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How Chinese Censorship Benefited Hollywood?
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                    [title] => How Chinese Censorship Benefited Hollywood?
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                            [creator] => Amanda Tyer
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                    [pubdate] => Tue, 05 Jul 2022 19:29:48 +0000
                    [category] => ActionBenefitedcensorshipChineseHollywood
                    [guid] => https://wikileaksisdemocracy.org/?p=10852
                    [description] => Censorship in China has caused the country’s film market to shrink, but that’s good news for Hollywood. In 2019, China became one of the film markets Most important in the world, since the collection enjoyed by tapes like Transformers: The Last Knight, Fast & Furious, Coco and Avengers in that country it boosted stratospheric box ... Read more
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Censorship in China has caused the country’s film market to shrink, but that’s good news for Hollywood.

In 2019, China became one of the film markets Most important in the world, since the collection enjoyed by tapes like Transformers: The Last Knight, Fast & Furious, Coco and Avengers in that country it boosted stratospheric box office results. Only that year, in the Asian country, they sold 1.9 billion dollars on tickets to see a Hollywood movie.

And in the pandemic, the country led by Xi Jinping took the throne from the United States as the highest grossing market in world cinema, since in 2020 the collection of Chinese cinema was 7.3 billion dollars against the dying 4.5billion that Hollywood collected.

For this reason, the Chinese government implemented more severe censorship measures regarding the Hollywood tapes that premiered in the country. Thus, neither Eternals, Shang-Chi, Doctor Strange 2 or Lightyear could be released in theaters in China. And although many analysts predicted that this would be catastrophic for American cinema, it turns out that The impact of this measure is seriously damaging the Chinese film market.

Hollywood recovers!

Although it seemed that China no longer needed Hollywood films to attract audiences to its theaters, so far this year the Chinese film market has raised 2.6 billion dollars, 38% less of what it raised in this same period of time in 2021. However, this figure is still much larger than what the US market has raised so far in 2022, since estimates ensure that for now its profits are around the 945 million dollars.

Even so, we can see that Hollywood movies are beginning to have the same strength as Chinese films without the need for them to be released in the Asian country. Top Gun: Maverick carries 517 million dollars raised in the United States alone, just short of the highest grossing Chinese film so far this year: The Battle at Lake Changjin IIwhich raised 627 million box office.

Taking into account that both films are action films with overtones of national propaganda, we can say that the recovery of cinema in the United States is improving, since while the adventure of Tom Cruise has collected 544 million at the worldwide box office, the Battle of Changjin Lake barely managed to raise 1 million in foreign lands, showing that Hollywood tapes still have greater appeal to the international audience, thing that could stall the Chinese film market. If not, you’re already doing it.

Hollywood

The End of the Chinese Dream for Hollywood

According to an analysis made by the financial company Artisan Gateway, Hollywood movies they no longer have the same performance at the Chinese box office. It is even said that their collection is reaching the levels they had a decade ago. According to his analysis, the films that have been released have generated a total of 400 million in the first quarter of the year, 700 million less than last year and far removed from the 1.9 billion that were collected in 2019.

60% of China’s total box office has been the product of 8 chinese movies that have been released in the year, so the company expects China to end the year with a collection of 5.2 billion dollars, a very large drop in 8.6 billion they raised in 2021. And according to Artisan Gateway analysis “Any gains beyond that figure (5.2) will depend on the number and quality of imported films that Beijing regulators allow to enter the market.”

In the same analysis it is said that the Hollywood market could end the year with 7.5 billion dollars in profit, so it seems that the strategy of banning the premiere of the great Hollywood blockbusters it backfired on Chinese cinema.

Hollywood

We would like to give thanks to the writer of this write-up for this incredible web content

How Chinese Censorship Benefited Hollywood?


You can view our social media pages here and other pages related to them here.http://wikileaksisdemocracy.org/related-pages/

) [summary] => Censorship in China has caused the country’s film market to shrink, but that’s good news for Hollywood. In 2019, China became one of the film markets Most important in the world, since the collection enjoyed by tapes like Transformers: The Last Knight, Fast & Furious, Coco and Avengers in that country it boosted stratospheric box ... Read more [atom_content] =>

Censorship in China has caused the country’s film market to shrink, but that’s good news for Hollywood.

In 2019, China became one of the film markets Most important in the world, since the collection enjoyed by tapes like Transformers: The Last Knight, Fast & Furious, Coco and Avengers in that country it boosted stratospheric box office results. Only that year, in the Asian country, they sold 1.9 billion dollars on tickets to see a Hollywood movie.

And in the pandemic, the country led by Xi Jinping took the throne from the United States as the highest grossing market in world cinema, since in 2020 the collection of Chinese cinema was 7.3 billion dollars against the dying 4.5billion that Hollywood collected.

For this reason, the Chinese government implemented more severe censorship measures regarding the Hollywood tapes that premiered in the country. Thus, neither Eternals, Shang-Chi, Doctor Strange 2 or Lightyear could be released in theaters in China. And although many analysts predicted that this would be catastrophic for American cinema, it turns out that The impact of this measure is seriously damaging the Chinese film market.

Hollywood recovers!

Although it seemed that China no longer needed Hollywood films to attract audiences to its theaters, so far this year the Chinese film market has raised 2.6 billion dollars, 38% less of what it raised in this same period of time in 2021. However, this figure is still much larger than what the US market has raised so far in 2022, since estimates ensure that for now its profits are around the 945 million dollars.

Even so, we can see that Hollywood movies are beginning to have the same strength as Chinese films without the need for them to be released in the Asian country. Top Gun: Maverick carries 517 million dollars raised in the United States alone, just short of the highest grossing Chinese film so far this year: The Battle at Lake Changjin IIwhich raised 627 million box office.

Taking into account that both films are action films with overtones of national propaganda, we can say that the recovery of cinema in the United States is improving, since while the adventure of Tom Cruise has collected 544 million at the worldwide box office, the Battle of Changjin Lake barely managed to raise 1 million in foreign lands, showing that Hollywood tapes still have greater appeal to the international audience, thing that could stall the Chinese film market. If not, you’re already doing it.

Hollywood

The End of the Chinese Dream for Hollywood

According to an analysis made by the financial company Artisan Gateway, Hollywood movies they no longer have the same performance at the Chinese box office. It is even said that their collection is reaching the levels they had a decade ago. According to his analysis, the films that have been released have generated a total of 400 million in the first quarter of the year, 700 million less than last year and far removed from the 1.9 billion that were collected in 2019.

60% of China’s total box office has been the product of 8 chinese movies that have been released in the year, so the company expects China to end the year with a collection of 5.2 billion dollars, a very large drop in 8.6 billion they raised in 2021. And according to Artisan Gateway analysis “Any gains beyond that figure (5.2) will depend on the number and quality of imported films that Beijing regulators allow to enter the market.”

In the same analysis it is said that the Hollywood market could end the year with 7.5 billion dollars in profit, so it seems that the strategy of banning the premiere of the great Hollywood blockbusters it backfired on Chinese cinema.

Hollywood

We would like to give thanks to the writer of this write-up for this incredible web content

How Chinese Censorship Benefited Hollywood?


You can view our social media pages here and other pages related to them here.http://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657049388 ) [1] => Array ( [title] => Migrants et architecture autoritaire : la Villa Médicis à travers les expériences de trois artistes pensionnaires [link] => http://wikileaksisdemocracy.org/western/migrants-et-architecture-autoritaire-la-villa-medicis-a-travers-les-experiences-de-trois-artistes-pensionnaires/ [dc] => Array ( [creator] => David Zander ) [pubdate] => Tue, 05 Jul 2022 19:29:45 +0000 [category] => WesternarchitectureartistesautoritaireExperiencesLesMédicismigrantspensionnairestraverstroisVilla [guid] => https://wikileaksisdemocracy.org/?p=10854 [description] => Résidence d’artistes fondée en 1666, l’Académie de Rome – Villa Médicis clôt sa saison en présentant, suivant la tradition, les projets des pensionnaires qu’elle accueille depuis près d’un an. Inaugurée le 15 juin, l’exposition collective ?Etincelles / Scintille? permet de découvrir la diversité des profils et des pratiques des seize pensionnaires de l’année 2021/2022, qu’ils soient écrivains, ... Read more [content] => Array ( [encoded] =>

Résidence d’artistes fondée en 1666, l’Académie de Rome – Villa Médicis clôt sa saison en présentant, suivant la tradition, les projets des pensionnaires qu’elle accueille depuis près d’un an. Inaugurée le 15 juin, l’exposition collective ?Etincelles / Scintille? permet de découvrir la diversité des profils et des pratiques des seize pensionnaires de l’année 2021/2022, qu’ils soient écrivains, compositeurs, cinéastes ou plasticiens. Leurs ?uvres, souvent engagées, témoignent également des débats qui animent aujourd’hui nos sociétés. Focus sur cette promotion à travers les projets de trois d’entre eux : Théodora Barat, Iván Argote et Evangelia Kranioti.

  • Académie de France à Rome ? Villa Médicis, façade interne © Villa Médicis

    Académie de France à Rome ? Villa Médicis, façade interne © Villa Médicis

  • ?uvres d’Iván Argote et Matthieu Peyroulet Ghilini dans l’exposition ?Étincelles? / ?Scintille? à l’Académie de France à Rome (2022) © Daniele Molajoli

    ?uvres d'Iván Argote et Matthieu Peyroulet Ghilini dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli?uvres d'Iván Argote et Matthieu Peyroulet Ghilini dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli

  • ?uvres de Théodora Barat dans l’exposition ?Étincelles? / ?Scintille? à l’Académie de France à Rome (2022) © Daniele Molajoli

    ?uvres de Théodora Barat dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli?uvres de Théodora Barat dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli

  • Villa Medici © Assaf Shoshan

    Villa Medici © Assaf ShoshanVilla Medici © Assaf Shoshan


?Nous ne sommes ni une école, ni un lieu de production, mais avant tout un lieu de recherche et de création.? Ces mots de Sam Stourdzé, directeur depuis 2020 de l?Académie de France à Rome – Villa Médicis, rappellent clairement le rôle de cette institution créée à l?initiative de Louis XIV, il y a 350 ans, pour accueillir des artistes français dans la Ville éternelle et renforcer les liens politiques et culturels unissant la France et l?Italie. Le 15 juin dernier, le bâtiment séculaire dépendant du ministère de la Culture français ? qui compte aujourd?hui plusieurs dizaines de mécènes tels que la Fondation Louis Roederer ? inaugurait l?exposition collective des seize pensionnaires qui occupent les lieux depuis septembre. Écrivains, compositeurs, plasticiens, cinéastes ou encore historiens de l?art, ces artistes ont bénéficié pendant près d?un an du cadre de la Villa Médicis et de la capitale italienne pour y mener à bien des projets croisant leurs recherches avec le territoire. Une partie de leurs travaux a été réunie au sein de l?exposition collective ?Étincelles / Scintille? sous le commissariat de Saverio Verini. À propos de cette promotion, Sam Stourdzé note que la saison 2021/2022 a été, davantage que les précédentes, l?occasion d?une remise en question de la structure fondée en 1666. L’Académie de France à Rome a en effet été créée par Jean-Baptiste Colbert (1619-1683), ministre de Louis XIV qui a contribué ? relayé par son fils, portant le même nom que lui ? à institutionnaliser l?esclavage. (Il est en effet à l’origine de l’ordonnance royale touchant la police des îles de l’Amérique française, promulguée par Louis XIV en mars 1685, texte juridique original qui fut ensuite développé, édité et connu sous le nom de Code noir.)

