Jacqueline Clipsham

Jacqueline Clipsham is a sculptor, ceramic artist, disability-rights activist, educator and museum professional.
She was educated at Carleton College, University of Perugia, Italy, University of Grenoble France, Cleveland Institute of Art and Case Western Reserve University. She was a member of the Congress of Racial Equality (CORE) in the 1960s. At the Metropolitan Museum of Art in New York city, she worked for the Disabled Museum Visitors services, acted as a consultant for the National Endowment for the Arts. She taught ceramic arts in Sumter, South Carolina, and later at the Brooklyn Museum Art School in New York. Her work is included in the collections of the Museum of Modern Art, New York, and the Carnegie Museum of Art, Pittsburgh.
Early life.
Clipsham was born in England to an American mother and British father, both of whom were engineers. She was born with achondroplasia.
Exhibitions.
Clipsham's work has been widely exhibited, including the "Center for Book Arts: The First Decade" exhibition at the New York Public Library. A retrospective solo exhibition of her work was held in 2001 at the Hunterdon Art Museum in Clinton, New Jersey.
Collections.
Clipsham's work is included in major museum collections including the Carnegie Museum in Pittsburgh, PA; Museum of Modern Art, NYC, Cleveland Museum of Art, Newark Museum, and the Hunterdon Art Museum, among other public and private collections.
Awards and honors.
In 1966 Clipsham received a National Merit Award for ceramics from the Museum of Contemporary Crafts, New York. In 1982, she was awarded a New York State Council for the Arts grant. In 1987 she was named Distinguished Visiting Artist/Teacher at Carleton College, and also received a Mid-Atlantic Arts Foundation fellowship. In 1995, Clipsham was awarded the Women's Caucus for Art Lifetime Achievement Award.
Bibliography.
"Obstacles and Opportunities: Careers in the Visual Arts for People With Disabilities", by Jacqueline Ann Clipsham, National Forum on Careers in the Arts for People with Disabilities.


Mary Electa Allen

Mary Electa Allen (1858–1941) was an American photographer and co-founder of the Deerfield Society of Blue and White Needlework. She worked alongside her sister as a photographer from 1885 till 1920 capturing the life and landscape of Old Deerfield, among other subjects and paid commissions.
Her work was critical for the Deerfield Arts and Crafts movement which began in the late 19th century. She captured the life and work of the artists and craftspeople, wrote extensively about the movement's progress, and illustrated their work through photographs in magazine articles.
Early life and education.
Allen was one of four children born in Deerfield, Massachusetts, to Josiah Allen, a prosperous farmer, and his wife Mary.
She began studying at the Deerfield Academy with her sister, Frances Stebbins Allen, where they first had the opportunity to progress socially, intellectually, and artistically. In 1874, the sisters joined a two-year program at the State Normal School teacher's college, now known as Westfield State University, in Westfield, Massachusetts.
The sisters commenced teaching following completion of their program in 1876, but had to eventually quit in 1886 due to significant hearing loss. The cause of this debility is not known, but it is believed to have been a hereditary problem. Neither of the sisters had experienced any major problems until they were in their late twenties and early thirties. Their hearing was examined by the Massachusetts Eye and Ear Infirmary in 1893; while Frances's ailment was declared incurable, Mary underwent an unsuccessful ear surgery.
Photography and career.
Mary and Frances Allen were first introduced to photography by their brother, Edmund Allen. He was a civil engineer who had to take photographs for his job. They began photographing the life around them in mid-1880s as they were leaving the teaching profession. Their early photographs include cover their family, neighbors and the surrounding fields, farms, and houses in Deerfield. The first record of their photographs can be found from 1884, while they were working as teachers. At this point, they were using a view camera to produce albumen prints.
They gained considerable recognition in 1900 when their photography was featured in the Universal Exposition in Paris. In 1901, they gained popularity when they were called two of 'the Foremost Women Photographers in America' by a famous photographer and critic, Frances Benjamin Johnston, in the Ladies Home Journal's July issue.
Using this newfound popularity as a stepping stone, Mary and Frances converted their home in to a working photography studio in 1901. The darkroom was set up in the upstairs bedroom and the parlor below served as a salesroom. From this home-built studio, they published and sold their catalogs of photography from 1904 till 1920, when Frances lost her eyesight. Mary continued working and living with her sister. Even though they stopped taking new photographs in 1920 when they published their last catalog, they continued to sell the prints until 1935.
Mary often categorized their work as 'art' and 'craft'. She called it 'art' because their photographs were a form of their creative expression. They continually captured the world they lived in as they saw it using their unique and inspired techniques to show it to the world. She called it 'craft' because they were frequently commissioned for portrait photography and to provide illustrations for various subjects in magazine articles. Their photographs included four primary themes:
The photographs taken by the sisters was a reflection of their interest in the town's colonial history. In 'Blue and White Needlework', The House Beautiful, volume III, April 1898, Mary wrote:
"Deerfield, Massachusetts, has long been known to the student of history as an interesting link between the past and the present. Belonging to both periods, and to neither entirely, the transition from old to new can be traced almost continuously. The latest development, the Deerfield Society of Blue-and-White Needlework, is a curious example of this continuity."
They never made substantial money through selling prints and catalogs; however, they still managed to travel to Britain in 1908, and the Grand Canyon and Yosemite in 1916. Mary even had the opportunity to be present for President William McKinley's second inauguration in 1901 at the United States Capitol in Washington D.C.
The sisters were often collectively referred to as 'the Misses Allen'.
Involvement with the Deerfield Arts and Crafts movement.
The Arts and Crafts movement began in England in the wake of industrialization in the 19th century through the efforts of A. W. N. Pugin (architect and designer), John Ruskin (theorist and art critic), William Morris (textile designer, writer, and social activist), and their fellow associates. Their ideas eventually influenced the American arts and crafts community with the movement taking roots in different cities and towns. In June 1987, a Society of Arts and Crafts was formed in Boston. This was followed by the formation of other societies in Chicago, Minneapolis, New York City, Deerfield, among others. While both the Allen sisters were actively involved with the Deerfield Arts and Crafts movement, Mary played a critical role in its development and progress in their small rural town. They both photographed the happenings related to the movement, including people working at their arts and crafts, and cataloging the pieces their townspeople produced.
Mary abandoned photography for some time to co-found with three other people the Deerfield Society of Blue and White Needlework, an organization dedicated to producing embroidered textiles. In 1896, she designed the organization's trademark seal, the letter 'D' placed over a flax wheel, which was embroidered on all the items put up for sale.
She was also involved with the Society of Deerfield Industries, working as its treasurer between 1901 and 1919, and serving as a member of the executive committee till 1923. Mary actively promoted the Deerfield Arts and Crafts movement by writing articles about it or illustrating articles written by others using the pictures captured by both sisters.
In September 1892, an article written by Mary was published in the New England Magazine. The article titled 'Old Deerfield' was pivotal in placing the rural historic town on the tourist map. The flow of tourists and the rising popularity of the Misses Allen helped them sell their photo prints and provided an opportunity to other residents to sell their craft.
Post-work years and death.
Mary continued working throughout the 1920s; however, Frances began to lose her vision over the decade. They lived in their house and carried on working with the local community of artists and craftspeople until their demise. Frances Stebbins Allen died on February 14, 1941 and Mary Electa Allen passed away four days after her sister's death on February 18, 1941.
Photography on display.
The Misses Allen published seven catalogs of photographs between 1904 and 1920. Their glass plate negatives were inherited by a relative who kept them in a back porch resulting in significant damage. In the 1960s, the Pocumtuck Valley Memorial Association received a number of such negatives from a relative, Margaret Harris Allen. These were sorted and archived by Margaret in the 1970s and transferred to the Memorial Hall Museum in 1996. The 2,300 Allen images were stored at the museum and put on display when 'The Allen Sisters: Pictorial Photographers 1885–1920' was set up. The photographs were cataloged and preserved by Mary Hawks, from the original Deerfield lineage, and Judy Lawrence, Margaret's daughter.


The Kearsarge at Boulogne

The Kearsarge at Boulogne is an oil-on-canvas painting by Édouard Manet completed in 1864. It depicts the Union sloop-of-war anchored at the French resort of Boulogne-sur-Mer.
On June 19, 1864, the "Kearsarge" sank the Confederate raider CSS "Alabama" at the Battle of Cherbourg in one of the most celebrated naval actions of the American Civil War. Many spectators were able to see the battle from the coast of France. Manet was inspired to make an painting of the battle, but not having witnessed it himself, relied on press descriptions to make an imaginary scene of the battle. and within 26 days of the event, he had already completed this painting and placed on display in the print shop of Alfred Cadart in Paris. This is the work known as "The Battle of the Kearsarge and the Alabama", now at the Philadelphia Museum of Art. Several weeks later, "Kearsarge" made a port call at Boulogne-sur-Mer, where it drew wide media attention and numerous curious spectators, one of whom was Manet.
Manet painted a watercolor of the ship anchored at Boulogne-sur-Mer, which is now at the Musée des Beaux-Arts de Dijon, and later completed this oil-on-canvas painting.The painting is owned by the Metropolitan Museum of Art.


