what began as a discussion of political cinema in the museum has turned into a question of cinematic politics in a factory . traditionally , political cinema was meant to educate—it was an instrumental effort at “representation” in order to achieve its effects in “reality . ” it was measured in terms of efficiency , of revolutionary revelation , of gains in consciousness , or as potential triggers of action .
go behind the scenes of the mission : impossible movies , check out the latest videos and trailers , and see which spy movies topped the box office in our mission : impossible guide .
rosenstone , robert , ' introduction ' , in visions of the past : the challenge of film to our idea of history ( cambridge , ma ; london : harvard university press , 1995 ) , pp . 1 - 19 .
this extreme control over visibility sits rather uncomfortably alongside the perception of the museum as a public space . what does this invisibility then say about the contemporary museum as a public space ? and how does the inclusion of cinematic works complicate this picture ?
“photography and video filming are not normally allowed at tate” ( → ) . however , filming there is welcomed on a commercial basis , with location fees starting at £200 an hour ( → ) . policy at the centre pompidou is more confusing : “you may film or photograph works from permanent collections ( which you will find on levels 4 and 5 and in the atelier brancusi ) for your own personal use . you may not , however , photograph or film works that have a red dot , and you may not use a flash or stand . ” ( → ) .
are considered to be a great american triumph . two of his plays , “fences” and “the piano lesson” , have won pulitzer prizes . the august wilson house is also listed on the national register of historic places .
tom gunning , d . w . griffith and the origins of american narrative film : the early years at biograph ( urbana , il : univerisity of illinois press , 1994 ) .
david harvey , ' time - space compression and the rise of modernism as a cultural force ' and ' time - space compression and the postmodern condition ' , in the condition of postmodernity : an enquiry into the origins of cultural change ( oxford : blackwell , 1990 ) , pp . 260 - 307 .
the current discussion of cinema and the museum as public sphere is an animated one . thomas elsaesser , for example , asks whether cinema in the museum might constitute the last remaining bourgeois public sphere .
conditions of production : la hora de los hornos was made clandestinely in bits and pieces over a period of two years ( 1966 - 67 ) and owes much to the collaboration of subversive groups in various parts of the country . solanas and getino not only had to contend with the threat of political censorship and retribution - the film has not yet been allowed public exhibition in argentina and private attempts are dangerous - they also had to deal with the high production costs of using film as the medium of their essay in the situation of a capitalist economy . they worked as cheaply as possible , using the most crude 16mm bolex available , without sinc - sound or motorized drive ( making their longest possible takes about 30 seconds ) . and to raise the money they worked in the daytime making commercials ( many of which are exploited contemptuously in the film ) , an appropriate - and inescapable - contradiction .
' agogics ' is a musical term that designates the use of agogic accents , that is accents consisting in a lengthening of the time - value of the note . the philosopher étienne souriau extended the use of the term to include all the arts existing in time . he defined ' agogics ' as \ what characterizes an artwork that takes place in time , through movement , and specifically through the creation of a fast or slow pace , or the use of different rhythms . ' for musicians , the notion is related to gesture , to physical movements , to a bodily interaction with their instrument , to a sense of speed , an energy , a precise handling of a piece . [ christian jacquemin et al , ' emergence of new institutions for art - science collaboration . . . ' [ date unknown ] , online at : urltoken . hyperlinks added by fsff ]
for a more sober description of the generally quite idealized condition of multitude , see paolo virno a grammar of the multitude , trans . isabella bertoletti , james cascaito , and andrea casson ( new york and los angeles : semiotexte , 2004 ) .
mike wayne , chapter on ‘ third cinema as critical practice : a case study of the battle of algiers ’ , in political film : the dialectics of third cinema ( london : pluto press , 2001 ) , pp . 5 - 24 .