 

Une histoire complexe que les pensionnaires de la Villa Médicis n’hésitent pas à questionner. Ils ont ainsi multiplié les échanges avec les équipes de la Villa pour demander le déplacement d’objets jugés problématiques (tapisseries coloniales, buste de Colbert) ou concernant l’accueil de leurs familles, requêtes parfois portées jusqu’au ministère de la Culture. Lui-même pensionnaire de la Villa il y a quinze ans, Sam Stourdzé formule très clairement aujourd?hui son projet pour l?institution : apporter de la mobilité dans l?immobilisme d?un lieu patrimonial dont il doit aussi assurer la préservation. ?On est au milieu d?une révolution, mais nous devons être les garants d?une avancée collective?, précise l?ancien directeur des Rencontres d?Arles, soucieux d’encourager la transversalité et la diversité des projets et des profils. L?année prochaine, la Villa accueillera ainsi, dans sa nouvelle promotion de pensionnaires, la danseuse, activiste LGBTQ+ et figure majeure de la scène ballroom et voguing parisienne Lasseindra Ninja, qui envisage déjà un projet mobilisant les membres de sa communauté en Italie. Car, si l’histoire millénaire portée par la ville peut être intimidante, les pensionnaires sont nombreux à réfléchir à de nouvelles manières de se l?approprier. Tour d?horizon de la dernière promotion, à travers les projets de trois de ses pensionnaires, de la sculpture à la vidéo en passant par la peinture, la photographie et l?installation in situ.

1657049371 62 Migrants et architecture autoritaire la Villa Medicis a travers

Théodora Barat © Daniele Molajoli

1657049371 954 Migrants et architecture autoritaire la Villa Medicis a travers

Theodora Barat, ?Periferia? (2022). Courtesy de l’artiste

Théodora Barat : ?Mes ?uvres donnent à voir une Rome vernaculaire voire autoritaire, plutôt qu?exotique.?

 

 

?Je fais des films comme une sculptrice et je réalise des sculptures comme une réalisatrice, déclare Théodora Barat. La question principale qui m?anime est : comment mettre en scène le volume, le monumentaliser par la prise de vue, le faire interagir avec son environnement et le transfigurer ?? Depuis la fin de ses études aux Beaux-Arts de Nantes puis au Fresnoy, la démarche de l?artiste française s?articule autour d?un même point d?ancrage : les incarnations de la modernité dans l?espace. Depuis quatre ans, la trentenaire poursuit notamment une thèse de recherche-création sur l?empreinte nucléaire aux États-Unis, dans laquelle elle étudie les zones contaminées par les missiles et les essais nucléaires des Américains au 20e siècle. Centraux dans sa pratique, qui mobilise aussi bien la sculpture que la vidéo et l?installation, la transformation du paysage et le rôle symbolique des bâtiments et édifices lui ont inspiré, à Rome, un projet lié aussi bien à la richesse culturelle du pays qu’à son histoire moins reluisante. Fascinée par les structures des décors du célèbre cinéaste Federico Fellini, la plasticienne est partie à la recherche, dans Rome et sa région, de paysages témoignant de l?architecture fasciste ? dont le style a même été baptisé Stile Littorio ? aussi bien que de les expérimentations nucléaires en Italie, pour y créer de nouvelles installations éphémères. Véritable travail de terrain, le projet de Théodora Barat l?a aussi bien conduite dans un ancien aéroport militaire très utilisé dans les années 30, devenu depuis un parc public, dans un parking ou encore en bas du pilier d?un pont. Stigmates de la politique de la première moitié du 20e siècle, ces espaces contrastent avec l?image d?Épinal de la Ville éternelle : ?Je voulais proposer une vision de Rome vernaculaire, voire autoritaire, plutôt qu?exotique?, confirme l?artiste, dont le projet joue avec l?ambiguïté de ces lieux standardisés, difficiles à identifier ou à relier à l?Italie pour la plupart des individus.

Dans ces paysages dépouillés, froids et souvent dénués de charme, l?artiste a invité des éléments industriels telles de grandes tôles blanches ou des grillages qu’elle a transformés en sculptures entrant en confrontation plastique et visuelle avec leur environnement. Présentées dans l?espace séculaire de la Villa Médicis, les ?uvres en volume deviennent alors le complément au film qui les met en scène dans ces lieux publics, comme une manière d?interroger le rapport même de l?institution culturelle avec le fascisme ? la Villa contenant encore, par exemple, un obélisque gravée du nom de Mussolini. Avec un grand enthousiasme, Théodora Barat parle de son expérience de pensionnaire comme d’une véritable aventure qui lui a permis de développer d?autres projets : une série photographique qu’elle a réalisée dans une centrale nucléaire désaffectée, un film en super 8 tourné dans un espace ayant accueilli une exposition coloniale, ou encore un travail d?éclairage des sculptures éphémères présentées dans les jardins de la Villa, pour la Nuit des Cabanes, le 25 juin dernier. ?Je suis comme une éponge et j?essaie de nourrir mes ?uvres de tous les échos que j?ai eus au fil des mes pérégrinations dans la ville?, confie l?artiste, dont les divers projets proposent autant de visions nouvelles, mais bel et bien réalistes, de la Rome aujourd?hui. Des visions situées aux antipodes de la carte postale appuyant l?aura sacrée et intangible de la capitale italienne, qui conserve pourtant de nombreuses traces des événements ayant assombri son passé. Loin du pessimisme ou d?une critique univoque, la démarche de Théodora Barat cherche avant tout à élargir le champ de discussion et de perception en passant par le concret, interrogeant explicitement le riche héritage qui structure et jalonne la Ville éternelle, et notre rôle dans notre manière de l?appréhender aujourd?hui.

1657049371 802 Migrants et architecture autoritaire la Villa Medicis a travers

Iván Argote © Claire Dorn

1657049371 957 Migrants et architecture autoritaire la Villa Medicis a travers

Iván Argote, détail de l’?uvre in situ présentée dans l’exposition ?Étincelles? / ?Scintille? à l’Académie de France à Rome (2022) © Daniele Molajoli

Iván Argote : ?Déplacer des monuments est une manière d?écrire des histoires alternatives et non une volonté de détruire ou d?effacer le passé?

 

 

En juillet 2020, un étonnant obélisque s?installe dans le quartier d?affaires de La Défense, à Paris : ramolli, le corps du monument, ne s’élève pas fièrement vers le ciel comme on s’y attendrait. Terminé par une pointe dorée plantée dans le sol, il semble plutôt ramper, formant une sorte de S depuis sa base gris clair. Réalisée par Iván Argote, cette sculpture est très symptomatique de sa pratique, qui interroge l?espace public ? et notamment ses monuments historiques ? à travers des installations éphémères ou permanentes. Le profil de ce Colombien d?origine ne pouvait que séduire le jury de la Villa Médicis pour la promotion 2021/2022. Dès son entretien, l?artiste de 38 ans basé à Paris arrive avec le projet de s?emparer du riche patrimoine de la ville pour en faire le décor d?un film, reproduisant en miniature ses monuments emblématiques ? arches, aqueducs, colisée ?, tous réduits à leur forme la plus essentielle et peints dans une même teinte rose poudré. Inspiré par Cinecittà, le fameux complexe de studios de cinéma créé à Rome dans les années 30, l?artiste a mis en scène, dans cette interprétation fantasmée de la capitale à échelle réduite, des pigeons (réels) perdus, qui envahissent les lieux avec un effet de gigantisme, tels des Godzilla contemporains. Mais la démarche d?Iván Argote ne s?est pas limitée à ce projet, l?artiste ayant parallèlement préparé plusieurs interventions in situ. La première est actuellement visible dans l?exposition collective des pensionnaires : tout au long de l?escalier, l?artiste a tracé un chemin de ciment rose duquel semblent pousser quelques branches mortes : on peut y lire un texte, écrit en italien, qui interroge, de manière assez simple, la possibilité de débattre et d?échanger. ?Pouvons-nous encore poser des questions ? Pouvons-nous parler ? (?) faire bouger les choses ??, autant de questions universelles qui s?appliqueraient aussi bien aux débats du monde contemporain qu?à une relation amoureuse.

Plus rhétoriques et ouvertes que concrètes, ces interrogations découlent également de discussions entretenues par l?artiste et les autres pensionnaires avec les équipes de la Villa Médicis au fil de l?année : demandes du déplacement des tapisseries coloniales présentes dans le salon de réception, révision des conditions d?accueil des familles au sein de la Villa? autant de sujets mis sur la table qui ont occasionné de riches échanges, parfois tendus, mais dont l?artiste se réjouit aujourd?hui. ?Poser des questions sur l?histoire et échanger avec les institutions fait aussi partie de mon travail. Mon expérience à la Villa Médicis m?a donc beaucoup apporté en ce sens, au-delà de ce que j?ai pu y entreprendre plastiquement.? L’artiste a aussi signé un autre gros projet sur place, qu’il a présenté à la fin du mois de juin : une installation dans laquelle il a reproduit un obélisque existant de 20 mètres de haut présent sur une place de Rome. Cette reproduction, suspendue à une grue pendant plusieurs jours, formait une ?uvre faisant référence à l?histoire de la capitale italienne ? connue pour contenir le plus d?obélisques au monde, provenant aussi bien d?Égypte que de l?empire romain ou de l?époque moderne. D’abord érigée sur le site de la Villa ? au-dessus de la ville de Rome et de son centre historique ? puis sur la place, aux côtés de sa semblable (le modèle original), la sculpture semblait en passe d?être installée de façon permanente? et tout l?intérêt résidait justement dans son flottement dans le ciel, lui offrant un statut intermédiaire, éphémère, voire performatif. Paradoxalement, tandis qu’il réalisait ces projets et son film ? qui sera dévoilé en octobre, au Centre Pompidou, dans l?exposition des finalistes du prix marcel Duchamp (dont Iván Argote fait partie) ?, son expérience de pensionnaire à la Villa a été, pour l?artiste, l’occasion de prendre du recul sur sa pratique. Installé dans l?atelier Ingres, espace historique propice à la peinture offrant une vue imprenable sur la ville, le plasticien coutumier de la sculpture a, en effet, pu renouer avec le pinceau en réalisant de nombreuses toiles. Une respiration bienvenue qui l’a incité à repenser l?organisation de son atelier parisien en réduisant les projets et en repensant le rythme aliénant de production dans lequel il avait eu tendance à s’emprisonner ces dernières années.

1657049371 155 Migrants et architecture autoritaire la Villa Medicis a travers

Evangelia Kranioti © Evangelia Kranioti

1657049371 477 Migrants et architecture autoritaire la Villa Medicis a travers

Evangelia Kranioti, extrait du film ?Messengers? (2022).

Evangelia Kranioti : ?La blancheur des sculptures antiques a façonné pendant des siècles un canon de beauté qui a donné lieu à un sentiment de supériorité en Occident?

 

 

Présentée dans une salle sombre en clôture de l?exposition ?Étincelles / Scintille?, la vidéo d?Evangelia Kranioti sonne comme un point d?orgue, un moment en suspens invitant au recueillement. Pendant six minutes, dix hommes et femmes noirs, tous migrants ou réfugiés africains ayant débarqué à Rome, vagabondent seuls, de nuit, dans la Ville éternelle, le regard fixant en silence la caméra. Chacun maintient, sur son épaule ou dans ses bras, une tête blanche, reproduction en plâtre du visage d?Hermès dont les sculptures peuplent la capitale italienne autant que les jardins de la Villa Médicis, pendant qu?en voix off certains de ces personnages récitent doucement des centaines de noms de rues romaines, comme l?énumération des lieux qu?ils arpentent inlassablement, jour après jour. Arrivée à la Villa Médicis en septembre, la photographe et cinéaste grecque basée entre Athènes et Paris avait déjà en tête une thématique de travail bien définie : représenter l?image de la migration en Méditerranée ? sujet qu?elle avait déjà entamé en Grèce et au Liban ? tout en convoquant l?histoire de l?empire romain liée à celle de son propre pays d?origine. Immédiatement frappée par la très faible présence de personnes de couleur dans le centre de la ville, Evangelia Kranioti est partie à la recherche de ces populations en transit, aux statuts intermédiaires voire illégaux, qui ont fui leur pays dans l?espoir d?une vie meilleure de l?autre côté de la mer. Ses recherches l?amènent rapidement dans la périphérie de la capitale où se concentrent ces travailleurs précaires, souvent sans logement permanent, sans papiers ou détenteurs d?un court titre de séjour. En s?impliquant pendant des semaines auprès des nombreuses associations qui leur viennent en aide, la quadragénaire apprend à les connaître et propose à certains d?incarner les personnages principaux de son film. Réalisée avec une petite équipe de tournage et un matériel de haute qualité, la vidéo révèle, malgré sa charge poétique, une réalité de la ville bien souvent poussée vers les zones limitrophes, sublimée par la diffusion en fond sonore d?un air en italien de l?opéra baroque Jules César en Égypte de Haendel, qui accentue ce sentiment d?errance et de finitude.