Moschophoros

Moschophoros (Greek: μοσχοφόρος "calf-bearer") is an ancient Greek statue of the Archaic period, also known in English as "The Calf Bearer". It was excavated in fragments in the Perserschutt in the Acropolis of Athens in 1864. The statue, dated c. 560 BC and estimated to have originally measured 1.65 meters (5.4 ft) in height, is now in the Acropolis Museum in Athens, Greece.
Condition.
The condition of the Moschophoros is poor and broken in some areas. The legs are missing below the knees on both sides. The hands are broken off. The genitals and the left thigh have separated from the whole sculpture. The lower half of the face (the chin area) is chipped off. The foot with a plinth is connected to base. The calf is well preserved, while Moschophoros's eyes are absent. The rest of the sculpture is in a fine state.
History.
The sculpture was found on the Athenian Acropolis in 1864. In 1887, the base was discovered. It is made of permeable limestone, and its plinth was attached to the right foot of the sculpture.
The inscription on that plinth claims that this statue was dedicated by someone named Rhombos (possibly Kombos or Bombos; the beginning of the name is missing) to Athena, the goddess of wisdom. This suggests that the sponsor was a very well-to-do-man and a prominent citizen of Attica who offered his own likeness to Athena. He has a calf on his shoulders which represents the sacrificial offering he is about to give to the goddess.
Form and relevance.
The Moschophoros stands with his left foot a little forward, like other kouroi. He has a thick beard, a symbol of adulthood. He wears a thin cloak. The sculpture's nudity is the main aspect of the art as it adhered to the artistic conventions of the era. The cloak on the other hand, depicts him as a respectable and well-recognized citizen.
The challenge of representing man and animal together is successfully accomplished by this Archaic sculpture. The calf's legs are held firmly, making a bold X-shaped composition. This interaction between the calf and the calf-bearer represents a strong, inseparable bond between the two. The man in the sculpture is smiling, in a feature referred to as the Archaic smile, which began in the 6th century BCE.
Kriophoros statues, of a man with a sheep on his shoulders in a similar manner, are more common.
Style.
Moschophoros's hair is very curly, encircling his forehead. There are three plaits on each side falling over his chest. The hair at the top is tied with a narrow ribbon. He has a thick beard that curves around his shaved upper and lower lip. The eyes are large and were made out of colored stones. The stones are absent now but it gave a more lively appeal to the statue before. His mouth is very diligently carved and outlined.
By looking at its form and style, this sculpture is typical in its composition of the early 6th century B.C., around 570 B.C.
Interpretation.
The main idea of a connection between a man and an animal is strongly portrayed. The crossed legs of the calf with the arms of the calf-bearer creates unity between them. The forms are simple such as the round face, eyes and mouth are created with simple arcs. The beard represents an adult man. The body structure is well built depicting strength and power. His mouth and eyes are round in form giving the impression of a positive person, especially, as the man wears a smile on his face.


Harodim

Harodim is a 2012 is a thriller movie that was written and directed by Paul Finelli. Paul Finelli is both a writer and producer who also directed Ride and Der Atem des Himmels (2010). The film is A Terra Mater Factual Studios production, in association with Tomcat Prods., Finger Films. The film stars Peter Fonda, Michael Desante, and Travis Fimmel, and was filmed in Austria.
Plot.
A naval intelligence officer, Lazarus Fell (Travis Fimmel), trained in black ops is tracking the most wanted terrorist in the world, and the man he was told was responsible for killing his father, Solomon Fell (Peter Fonda), during the 9/11 attacks. Lazarus is betrayed by his superiors, but gets away and fakes his own death in order to find the terrorist and extract a confession.
After hunting the terrorist for more than 10 years, Lazarus finds him (Michael Desante) living openly as a wealthy capitalist. Lazarus, motivated by his own personal revenge abducts the man. Before executing him, Lazarus videotapes the interrogation. The terrorist reveals the truth behind the events of 9/11, the real origins and purpose of al-Qaeda, and the plans of a secret society which is using mind control in a plot to take over the world. The secret society has infiltrated the government and military of the United States at the highest levels, and owns the banks and therefore international finance. Lazarus is shocked to learn that he has been selected to play a pivotal role in this world domination.


Sa Dulo ng Baril

Sa Dulo ng Baril () is a 1988 Filipino historical action drama film written and directed by Jerry O. Tirazona and starring Jess Lapid Jr., Lito Lazaro, Eric Borbon, Marithez Samson, Nick Romano, Danny Riel, and Ronald Nepomuceno. Produced by Super Nine Films International, the film was released on August 5, 1988. Critic Lav Diaz gave the film a negative review, criticizing its pretentious editing and questionable depiction of communist rebels in the early 1970s.
Release.
"Sa Dulo ng Baril" was graded "C" by the Movie and Television Review and Classification Board (MTRCB), indicating a "Fair" quality, and was released in the Philippines on August 5, 1988.
Critical response.
Lav Diaz, writing for the "Manila Standard", gave "Sa Dulo ng Baril" a negative review, criticizing the film as pretentious for its cutaways to things such as flowers and the sea, despite nearly liking the simplicity of its storytelling. He also questioned the film's depiction of rebel communists as a rigid and severe group, for during the early 1970s the rebels would have been more concerned with widening its base than punishing wayward citizens within its controlled territory. Diaz also noted that many viewers were disappointed with the film due to expecting an action-packed story, when instead they were given "an orientation of the problems affecting our society".


Red Riding Hood (2006 film)

Red Riding Hood is a 2006 American musical film starring Morgan Thompson as "Red", Henry Cavill as "the Hunter", and Joey Fatone as "the Wolf".
Synopsis.
A typical teenaged girl obsessed with boy bands who is planning to sneak out and meet up with her friends is treated to the story of Little Red Riding Hood by her babysitting grandmother. She and her brother repeatedly offer suggestions on how to spice up the story.
Red lives with her family in a lighthouse by the ocean. One day, Red is set to travel through the woods to her grandmother's house built on an oceanside cliff to bring her soup for her cold. Her mother warns her against using the woods as a shorter route due to the danger of a wolf therein but Red is disbelieving and uses the woods anyway.
The wolf spots Red immediately and begins stalking her. When she is mugged by the three Ashleys (modeled after the Three Billy Goats Gruff), the wolf arrives soon after and gobbles them up, discovering Red's iPod in the process. When the wolf (disguised as a man) finally closes in on Red, he is caught in a trap from which he is released by his gullible prey. Before he can devour her, however, he is scared away by the arrival of a stranger on a white horse (with a blunderbuss). Hunter warns Red against traveling the woods as the creature she had released was a werewolf, further explaining that he had eaten his parents. Again, she is disbelieving and does what she wants.
Finding herself stranded in the woods, Red calls her brother for help and prays to make it out of the woods safely. Her brother arrives but his help is inadequate and he finds himself stranded with her. The two manage to make it to their grandmother's house, but she has already been eaten and replaced by the wolf. Before he can eat Red, he is distracted by her brother and a chase ensues that nearly ends in Rusty being eaten.
Hunter arrives to help but the wolf nearly eats Rusty anyway before Red tosses a silver bullet into his mouth which he swallows. Light begins to pour out from cracks in his body and he explodes, releasing all of the people he had swallowed whole since becoming a werewolf. Amid the happy reunions, the wolf (unharmed) finds the Gypsy Fortune Teller who had cursed him (and was subsequently the first to be eaten) and convinces her to remove the curse.
Grandmother's story now ended, she offers to tell the children a sequel and Claire is convinced to stay in rather than sneak out. Although her friends find the idea laughable, Claire finds that if she had gone out, she would not have met the cute pizza delivery boy.


List of films about food and drink

This is a list of films about food and drink.


Night Watch (2004 film)