the formal organisation of la hora de los hornos is inextricably linked to these objectives . its total running time of four hours 15 minutes is structured into three parts , each with a different formal treatment , theme and even objective . the first section , ‘neocolonialism and violence’ , was conceived as an essay film , which discusses the neocolonial nature of argentine and latin american dependency through 13 chapters . the second part , ‘act for liberation’ , is divided in two , reflecting specific time periods : chronicle of peronism and chronicle of resistance . conceived as a film act and dedicated to the ‘peronist proletarians’ , these two chronicles respectively deal with an analysis of the ten years of peronism in power ( 1946–55 ) and a critical reconstruction of the ensuing struggles ( 1956–66 ) . the third part , ‘violence and liberation’ , dedicated to ‘the new man who is being born out of this liberation war’ , presents itself as a study on the meaning of violence .
cinema , as jean - louis comolli notes , began as documentary and documentary as cinema . nevertheless , documentary remains a slippery , marginal filmic mode that pertains to the non - fictional world of knowledge and information while drawing on the resources of fiction , its roots identifiable in both scientific photographic inscription and modernist avant - garde filmmaking . from the vantage of point of contemporary documentary filmmaking – seen as a continuation of a cinematic renaissance in the form reaching back to the 1990s – this session will explore the ways in which documentary film’s complex relation to reality may be understood , addressing in particular how today’s “golden age” of documentary may be thought in relation to the genealogy of the mode and its theorizations .
today , cinematic politics are post - representational . they do not educate the crowd , but produce it . they articulate the crowd in space and in time . they submerge it in partial invisibility and then orchestrate their dispersion , movement , and reconfiguration . they organize the crowd without preaching to it . they replace the gaze of the bourgeois sovereign spectator of the white cube with the incomplete , obscured , fractured , and overwhelmed vision of the spectator - as - laborer .
mariano mestman is a lecturer at the university of buenos aires . this piece is translated from the spanish by libertad borda and is an edited version of an essay from 24 frames : the cinema of latin america , edited by alberto elena and marina díaz lópez and published by wallflower press .
drazin , c . in search of the third man ( london : methuen , 1999 ) .
a brilliant installation by harun farocki makes clear where the workers leaving the factory are headed . farocki collected and installed different cinematic versions of
rivers of steel arts would like to thank the pittsburgh foundation as well as the following sponsors for helping to make this event possible .
he connects images to illuminate social contradictions not apparent when they are perceived in isolation . one particularly moving sequence links the upturned face of a hungry child in the back country with the exploitative neo - colonial system by intercepting it with a dazzling skyscraper in bucnos aires , the port city where foreigners siphon off the country ' s natural wealth . instead of pretending a special or temporal literalness ( like hollywood montage ) , this connection is based on a mediation of concrete images with the assessment of argentine social structure as a class structure . the ambiguous apparent nature of the images by a construct of contradiction is transformed into their essential nature based in material conditions .
by considering a range of critical attempts to define or describe the documentary alongside the work of two contemporary filmmakers , gianfranco rosi and nicholas philibert , we will consider how cinematic documentary continues to make its historical “truth claim” while employing experimental techniques that complicate the kinds of knowledge promised by the mode . in doing so , this session will attend to issues central to the study of documentary and to that of film more broadly – realism and formalism , indexicality and the digital , spectatorship and subjectivity , narrative and temporality – as well as reflecting on how the increasingly hybrid forms of contemporary documentary both reprise and reinvent earlier cinematic traditions .
in any case , this revision was there to be discussed by the audience . in this sense , the most interesting aspect was the fact that the film’s very structure incorporated an explicit call for the spectator to continue it through a collective discussion and a transforming praxis . thus , after chronicle of peronism was over , a legend announced : ‘space open for dialogue’ . that was the point when a member of the militant group hosting the exhibition had to coordinate the act , as a unique communication moment among the viewers , a tool to make the spectator ( in traditional filmic terms ) into a protagonist of the exhibition and actor ( militant ) in the political process .