 

?Il est ici question de symboles qui manipulent des symboles, confie l?artiste, qui identifie dans son projet trois axes majeurs : l?héritage culturel occidental gréco-romain à travers les têtes d?Hermès moulées en plâtre ; la présence des migrants qui incarnent des formes d?avatars contemporains du dieu de la communication ? des messagers ? ; enfin, la ville de Rome, ancien empire, avec tout le poids de l?histoire qu?elle charrie (la guerre, l?esclavage) qui peut encombrer les nouvelles générations d?Italiens?. Très satisfaite de son expérience à la Villa, où elle a pu creuser un angle inédit de sa recherche au long cours, Evangelia Kranioti a également eu l?occasion d?y écrire le scénario d?un long-métrage, de fiction cette fois-ci, auquel le film présenté actuellement pourrait servir de prélude. ?La Villa Médicis est un moment de mise au point et de réflexion sur sa pratique, où l?on s?arrête, où l?on repart, où l?on pousse plus loin certaines choses, poursuit l?artiste. Je vois mon expérience comme une porte qui s?ouvre, comme si une première énigme avait été déchiffrée, et ce, grâce aux clés que la ville et la Villa m?ont données. Je n?aurais pas pu créer cette équation entre messagers, migrants et histoires ailleurs : ce contexte a permis la fermentation de mes idées dans mon esprit et les a rendues possibles.? Très touchée par son expérience du tournage, Evangelia Kranioti a ressenti d?autant plus de satisfaction lorsqu?elle a pu accueillir les personnages de son film dans les murs de l?institution pour le visionner en avant-première : ?un moment merveilleux? pour ces personnes qui, pour la plupart, n?avaient jamais vu leur visage à l?écran. À l?instar de ses co-pensionnaires Théodora Barat et Iván Argote, la démarche d?Evangelia Kranioti ambitionne de poser des questions sur le prestige international de la Ville éternelle, tout en cherchant par le biais de l?art à briser le plafond de verre qui détache encore les institutions séculaires de certaines réalités sociales.

 

 

 

?Étincelles / Scintille?, exposition collective des pensionnaires 2021/2022 de l?Académie de France à Rome ? Villa Médicis jusqu’au 7 août.

We would love to say thanks to the author of this write-up for this outstanding content

Migrants et architecture autoritaire : la Villa Médicis à travers les expériences de trois artistes pensionnaires

We have our social media profiles here as well as additional related pages here.http://wikileaksisdemocracy.org/related-pages/

) [summary] => Résidence d’artistes fondée en 1666, l’Académie de Rome – Villa Médicis clôt sa saison en présentant, suivant la tradition, les projets des pensionnaires qu’elle accueille depuis près d’un an. Inaugurée le 15 juin, l’exposition collective ?Etincelles / Scintille? permet de découvrir la diversité des profils et des pratiques des seize pensionnaires de l’année 2021/2022, qu’ils soient écrivains, ... Read more [atom_content] =>

Résidence d’artistes fondée en 1666, l’Académie de Rome – Villa Médicis clôt sa saison en présentant, suivant la tradition, les projets des pensionnaires qu’elle accueille depuis près d’un an. Inaugurée le 15 juin, l’exposition collective ?Etincelles / Scintille? permet de découvrir la diversité des profils et des pratiques des seize pensionnaires de l’année 2021/2022, qu’ils soient écrivains, compositeurs, cinéastes ou plasticiens. Leurs ?uvres, souvent engagées, témoignent également des débats qui animent aujourd’hui nos sociétés. Focus sur cette promotion à travers les projets de trois d’entre eux : Théodora Barat, Iván Argote et Evangelia Kranioti.

  • Académie de France à Rome ? Villa Médicis, façade interne © Villa Médicis

    Académie de France à Rome ? Villa Médicis, façade interne © Villa Médicis

  • ?uvres d’Iván Argote et Matthieu Peyroulet Ghilini dans l’exposition ?Étincelles? / ?Scintille? à l’Académie de France à Rome (2022) © Daniele Molajoli

    ?uvres d'Iván Argote et Matthieu Peyroulet Ghilini dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli?uvres d'Iván Argote et Matthieu Peyroulet Ghilini dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli

  • ?uvres de Théodora Barat dans l’exposition ?Étincelles? / ?Scintille? à l’Académie de France à Rome (2022) © Daniele Molajoli

    ?uvres de Théodora Barat dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli?uvres de Théodora Barat dans l'exposition ?Étincelles? / ?Scintille? à l'Académie de France à Rome (2022) © Daniele Molajoli

  • Villa Medici © Assaf Shoshan

    Villa Medici © Assaf ShoshanVilla Medici © Assaf Shoshan


?Nous ne sommes ni une école, ni un lieu de production, mais avant tout un lieu de recherche et de création.? Ces mots de Sam Stourdzé, directeur depuis 2020 de l?Académie de France à Rome – Villa Médicis, rappellent clairement le rôle de cette institution créée à l?initiative de Louis XIV, il y a 350 ans, pour accueillir des artistes français dans la Ville éternelle et renforcer les liens politiques et culturels unissant la France et l?Italie. Le 15 juin dernier, le bâtiment séculaire dépendant du ministère de la Culture français ? qui compte aujourd?hui plusieurs dizaines de mécènes tels que la Fondation Louis Roederer ? inaugurait l?exposition collective des seize pensionnaires qui occupent les lieux depuis septembre. Écrivains, compositeurs, plasticiens, cinéastes ou encore historiens de l?art, ces artistes ont bénéficié pendant près d?un an du cadre de la Villa Médicis et de la capitale italienne pour y mener à bien des projets croisant leurs recherches avec le territoire. Une partie de leurs travaux a été réunie au sein de l?exposition collective ?Étincelles / Scintille? sous le commissariat de Saverio Verini. À propos de cette promotion, Sam Stourdzé note que la saison 2021/2022 a été, davantage que les précédentes, l?occasion d?une remise en question de la structure fondée en 1666. L’Académie de France à Rome a en effet été créée par Jean-Baptiste Colbert (1619-1683), ministre de Louis XIV qui a contribué ? relayé par son fils, portant le même nom que lui ? à institutionnaliser l?esclavage. (Il est en effet à l’origine de l’ordonnance royale touchant la police des îles de l’Amérique française, promulguée par Louis XIV en mars 1685, texte juridique original qui fut ensuite développé, édité et connu sous le nom de Code noir.)

 

Une histoire complexe que les pensionnaires de la Villa Médicis n’hésitent pas à questionner. Ils ont ainsi multiplié les échanges avec les équipes de la Villa pour demander le déplacement d’objets jugés problématiques (tapisseries coloniales, buste de Colbert) ou concernant l’accueil de leurs familles, requêtes parfois portées jusqu’au ministère de la Culture. Lui-même pensionnaire de la Villa il y a quinze ans, Sam Stourdzé formule très clairement aujourd?hui son projet pour l?institution : apporter de la mobilité dans l?immobilisme d?un lieu patrimonial dont il doit aussi assurer la préservation. ?On est au milieu d?une révolution, mais nous devons être les garants d?une avancée collective?, précise l?ancien directeur des Rencontres d?Arles, soucieux d’encourager la transversalité et la diversité des projets et des profils. L?année prochaine, la Villa accueillera ainsi, dans sa nouvelle promotion de pensionnaires, la danseuse, activiste LGBTQ+ et figure majeure de la scène ballroom et voguing parisienne Lasseindra Ninja, qui envisage déjà un projet mobilisant les membres de sa communauté en Italie. Car, si l’histoire millénaire portée par la ville peut être intimidante, les pensionnaires sont nombreux à réfléchir à de nouvelles manières de se l?approprier. Tour d?horizon de la dernière promotion, à travers les projets de trois de ses pensionnaires, de la sculpture à la vidéo en passant par la peinture, la photographie et l?installation in situ.

1657049371 62 Migrants et architecture autoritaire la Villa Medicis a travers

Théodora Barat © Daniele Molajoli

1657049371 954 Migrants et architecture autoritaire la Villa Medicis a travers

Theodora Barat, ?Periferia? (2022). Courtesy de l’artiste

Théodora Barat : ?Mes ?uvres donnent à voir une Rome vernaculaire voire autoritaire, plutôt qu?exotique.?

 

 

?Je fais des films comme une sculptrice et je réalise des sculptures comme une réalisatrice, déclare Théodora Barat. La question principale qui m?anime est : comment mettre en scène le volume, le monumentaliser par la prise de vue, le faire interagir avec son environnement et le transfigurer ?? Depuis la fin de ses études aux Beaux-Arts de Nantes puis au Fresnoy, la démarche de l?artiste française s?articule autour d?un même point d?ancrage : les incarnations de la modernité dans l?espace. Depuis quatre ans, la trentenaire poursuit notamment une thèse de recherche-création sur l?empreinte nucléaire aux États-Unis, dans laquelle elle étudie les zones contaminées par les missiles et les essais nucléaires des Américains au 20e siècle. Centraux dans sa pratique, qui mobilise aussi bien la sculpture que la vidéo et l?installation, la transformation du paysage et le rôle symbolique des bâtiments et édifices lui ont inspiré, à Rome, un projet lié aussi bien à la richesse culturelle du pays qu’à son histoire moins reluisante. Fascinée par les structures des décors du célèbre cinéaste Federico Fellini, la plasticienne est partie à la recherche, dans Rome et sa région, de paysages témoignant de l?architecture fasciste ? dont le style a même été baptisé Stile Littorio ? aussi bien que de les expérimentations nucléaires en Italie, pour y créer de nouvelles installations éphémères. Véritable travail de terrain, le projet de Théodora Barat l?a aussi bien conduite dans un ancien aéroport militaire très utilisé dans les années 30, devenu depuis un parc public, dans un parking ou encore en bas du pilier d?un pont. Stigmates de la politique de la première moitié du 20e siècle, ces espaces contrastent avec l?image d?Épinal de la Ville éternelle : ?Je voulais proposer une vision de Rome vernaculaire, voire autoritaire, plutôt qu?exotique?, confirme l?artiste, dont le projet joue avec l?ambiguïté de ces lieux standardisés, difficiles à identifier ou à relier à l?Italie pour la plupart des individus.

Dans ces paysages dépouillés, froids et souvent dénués de charme, l?artiste a invité des éléments industriels telles de grandes tôles blanches ou des grillages qu’elle a transformés en sculptures entrant en confrontation plastique et visuelle avec leur environnement. Présentées dans l?espace séculaire de la Villa Médicis, les ?uvres en volume deviennent alors le complément au film qui les met en scène dans ces lieux publics, comme une manière d?interroger le rapport même de l?institution culturelle avec le fascisme ? la Villa contenant encore, par exemple, un obélisque gravée du nom de Mussolini. Avec un grand enthousiasme, Théodora Barat parle de son expérience de pensionnaire comme d’une véritable aventure qui lui a permis de développer d?autres projets : une série photographique qu’elle a réalisée dans une centrale nucléaire désaffectée, un film en super 8 tourné dans un espace ayant accueilli une exposition coloniale, ou encore un travail d?éclairage des sculptures éphémères présentées dans les jardins de la Villa, pour la Nuit des Cabanes, le 25 juin dernier. ?Je suis comme une éponge et j?essaie de nourrir mes ?uvres de tous les échos que j?ai eus au fil des mes pérégrinations dans la ville?, confie l?artiste, dont les divers projets proposent autant de visions nouvelles, mais bel et bien réalistes, de la Rome aujourd?hui. Des visions situées aux antipodes de la carte postale appuyant l?aura sacrée et intangible de la capitale italienne, qui conserve pourtant de nombreuses traces des événements ayant assombri son passé. Loin du pessimisme ou d?une critique univoque, la démarche de Théodora Barat cherche avant tout à élargir le champ de discussion et de perception en passant par le concret, interrogeant explicitement le riche héritage qui structure et jalonne la Ville éternelle, et notre rôle dans notre manière de l?appréhender aujourd?hui.