Night Watch (, "Nochnoy Dozor") is a 2004 Russian urban fantasy supernatural thriller film directed by Timur Bekmambetov and written by Bekmambetov and Laeta Kalogridis. It is loosely based on the 1998 novel "The Night Watch" by Sergei Lukyanenko, and is followed by a 2006 sequel, "Day Watch".
It was Russia's submission to the 77th Academy Awards for the Academy Award for Best Foreign Language Film, but was not accepted as a nominee. The film grossed $1.5 million in limited theatrical release in the United States, then significantly overperformed in United States home video market (generated more than $9.5 million in home video sales and $12 million in home video rentals).The film received mixed reviews from critics.
Plot.
Since the beginning of time, there have been "Others" - humans endowed with supernatural abilities - and for just as long, the Others have been divided between the forces of Light and Dark. In Medieval times, the armies of both sides met by chance, and a great battle began. Seeing that neither side had a clear advantage, the two faction leaders, Geser and Zavulon, called a truce and each side commissioned a quasi-police force to ensure it was kept; the Light side's force was called the Night Watch and the Dark side's force was called the Day Watch.
In modern-day Moscow, Anton Gorodetsky () visits a witch named Daria and asks her to cast a spell to return his wife to him, agreeing that she should miscarry her illegitimate child as part of it. Just as the spell is about to be completed, two figures burst in and restrain Daria, preventing her from completing the spell. When they notice that Anton is able to see them, they realize that he is also an Other.
Twelve years later, Anton has enlisted in the Night Watch. While policing Moscow, he encounters several portents that Geser says are linked to an ancient prophecy of an immensely powerful Other that will end the stalemate between Light and Dark, but will be more likely to join the Dark. Anton's investigations lead him to a nurse, Svetlana, whom disaster seems to follow everywhere, and a young boy named Yegor.
In the film's climax, Anton prevents a catastrophic storm from leveling Moscow, when he realizes that Svetlana is an Other, and begins teaching her to control her power. But in the process, Anton realizes that Yegor is his own son, and that his wife was pregnant with him when Anton tried to have a spell cast on her (believing, mistakenly, that the father of the child was his wife's lover, not himself). Learning that his own father tried to kill him before he was born turns Yegor - the Other of the prophecy - against Anton and towards Zavulon, which was the latter's plan all along. In helpless rage, Anton strikes Zavulon, while saying in voice over that, although the prophecy has come true and the Dark's victory seems inevitable, he will not give up.
Production.
In 2000, an independent Moscow company invited a director from St. Petersburg, Sergei Vinokurov, the script was written by Renata Litvinova. Artemy Troitsky was expected to star in the film as Anton Gorodetsky, and for the role of the light magician Geser Ivan Okhlobystin was chosen. But the work on the film stalled, which was largely in part of the tiny budget of 50 thousand dollars. And then Channel One, the government-owned TV channel, bought from the publisher the rights to adapt the novel and invited Timur Bekmambetov write and direct the film.
Concerning the casting, Bekmambetov described that he needed an actor for the role of Gorodetsky who was handsome, slightly naive, slightly cunning and that "his eyes must show that he has a conscience".
Part of the challenge for such a big-budget fantasy film was creating hundreds of visual effects (VFX) shots to which a modern audience is accustomed. 16 Russian VFX studios and several freelancers were used, each chosen for their individual strengths. Many shots were created by different artists across different time zones, using the Internet to share data and images.
The film was the first big-budget Russian supernatural movie and one of the first blockbusters made after the collapse of the Soviet film industry. The film was produced by Channel One, with a budget of US$4.2 million. It was shot in a 1.85:1 aspect ratio.
Music.
The film contains several songs from rock bands, e.g. "Jack" by the Belarusian group TT-34 and "Spanish" by Drum Ecstasy.
The song played in the credits of the international version of the movie is called "Shatter" and performed by the Welsh rock band Feeder. The track was a top 20 hit single in the United Kingdom charting at #11 in 2005, to coincide with the international release of the film. The song playing during the end credits of the American release of Night Watch is "Fearless" by The Bravery. In the original Russian version it is a rap song Nochnoy dozor (Finalnyy rep) performed by Uma2rman.
Release.
After premiering at the Moscow Film Festival on 27 June 2004, it went on general cinema release across the CIS on 8 July 2004. The film was extremely successful, becoming the highest-grossing Russian release ever, grossing US$16.7 million in Russia alone, thus grossing more in Russia than "". The sequel, "Day Watch", was released across the CIS on 1 January 2006.
The film attracted the attention of Fox Searchlight Pictures, which paid $4 million to acquire the worldwide distribution rights (excluding Russia and the Baltic states) of "Night Watch" and its sequel "Day Watch".
Critical reception.
"Night Watch" holds a 60% rating on review aggregator website Rotten Tomatoes based on 132 reviews, with an average score of 6.05/10; the consensus states: "This Russian horror/fantasy film pits darkness and light against each other using snazzy CGI visuals to create an extraordinary atmosphere of a dank, gloomy city wrestling with dread." On Metacritic, the film has a weighted average score of 58 out of 100, based on 32 critics, indicating "mixed or average reviews".
Leslie Felperin from "Variety" noted the film's allusions to various classic sci-fi and horror pictures and praised the Moscow setting, eccentric characters, and lavish special effects.
Stephen Holden from "The New York Times" wrote that the picture is "narratively muddled and crammed with many more vampires, shape-shifters and sorcerers than one movie can handle, but it bursts with a sick, carnivorous glee in its own fiendish games".
Film directors Quentin Tarantino and Danny Boyle have highly praised the film.
In 2010, Empire published a list of one hundred best films in the history of world cinema — "Night Watch" took the hundredth place in it.
International release.
One year after the Russian release, the international distribution began. Other than a London premiere at the Odeon West End as part of the Frightfest horror film festival, that screened amid heavy security on 28 August 2005, the first European country outside CIS was Spain where it was released on 2 September 2005. By mid October it had been released in most European countries, and on 17 February 2006 it had a limited release in the United States, followed by a full release on 3 March. By 13 February 2006 (i.e. before the U.S. release) it had grossed US$32 million.
The "international version" of the film debuted in the United Kingdom. In the prologue and epilogue, the Russian voice-over has been dubbed in English, but for the rest of the film features stylized subtitles appearing in odd places around the screen, often animated to emphasise or complement the action. For example, in a scene in which Yegor is being called by a Dark vampire, he is in a pool and the camera is underwater. The caption appears as blood red text that dissolves as blood would in water. In another scene, as a character walks across the scene from left to right, the caption is revealed as his body crosses the screen. In addition, many of the scenes that were present in the Russian theatrical release were omitted, while, at the same time, some scenes were re-cut or added. The International version is shorter by 10 minutes. The DVD was released in the UK on 24 April 2006. The zone 4 DVD had the option of either a Russian or an English audiotrack. Subtitles were simply plain white text at the bottom of the screen. The International version of both "Night Watch" and its sequel, "Day Watch", are now available in HD on Vudu. The HDX encodes are based on the International release and retain the original Russian dialog track with the stylized subtitles.
The original Russian "Director's Cut" of the film was released, apart from Russia, in some European countries on DVD by 20th Century FOX. The only difference of this version from the original Russian version is the absence of the opening credits.
Franchise.
A third film, titled "Twilight Watch" (previously "Dusk Watch"), was announced by 20th Century Fox, however Timur instead decided to do film "Wanted" for Universal Pictures. He went on to say that "Twilight Watch" would be too much like "Wanted", and so to avoid working in an artistic rut the project would need to be either distinctively changed, passed to another director, or simply delayed so that intervening projects could be completed.
"Nochnoi Bazar" fun re-dub.
In 2005, a "fun re-dub" was released under the title "Nochnoi Bazar" ("Night Chat"). The project was initiated by the writer Sergei Lukyanenko as a nod to popular (illegal) fun re-dubs by "Goblin" (Dmitry Puchkov). However, this fun redub was made with full consent of the filmmakers and copyright holders and released on DVD by Channel One Russia. The script was written by the Russian comedian Alexander Bachilo, the song parodies were written and composed by Alexander Pushnoy. The narration was done by Leonid Volodarskiy, a popular voiceover translator of pirated videoreleases in the Soviet Union.


Andy the Talking Hedgehog

Andy the Talking Hedgehog is a 2018 American children's film. The film stars Tara Reid, Dean Cain, and newcomer child actor Karina Martinez. It was directed by Joel Paul Reisig.
Plot.
Animals and plants, including the hedgehog Andy and an evil cat, are given the ability to talk after a fairy grants a girl a wish.
Production.
The film was directed by Joel Paul Reisig, whose other films include "Arlo the Burping Pig", "Rodeo Girl", "Amanda and the Fox", and "Horse Camp". It was released by Reisig's company Be Your Own Hollywood. The film's poster was first revealed on Twitter by Tara Reid. The poster included co-stars Dean Cain and Karina Martinez. Reid stated that she was not taking the film seriously and that the poster is bad. She also said that "it's going to be fun, it's a cute movie".
Release.
The film premiered at Sperry's Moviehouse in Port Huron, Michigan in 2018. It was released on DVD on May 7, 2019 by Echo Bridge Home Entertainment.


In Secret

In Secret (also known as Thérèse) is a 2013 American erotic thriller romance film written and directed by Charlie Stratton. Based on Émile Zola's classic 1867 novel "Thérèse Raquin" and the 2009 stage play by the same name penned by Neal Bell, the film stars Elizabeth Olsen, Tom Felton, Oscar Isaac and Jessica Lange. It was screened in the Special Presentation section at the 2013 Toronto International Film Festival. The film received a regional release on February 21, 2014.
Plot.
In the lower echelons of Parisian society in the 1860s, Thérèse Raquin is a beautiful, sexually repressed young woman trapped in a loveless marriage to her sickly cousin, Camille. She was forced into it by her domineering aunt, Madame Raquin. Thérèse spends her days confined behind the counter of a small shop and her evenings watching Madame play dominoes with an eclectic group of acquaintances. After she meets her husband's alluring friend Laurent LeClaire, she embarks on an illicit affair that has tragic consequences. Camille soon dies during an outing on the lake with Laurent and Therese. The death is revealed to be their doing: Laurent beat Camille while he was in the water, causing him to drown. Madame Raquin finds it difficult to come to terms with her son's death and is incapacitated by a stroke, but overhears them speaking about what they did. With great effort, she alerts one of their friends, who informs the authorities. To escape being sentenced for the murder, Laurent and Therese choose to take their own lives. They drink poison mixed with champagne and die in front of Madame Raquin.
Production.
Casting.
Kate Winslet was attached for a long time to star in the lead role of Thérèse Raquin. Jessica Biel then replaced her, with Gerard Butler as Laurent. In fall 2011, Elizabeth Olsen was announced as a replacement in the lead role. Glenn Close was originally cast as Madame Raquin, but dropped out and was replaced by Jessica Lange.
Filming.
On May 9, 2012, principal photography began in Belgrade, Serbia and Budapest, Hungary.
Reception.
"In Secret" received mixed reviews. On review aggregation website Rotten Tomatoes, the film holds a 41% approval rating, with an average score of 5.34/10, based on reviews from 88 critics. The consensus states: "Although it benefits from a strong cast, "In Secret"s stars can't totally compensate for the movie's sodden pacing and overly familiar story."
Despite mixed reviews, Lange's performance has received critical acclaim. Avi Offer from NYC Movie Guru proclaimed Lange as "...one of the greatest actresses of our time, [who] delivers a mesmerizing, magnificent performance and sinks her teeth into her role quite smoothly." David Lee Dallas from "Slant Magazine" called Lange's character's "latent severity dangerous and surprising." Michael O'Sullivan from "The Washington Post" noted that "Subtlety may not be this film's strong suit, but it certainly is Lange's." Dustin Putman of the Washington D.C. Area Film Critics Association felt Lange is "more achingly vulnerable than the figures she usually plays." Jessica Herdon of Associated Press added that Lange "...going from agonized to helpless, so poignantly that your heart breaks for her." Joshua Rothkopf from "Time Out New York" wrote: "...Jessica Lange, as rare as a unicorn these days, seizes on the role of a grieving mother with two taloned hands. If there are any tremors of shame to be felt here, they emanate from her." Odie Henderson praises Lange on her ability to "...[find] the perfect line of lunacy to toe, which "In Secret" requires for her character's arc..." Also, Emma Myers from "Film Comment" described her ability to "[maintain] a looming presence that shifts from despicable to sympathetic and back again." "USA Today" described her work as her "...most fully dimensional performance." "Variety" mentioned that Lange "...relishes what becomes the most dramatically potent role."


Costco bear

The Costco bear is a giant teddy bear manufactured by Hugfun International Inc. and sold primarily at Costco stores.
Media appearances.
The Costco bear has appeared in a number of television programs including:


Larry La Trobe

Larry La Trobe is the name given to a popular, cast bronze statue of a dog situated on the northern end of Melbourne's City Square (corner of Collins Street and Swanston Street). Along with the Burke and Wills monument, the statue is one of only two free standing art works in the City Square precinct. The statue now located in the square is the second statue of 'Larry', the original having been stolen.
History.
Melbourne artist Pamela Irving created the statue as a result of a commission from the Melbourne City Council in 1992 and it was the first sculpture for Melbourne's Open Air Sculpture Museum. Based on her own dog, Lucy, the statue is not representative of any particular breed but was crafted to generate a sense of Australian larrikinism in the viewer. Irving named the statue after her uncle Larry and the surname 'La Trobe' was appended to represent the relationship with Melbourne and the state of Victoria. Charles La Trobe was the first Lieutenant-Governor of the state of Victoria.
Despite being anchored by 30 cm bolts, the statue was stolen on the night of 30/31 August 1995. It was thought to have been taken as part of a university stunt or melted down.
A campaign was started by the "Melbourne Times", a weekly city newspaper, to recover Larry. The publicity generated by this campaign captured the imagination of the public. A two-metre high likeness of Larry was created for the 1996 Moomba Parade to create additional publicity that might lead to the return of the statue.
Although the subject of a significant publicity and media campaign, the original statue has never been recovered and nobody has been apprehended for the theft. In 1996, Peter Kolliner, previous owner of the foundry where Larry was originally cast, paid for a casting of a new statue. The new statue was cast in the same mould as the original but Irving reddened the casting material to provide the second 'Larry' with a unique identity.
The second Larry was reinstalled in the City Square and officially unveiled on 16 September 1996 by Melbourne Lord Mayor, Councillor Ivan Deveson.
The two-metre high replica of the statue used in the Moomba Parade was taken to Osaka, Japan, a sister city of Melbourne, in 1997 for the Midosuji Parade, where it was awarded the prize for Best Float.
Description.
The statue is approximately 70 cm high and cast from bronze. Although it has been likened to a 'dingo type dog', the model for the statue is a composite that does not represent any one breed in particular.
Cultural events.
The image of Larry was one of the features of the 1999 Melbourne Comedy Festival. Ceramic sculptures of Larry in comedic parodies of famous international and Australian artists' works were displayed in the windows of Myer on Melbourne's Bourke Street Mall. A sculpture of 'Larry' riding Phar Lap and titled 'Phar Larry' was also created by Irving for the 1999 Melbourne Cup.
Popularity.
The location, accessibility and popularity of the statue have resulted in it becoming one of Melbourne's most photographed statues.