it might even be the same factory . because the former lumière factory , whose gates are portrayed in the original
the closing sequence , with a sacrificed che lying in state , is set up as the example of that invention , the new man theorised by che himself . the narrative function of this extended closing shot is to establish a visceral and tacit approval of violence against the system as the only viable act of liberation . it will be up to part 2 to develop the necessary historical and theoretical justification for this conclusion , and to part 3 to give more examples ( besides che’s ) on how to proceed .
i find difficult ( and de pressing ) solanas ' s conclu sions in favor of perenism , which he describes as the first popular expression of argentina ' s national con sciousness , and suspect that , in the style of other con temporary revolutionaries , he may well feel that the past can be rewritten , through re‐evaluation , according to the needs of the present . solanas ' s conclusions thus escape me ; his arguments do not .
amongst the many definitions of art , national identity is not a category used very often . and yet , when it comes to cinema , the tendency to define films by their national origin is a default position . why is that ? what makes cinematic art more readily identified by its “nationality” ? one of the most immediate answers to this question is the narrative nature of film as an art form that is closely connected to specific places and times that have specific identities . this session will address some of the connections between films and the societies and cultures they depict . by focusing on the small and manifestly ideological cinema of israel the session will examine some of the elements that make up so - called national cinemas .
in ‘ideological war’ , the voice - over heard above background music stresses how ‘ideological war in latin america is mostly waged in men’s minds’ , while a hand - held camera shows crowded downtown pedestrian streets by night . a long and remarkable montage of images and sounds opens up a wide range of issues to be denounced , unveiling mechanisms of ‘cultural penetration’ . the last section presents ‘the option’ . a sequence about the burial of a man from the marginal classes in the north of argentina , an ‘ordinary man’ , is followed by images of che guevara ’s corpse : his lifeless body laid out on a concrete table , followed by a static shot of his face , which lingers on screen for the last five minutes of this section , accompanied only by percussion sounds . the image presents a christ - like che , whose example could function as an icon of liberation .
this seminar will examine the symbiosis between film and space , with a particular focus on the urban , taken as part of a broader problematic concerned with representations of space and spaces of representation ( to use the terms coined by lefebvre ) . we will look at theories of urban and global / geopolitical space , from david harvey and ed soja to fredric jameson , and consider some key moments in which the mutual constitution of cinema and city is manifest , with a major film from the silent era , a 1950s film noir parody set in mexico , and a key example of cyberpunk from the 1980s .
harun farocki , workers leaving the factory in eleven decades , 2006 . video still . courtesy of the leonard & bina ellen art gallery .
frantz fanon , ‘on violence’ , in the wretched of the earth , trans . richard philcox . new york : grove press , 2004 .
a literary and artistic movement that flourished between the two world wars . defined by andré breton , surrealism endeavored to express the
real
workings of the human mind by liberating it from the influence of conventional value systems , whether aesthetic , moral , or logical . automatic expression of the mind by exploring dreams , the subconscious , and hypnotic trances , an artistic movement that displayed vivid dream worlds and fantastic unreal images
braddock sits just outside the city of pittsburgh in the mon valley . while mon valley towns like braddock have not seen the kind of renaissance that has occurred in places like east liberty , there is much potential for a resurgence . businesses like the brew gentleman and studebaker metals have chosen to locate their business along the main corridor , braddock avenue . there are many champions in the braddock neighborhood , from the local block watch members up to the mayor , who are working to bring investment to braddock while improving the lives of current residents .
while legitimizing his position as one of the forminable asian auteurs that penetrated the european cinephile culture , the limited turnout of filipino audience in most of his screenings in the philippines proved contradictory . diaz’s high cultural capital and idiosyncratic approach to filmmaking opened debates , critical appraisal and critiques in his home country . during the onset of his popularity , diaz’s long duration was dismissed as anti - people and anti - audience for its demand for long endurance and extreme durative work from its audience . diaz’s duration can be seen as a totalitarian conditioning of opticity . this and other problematiques would constitute the core problems of my thesis .