1657049371 802 Migrants et architecture autoritaire la Villa Medicis a travers

Iván Argote © Claire Dorn

1657049371 957 Migrants et architecture autoritaire la Villa Medicis a travers

Iván Argote, détail de l’?uvre in situ présentée dans l’exposition ?Étincelles? / ?Scintille? à l’Académie de France à Rome (2022) © Daniele Molajoli

Iván Argote : ?Déplacer des monuments est une manière d?écrire des histoires alternatives et non une volonté de détruire ou d?effacer le passé?

 

 

En juillet 2020, un étonnant obélisque s?installe dans le quartier d?affaires de La Défense, à Paris : ramolli, le corps du monument, ne s’élève pas fièrement vers le ciel comme on s’y attendrait. Terminé par une pointe dorée plantée dans le sol, il semble plutôt ramper, formant une sorte de S depuis sa base gris clair. Réalisée par Iván Argote, cette sculpture est très symptomatique de sa pratique, qui interroge l?espace public ? et notamment ses monuments historiques ? à travers des installations éphémères ou permanentes. Le profil de ce Colombien d?origine ne pouvait que séduire le jury de la Villa Médicis pour la promotion 2021/2022. Dès son entretien, l?artiste de 38 ans basé à Paris arrive avec le projet de s?emparer du riche patrimoine de la ville pour en faire le décor d?un film, reproduisant en miniature ses monuments emblématiques ? arches, aqueducs, colisée ?, tous réduits à leur forme la plus essentielle et peints dans une même teinte rose poudré. Inspiré par Cinecittà, le fameux complexe de studios de cinéma créé à Rome dans les années 30, l?artiste a mis en scène, dans cette interprétation fantasmée de la capitale à échelle réduite, des pigeons (réels) perdus, qui envahissent les lieux avec un effet de gigantisme, tels des Godzilla contemporains. Mais la démarche d?Iván Argote ne s?est pas limitée à ce projet, l?artiste ayant parallèlement préparé plusieurs interventions in situ. La première est actuellement visible dans l?exposition collective des pensionnaires : tout au long de l?escalier, l?artiste a tracé un chemin de ciment rose duquel semblent pousser quelques branches mortes : on peut y lire un texte, écrit en italien, qui interroge, de manière assez simple, la possibilité de débattre et d?échanger. ?Pouvons-nous encore poser des questions ? Pouvons-nous parler ? (?) faire bouger les choses ??, autant de questions universelles qui s?appliqueraient aussi bien aux débats du monde contemporain qu?à une relation amoureuse.

Plus rhétoriques et ouvertes que concrètes, ces interrogations découlent également de discussions entretenues par l?artiste et les autres pensionnaires avec les équipes de la Villa Médicis au fil de l?année : demandes du déplacement des tapisseries coloniales présentes dans le salon de réception, révision des conditions d?accueil des familles au sein de la Villa? autant de sujets mis sur la table qui ont occasionné de riches échanges, parfois tendus, mais dont l?artiste se réjouit aujourd?hui. ?Poser des questions sur l?histoire et échanger avec les institutions fait aussi partie de mon travail. Mon expérience à la Villa Médicis m?a donc beaucoup apporté en ce sens, au-delà de ce que j?ai pu y entreprendre plastiquement.? L’artiste a aussi signé un autre gros projet sur place, qu’il a présenté à la fin du mois de juin : une installation dans laquelle il a reproduit un obélisque existant de 20 mètres de haut présent sur une place de Rome. Cette reproduction, suspendue à une grue pendant plusieurs jours, formait une ?uvre faisant référence à l?histoire de la capitale italienne ? connue pour contenir le plus d?obélisques au monde, provenant aussi bien d?Égypte que de l?empire romain ou de l?époque moderne. D’abord érigée sur le site de la Villa ? au-dessus de la ville de Rome et de son centre historique ? puis sur la place, aux côtés de sa semblable (le modèle original), la sculpture semblait en passe d?être installée de façon permanente? et tout l?intérêt résidait justement dans son flottement dans le ciel, lui offrant un statut intermédiaire, éphémère, voire performatif. Paradoxalement, tandis qu’il réalisait ces projets et son film ? qui sera dévoilé en octobre, au Centre Pompidou, dans l?exposition des finalistes du prix marcel Duchamp (dont Iván Argote fait partie) ?, son expérience de pensionnaire à la Villa a été, pour l?artiste, l’occasion de prendre du recul sur sa pratique. Installé dans l?atelier Ingres, espace historique propice à la peinture offrant une vue imprenable sur la ville, le plasticien coutumier de la sculpture a, en effet, pu renouer avec le pinceau en réalisant de nombreuses toiles. Une respiration bienvenue qui l’a incité à repenser l?organisation de son atelier parisien en réduisant les projets et en repensant le rythme aliénant de production dans lequel il avait eu tendance à s’emprisonner ces dernières années.

1657049371 155 Migrants et architecture autoritaire la Villa Medicis a travers

Evangelia Kranioti © Evangelia Kranioti

1657049371 477 Migrants et architecture autoritaire la Villa Medicis a travers

Evangelia Kranioti, extrait du film ?Messengers? (2022).

Evangelia Kranioti : ?La blancheur des sculptures antiques a façonné pendant des siècles un canon de beauté qui a donné lieu à un sentiment de supériorité en Occident?

 

 

Présentée dans une salle sombre en clôture de l?exposition ?Étincelles / Scintille?, la vidéo d?Evangelia Kranioti sonne comme un point d?orgue, un moment en suspens invitant au recueillement. Pendant six minutes, dix hommes et femmes noirs, tous migrants ou réfugiés africains ayant débarqué à Rome, vagabondent seuls, de nuit, dans la Ville éternelle, le regard fixant en silence la caméra. Chacun maintient, sur son épaule ou dans ses bras, une tête blanche, reproduction en plâtre du visage d?Hermès dont les sculptures peuplent la capitale italienne autant que les jardins de la Villa Médicis, pendant qu?en voix off certains de ces personnages récitent doucement des centaines de noms de rues romaines, comme l?énumération des lieux qu?ils arpentent inlassablement, jour après jour. Arrivée à la Villa Médicis en septembre, la photographe et cinéaste grecque basée entre Athènes et Paris avait déjà en tête une thématique de travail bien définie : représenter l?image de la migration en Méditerranée ? sujet qu?elle avait déjà entamé en Grèce et au Liban ? tout en convoquant l?histoire de l?empire romain liée à celle de son propre pays d?origine. Immédiatement frappée par la très faible présence de personnes de couleur dans le centre de la ville, Evangelia Kranioti est partie à la recherche de ces populations en transit, aux statuts intermédiaires voire illégaux, qui ont fui leur pays dans l?espoir d?une vie meilleure de l?autre côté de la mer. Ses recherches l?amènent rapidement dans la périphérie de la capitale où se concentrent ces travailleurs précaires, souvent sans logement permanent, sans papiers ou détenteurs d?un court titre de séjour. En s?impliquant pendant des semaines auprès des nombreuses associations qui leur viennent en aide, la quadragénaire apprend à les connaître et propose à certains d?incarner les personnages principaux de son film. Réalisée avec une petite équipe de tournage et un matériel de haute qualité, la vidéo révèle, malgré sa charge poétique, une réalité de la ville bien souvent poussée vers les zones limitrophes, sublimée par la diffusion en fond sonore d?un air en italien de l?opéra baroque Jules César en Égypte de Haendel, qui accentue ce sentiment d?errance et de finitude.

 

?Il est ici question de symboles qui manipulent des symboles, confie l?artiste, qui identifie dans son projet trois axes majeurs : l?héritage culturel occidental gréco-romain à travers les têtes d?Hermès moulées en plâtre ; la présence des migrants qui incarnent des formes d?avatars contemporains du dieu de la communication ? des messagers ? ; enfin, la ville de Rome, ancien empire, avec tout le poids de l?histoire qu?elle charrie (la guerre, l?esclavage) qui peut encombrer les nouvelles générations d?Italiens?. Très satisfaite de son expérience à la Villa, où elle a pu creuser un angle inédit de sa recherche au long cours, Evangelia Kranioti a également eu l?occasion d?y écrire le scénario d?un long-métrage, de fiction cette fois-ci, auquel le film présenté actuellement pourrait servir de prélude. ?La Villa Médicis est un moment de mise au point et de réflexion sur sa pratique, où l?on s?arrête, où l?on repart, où l?on pousse plus loin certaines choses, poursuit l?artiste. Je vois mon expérience comme une porte qui s?ouvre, comme si une première énigme avait été déchiffrée, et ce, grâce aux clés que la ville et la Villa m?ont données. Je n?aurais pas pu créer cette équation entre messagers, migrants et histoires ailleurs : ce contexte a permis la fermentation de mes idées dans mon esprit et les a rendues possibles.? Très touchée par son expérience du tournage, Evangelia Kranioti a ressenti d?autant plus de satisfaction lorsqu?elle a pu accueillir les personnages de son film dans les murs de l?institution pour le visionner en avant-première : ?un moment merveilleux? pour ces personnes qui, pour la plupart, n?avaient jamais vu leur visage à l?écran. À l?instar de ses co-pensionnaires Théodora Barat et Iván Argote, la démarche d?Evangelia Kranioti ambitionne de poser des questions sur le prestige international de la Ville éternelle, tout en cherchant par le biais de l?art à briser le plafond de verre qui détache encore les institutions séculaires de certaines réalités sociales.

 

 

 

?Étincelles / Scintille?, exposition collective des pensionnaires 2021/2022 de l?Académie de France à Rome ? Villa Médicis jusqu’au 7 août.

We would love to say thanks to the author of this write-up for this outstanding content

Migrants et architecture autoritaire : la Villa Médicis à travers les expériences de trois artistes pensionnaires

We have our social media profiles here as well as additional related pages here.http://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657049385 ) [2] => Array ( [title] => The legacy of David Cronenberg [link] => http://wikileaksisdemocracy.org/drama/the-legacy-of-david-cronenberg/ [dc] => Array ( [creator] => Beatriz Deitz ) [pubdate] => Tue, 05 Jul 2022 17:50:29 +0000 [category] => DramaCronenbergDavidLegacy [guid] => https://wikileaksisdemocracy.org/?p=10849 [description] => At 79 years old, David Cronenberg films as in his youth, as in his period of greatest experimentation in his native Canada. That is why he returns to one of his first films, crimes of the futureto dedicate a free and transgressive remake to him. Other directors return to their old material, nowadays, with the ... Read more [content] => Array ( [encoded] =>

The legacy of David Cronenberg

At 79 years old, David Cronenberg films as in his youth, as in his period of greatest experimentation in his native Canada.

That is why he returns to one of his first films, crimes of the futureto dedicate a free and transgressive remake to him.

Other directors return to their old material, nowadays, with the purpose of revisiting them from classicism.

On the other hand, Cronenberg hardly takes inspiration from his iconoclastic title, evolving towards avant-garde forms and content, affected by his authorship.

future crimes can be summed up in the essence of its trial and error phases: its gore and stylized treatment of body horror persists, it preserves its obsession with characters on the edge of secrecy, it refreshes its narrative arcs of crossed and split protagonists, it perfects its montage Crash of high-impact images, like video art of a kamikaze performer, like Marina Abramovic, with increasingly stripped-back and abstract stories, close to the enigmatic beauty of a mathematical and sacrilegious theorem by Pasollini.

Cronenberg, outright, is not interested in communing with the dominant orthodoxy of the mainstream, and that is why he anticipates his empty appearance at Cannes, a festival where the Palme d’Or is awarded to plagiarism and tributes chosen as Titan.

The contest prefers the copy, the postmodern tribute, desplatando the ideologue of the original source.

crimes of the future with his apology for intestinal tattooing and subdermal implants, he adapts and takes to paroxysm the investigations of damned scientific research and mutilation, such as Bob Flanagan, associated with the sadomasochistic subculture, inspiring video clips of NIN and Marilyn Manson.

Cronenberg’s film offers a contemporary painting of the life and work of an artist like him, focused on the perceptual alterations that emanate from the modification and intervention of the human anatomy.

Hence, it is one of his richest films in citations to the masters of the Renaissance, Baroque, Impressionism and Expressionism.

Among the multiple specific references, the beautiful and brutal compositions of the feature film reveal a natural connection with the dramatic and gloomy pieces by Caravaggio.