King at Rest

King at Rest is a public artwork by American artist Lorenzo Ghiglieri (1931–2020). It is located near the northwest entrance to the Indiana Convention Center, which is in downtown Indianapolis, Indiana, and is owned by the Indiana Convention Center & Lucas Oil Stadium. The realistic bronze sculpture of a lounging lion was purchased in 2001 by the Center.
Description.
"King at Rest" by Lorenzo E. Ghiglieri, is a life-like cast bronze sculpture of a lion perched on a rock. The sculpture is placed near three sculptures by Tom Otterness and across the street from Victory Field. The sculpture has a two-tone patina scheme: the hair of the lion is patinated black, while the body and the rock are patinated brown. The sculpture appears to rest on a concrete base that is approximately the same dimensions as the sculpture (as small amount of the concrete is visible near the back, right leg of the lion; it is unclear if and how the sculpture is attached to the concrete--it may be at rest on the concrete.
Historical information.
"King at Rest" was cast in 1988. The sculpture was installed and acquired by the Indiana Convention Center & Lucas Oil Stadium in 2001.


The Bride of Abydos (Delacroix)

The Bride of Abydos (French – "La Fiancée d'Abydos") or "Selim and Zuleika" is the title of two works by Eugène Delacroix, one in the Museum of Fine Arts of Lyon (pre-1849) and another in the Louvre (1843–1849).
Both works show the characters Selim and Zuleika from the poem of the same name by Lord Byron, written after he had swum the Hellespont between Abydos and Sestos in imitation of Leander.


Elephant of the Bastille

The Elephant of the Bastille was a monument in Paris which existed between 1813 and 1846. Originally conceived in 1808 by Napoléon I, the colossal statue was intended to be created out of bronze and placed in the Place de la Bastille, but only a plaster full-scale model was built. At 24 m (78 ft) in height, the model itself became a recognisable construction and was immortalised by Victor Hugo in his novel "Les Misérables" (1862) in which it is used as a shelter by the street urchin Gavroche. It was built at the site of the Bastille and, although part of the original construction remains, the elephant itself was replaced a few years later by the July Column (1835–40) constructed on the same spot.
Conception.
When the Bastille fell in July 1789, there was some debate as to what should replace it, or indeed if it should remain as a monument to the past. Pierre-François Palloy secured the contract to demolish the building, with the dimension stones being reused for the construction of the Pont de la Concorde and other parts sold by Palloy as souvenirs. Most of the building was removed over the subsequent months by up to 1,000 workers. In 1792 the area was turned into the Place de la Bastille with only traces of the fortress that had once dominated the area remaining.
In 1793, a fountain was built in the square. Known as the "Fountain of Regeneration", it had an Egyptian-inspired design and depicted a woman with water flowing from her breasts.
Napoleon planned many urban regeneration projects for Paris and was particularly fond of monuments to his victories. He wanted to create a significant triumphal structure to demonstrate his military prowess and began the process of designing a 24 m (78 ft) bronze elephant. In the Imperial decree of 24 February 1811, he specified that the colossal bronze elephant be cast from the guns captured at the Battle of Friedland. A stairway would allow visitors to ascend one of the elephant's legs to an observation platform on its back, styled as a howdah.
Construction.
Dominique Vivant was given the task of overseeing the project. Initially, Jacques Cellerier was chosen as the architect and work began in 1810 on the ground works, with the vaults and underground pipes completed by 1812. At this point Jean-Antoine Alavoine was chosen to replace him and the main pool was soon completed.
Alavoine, realising the need to show how the finished work would look, recruited Pierre-Charles Bridan to create a full-size model using plaster over a wooden frame. Completed in 1814, the model was protected by a guard named Levasseur who lived in one of the elephant's legs.
The construction work stopped in 1815 after the defeat of Napoleon at the Battle of Waterloo. However, Alavoine was still seeking support to complete the project in 1833 and others also showed interest in finishing Napoleon's ambitious plans. In 1841 and 1843 the city council discussed options to complete the work using bronze, iron or copper, but none of the proposals were accepted.
Demolition.
Nearby residents began to complain that rats were inhabiting the elephant and searching for food in their homes; and from the late 1820s, petitioned for demolition. The model elephant was not removed until 1846 by which time it showed considerable wear.
Legacy.
The circular basin on which the elephant stood remains to this day and now supports the socle of the July Column.
The elephant itself was described negatively by Victor Hugo in "Les Misérables"; little other account of contemporary public perception is available.
In April 2012 a smaller replica of the elephant was built in Greenwich as part of the set of the 2012 film version of the musical "Les Misérables".
Simon Schama, in the first chapter of "" (1989), tells the story of the Elephant of the Bastille, which he uses as a symbol of the failed hopes of the French Revolution.


Pamela Longobardi

Pam Longobardi (born 1958) is an American contemporary artist and ecofeminist, currently living and working in Atlanta, Georgia. She is known internationally for sculptural works and installations created from plastic debris, primarily from marine and coastal environments, as a primary material. Much of her work includes community-based research, such as carbon or plastic audits, as well as collaborative art creation.
In 2013, Longobardi was awarded The Hudgens Prize and in 2014, she earned the title Distinguished University Professor of Art at Georgia State, and was named Artist-in-Residence of the Oceanic Society. In 2019, she was appointed Regents’ Professor by the Board of Regents for the State of Georgia.
Early life and education.
Pam Longobardi grew up in New Jersey, the child of an ocean lifeguard and a Delaware state diving champion, and credits her parents' relationship to the water with her own scientific and artistic interests. Longobardi moved to Atlanta in 1970.
She received a B.S. in Science Education from Montana State University in 1982. Longobardi then went on to earn her M.F.A. degree, also from Montana State University.
Career.
The entanglement of science and art is central to Longobardi's practice and aesthetic: "I see some aspects of the methodology of the artist and scientist as very similar: long periods of intensive research, immersion in materials to better understand their properties, inquisitiveness and curiosity as driving forces, a desire to unpack ‘reality’ to better understand our relationship to it."
Since 2006, Longobardi has been engaged in The Drifters Project. Begun in 2006, its name taken from the term "drift" – objects that are carried by currents and air. Ocean drift is, today, primarily plastic. Longobardi has collected this drift plastic to create abstract sculptures and installations. One iteration of The Drifters Project was displayed at the 2009 Venice Biennale, at the ARTE VISIVI collateral exhibitions. In 2010, Edizione Charta (Milan, NY) produced a photo-essay book entitled Drifters: Plastics, Pollution, Personhood that included photographs and essays by Longobardi and three other writers.
"All these things collapse for me in the drifting ocean plastic object: it IS an artifact of my specific human evolutionary time; it IS made from petroleum that is the fossil sunlight and ancient plants, animals and yes, dinosaurs, that roamed the past Earth; it IS a biological raft for invasive creatures; it IS a toxic floating time bomb that is changing the human and animal body and the very ocean itself; and it IS a future fossil of the Anthropocene."
In 2013 Longobardi was selected to be lead artist in the GYRE Expedition, an art-science research expedition that assembled a team of notable marine scientists, journalists, filmmakers and artists to trawl remote Alaskan coastlines and to document collaboratively the impacts of plastic pollution on these delicate ecosystems. Her colleagues on the expedition included chief exhibition scientist Carl Safina, artist Mark Dion, filmmaker J.J. Kelly, photographer Andy Hughes, and others: all of these are featured, along with Longobardi, in a twenty-minute National Geographic film, "GYRE", which aired in 2013. Of Longobardi, Dion says "Her knowledge of the subject and commitment is extraordinary." The artistic outcomes from this expedition were shown first at the exhibition entitled "Gyre: The Plastic Ocean" at the Anchorage Museum at Rasmuson Center in Anchorage, Alaska, a show which later travelled to the CDC's Museum in Atlanta, Georgia and other museums across the U.S.. Longobardi's contributions include "Economies of Scale" and "Bounty, Pilfered," both characteristic of her sculptural found-plastic installations. Longobardi uses "materials like sulfurated potash and sodium chloride to oxidize expanses of copper, pouring and wiping different mixtures over the surfaces" to make scenes that "appear otherworldly" but in a series entitled "Anthropocene", she "keeps them decidedly earth-based."
Longobardi also produces paintings with an "elemental aesthetic," incorporating natural processes such as chemical patinas that also crystallize; light-sensitive photo imaging, magnetism, mirror reflection, after-image, and phosphorescence.


The Philadelphia Experiment (film)

The Philadelphia Experiment is a 1984 science fiction film. It is directed by Stewart Raffill and stars Michael Paré, Bobby Di Cicco, and Nancy Allen and based on the urban legend of the Philadelphia Experiment. The film is set in 1943 where two sailors, David Herdeg (Paré) and Jim Parker (Di Cicco), are stationed on a ship used for an experiment to make it invisible to radar. However, the experiment goes horribly wrong and the ship completely disappears and Herdeg and Parker find themselves in the Nevada desert in the year 1984. They find out the program has been revived in 1984, unexpectedly interacting with the experiment in 1943 and putting the entire world in danger.
Plot.
In 1943 United States Navy sailors, David Herdeg (Michael Paré) and Jim Parker (Bobby Di Cicco), are assigned to the destroyer escort USS "Eldridge" during a project to make it invisible to radar. The ship is in Philadelphia Harbor, filled with equipment from a team led by James Longstreet (Eric Christmas). During the experiment, the equipment begins malfunctioning. Observers simply see the ship disappear but sailors on board experience a bizarre and disorienting phase shift. David and Jim try to shut down the generator to stop the experiment but receive severe electric shocks when they touch the equipment. The two men jump overboard to escape.
Instead of landing in Philadelphia Harbor during the daytime, David and Jim land during the night in a small desert town, which then disappears as well, leaving them in the dark open desert. They are startled by the appearance of bright light in the sky—it's a military helicopter with a spotlight looking for intruders. They escape into the desert and after walking for miles, they eventually find their way to a roadside diner the next day.
An energy discharge from Jim destroys two arcade games in the diner, and the angry diner owner grabs a revolver, demanding that Jim pay for the damages. David grabs the gun and the men run and carjack a car in the parking lot. Since he is unfamiliar with the automatic transmission, David takes the driver, a woman named Allison (Nancy Allen), as a hostage and driver. They are shocked when she tells them that they are in the year 1984.
The police eventually catch them. Jim, who is suffering increasingly severe seizures, is hospitalized. David explains that he and Jim accidentally traveled through time, but no one believes the story. Jim eventually disappears from his hospital bed in a corona of energy. David and Allison then evade military police, who have arrived to take David into custody.
Jim was from nearby California, so David decides to try to find his family. He and Allison find the family listed in a phone book and drive to see them. Jim's wife Pamela (Louise Latham), who is now a senior citizen, immediately recognizes David from 1943. She says that the "Eldridge" had reappeared minutes after disappearing and that a lot of the sailors on board had been horribly burned. Jim had also returned and had been chastised and hospitalized after telling the truth about temporarily visiting 1984. David asks about himself and finds that he never came back. David sees Jim outside a window riding a horse, but Jim, who had slowly come to terms with the bizarre events of 1943, refuses to speak with David. As David and Allison reluctantly leave, they see military police approaching and a high speed chase through Jim's ranch ensues. The two manage to elude them when the pursuing vehicle crashes and burns. From the burning wreck, David salvages documents mentioning Dr. Longstreet. Recognizing that Longstreet had been involved with the Philadelphia experiment in 1943, David decides to find him. As they spend time together, David and Allison fall in love.
In 1984, Dr. Longstreet has attempted to use the same technologies that were used in the original Philadelphia experiment to create a shield to protect from an ICBM attack. When the equipment was tested, the shielded town disappeared into "hyperspace", just like USS "Eldridge" had. The scientists are unable to shut down the experiment, despite cutting the power. Worse, the experiment has left a vortex in 1984, which starts drawing matter into it. The vortex causes extremely unstable and severe weather, including tornadoes and monstrous bolts of lightning. Longstreet predicts that the vortex will continue to expand until the entire world is consumed. The scientists send a probe into the vortex and discover the "Eldridge" inside; the two experiments have linked together across time. They theorize that the generators on the "Eldridge" are providing the energy to keep the vortex open.
David captures an assistant at Longstreet's home and forces the man to take them onto the base, but is captured when they get off the elevator in the control center. Longstreet tells the military police to let David in and shows him the situation. He tells David that, according to surviving sailors from the "Eldridge", the ship returned to Philadelphia in 1943 after David shut down the generator. Longstreet says that David must go through the vortex to the "Eldridge" and shut off the generator, or the vortex will destroy the Earth.
Allison does not believe Longstreet and urges David not to do it, but he volunteers to go and save his ship and is outfitted with an electrically insulated suit to enable him to shut down the generator. He is catapulted into the vortex and lands on the deck of the "Eldridge", where he finds the crew panicked and injured. He hurries to the generator room and smashes arrays of vacuum tubes using a firefighting axe. The generator shuts down and David looks for Jim. Assured that Jim is fine, David jumps over the side of the ship and disappears. Back in 1943, Longstreet and others watch the "Eldridge" reappear in Philadelphia, and long-range observers note some crewmen are badly burned and others fused alive into the ship's hull.
Likewise in 1984, the missing town reappears. Allison steals a jeep to drive to it. She finds David and they kiss passionately.
Production.
Development and writing.
John Carpenter wrote an original draft. He called it a "great shaggy dog story. Absolute bullshit, but what a great story. While I was writing it, I couldn’t figure out the third act. A friend suggested the revenge of the crew against the people who put them there, but I thought it was too much like "The Fog"."
Stewart Raffill says by the time he became involved with the film, the script had been rewritten nine times. He agreed to do the film, subject to the next rewrite which he thought was "terrible". The head of the studio agreed with Raffill's additions to the script, even though it was only three weeks before filming. "So, he asked if I had ever dictated a screenplay before. I told him I had not. Then he said, “Well, I’m gonna send someone to your house, a girl, every afternoon, and just dictate the story you told me and fill in the dialogue and we’ll make that.” And I said, “Okay.” So that’s what I did.”
Parts of the film were shot in Salt Lake City and Wendover, Utah, Denver, Colorado, Santa Paula, California, and Charleston, South Carolina. The destroyer USS "Laffey" (DD-724) represented USS "Eldridge" in the film.
Reception.
Critical response.
On Rotten Tomatoes the film has an approval rating of 50% based on reviews from 10 critics.


Aapki Antara

Aapki Antara (International title: Antara), produced by Drishtant Media, is a soap opera which ran on Zee TV from 1 June 2009 through 18 February 2010 as a social problem drama focusing on the issue of autism.
Initially scheduled to premiere on 25 May 2009, it was postponed and premiered on 1 June 2009.
Plot.
"Aapki Antara" is the story of a five-year-old girl named Antara. She is born to Anuradha, who had a relationship out of wedlock with Aditya Verma. When Anuradha dies in a car accident, Antara is orphaned, leaving Aditya with the responsibility of taking his illegitimate daughter home to his wife, Vidya, and son, Abhishek, and raising her as a part of his family.
With Antara in their life, things are not the same again for the Verma family. Antara does not behave like a normal child, being unable to express her emotions and living in her own world. To the outside world, she is a daydreamer and slow child. Eventually, Antara is revealed to have autism. Both she and her family are faced with the journey of navigating the world and being accepted by the society Antara is brought up in. Through her story, the show guides people to understand the needs of those with autism and handle them with sensitivity.


Princess with a Monkey

Princess with a Monkey () is a 1913 painting by Janis Rozentāls.
Description.
"Princess with a Monkey" reflects a theme Rozentāls returned to repeatedly in the last years of his life. Some interpretations see the painting as an allegory of the relationship between an artist and society reflecting the power of money over the artist. Or perhaps the princess is ‘great, beautiful art’ and the monkey the artist: her servant and plaything, bound by golden chains. Rozentāls’ work included graphic art and in 1910 he worked on the decorative frieze of the newly built headquarters of the Riga Latvian Society. The painting is oil on canvas, with dimensions 145.5 x 69.5 centimeters.
It is located in the Latvian National Museum of Art, in Riga.


Singularity Principle

Singularity Principle, is a 2013 American-Canadian-Bahamian-Australian science fiction film starring William B. Davis, Michael Patrick Denis and John Diehl. The film was produced by Double A Pictures and Salient Clear. Epcott purchased rights to distribute the file in Japan The film was originally released in Japan cinemas in March, 2013 and in the United States in October 2013. The film was shot at the Canadian Light Source synchrotron in Saskatoon, with subsequent segments filmed in the Bahamas and Australia.
Plot.
Academic research scientist Jack Brenner (John Diehl) conducts an unauthorized secret experiment that creates a portal between parallel universes. Jack's protege, Dr. Peter Tanning (Michael Denis), is being questioned by Lawrence Cason (William B. Davis) who works for a clandestine black-ops organization to learn how to reproduce and control the physical process.