Not to mention the Van Gogh who cut off his ear or the link with Peter Greenaway (The Pillow Book).

The protagonist’s partner, a spectral demi-goddess played by Léa Seydoux, proceeds to perform surgery on Viggo Mortensen’s body in front of an audience eager for spectacle and strong sensations, inside a grotto like a Tate Gallery, a Moma PS1 , of an abandoned dock converted into a museum of panic.

There he creates and extirpates tumors live, in a ritual way and as a staging of a tortuous ordeal, the effects of which crucify the antihero in his messianic project, apart from the canons of normality.

Kristen Stewart, a fan of the show, approaches the dismembered man and whispers: “Surgery is the new sex”, seeking to flatter the artist. Later, between them, another type of proximity will be established, somewhat frustrating, in a classic Cronenberg trio.

Here the self-awareness of the director’s world is obvious, renewing the sentimental and existential intersections of Dead Ringers, Madame Butterfly, The Fly and Dangerous Method.

Above all, in the formal and conceptual order, crimes of the future dialogue with Crash, videodrome, Spider, Scanners, The Brood, Naked Lunch, Eastern Promises and ExistenZ.

From the art of tattooing recovers the essence of eastern promisesas well as from existZ Y naked lunch rescues its living instruments covered with a slimy skin, as from the screens and latex guns of videodromeunder the creed of ?long live to the new flesh?.

The first sequence of a mother grieving over her son’s Kafkaesque fate is a short version of the dystopian trauma of Spiderin a location like the cold and dehumanized post-industrial Toronto in which Cronenberg himself grew up.

A no place you have in crimes of the future an exhibition of a ghost city, populated by beings and locations that seem to be taken from Pedro Costa’s paintings in Horse Money and Vitalina Varelain the light of a camera that captures the urban encounters of Saul Tenser (Viggo) and the racialized police detective who follows in his footsteps.

One of the syncretic reconsiderations of the film arises, which arouses the greatest surprise: the influence of the Portuguese and African schools in the design of Cronenberg’s mise-en-scène.

The author looks to the third world for an influence that gives his story a global context.

Subtly, the film represents two problems that the filmmaker has dealt with since his early days. First, the artist’s conflict with a medium that clones and prostitutes his inventions, keeping the frivolous surface of the story.

Allow me to interpret two poetic hints. In one case, Saul watches from a distance and with some disdain as a boy takes the scene from him, to perform a macabre dance with his eyes and lips cooked, while showing off ear implants.

Said secondary questions the nature of a self-absorbed and narcissistic art, which, rather than listening to the viewer, reinforces the most epidermal entropy of the author.

I wonder if it is not a wink, a criticism of his son, Brandon Cronenberg, who was born from the remains and oedipal cannibalization of his father.

There is also something that throws a spike to the physical reproduction of Julia Ducurnau in Titan. He perceives himself in a paranoid vision of the man anguished by the women around him from an aggressive passive aggressiveness, who wants to kill his father, who wants to redouble his bet to overcome him.

Crimes of the Future It is the biography of a Cronenberg hallucinated and tormented by his creative dilemmas, by how his replicating demons stalk him, by how his succeeding generations gobble him up, by his isolation and misunderstanding in the face of an environment that is satisfied with consuming packaged plastic.

Will Cannes be the world that Cronenberg represents and that prefers to crown the plastic bar of Titaninstead of the irreducible flavor that springs from his tumor visions?

crimes of the future amalgamates a palette so powerful that it triggers more questions than answers.

In the middle, the film denounces the interference of bureaucracy, beauty contests and drug traffickers, who promise success and salvation, but lead the artist to his decision to die with his boots on or sacrifice himself for his dream. which turns into a nightmare.

From Eros to Thanatos, crimes of the future exhibits the final retrospective, David Cronenberg’s legacy to the planet.

An art that breaks barriers and limits, that admits the currents that encouraged Buñuel, that strikes the dozen retinas, and that we will really understand tomorrow.

Long live science fiction that comes out of the comfort zone, and that disrupts our memory, infecting it with a proposal that refuses to give up.

A monstrosity of a movie, backed by a score by Howard Shore that should get an Oscar nomination, at the very least.

Technology as an extension of the body, also referring to the validity of the theory of the simulacrum of Matrix.

Independent journalism needs the support of its readers to continue and ensure that the uncomfortable news they don’t want you to read remains within your reach. Today, with your support, we will continue to work hard for censorship-free journalism!

We would like to give thanks to the writer of this post for this amazing web content

The legacy of David Cronenberg


Check out our social media profiles along with other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

) [summary] => At 79 years old, David Cronenberg films as in his youth, as in his period of greatest experimentation in his native Canada. That is why he returns to one of his first films, crimes of the futureto dedicate a free and transgressive remake to him. Other directors return to their old material, nowadays, with the ... Read more [atom_content] =>

The legacy of David Cronenberg

At 79 years old, David Cronenberg films as in his youth, as in his period of greatest experimentation in his native Canada.

That is why he returns to one of his first films, crimes of the futureto dedicate a free and transgressive remake to him.

Other directors return to their old material, nowadays, with the purpose of revisiting them from classicism.

On the other hand, Cronenberg hardly takes inspiration from his iconoclastic title, evolving towards avant-garde forms and content, affected by his authorship.

future crimes can be summed up in the essence of its trial and error phases: its gore and stylized treatment of body horror persists, it preserves its obsession with characters on the edge of secrecy, it refreshes its narrative arcs of crossed and split protagonists, it perfects its montage Crash of high-impact images, like video art of a kamikaze performer, like Marina Abramovic, with increasingly stripped-back and abstract stories, close to the enigmatic beauty of a mathematical and sacrilegious theorem by Pasollini.

Cronenberg, outright, is not interested in communing with the dominant orthodoxy of the mainstream, and that is why he anticipates his empty appearance at Cannes, a festival where the Palme d’Or is awarded to plagiarism and tributes chosen as Titan.

The contest prefers the copy, the postmodern tribute, desplatando the ideologue of the original source.

crimes of the future with his apology for intestinal tattooing and subdermal implants, he adapts and takes to paroxysm the investigations of damned scientific research and mutilation, such as Bob Flanagan, associated with the sadomasochistic subculture, inspiring video clips of NIN and Marilyn Manson.

Cronenberg’s film offers a contemporary painting of the life and work of an artist like him, focused on the perceptual alterations that emanate from the modification and intervention of the human anatomy.

Hence, it is one of his richest films in citations to the masters of the Renaissance, Baroque, Impressionism and Expressionism.

Among the multiple specific references, the beautiful and brutal compositions of the feature film reveal a natural connection with the dramatic and gloomy pieces by Caravaggio.

Not to mention the Van Gogh who cut off his ear or the link with Peter Greenaway (The Pillow Book).

The protagonist’s partner, a spectral demi-goddess played by Léa Seydoux, proceeds to perform surgery on Viggo Mortensen’s body in front of an audience eager for spectacle and strong sensations, inside a grotto like a Tate Gallery, a Moma PS1 , of an abandoned dock converted into a museum of panic.

There he creates and extirpates tumors live, in a ritual way and as a staging of a tortuous ordeal, the effects of which crucify the antihero in his messianic project, apart from the canons of normality.

Kristen Stewart, a fan of the show, approaches the dismembered man and whispers: “Surgery is the new sex”, seeking to flatter the artist. Later, between them, another type of proximity will be established, somewhat frustrating, in a classic Cronenberg trio.

Here the self-awareness of the director’s world is obvious, renewing the sentimental and existential intersections of Dead Ringers, Madame Butterfly, The Fly and Dangerous Method.

Above all, in the formal and conceptual order, crimes of the future dialogue with Crash, videodrome, Spider, Scanners, The Brood, Naked Lunch, Eastern Promises and ExistenZ.

From the art of tattooing recovers the essence of eastern promisesas well as from existZ Y naked lunch rescues its living instruments covered with a slimy skin, as from the screens and latex guns of videodromeunder the creed of ?long live to the new flesh?.

The first sequence of a mother grieving over her son’s Kafkaesque fate is a short version of the dystopian trauma of Spiderin a location like the cold and dehumanized post-industrial Toronto in which Cronenberg himself grew up.

A no place you have in crimes of the future an exhibition of a ghost city, populated by beings and locations that seem to be taken from Pedro Costa’s paintings in Horse Money and Vitalina Varelain the light of a camera that captures the urban encounters of Saul Tenser (Viggo) and the racialized police detective who follows in his footsteps.

One of the syncretic reconsiderations of the film arises, which arouses the greatest surprise: the influence of the Portuguese and African schools in the design of Cronenberg’s mise-en-scène.

The author looks to the third world for an influence that gives his story a global context.

Subtly, the film represents two problems that the filmmaker has dealt with since his early days. First, the artist’s conflict with a medium that clones and prostitutes his inventions, keeping the frivolous surface of the story.

Allow me to interpret two poetic hints. In one case, Saul watches from a distance and with some disdain as a boy takes the scene from him, to perform a macabre dance with his eyes and lips cooked, while showing off ear implants.

Said secondary questions the nature of a self-absorbed and narcissistic art, which, rather than listening to the viewer, reinforces the most epidermal entropy of the author.

I wonder if it is not a wink, a criticism of his son, Brandon Cronenberg, who was born from the remains and oedipal cannibalization of his father.

There is also something that throws a spike to the physical reproduction of Julia Ducurnau in Titan. He perceives himself in a paranoid vision of the man anguished by the women around him from an aggressive passive aggressiveness, who wants to kill his father, who wants to redouble his bet to overcome him.

Crimes of the Future It is the biography of a Cronenberg hallucinated and tormented by his creative dilemmas, by how his replicating demons stalk him, by how his succeeding generations gobble him up, by his isolation and misunderstanding in the face of an environment that is satisfied with consuming packaged plastic.

Will Cannes be the world that Cronenberg represents and that prefers to crown the plastic bar of Titaninstead of the irreducible flavor that springs from his tumor visions?

crimes of the future amalgamates a palette so powerful that it triggers more questions than answers.

In the middle, the film denounces the interference of bureaucracy, beauty contests and drug traffickers, who promise success and salvation, but lead the artist to his decision to die with his boots on or sacrifice himself for his dream. which turns into a nightmare.

From Eros to Thanatos, crimes of the future exhibits the final retrospective, David Cronenberg’s legacy to the planet.

An art that breaks barriers and limits, that admits the currents that encouraged Buñuel, that strikes the dozen retinas, and that we will really understand tomorrow.

Long live science fiction that comes out of the comfort zone, and that disrupts our memory, infecting it with a proposal that refuses to give up.

A monstrosity of a movie, backed by a score by Howard Shore that should get an Oscar nomination, at the very least.

Technology as an extension of the body, also referring to the validity of the theory of the simulacrum of Matrix.

Independent journalism needs the support of its readers to continue and ensure that the uncomfortable news they don’t want you to read remains within your reach. Today, with your support, we will continue to work hard for censorship-free journalism!

We would like to give thanks to the writer of this post for this amazing web content

The legacy of David Cronenberg


Check out our social media profiles along with other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657043429 ) [3] => Array ( [title] => All Netflix releases in July 2022 [link] => http://wikileaksisdemocracy.org/mystery/all-netflix-releases-in-july-2022/ [dc] => Array ( [creator] => Kelly Nieves ) [pubdate] => Tue, 05 Jul 2022 17:20:05 +0000 [category] => MysteryJulyNetflixreleases [guid] => https://wikileaksisdemocracy.org/?p=10840 [description] => What new movies and series are coming to Netflix in July? We tell you everything you can not miss! This month Netflix will surprise us with the second part of the last season of stranger things which will continue the story of Hawkins and the beloved group of friends. The platform will also premiere the ... Read more [content] => Array ( [encoded] =>

What new movies and series are coming to Netflix in July? We tell you everything you can not miss!

This month Netflix will surprise us with the second part of the last season of stranger things which will continue the story of Hawkins and the beloved group of friends. The platform will also premiere the third season of the Mexican series Z control.

On the movie side, Netflix will premiere Persuasion, a romantic film starring Dakota Johnson. Also, it will come the gray man, an action story starring Ana de Armas, Ryan Gosling and Chris Evans.