Kew Bridge

Kew Bridge is a wide-span bridge over the Tideway (upper estuary of the Thames) linking the London Boroughs of Richmond upon Thames and Hounslow. The present bridge, which was opened in 1903 as King Edward VII Bridge by King Edward VII and Queen Alexandra, was designed by John Wolfe-Barry and Cuthbert A Brereton. Historic England listed it at Grade II in 1983.
Location.
Kew Bridge crosses the west of the Tideway between the Kew Green neighbourhood of Kew on the south bank and Brentford on the north bank. Its southern approach adjoins the Royal Botanic Gardens; the northern adjoins the former Grand Junction Waterworks Company buildings and reservoirs (the remnant of which is the London Museum of Water & Steam).
The bridge forms a primary route joining the South Circular and North Circular roads to the west of London, and can be very congested.
On the eastward Kew bank is Kew Pier, which serves tourist ferries operating under licence from London River Services.
History.
The Museum of Richmond has an engraving by John Barnard, architect of the design for the first Kew Bridge, dedicated to George, Prince of Wales and his mother Augusta and dated 1759. Bernard describes it as the "Bridge over the River of Thames from Kew in the County of Surry to the opposite shore in the County of Middlesex". Kew and the area around the bridge was significant to George as his father Frederick took a lease on Kew House, now part of the Royal Botanic Gardens from 1731 and rebuilt the house to designs by William Kent. George's mother Augusta started the botanic gardens and created many of the garden buildings.
The first bridge was built by Robert Tunstall of Brentford who previously owned the ferry on the site. The bridge was inaugurated on 1 June 1759 by the Prince of Wales driving over it with his mother and a number of other royals, and was opened to the public three days later. Such was the excitement that over 3,000 people crossed in one day. Tolls ranged from 1 penny for each pedestrian to one shilling and six pence for a coach and four horses (these are equivalent to p and £ in ).
The first bridge was constructed with two stone arches at each end and seven timber arches in between, which proved costly to maintain and as a consequence the bridge only lasted 30 years. In 1782 Robert Tunstall, son of the builder of the first bridge, obtained consent to replace the bridge and work began on 4 June 1783, the anniversary date of the first bridge opening to the public. The new bridge was designed by James Paine who had previously been responsible for Richmond Bridge. The cost was £16,500 (equivalent to £ million in ) which was raised by means of a tontine.
The second bridge was built alongside the first, to avoid hindrance to traffic during construction work, and this time was built entirely of stone. It was again opened, on 22 September 1789, by George, who by this time had become King George III, crossing with "a great concourse of carriages". The tolls were a half penny per pedestrian and 6 pence for each horse (these are equivalent to p and £ in ). The bridge was sold by auction to a Mr Robinson for £23,000 in 1819 (equivalent to £ million in ) and again in 1873, to the City of London Corporation and the Metropolitan Board of Works for £57,300 (equivalent to £ million in ). The exhibition included a copy of a J. M. W. Turner sketch of the second bridge from Brentford Ait circa 1805/6 with barges on the left.
The tollbooths were at the Brentford end of the bridge and were originally planned as pavilions with Doric porticos. To save on the cost rather simpler Italianate booths were built instead of brick and stucco. Tolls were abolished on 8 February 1873 and a triumphal arch was built at the Brentford entrance to the bridge. The gates were removed and paraded on a brewer’s dray through Brentford and around Kew Green.
By the 1890s it was clear that the second bridge could not really cope with the weight of traffic and in any case the approach was too narrow and steep on the Brentford side. The engineer Sir John Wolfe Barry was invited to assess the bridge in 1892 and recommended building a new bridge rather than modifications to the second one.
The Kew Bridge Act 1898 paved the way and the third bridge was commissioned jointly by the Middlesex and Surrey county councils at a cost of £250,000 (equivalent to £ million in ). The engineers were Barry and Brereton and the building contractors were Easton Gibbs and Son. The third bridge is long, and the largest of its three arches has a span of . The roadway is wide (compared to on the second bridge), and the pavements compared to . It was built of granite from Cornwall.
A temporary wooden bridge was put in place upstream of the second bridge before demolition during October to December 1899. The third bridge was completed for an official opening on 20 May 1903 by King Edward VII and Queen Alexandra who processed through Kensington, Hammersmith, Chiswick and Brentford on the way to the ceremony, returning via Mortlake and Barnes and re-crossing the Thames at Putney Bridge.
The centre of the bridge was provided with a tented pavilion 60 yards long and spanning its whole width. A special temporary balcony, projecting from this, was installed so that the crowds on the banks and on the water could see the royal visitors. The king laid the last coping stone with a silver trowel and declared the bridge open. He and the queen were given a number of gifts including bouquets, a bound history of the bridge and various other commemorative items including a silver-mounted prehistoric flint axe found during construction work, another axe with part of its haft remaining and a fine silver spirit level made in the shape of the bridge itself. Later the Mayor of Richmond presented a chair with the ladders in its back carved in the shape of the three bridges. The inhabitants of Brentford and Chiswick presented a 1721 silver tankard.
After the departure of the royals a huge party took place on the lawns at Kew Gardens and 1,000 children were entertained to tea in a marquee on Kew Green, an event hosted by Cuthbert Brereton.
During the silent era of film, a Kew Bridge Studios operated along part of the northern approach. The site was later used by the Q Theatre.
Kew Bridge in art.
A drawing made in 1759 by Paul Sandby, showing the first Kew Bridge built in 1758–1759 by John Barnard, and "Old Kew Bridge, London" by James Webb, an oil painting dating from 1876 to 1885, are held at the Museum of London.
The oil painting "Kew Bridge" by Henry Muhrman (1854–1916) was painted in about 1898, when the artist was living in Gunnersbury. It is now in the Tate Gallery's collection.
The Tate also holds J.M.W. Turner's pen and ink sketch "The Thames at Kew with Kew Bridge" (1805) and his oil painting "The Thames Glimpsed between Trees, possibly at Kew Bridge c.1806-7".
Myles Birket Foster (1825–1899) painted "Kew Bridge from Strand on the Green".
Landscapist Lewis Pinhorn Wood (1848–1918), who lived in Chiswick between 1897 and 1908, painted "", portraying passengers embarking from the river transport service at Kew Pier in front of the second bridge.
Chiswick Local Studies Library has a painting "Kew Bridge and Strand-on-the-Green" attributed to Smyth Watson and also "Strand-on-the-Green and Kew Bridge" by an unknown artist.
Hounslow Local Studies Library has "Kew Bridge" by James Isaiah Lewis, painted in about 1900.


Nikolaos Kantounis

Nikolaos Kantounis (Greek: Νικόλαος Καντούνης; 1767, Zakynthos – 1834, Zakynthos) was a Greek painter; he was one of the most important representatives of the Heptanese School.
Biography.
His father was a physician and amateur poet. Although some sources say that he was entirely self-taught (and Kantounis asserted that himself), it is believed that he received drawing lessons from a local artist named Ioannis Korais (died 1786) and worked in the studios of Nikolaos Koutouzis; who is rumored to have expelled him out of jealousy.
In 1786, he was also ordained a priest and later became a member of the Filiki Eteria (Society of Friends), dedicated to overthrowing Ottoman rule. As a result of his subversive actions, the British exiled him to the island of Kyra, near Cephalonia. He was able to return home after the recognition of Greek independence in 1832.
Some of his most important church decorations on Zakynthos were later destroyed by earthquakes. His icons have been preserved in the local museum. Although he was an Orthodox priest, his works owe more to Western artistic traditions. He also painted many portraits of secular figures and took an occasional student; most notably Gerasimos Pitzamanos and Dionysios Tsokos, one of the last members of the Heptanese School.


Miss Anthropocene

Miss Anthropocene is the fifth studio album by Canadian musician Grimes, released on February 21, 2020. It marked her first album in over four years, since she released "Art Angels". It was officially announced on March 19, 2019. The album's name is a pun on the feminine title "Miss", and the words "misanthrope" and "Anthropocene", a neologism popularised in the year 2000 by Paul J. Crutzen that was proposed to denote the current geological age the Earth is in. The album is a loose concept album about an "anthropomorphic goddess of climate change" inspired by Roman mythology and villainy. "Miss Anthropocene" is Grimes' final album on record label 4AD, to which she has been signed since 2012. The album is darker in style than Grimes' 2015 album "Art Angels", containing inspiration from the sounds of industrial music.
Background and release.
On December 16, 2017, Grimes responded to fan on Twitter that she had "played [her] label new music", indicating that something would be released soon. Among marked disagreements with her record label 4AD, Grimes later announced that she had hoped to release a new album in 2018. On February 24, 2018, Grimes revealed that she was in the process of recording two albums to follow up her 2015 album "Art Angels". In May 2018, some working titles were shared via her Instagram story. In June 2018, Grimes was featured in Apple's "Behind the Mac" advertisement campaign in which a snippet of a song titled "That's What the Drugs Are For" was featured.
The album's title was announced on March 19, 2019. Grimes explained that the album would be a concept album about an "anthropomorphic goddess of climate change" in which "each song will be a different embodiment of human extinction". Grimes explained that she "love[s] godly personifications of abstract/horrific concepts", pointing to the Roman god of war Mars as an inspiration; and that by making a personification of climate change she hoped that it would "maybe ... be a bit easier to look at" and not be "just abstract doom". In an interview with "The Wall Street Journal", Grimes further explained that "people don't care about it [climate change], because we're being guilted." Grimes stated that she wanted "to make climate change fun" and "make a reason to look at it".
"Miss Anthropocene"s darker themes were also inspired by Grimes' reputation during the album's creation. Grimes elaborated in her interview with "Crack Magazine" that she had been made out to be a villain in the media due to large publications misrepresenting things she had said and the media's criticism of her relationship with Elon Musk, claiming that publications "The New Yorker", "The New York Times", "Vice", and "The Guardian" had spread falsehoods about her, deriding that "we really do live in a post-truth society". Grimes stated that if she was going to be "stuck being a villain" then she wanted "to pursue villainy artistically", saying that it is "a really fun idea" to her, naming characters The Joker and Thanos as inspirations.
In an interview with Zane Lowe on Apple Music's "Beats 1" radio station, Grimes revealed that "Miss Anthropocene" had actually been finished for some time and she was already working on her next album, which would be a "techno-pop album" where she "works with [her] favourite producers". Grimes mentioned that despite it being her favourite album, she had already "moved on" from the dark themes of "Miss Anthropocene", which were caused by "a fair number of things that were going on at the time [of its creation]." She also stated that the song "Violence" was intended for the unnamed sixth album but was included on "Miss Anthropocene" because the track "feels good". In this interview Grimes also stated that one of the reasons for the album's delayed release was the death of her former manager Lauren Valencia from cancer in July 2019, an event which impacted Grimes greatly.
An unfinished version of the album leaked online in September 2019, with a finalized version leaking in November 2019. On October 15, 2019, Grimes revealed via a reply to a fan on Instagram that physical copies of "Miss Anthropocene" were in the process of being pressed. "Miss Anthropocene" was officially released on February 21, 2020.
Composition.
Musically, Miss Anthropocene has been described as industrial, pop, dream pop, synth-pop, electropop, and darkwave. In contrast to her previous album, "Art Angels", this album features a darker sound. AllMusic described the album as a "murky mix of ethereal, nu-metal, and industrial-inspired sounds".
Promotion.
Singles.
Originally billed to be the first single from the album, "We Appreciate Power", featuring American singer Hana, was released on November 29, 2018. The track was met with praise from music reviewers who acclaimed the song's electronic rock sound and lyrics revolving around themes of transhumanism and artificial intelligence. It was also noted that Grimes had been in a relationship with technology entrepreneur Elon Musk since 2018, leading to speculation that the song was inspired by him and his work. On November 15, 2019, it was revealed the track would only be included on the digital deluxe edition and Japanese CD release of the album.
In an Instagram post published on August 13, 2019, Grimes announced the first official single from "Miss Anthropocene" would be released on September 13, 2019. This post was deleted shortly afterwards. On September 3, 2019, Grimes deleted all of her Instagram posts then announced in a new post that a song would be released on September 5. The song, originally speculated to be titled "A New Way to Die" due to the caption of her Instagram post, was clarified later to actually be called "Violence". The track features American DJ i_o. "Dazed" praised the track's "thumping kickdrum and synth arp bassline". During the music video's premiere on YouTube, Grimes announced that she would be releasing two songs, titled "So Heavy I Fell Through The Earth" and "4ÆM", as the album's next two singles although no release dates were given.
The second official single from "Miss Anthropocene", "So Heavy I Fell Through the Earth", was announced via Instagram on November 11, 2019, and released on November 15, 2019. The cover art and track listing for "Miss Anthropocene" were also unveiled on November 15. The track received positive reviews from critics who commented on the track's slower and darker sound compared to the previous single "Violence", with "NME" stating that it felt like a "slow-motion fall through the cosmos", noting the track's "thick layers of bass" and "Grimes' dangling voice". "Pitchfork" labelled the track a "six-minute downtempo odyssey" with "forceful theatrics".
The third single from the album, "My Name Is Dark" — originally titled "That's What The Drugs Are For" — was released on November 29, 2019. The track's nu-metal sound was praised by many publications, with "Stereogum" calling it a "dark and gritty electro-rocker" with a "menacing guitar riff".
On December 13, 2019, Grimes premiered the fourth single from "Miss Anthropocene", "4ÆM", at The Game Awards 2019 during the segment dedicated to the soundtrack of the video game "Cyberpunk 2077". Grimes also announced that she is the voice actor for a character in the game named Lizzy Wizzy. "4ÆM" samples the song "Deewani Mastani" from the Bollywood film "Bajirao Mastani" and was described by Grimes as being a "cyberpunk interpretation" of the film. "NME" named the track "suitably futuristic" while other reviewers praised the song's drum and bass beat and ethereal vocals, noting similarities to songs from Grimes' 2010 album "Halfaxa".
The fifth single from the album, "Delete Forever", was released on February 12, 2020. The song was inspired by Grimes losing six of her friends to heroin overdoses and the numbness Grimes felt following their deaths. It was written on the same night that emo rap artist Lil Peep accidentally died after overdosing on a fake Xanax pill that was laced with fentanyl. In an interview with Genius, Grimes explained that she wanted the song to have a sound that is "opposite" to the music she normally makes, with a "raw punk" feel and a "super clean vocal" with no digital processing and effects.
Videos.
Several lyric videos were released for various songs from "Miss Anthropocene". A lyric video for "We Appreciate Power" was released on November 29, 2018. It features both Grimes and Hana and was directed by the former alongside her brother Mac Boucher. Another lyric video for the album's third single "My Name Is Dark" followed on December 3, 2019. Grimes described it as "just a cute vibe". On February 27, 2020, Grimes released two lyric videos for the track "Idoru". Dubbed "Slightly Longer Version" and "Slightly Shorter Version", they correspond to the "Art Mix" and "Algorithm Mix" versions of the song, respectively. Grimes released the videos after noticing that the track was a fan favorite. A "Darkseid" lyric video and a "My Name Is Dark" video featuring the "Art Mix" and a Russian lyrics translation were released on May 22, 2020.
Two music videos were released. The video for the lead single "Violence" was released on September 5, 2019 and was directed by Grimes. Its acclaimed choreography, described by "Variety" as "mock pistol-firing and swordplay", is inspired by TikTok user Cindy. Another video was released for the fifth single "Delete Forever" on February 12, 2020. It was directed by Grimes, Mac Boucher, and Neil Hansen, and depicts "a tyrant's lament as her empire crumbles".
A "visualizer" for the album's second single "So Heavy I Fell Through the Earth" was uploaded on November 15, 2019. On April 1, 2020, Grimes uploaded a green screen video for the track "You'll Miss Me When I'm Not Around" to her YouTube channel as well as an archive featuring the raw audio and video files to WeTransfer and invited her fans to remix the song and the video using the hashtag #GrimesArtKit. The footage was originally shot so that her artistic team could create visuals for the album, but she cited the COVID-19 pandemic as the reason she elected to involve her fans, in case they are "bored and wanna learn new things" while on lockdown. "Billboard" speculated that this may also relate to Grimes' roots in the DIY scene.
On January 1, 2021, Grimes released "Miss Anthropocene: Rave Edition", a remix album featuring new versions of the albums' songs by artists including BloodPop, Channel Tres, Richie Hawtin, and Modeselektor, as well as two remixes from her "Cyberpunk 2077" Apple Music DJ mix.
Commercial performance.
"Miss Anthropocene" debuted at No. 1 on Billboard's Top Dance/Electronic Albums chart and at No. 32 on the "Billboard 200", with 19,000 equivalent album units, according to Nielsen Music/MRC Data. It also debuted at No. 10 on the Official UK Albums chart, becoming her first top 10 album in the United Kingdom.
Critical reception.
"Miss Anthropocene" received positive reviews from music critics upon its release. On review aggregator website Metacritic, which assigns media a normalized score out of 100 based on reviews from mainstream publications, the album has a score of 79 based on 27 critic reviews, which indicates "generally favorable reviews".
Reviewing "Miss Anthropocene" for "The Independent", Adam White deemed it a "triumph" and praised the wide range of sounds explored on the album, saying that it "operates much like a greatest hits record". He directed praise to the album's "transcendent" slower songs, particularly "So Heavy I Fell Through the Earth" and "You'll Miss Me When I'm Not Around". Anupa Mistry of "Pitchfork" wrote that the album successfully builds upon "Grimes' long-standing interest in rave nostalgia and alluring pop music from around the world", despite expressing reservations about its "rendering [of] climate crisis as dystopian aesthetic". "NME" journalist Rhian Daly described the climate change concept as "fragmented ... rather than being a unifying thing to tie every song neatly together", while praising "Miss Anthropocene"s mix of sounds, pointing to the "eerie" "New Gods" and "intergalactic rave-pop" of "Violence" as highlights. Alexis Petridis of "The Guardian" found it to be an effective commentary on the "toxicity of modern celebrity" as opposed to climate change, adding that "on those terms, "Miss Anthropocene" works remarkably well: for all the sci-fi theorising, the emotions at its centre feel prosaic, realistic and affecting". AllMusic critic Heather Phares concluded that despite being less "vivid" than her earlier work, the album is "often fascinating and defies expectations in ways that still fit her always thought-provoking aesthetic".
Claire Shaffer of "Rolling Stone" commended Grimes' intentions but found that "what the album actually has to say about climate change is often lost under the admittedly beautiful, meticulously composed wreckage." Grant Sharples of "Consequence of Sound" called the album "her darkest, most ambitious project yet". Lisa Wright of "DIY" also described the album as Grimes' darkest album. "Paste"s Max Freedman was more critical and wrote that "Miss Anthropocene" "veers on incoherent" due to its lack of "subtle, effective metaphors and narratives". "Sputnikmusic" stated that "Miss Anthropocene takes everything about Grimes the musician...and concisely packages it into her most penetrating record yet." Louise Bruton "The Irish Times" described the album as a "frightening look at the many shades of human extinction in beautiful washes of nu-metal and cold electronica."
Accolades.
! scope="col"| Publication
! scope="col"| Accolade
! scope="col"| Rank
! scope="col" class="unsortable"|
! rowspan="2" scope="row" | "Billboard"
! rowspan=2 scope="row"| "Consequence of Sound"
! scope="row"| "Crack Magazine"
! rowspan=2 scope="row"| "Exclaim!"
! rowspan=2 scope="row"| "Gorilla vs. Bear"
! scope="row"| "Nothing but Hope and Passion"
! scope="row"| "Pitchfork"
! scope="row"| "Slant"


The Finding of Moses (Veronese, Dijon)

The Finding of Moses is a 1580 oil on canvas painting by Paolo Veronese of the finding of Moses, which has been in the Musee des Beaux Arts de Dijon since 1812. Its attribution to Veronese is early, with Lépicié stating it was "painted by the artist at the height of his powers", though Louis Clément de Ris argued it was a copy in 1861. It is now thought to be largely autograph with studio assistance as argued by Florence Ingersoll-Smouse in 1928, Bernard Berenson in 1932 and 1936 (though in 1957-1958 he changed his mind and argued it was a studio work) and Giuseppe Fiocco in 1934.
It was acquired by the Duc de Créquy either from the painter Pierre Mignard's collection or with Mignard as an intermediary for the Lesdiguières family. In July or August 1687 it was bought from the Duc de Créquy's wife by Louis XIV to hang at the Palace of Versailles along with a Domenichino of "Madonna and St Anthony of Padua with Children" for a total of 5243 livres, 6 sous and 8 deniers. It is recorded by Paillet at Versailles in 1695 and by another source as being in the Château de Meudon early in the 18th century, where it still hung in 1706. Dezallier d'Argenville recorded it among the Veroneses in the French royal collection in both 1745 and 1762.
Among the other versions of the subject by Veronese and his studio (at least eight survive), the work is closest to the Dresden variant, though it also draws the small boy from the Madrid version. It can also be linked to a copy in the Uffizi, a variant known via an engraving by Nicolas Cochin and the lost painting offered to the Venetian Da Neice by Charles I of England.


Meredith Eaton

Meredith Hope Eaton Gordon (sometimes credited as Meredith Eaton-Gilden; born August 26, 1974) is an American actress. She is tall and refers to herself as a "short-stature actress". She is known for portraying the attorney Emily Resnick on the CBS television series "Family Law" (in which she was the first female with dwarfism to fill a regular role in an American prime time series), for her recurring role as Bethany Horowitz on the ABC series "Boston Legal", and for her lead role as Matilda "Matty" Webber on the CBS series "MacGyver".
Early life.
Eaton was born on Long Island, New York, to a clinical social worker mother and an administrative law judge father. She attended Hofstra University in Hempstead, New York, where she was an active member of the Delta Phi Epsilon sorority; she graduated in 1996 with a degree in interdisciplinary studies, minoring in theater. In June 2007, she was named by Hofstra University as their Alumnus of the Month.
She later earned a master's degree in clinical psychology from the Derner Institute of Advanced Psychological Studies at Adelphi University, where she achieved a 4.0 grade point average. She would later credit her training in psychology for giving her a better ability to understand character dynamics in preparing for acting roles.
Professional career.
Eaton's acting career began in 1999 when she attended an open casting call for the comedy film "Unconditional Love". Despite it being her first audition, she won out over 500 women from Canada, the United States, and the United Kingdom to be cast in the role of Maudey Beasley.
"Unconditional Love" was not released until 2002. Her performance was seen by Paul Haggis, who created the role of Emily Resnick for her on "Family Law". Joining the cast in 2002, she continued with the series until its cancellation later that same year. She later had significant guest appearances on "NYPD Blue", "Dharma & Greg", "", "House" and "NCIS". She also appeared as herself in "Standing Tall at Auschwitz", which was a History Channel documentary on the Ovitz family, and in "No Bigger Than a Minute", an independent documentary on dwarfism which aired on the PBS program "P.O.V."
In 2006, she joined the cast of "Boston Legal" as Bethany Horowitz, a love interest to William Shatner's character Denny Crane. The role was written specifically for her by David E. Kelley.
Meredith has portrayed Carol Wilson, a recurring character on CBS' "NCIS" for over 6 seasons and its spin-off "", an immunologist who works for the CDC and is a friend of forensic scientist Abby Sciuto. In 2013 Meredith starred opposite Christopher Walken and Bill Nighy in David Hare's "Turks & Caicos". In 2016, Meredith became a series regular on the CBS show "MacGyver". She plays Matilda "Matty" Webber, MacGyver's boss and the new director of operations at The Phoenix Foundation.
Personal life.
Eaton married Brian Gordon on October 12, 2008. Gordon is a professional photographer. They have one child together, a daughter.
Eaton was previously married to Michael Gilden from 2001 until his death in 2006.