SERIES

Stranger Things 4 Volume 2 ? July 1

season 4 of stranger things is the biggest to date and will finally release the second part to solve all the questions about Eleven who finally faced her repressed memories, and in doing so she learned the truth about the monstrous Vecna. This reveal came at the same time as a showdown between Vecna ??and Nancy in the Upside Down, leaving many viewers wondering if she will survive.


Control Z S3 ? July 6

Z-control is Netflix’s Mexican teen drama that is currently taking the world by storm. Set in the troubled National College, it follows a group of teenagers as they get into a fight with a mysterious hacker who seems to have all of his secrets at his fingertips. The next installment will try to continue solving mysteries and questions left by the end of the second season.


Hello, goodbye and everything that happened ? July 6

After agreeing to break up before college, Claire (Talia Ryder) and Aidan (Jordan Fisher) have an epic date on their last night as a couple. As they reminisce about their relationship, from the moment they met to their first kiss and first fight, they approach a turning point in search of answers: should they stay together or say goodbye forever?


Better Call Saul 6 Volume 2 ? July 18

After that your season 6 was divided into two parts, the series Better Call Saul premiered on Netflix the last of seven chapters that make up the first part . Now, finally, the final hope of the series created by the multi-award winners will arrive. Vince Gilligan and Peter Gould.


FILMS

The girl in the photo ? July 6

The girl in the photo is a true crime documentary, based on the girl in the photograph, and the case of kidnapping, sexual abuse and lies that marked her existence and remained a mystery for more than 30 years.


The longest night ? July 8

A group of armed men surrounds a psychiatric prison and cuts off communications with the outside world. His goal: to take Simon Lake (Luis Callejo), a dangerous serial killer. . But Hugo (Alberto Ammann), the director of the prison, refuses to obey and prepares to resist the attack.


Persuasion ? July 15

Anne Elliot, A woman struggling against the constraints of her arrogant family whose wealth is rapidly disappearing finds herself getting a second chance at love when Frederick Wentworth, andhe man Anne fell in love with many years ago comes back into her life.


The Gray Man ? July 22

CIA agent Court Gentry (Ryan Gosling), aka Sierra Six, is hauled out of a federal prison by his supervisor, Donald Fitzroy (Billy Bob Thornton) Gentry he was once a highly skilled death merchant, authorized by the Agency. But now the tables have turned and Six is ??the target, chased around the world by Lloyd Hansen (Chris Evans), a former CIA partner who will stop at nothing to take him down.


OTHER NETFLIX PREMIERES

Series

Films

ANIMATED


What do cinephiles and cinephiles think?

We wish to give thanks to the author of this write-up for this outstanding material

All Netflix releases in July 2022


Explore our social media profiles as well as other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

) [summary] => What new movies and series are coming to Netflix in July? We tell you everything you can not miss! This month Netflix will surprise us with the second part of the last season of stranger things which will continue the story of Hawkins and the beloved group of friends. The platform will also premiere the ... Read more [atom_content] =>

What new movies and series are coming to Netflix in July? We tell you everything you can not miss!

This month Netflix will surprise us with the second part of the last season of stranger things which will continue the story of Hawkins and the beloved group of friends. The platform will also premiere the third season of the Mexican series Z control.

On the movie side, Netflix will premiere Persuasion, a romantic film starring Dakota Johnson. Also, it will come the gray man, an action story starring Ana de Armas, Ryan Gosling and Chris Evans.


SERIES

Stranger Things 4 Volume 2 ? July 1

season 4 of stranger things is the biggest to date and will finally release the second part to solve all the questions about Eleven who finally faced her repressed memories, and in doing so she learned the truth about the monstrous Vecna. This reveal came at the same time as a showdown between Vecna ??and Nancy in the Upside Down, leaving many viewers wondering if she will survive.


Control Z S3 ? July 6

Z-control is Netflix’s Mexican teen drama that is currently taking the world by storm. Set in the troubled National College, it follows a group of teenagers as they get into a fight with a mysterious hacker who seems to have all of his secrets at his fingertips. The next installment will try to continue solving mysteries and questions left by the end of the second season.


Hello, goodbye and everything that happened ? July 6

After agreeing to break up before college, Claire (Talia Ryder) and Aidan (Jordan Fisher) have an epic date on their last night as a couple. As they reminisce about their relationship, from the moment they met to their first kiss and first fight, they approach a turning point in search of answers: should they stay together or say goodbye forever?


Better Call Saul 6 Volume 2 ? July 18

After that your season 6 was divided into two parts, the series Better Call Saul premiered on Netflix the last of seven chapters that make up the first part . Now, finally, the final hope of the series created by the multi-award winners will arrive. Vince Gilligan and Peter Gould.


FILMS

The girl in the photo ? July 6

The girl in the photo is a true crime documentary, based on the girl in the photograph, and the case of kidnapping, sexual abuse and lies that marked her existence and remained a mystery for more than 30 years.


The longest night ? July 8

A group of armed men surrounds a psychiatric prison and cuts off communications with the outside world. His goal: to take Simon Lake (Luis Callejo), a dangerous serial killer. . But Hugo (Alberto Ammann), the director of the prison, refuses to obey and prepares to resist the attack.


Persuasion ? July 15

Anne Elliot, A woman struggling against the constraints of her arrogant family whose wealth is rapidly disappearing finds herself getting a second chance at love when Frederick Wentworth, andhe man Anne fell in love with many years ago comes back into her life.


The Gray Man ? July 22

CIA agent Court Gentry (Ryan Gosling), aka Sierra Six, is hauled out of a federal prison by his supervisor, Donald Fitzroy (Billy Bob Thornton) Gentry he was once a highly skilled death merchant, authorized by the Agency. But now the tables have turned and Six is ??the target, chased around the world by Lloyd Hansen (Chris Evans), a former CIA partner who will stop at nothing to take him down.


OTHER NETFLIX PREMIERES

Series

Films

ANIMATED


What do cinephiles and cinephiles think?

We wish to give thanks to the author of this write-up for this outstanding material

All Netflix releases in July 2022


Explore our social media profiles as well as other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657041605 ) [4] => Array ( [title] => New study reveals impact of plastic on small mammals, as four out of seven species identified as ?plastic constructive? [link] => http://wikileaksisdemocracy.org/science/new-study-reveals-impact-of-plastic-on-small-mammals-as-four-out-of-seven-species-identified-as-plastic-constructive/ [dc] => Array ( [creator] => Laura Surber ) [pubdate] => Tue, 05 Jul 2022 17:12:39 +0000 [category] => scienceconstructiveidentifiedimpactmammalsplasticrevealsSmallspeciesstudy [guid] => https://wikileaksisdemocracy.org/?p=10838 [description] => Journal Reference: Emily Thrift, Adam Porter, Tamara S. Galloway, Frazer G. Coomber, Fiona Mathews. Ingestion of plastics by terrestrial small mammals. Science of The Total Environment, 2022; 842: 156679 DOI: 10.1016/j.scitotenv.2022.156679 In a paper published in Science of the Total Environment, researchers from the University of Sussex, the Mammal Society and the University of Exeter ... Read more [content] => Array ( [encoded] =>

Journal Reference:

  1. Emily Thrift, Adam Porter, Tamara S. Galloway, Frazer G. Coomber, Fiona Mathews. Ingestion of plastics by terrestrial small mammals. Science of The Total Environment, 2022; 842: 156679 DOI: 10.1016/j.scitotenv.2022.156679

In a paper published in Science of the Total Environment, researchers from the University of Sussex, the Mammal Society and the University of Exeter state that the densities of plastic excreted were comparable with those reported in human studies.

Fiona Mathews, Professor of Environmental Biology at the University of Sussex, says:

?Much is known about the impact of plastic on aquatic ecosystems, but very little is known about the same with terrestrial systems.

?By analysing the droppings of some of our most widespread small mammals, we?ve been able to provide a glimpse of the potential impact plastic is having on our wildlife ? and the most commonly found plastics leaking into our environment.?

The paper, authored by graduate Emily Thrift, Prof Fiona Mathews and Dr Frazer Coomber of the University of Sussex and the Mammal Society, with Dr Adam Porter and Prof Tamara Galloway of the University of Exeter, identifies plastic polymers in four out of the seven species for which they had faecal samples for. The European hedgehog, wood mouse, field vole and brown rat were all found to be plastic positive.

While expecting to see higher plastic concentrations in samples from urban locations and less plastic in herbivorous species, researchers actually discovered that ingestion of plastics were occurring across locations as well as across differing dietary habits ? from herbivores, insectivores and omnivores.

Emily Thrift, MSci graduate from the University of Sussex, says:

?It?s very worrying that the traces of plastic were so widely distributed across locations and species of different dietary habits. This suggests that plastics could be seeping into all areas of our environment in different ways.

?We?re also concerned that the European hedgehog, and field vole are both species suffering declines in numbers in the UK.?

Using equipment at the Greenpeace labs at the University of Exeter, the team analysed 261 faecal samples, with 16.5% containing plastic. The most common types identified were polyester, polyethylene (widely used in single-use packaging), and polynorbornene (used mainly in the rubber industry). Polyester accounted for 27% of the fragments identified, and was found in all the plastic positive species, except the wood mouse. Widely used in textiles and the fashion industry, the paper explains that microfibres can enter the waste water system through household washing and subsequently end up on the land through the use of sewage sludge as fertiliser.

Over a quarter of the plastics found in the study were also ?biodegradable? or bioplastics. The authors warn that while these types of plastics may degrade faster than polymers, they can still be ingested by small mammals and further research is needed to investigate their true biological impacts.

The authors believe that the microplastics found in the study are likely to have entered species? guts as a result of the consumption of contaminated prey or through direct ingestion. With ingestion, researchers believe species could be mistaking plastics for food or chewing macroplastics used as nesting material or to escape entanglement.

The potential impact of plastics through the food chain is another issue the authors are concerned about, and urging further study into.

Prof. Fiona Mathews adds:

?We really need to get a deeper understanding of the implications of plastic ingestion on land mammals ? and the potential impacts this has on their conservation status.

?In our study, droppings from European hedgehogs carried the highest quantity of plastic polymers. As a species, they are already in decline in the UK for reasons that are largely unknown, and they are classified as Vulnerable to Extinction on the IUCN-compliant regional Red List.

?European hedgehogs consume earthworms and previous studies have found these to contain microplastics. So we really need further research to establish the scale and route of exposure more precisely, and to assess prevalence in predatory species that consume small mammals, so that we can take adequate steps to try to protect our declining wildlife from plastics.?

Andy Bool, CEO of the Mammal Society says:

?The Mammal Society is proud to have helped and part-funded this research as it represents an important step into the study of the impact of plastics on terrestrial mammals. With a number of small mammal species experiencing worrying declines in numbers it highlights one of the challenges they face. We can all make a difference to help protect them from this threat by reducing the amount of single use plastic we use and reusing and recycling what we do use properly.?

Dr Adam Porter, NERC Post-Doctoral Research Fellow at the University of Exeter says:

?In the UK, plastic pollution can often seem like a problem somewhere else when most images are of polluted shorelines of tropical landscapes, or charismatic organisms like turtles or sea lions.

This study brings the focus home, into our lands and in some of our much beloved mammal species. Further it demonstrates that the amount of plastic waste we produce is having an impact.

We must change our relationship with plastic all together; moving away from disposable items and moving towards replacing plastic for better alternatives and establishing truly circular economies.?

We would love to say thanks to the author of this short article for this incredible web content

New study reveals impact of plastic on small mammals, as four out of seven species identified as ?plastic constructive?

You can find our social media profiles as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Journal Reference: Emily Thrift, Adam Porter, Tamara S. Galloway, Frazer G. Coomber, Fiona Mathews. Ingestion of plastics by terrestrial small mammals. Science of The Total Environment, 2022; 842: 156679 DOI: 10.1016/j.scitotenv.2022.156679 In a paper published in Science of the Total Environment, researchers from the University of Sussex, the Mammal Society and the University of Exeter ... Read more [atom_content] =>

Journal Reference:

  1. Emily Thrift, Adam Porter, Tamara S. Galloway, Frazer G. Coomber, Fiona Mathews. Ingestion of plastics by terrestrial small mammals. Science of The Total Environment, 2022; 842: 156679 DOI: 10.1016/j.scitotenv.2022.156679

In a paper published in Science of the Total Environment, researchers from the University of Sussex, the Mammal Society and the University of Exeter state that the densities of plastic excreted were comparable with those reported in human studies.