Stratford Mill (Constable)

Stratford Mill is an 1820 oil on canvas painting by the British landscape artist John Constable. It is the second painting in the series of ‘six-footers’ depicting working scenes on the River Stour, a series that includes "The Hay Wain". The painting is now in the collection of the National Gallery in London.
Description.
The scene is Stratford St. Mary about 2 miles west of East Bergholt. Stratford Mill was a water-powered paper mill, located on a small island just outside the village, it can be seen on the far left of the picture. Constable made a sketch of children fishing by the mill in 1811 now known as "Anglers at Stratford Mill" (private collection), but this view extends to display more of the river, a barge and the meadow across the way.
History.
After the success of his first 'six-footer' "The White Horse", Constable abandoned plans to paint his large canvas "The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817", in favour of submitting a second Stour series painting. "Stratford Mill" was exhibited at the Royal Academy exhibition in 1820 and was a success. The Examiner described it as having "‘a more exact look of nature than any picture we have ever seen by an Englishman’". It acquired a buyer in the loyal John Fisher, who purchased the painting for 100 Guineas, a price he himself thought too low. He gifted the painting to his solicitor and friend John Pern Tinney. Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined. In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions. After Tinney’s death David Lucas produced a mezzotint, which was published in 1840 under the name "‘The Young Waltonians’" in reference to the Izaak Walton book, "The Compleat Angler".
The full size oil sketch is held by the Yale Center for British Art in New Haven.


Le Pont du Nord

Le Pont du Nord is a 1981 French film directed by Jacques Rivette. The film stars Bulle Ogier and her daughter Pascale Ogier. It was released in France on 13 January 1982.
Plot.
Marie (Bulle Ogier), a bank robber just out of prison, can no longer bear to live between four walls. Baptiste (Pascale Ogier) says she comes from somewhere else and intends to live by her own rules. (Note that as a French given name Baptiste is masculine, but is here played by an actress.)
Their paths cross three times in a matter of hours. Baptiste believes that it is fate; she must accompany Marie and protect her. Together, they investigate a surreal mystery that includes a briefcase stuffed with obsessive political intrigue, civic redevelopment, a huge mechanical, flame-spewing dragon and several characters all named Max. They invent a dangerous real-life game imagining Paris as a mysterious large scale board on which they play. The plot takes its structure from a French children's game, Game of the Goose (Jeu de l'oie), which overlays a makeshift design on a map of Paris.
Production notes.
As usual, the story was jointly conceived with Rivette's collaborators, including Bulle Ogier, Pascale Ogier, Suzanne Schiffman and Jérôme Prieur, while the screenplay was written by Rivette. The short film "Paris s'en va" was made as a rehearsal in preparation for this film.
At least four film posters are seen in the film: "The Big Country" (1958), "La Prisonnière" (1968), "The Silent Scream" (1979), and "Kagemusha" (1980).


Anglers on the Seine at Poissy

Anglers on the Seine at Poissy (French: "Pêcheurs dans la Seine à Poissy") is an 1882 painting by the French Impressionist Claude Monet. It was acquired in 1942 by the Kunsthistorisches Museum of Vienna but was later, as part of a reoganisation of their artwork, transferred to its current home in the Schloss Belvedere in the same city.
The work is one of only three images of Poissy, which lies some 25km north-west of Paris, that Monet produced during the two years (December, 1881 to April, 1883) he lived there. With his companion Alice Hoschedé and their combined families, he occupied the capacious Villa Saint Louis overlooking his beloved River Seine, but nevertheless found the town offered him little of interest from an artistic point of view.


Dear Mandela

Dear Mandela is a 2012 South-African/American documentary focusing on three friends who are members of shackdwellers movement Abahlali baseMjondolo. They fight eviction by making a legal challenge against the KwaZulu-Natal Elimination and Prevention of Re-emergence of Slums Act of 2007 which ends up going to the final court of appeal, the Constitutional Court. The challenge is successful but also results in a violent attack on the Kennedy Road informal settlement in 2009. The film-makers were themselves caught up in the attack.
With the events of the film happening long after Nelson Mandela stepped down as President of South Africa, his promise to house all citizens is still a central question.
It was written, produced and directed by Dara Kell and Christopher Nizza. The film premiered at the 2012 Brooklyn International Film Festival.


Time Piece

Time Piece is a 1965 American experimental short film directed, written, produced by and starring Jim Henson. The film depicts an ordinary man living in constant motion, in a desperate attempt to escape the passage of time. "Time Piece" is notable as one of the few live-action projects Jim Henson produced that did not involve any form of puppetry. The short film was nominated for an Academy Award for Best Live Action Short Film in 1966.
Plot.
The fast-paced scenes in "Time Piece" are edited together in a rhythmic pentameter, with an underlying use of sounds and repetitive beats. The film begins with a young man (who provides only four brief words of dialogue who just quotes "help") sitting patiently in a hospital bed. An unidentified doctor enters the room and checks the man's heart rate, which begins to pulse rhythmically.
As the rhythm increases, the film begins to follow the man's daily habits such as crossing a busy street, in different clothes and different locations, working in a busy office, working on a conveyor belt, walking through different locations and ending up in a forest where he has the appearance of Tarzan, eating dinner with his wife, walking down the street seeing pogo stick riders, and visiting a strip club while simultaneously maintaining himself in motion.
Eventually, the man is imprisoned for shooting the Mona Lisa while intoxicated (signified by a scene of him painting an elephant pink) and dressed as a cowboy and is forced to perform acts of labor like working in the rock pile. The man eventually escapes from prison and begins to frantically run across a long distance with different disguises like a man in a top hat and Tarzan while evading cowboys. The man then jumps off a diving board and soars into the sky (aided by a flying device) where he is subsequently shot down by the world's military powers. He falls from the sky defeated and lands in a muddy puddle in the form of a rustic clock. The clock strikes twelve and the film's events flash quickly on-screen.
Back in the hospital room, the doctor covers the man's seemingly lifeless body. The camera then pans up towards the doctor's face, revealing him to be the same man smiling gleefully and winks at the camera.
Production.
Unlike most films, "Time Piece" was not written as a script. Instead, Jim Henson had storyboarded the entire film prior to filming. Between shuffling performances with The Muppets for "The Jimmy Dean Show" and film commercials, Henson shot the film intermittently from June 1964 to May 1965. Due to this restricted time frame, every shot in the film lasts only one to four seconds. Henson even calculated the amount of frames each shot would contain.
Henson solely produced the film's animation sequences, while Muppet designer Don Sahlin was responsible for the film's visual effects shots.
Legendary Blue Note Records engineer Rudy Van Gelder recorded the music.
Release.
Henson premiered "Time Piece" at the Museum of Modern Art in New York City in 1965. The film also had a lengthy screening run at the Paris Theatre in Manhattan.
"Time Piece" was released theatrically in the United States with Claude Lelouch's "A Man and a Woman". In addition to its Academy Award nomination, the film also won the CINE Eagle Award and the American Film Festival's Blue Ribbon Award, and received recognition at the XII International Short Film Festival Oberhausen.


The Death of Nelson (Maclise painting)

The Death of Nelson is a wall painting in the Royal Gallery of the Palace of Westminster by the Irish artist Daniel Maclise. A finished study for it, in the form of a painting, is in the Walker Art Gallery in Liverpool, Merseyside.
History.
Maclise received the commission for two wall paintings in the Royal Gallery in 1857; these were to depict "The Meeting of Wellington and Blücher after the Battle of Waterloo" and "The Death of Nelson". However Maclise found that creating the works in fresco would prove too difficult, and he resigned the commission. He then discovered the waterglass technique (infusing the surface with sodium silicate) and resumed the commission. Maclise started work on "The Meeting of Wellington and Blücher" in January 1860 and completed it during the winter of 1861. He then submitted a sketch for "The Death of Nelson" to the Fine Arts Commission. However Prince Albert, the prime promoter of the Commission, died in 1861 and the Commission lost some of its momentum. It was not until 1863 that Maclise received permission to continue with the scheme. Between 1859 and 1864 Maclise created a plan for this picture; this was a painting that comprised a "finished study" for the work. This painting was purchased by the Walker Art Gallery in 1892 from the Art Union of London; the money for this was obtained from the Liverpool Naval Exhibition. The wall paintings did not survive well; by 1869 the colours were fading. However modern critics continue to praise "their serious and sombre realism and their expressive power".
The two paintings.
The study, copied for the wall painting, was created in 1859–64 and is organised as a frieze, in a long narrow format. It shows the dying Admiral Nelson on the deck of "HMS Victory", cradled in the arms of Captain Hardy, with other figures, including Dr Beatty, leaning over him. They are surrounded by members of the crew. Maclise took trouble over the accuracy of details in the picture; he interviewed survivors of the battle and researched the naval equipment in use at the time. However the painting is not an accurate account of the event, because Nelson was quickly taken below decks, where he died; it is rather an idealisation of the event. Included in the painting are two black people; this is likely to be historically accurate as two men from Africa were included in the crew of "HMS Victory". At this time people of African descent were integrated with other members of the crew, although they tended to work in the lower ranks. One of the Africans is pointing towards the assassin of Nelson.
The Engraving.
The Maclise painting was engraved by Charles W. Sharpe in 1876 and published the Art Union of London. It sold widely around the British Empire. The Nelson engraving was often sold with an engraving of the companion work by Maclise, "Wellington Meeting Blucher at the Battle of Waterloo".
Other depictions of the event.
In the 19th century the death of Nelson was a popular subject for artists. Other notable paintings of the event include "The Death of Nelson, 21 October 1805" painted by Arthur William Devis in 1805 now found at National Maritime Museum, and "The Death of Nelson" painted by Benjamin West in 1806 and now at the Walker Art Gallery.