Fiona Mathews, Professor of Environmental Biology at the University of Sussex, says:

?Much is known about the impact of plastic on aquatic ecosystems, but very little is known about the same with terrestrial systems.

?By analysing the droppings of some of our most widespread small mammals, we?ve been able to provide a glimpse of the potential impact plastic is having on our wildlife ? and the most commonly found plastics leaking into our environment.?

The paper, authored by graduate Emily Thrift, Prof Fiona Mathews and Dr Frazer Coomber of the University of Sussex and the Mammal Society, with Dr Adam Porter and Prof Tamara Galloway of the University of Exeter, identifies plastic polymers in four out of the seven species for which they had faecal samples for. The European hedgehog, wood mouse, field vole and brown rat were all found to be plastic positive.

While expecting to see higher plastic concentrations in samples from urban locations and less plastic in herbivorous species, researchers actually discovered that ingestion of plastics were occurring across locations as well as across differing dietary habits ? from herbivores, insectivores and omnivores.

Emily Thrift, MSci graduate from the University of Sussex, says:

?It?s very worrying that the traces of plastic were so widely distributed across locations and species of different dietary habits. This suggests that plastics could be seeping into all areas of our environment in different ways.

?We?re also concerned that the European hedgehog, and field vole are both species suffering declines in numbers in the UK.?

Using equipment at the Greenpeace labs at the University of Exeter, the team analysed 261 faecal samples, with 16.5% containing plastic. The most common types identified were polyester, polyethylene (widely used in single-use packaging), and polynorbornene (used mainly in the rubber industry). Polyester accounted for 27% of the fragments identified, and was found in all the plastic positive species, except the wood mouse. Widely used in textiles and the fashion industry, the paper explains that microfibres can enter the waste water system through household washing and subsequently end up on the land through the use of sewage sludge as fertiliser.

Over a quarter of the plastics found in the study were also ?biodegradable? or bioplastics. The authors warn that while these types of plastics may degrade faster than polymers, they can still be ingested by small mammals and further research is needed to investigate their true biological impacts.

The authors believe that the microplastics found in the study are likely to have entered species? guts as a result of the consumption of contaminated prey or through direct ingestion. With ingestion, researchers believe species could be mistaking plastics for food or chewing macroplastics used as nesting material or to escape entanglement.

The potential impact of plastics through the food chain is another issue the authors are concerned about, and urging further study into.

Prof. Fiona Mathews adds:

?We really need to get a deeper understanding of the implications of plastic ingestion on land mammals ? and the potential impacts this has on their conservation status.

?In our study, droppings from European hedgehogs carried the highest quantity of plastic polymers. As a species, they are already in decline in the UK for reasons that are largely unknown, and they are classified as Vulnerable to Extinction on the IUCN-compliant regional Red List.

?European hedgehogs consume earthworms and previous studies have found these to contain microplastics. So we really need further research to establish the scale and route of exposure more precisely, and to assess prevalence in predatory species that consume small mammals, so that we can take adequate steps to try to protect our declining wildlife from plastics.?

Andy Bool, CEO of the Mammal Society says:

?The Mammal Society is proud to have helped and part-funded this research as it represents an important step into the study of the impact of plastics on terrestrial mammals. With a number of small mammal species experiencing worrying declines in numbers it highlights one of the challenges they face. We can all make a difference to help protect them from this threat by reducing the amount of single use plastic we use and reusing and recycling what we do use properly.?

Dr Adam Porter, NERC Post-Doctoral Research Fellow at the University of Exeter says:

?In the UK, plastic pollution can often seem like a problem somewhere else when most images are of polluted shorelines of tropical landscapes, or charismatic organisms like turtles or sea lions.

This study brings the focus home, into our lands and in some of our much beloved mammal species. Further it demonstrates that the amount of plastic waste we produce is having an impact.

We must change our relationship with plastic all together; moving away from disposable items and moving towards replacing plastic for better alternatives and establishing truly circular economies.?

We would love to say thanks to the author of this short article for this incredible web content

New study reveals impact of plastic on small mammals, as four out of seven species identified as ?plastic constructive?

You can find our social media profiles as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657041159 ) [5] => Array ( [title] => TVE takes advantage of the German film of the weekend desktop [link] => http://wikileaksisdemocracy.org/romance/tve-takes-advantage-of-the-german-film-of-the-weekend-desktop/ [dc] => Array ( [creator] => Laura Surber ) [pubdate] => Tue, 05 Jul 2022 16:27:05 +0000 [category] => RomanceadvantagedesktopFilmGermantakesTVEweekend [guid] => https://wikileaksisdemocracy.org/?p=10835 [description] => One of the bucolic pictures of the German telefilms that fill the hours of the weekend afternoons on TVE’s La 1. / CR More than a million viewers follow the family broadcast of La 1 on Saturdays and Sundays at siesta time It’s four in the afternoon on any given Saturday. The family has just ... Read more [content] => Array ( [encoded] =>

One of the bucolic pictures of the German telefilms that fill the hours of the weekend afternoons on TVE’s La 1. / CR

More than a million viewers follow the family broadcast of La 1 on Saturdays and Sundays at siesta time

It’s four in the afternoon on any given Saturday. The family has just eaten and waits for coffee watching the weather forecast that is offered after the ‘Telediario’. Once finished, and almost without batting an eyelid, the afternoon film begins replicating the same scheme as the previous week and the previous one: pleasant landscapes, small villages, charismatic characters and a love story that, despite starting with a certain dose of of drama, it always ends with a nice ending that the grandmother and the grandson like. It is the formula of the German ‘telefilm’ that for almost eight years has triumphed on the weekend afternoons of La 1, already becoming a classic on the small screen.

It was in 2014 when TVE tried to find its niche with a whiter and more evasive type of fiction that distanced itself from the ‘thriller’ that Antena 3 broadcasts at the same time, also with great audience success, in its ‘Multicine’ container. While the Atresmedia chain has been betting for almost two decades on darker ‘tv movies’, with kidnappings, murders or women in danger, the public corporation took a risk with one hundred percent alternative content: weddings, divorces, reconciliations, stories of overcomings. With beautiful and usually wealthy people. There is also no lack of light and color in the productions, because cloudy landscapes never appear in these usually gray Central European landscapes. And it’s always summer to make the company at siesta quite pleasant. Its screen share moves between 10% and 12% of ‘share’, with about 1.2 million viewers, thus exceeding the average of the chain, which in May was 9.5%.

When they started the experiment from TVE they pointed out that this product, “in relation to quality-price”, fit perfectly into La 1. The directors noticed in the audience a certain exhaustion of other more intense films, mainly American, that were offered to that hour. Although they featured well-known actors, they were generally repeats of showings of commercial films that viewers had already seen on more than one occasion. The premieres of the great ‘majors’ were left for ‘prime time’, while Spanish cinema maintained its share in already veteran spaces such as ‘Cine neighborhood’, ‘Spanish version’ or ‘History of our cinema’.

It is always summer, there is never a lack of light and romanticism and it ends well, the perfect formula to please the grandmother and the grandson

Throughout a year, it is estimated that La 1 broadcasts almost 300 titles in its programming. On Sundays, for example, three productions of this type are broadcast in a row. Its duration is not excessive and the flexibility for broadcasting, something highly valued by programmers, is not either. The architects of this profitable success are the production companies Frankfurter Filmproduktion New Media (FFP New Media) and Bavaria Fernseçhproduktion GmbH. The ‘telefilms’ are sold for broadcast and subsequent distribution by German public television ZDF, reaching agreements with other countries as disparate as Mexico, Malaysia or Morocco.

same theme

The productions not only have the same uniformity in the recording, but also share a cast of actors. There are also cycles that maintain a common link although the stories, a priori, are different. This is the case of the films framed with the title ‘A summer in?’, which are set in cities around the world to which the protagonists go to live the vacations of their lives. Among those places are Oxford, Antwerp or Salamanca, where one of these films was recorded in 2019. The film ‘A summer in Salamanca’, which tells the story of two sisters who go to the province to help restore a traditional route, was has already offered several times by the first TVE channel.

Another of the classics are the stories based on the romantic novels written by the Englishwoman Rosamunde Pilcher, a cycle that began in 1993 in Germany and that still brings together millions of viewers in front of the television. So much so that the public channel ZDF and the author received the British Tourism award for the tourism promotion of Cornwall and Devon where the television movies were recorded, reaching up to 250,000 Germans a year.

Since Monday, moreover, La 1 tests the ‘tv movies’ daily, after dinner, while waiting for the arrival of the Tour de France and the Vuelta a España. In this case, the chain is currently opting for American and Canadian products, but with a smaller audience than its German ‘rivals’.

We would like to say thanks to the writer of this post for this incredible content

TVE takes advantage of the German film of the weekend desktop


Find here our social media accounts as well as other pages related to it.http://wikileaksisdemocracy.org/related-pages/

) [summary] => One of the bucolic pictures of the German telefilms that fill the hours of the weekend afternoons on TVE’s La 1. / CR More than a million viewers follow the family broadcast of La 1 on Saturdays and Sundays at siesta time It’s four in the afternoon on any given Saturday. The family has just ... Read more [atom_content] =>

One of the bucolic pictures of the German telefilms that fill the hours of the weekend afternoons on TVE’s La 1. / CR

More than a million viewers follow the family broadcast of La 1 on Saturdays and Sundays at siesta time

It’s four in the afternoon on any given Saturday. The family has just eaten and waits for coffee watching the weather forecast that is offered after the ‘Telediario’. Once finished, and almost without batting an eyelid, the afternoon film begins replicating the same scheme as the previous week and the previous one: pleasant landscapes, small villages, charismatic characters and a love story that, despite starting with a certain dose of of drama, it always ends with a nice ending that the grandmother and the grandson like. It is the formula of the German ‘telefilm’ that for almost eight years has triumphed on the weekend afternoons of La 1, already becoming a classic on the small screen.

It was in 2014 when TVE tried to find its niche with a whiter and more evasive type of fiction that distanced itself from the ‘thriller’ that Antena 3 broadcasts at the same time, also with great audience success, in its ‘Multicine’ container. While the Atresmedia chain has been betting for almost two decades on darker ‘tv movies’, with kidnappings, murders or women in danger, the public corporation took a risk with one hundred percent alternative content: weddings, divorces, reconciliations, stories of overcomings. With beautiful and usually wealthy people. There is also no lack of light and color in the productions, because cloudy landscapes never appear in these usually gray Central European landscapes. And it’s always summer to make the company at siesta quite pleasant. Its screen share moves between 10% and 12% of ‘share’, with about 1.2 million viewers, thus exceeding the average of the chain, which in May was 9.5%.

When they started the experiment from TVE they pointed out that this product, “in relation to quality-price”, fit perfectly into La 1. The directors noticed in the audience a certain exhaustion of other more intense films, mainly American, that were offered to that hour. Although they featured well-known actors, they were generally repeats of showings of commercial films that viewers had already seen on more than one occasion. The premieres of the great ‘majors’ were left for ‘prime time’, while Spanish cinema maintained its share in already veteran spaces such as ‘Cine neighborhood’, ‘Spanish version’ or ‘History of our cinema’.

It is always summer, there is never a lack of light and romanticism and it ends well, the perfect formula to please the grandmother and the grandson

Throughout a year, it is estimated that La 1 broadcasts almost 300 titles in its programming. On Sundays, for example, three productions of this type are broadcast in a row. Its duration is not excessive and the flexibility for broadcasting, something highly valued by programmers, is not either. The architects of this profitable success are the production companies Frankfurter Filmproduktion New Media (FFP New Media) and Bavaria Fernseçhproduktion GmbH. The ‘telefilms’ are sold for broadcast and subsequent distribution by German public television ZDF, reaching agreements with other countries as disparate as Mexico, Malaysia or Morocco.

same theme

The productions not only have the same uniformity in the recording, but also share a cast of actors. There are also cycles that maintain a common link although the stories, a priori, are different. This is the case of the films framed with the title ‘A summer in?’, which are set in cities around the world to which the protagonists go to live the vacations of their lives. Among those places are Oxford, Antwerp or Salamanca, where one of these films was recorded in 2019. The film ‘A summer in Salamanca’, which tells the story of two sisters who go to the province to help restore a traditional route, was has already offered several times by the first TVE channel.

Another of the classics are the stories based on the romantic novels written by the Englishwoman Rosamunde Pilcher, a cycle that began in 1993 in Germany and that still brings together millions of viewers in front of the television. So much so that the public channel ZDF and the author received the British Tourism award for the tourism promotion of Cornwall and Devon where the television movies were recorded, reaching up to 250,000 Germans a year.

Since Monday, moreover, La 1 tests the ‘tv movies’ daily, after dinner, while waiting for the arrival of the Tour de France and the Vuelta a España. In this case, the chain is currently opting for American and Canadian products, but with a smaller audience than its German ‘rivals’.

We would like to say thanks to the writer of this post for this incredible content

TVE takes advantage of the German film of the weekend desktop


Find here our social media accounts as well as other pages related to it.http://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657038425 ) [6] => Array ( [title] => Paco Martínez Soria in FlixOlé | Special cycle on the actor [link] => http://wikileaksisdemocracy.org/comedy/paco-martinez-soria-in-flixole-special-cycle-on-the-actor/ [dc] => Array ( [creator] => David Zander ) [pubdate] => Tue, 05 Jul 2022 16:21:34 +0000 [category] => ComedyactorCycleFlixoléMartinezPacoSoriaSpecial [guid] => https://wikileaksisdemocracy.org/?p=10830 [description] => FlixOlé vindicates the figure of this genius of laughter with a collection made up of the best moments of the comedian together with two documentaries on humor in Spanish cinema It could be said without fear of being wrong that, in a Spain so given to laughing at itself, comedy is the national genre. More ... Read more [content] => Array ( [encoded] =>

FlixOlé vindicates the figure of this genius of laughter with a collection made up of the best moments of the comedian together with two documentaries on humor in Spanish cinema

It could be said without fear of being wrong that, in a Spain so given to laughing at itself, comedy is the national genre. More if possible in the cinema. The humorous audiovisual culture in the country has enjoyed great popularity throughout its history, with a large group of directors, actors and actresses who have made grace a virtue. Such is the case of the interpreter Paco Martínez Soria, whose comic staging connects with the public no matter how many generations have passed.

That is why the FlixOlé platform honors the Spanish actor with a collection that includes his best moments in the cinema. But, in addition, the FlixOlé collection includes the premiere of two documentaries about one of the most important humorous actors in Spanish cinema: “The Price of Laughter” Y “Our comedians: Paco Martínez Soria».

The figure of Paco Martínez Soria

The actor achieved fame at the age of 63 by offering the viewer one of the funniest, most endearing and beloved characters in Spanish cinema.. This was the clever villager who, with a beret on his head and a basket full of chickens on his arm, left the countryside to plant himself in Madrid with his handy accent. Said iconic scene from the blockbuster movie ‘the city is not for me‘ (Pedro Lazaga, 1966) made Paco Martínez Soria a social phenomenon.

From that moment on, the comedian starred in numerous films that maintained the essence of Agustín Valverde’s character (a role he played in ‘The city is not for me’); as well as other kinds of archetypes, which, being similar, had roles different from that of the peasant countryman. The vast majority of these films recorded record numbers of public in its premieres, and many exceeded one million viewers in theaters. After several decades, these films retain the pull among the viewer, with enviable audience levels in Spanish cinema.

Special of Paco Martínez Soria in FlixOlé

Two documentaries that bring the artist closer

In addition to the overwhelming success of feature films, over the years they have also become a portrait, in mood key, of the changes that the country experienced in the 60s and 70s, during the so-called developmentalism. The rural exodus, the arrival of tourists to the Spanish coast and the image of modernity that the dictatorship tried to sell abroad became jokes pronounced by an elderly grandfather who wore pleated pants and drank from a porrón.

platform FlixOlé about the essential role he played Paco Martinez Soria in that cinema through two premieres:

Special tribute in FlixOlé

The price of laughter’ will be incorporated into the FlixOlé catalog in Julywhile the documentary ‘Our comedians: Paco Martínez Soria’ can now be enjoyed in the collection that FlixOlé has scheduled to honor the actor; the largest list of titles about the comic available on a platform.

In it you can also find the first steps that the actor did before reaching stardom, such as ‘The deceased is a living‘ Y ‘a family mess‘ (both directed by Ignacio F. Iquino in 1941 and 1943 respectively); and the popular ramblings that followed ‘the city is not for me‘, many of which he performed under the command of Peter Lazaga.

Specifically, the viewer will be able to see or revisit:

We wish to thank the author of this short article for this outstanding content

Paco Martínez Soria in FlixOlé | Special cycle on the actor


You can view our social media profiles here as well as other pages on related topics here.http://wikileaksisdemocracy.org/related-pages/

) [summary] => FlixOlé vindicates the figure of this genius of laughter with a collection made up of the best moments of the comedian together with two documentaries on humor in Spanish cinema It could be said without fear of being wrong that, in a Spain so given to laughing at itself, comedy is the national genre. More ... Read more [atom_content] =>

FlixOlé vindicates the figure of this genius of laughter with a collection made up of the best moments of the comedian together with two documentaries on humor in Spanish cinema

It could be said without fear of being wrong that, in a Spain so given to laughing at itself, comedy is the national genre. More if possible in the cinema. The humorous audiovisual culture in the country has enjoyed great popularity throughout its history, with a large group of directors, actors and actresses who have made grace a virtue. Such is the case of the interpreter Paco Martínez Soria, whose comic staging connects with the public no matter how many generations have passed.

That is why the FlixOlé platform honors the Spanish actor with a collection that includes his best moments in the cinema. But, in addition, the FlixOlé collection includes the premiere of two documentaries about one of the most important humorous actors in Spanish cinema: “The Price of Laughter” Y “Our comedians: Paco Martínez Soria».

The figure of Paco Martínez Soria

The actor achieved fame at the age of 63 by offering the viewer one of the funniest, most endearing and beloved characters in Spanish cinema.. This was the clever villager who, with a beret on his head and a basket full of chickens on his arm, left the countryside to plant himself in Madrid with his handy accent. Said iconic scene from the blockbuster movie ‘the city is not for me‘ (Pedro Lazaga, 1966) made Paco Martínez Soria a social phenomenon.

From that moment on, the comedian starred in numerous films that maintained the essence of Agustín Valverde’s character (a role he played in ‘The city is not for me’); as well as other kinds of archetypes, which, being similar, had roles different from that of the peasant countryman. The vast majority of these films recorded record numbers of public in its premieres, and many exceeded one million viewers in theaters. After several decades, these films retain the pull among the viewer, with enviable audience levels in Spanish cinema.

Special of Paco Martínez Soria in FlixOlé

Two documentaries that bring the artist closer

In addition to the overwhelming success of feature films, over the years they have also become a portrait, in mood key, of the changes that the country experienced in the 60s and 70s, during the so-called developmentalism. The rural exodus, the arrival of tourists to the Spanish coast and the image of modernity that the dictatorship tried to sell abroad became jokes pronounced by an elderly grandfather who wore pleated pants and drank from a porrón.

platform FlixOlé about the essential role he played Paco Martinez Soria in that cinema through two premieres:

Special tribute in FlixOlé

The price of laughter’ will be incorporated into the FlixOlé catalog in Julywhile the documentary ‘Our comedians: Paco Martínez Soria’ can now be enjoyed in the collection that FlixOlé has scheduled to honor the actor; the largest list of titles about the comic available on a platform.

In it you can also find the first steps that the actor did before reaching stardom, such as ‘The deceased is a living‘ Y ‘a family mess‘ (both directed by Ignacio F. Iquino in 1941 and 1943 respectively); and the popular ramblings that followed ‘the city is not for me‘, many of which he performed under the command of Peter Lazaga.

Specifically, the viewer will be able to see or revisit:

We wish to thank the author of this short article for this outstanding content

Paco Martínez Soria in FlixOlé | Special cycle on the actor


You can view our social media profiles here as well as other pages on related topics here.http://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657038094 ) [7] => Array ( [title] => Vocal excellence served in an exceptional setting: the AEDES ensemble makes the Abbaye de REIGNY vibrate [link] => http://wikileaksisdemocracy.org/comedy/vocal-excellence-served-in-an-exceptional-setting-the-aedes-ensemble-makes-the-abbaye-de-reigny-vibrate/ [dc] => Array ( [creator] => Susan Street ) [pubdate] => Tue, 05 Jul 2022 16:11:33 +0000 [category] => ComedyAbbayeAEDESEnsembleexcellenceexceptionalREIGNYservedsettingvibrateVocal [guid] => https://wikileaksisdemocracy.org/?p=10815 [description] => The culmination of four months of concerts, exhibitions, workshops and conferences devoted to the dreamlike universe of musical comedies, under the aegis of the Cité de la voix in Vézelay, the recital given by the vocal ensemble AEDES, under the vaults of the Abbey of Reigny, delighted the 200 people present. An unparalleled mineral setting, ... Read more [content] => Array ( [encoded] =>

The culmination of four months of concerts, exhibitions, workshops and conferences devoted to the dreamlike universe of musical comedies, under the aegis of the Cité de la voix in Vézelay, the recital given by the vocal ensemble AEDES, under the vaults of the Abbey of Reigny, delighted the 200 people present. An unparalleled mineral setting, for an exceptional program dedicated to jewelry signed by Georges GERSHWIN, Duke ELLINGTON, Léonard BERNSTEIN or Robert B. SHERMAN…

VERMENTON : Baptized the ?Musicals?, the cruise cast off on March 18 with a masterclass on the metamorphoses of filmed musicals. It ended with a choral panorama around the great works of American musical comedy, performed by the AEDES ensemble, in the former refectory of the monks of the Abbaye de Reigny. At the helm of the ship: the director of the Cité de la voix François DELAGOUTTE and all his crew. Over the weeks, they will have welcomed more than 3,800 spectators.

On the program for these multiple stops: dubbing workshops in Vézelay, film evenings in Avallon, singing workshops in Asquins, conferences, American ball in Tonnerre with accents of rock, mambo and charleston, dance workshops, concerts… given to early risers by the Orchester d’harmonie de la ville de Tonnerre on June 25 at 5:47 a.m., on the terrace of the basilica in Vézelay, to bring the sun up to music, to the delight of the 180 brave present. This cruise will have made a few detours via Besançon, Chalon-sur-Saône and Chenôve.

In residence all year round in Vézelay, the AEDES ensemble, directed by Mathieu ROMANO, is accustomed to the most prestigious venues, such as the Paris Opera, the “Konzerthaus” in Vienna or the Champs-Elysées theater, with its repertoire, the greatest vocal and instrumental masterpieces. For this closing concert of the ?Musicals? at the Abbaye de Reigny, the air blew like Broadway, with covers of the most beautiful musicals of all time such as ?West Side Story? or ?Mary Poppins?. From the slums of New York to the rooftops of London, there were so many characters, carried by the magical voices of AEDES and the piano notes of Yoan HÉREAU who, beyond the vaults of the abbey at the start of summer, went away familiar with the stars. A deliciously ?supercalifragilisticexpialidocious? evening!

The interview

François DELAGOUTTE, what conclusions do you draw from this unprecedented artistic adventure?

?A balance sheet which is generally positive in relation to the objectives set, that is to say, to have an event that is at the same time cultural, popular and disciplinary, which remobilizes our public in a fairly broad way, with a participative dimension. very strong and territorial. For a thematic event that we built on the whole region. The workshops went very well, with a real desire to sing, to discover a repertoire that the trainees are not used to tackling. Lots of encounters too, with artists that we are not used to seeing in Vézelay, actors, dubbers, dancers??.

Why this theme of American musicals?

“It was both the idea of ??restoring joy in a somewhat sad period and also of discovering a universe that is not in our cultural frame of reference, usually, when it is a genre to full share. We often have a somewhat contemptuous look at musicals, with comedies from the 2000s in mind, a little ?soup? and commercial, whereas it is a total art, an absolutely extraordinary place of creativity??

The most successful concert or event?

?The American Ball at Tonnerre was a great success. We even refused people! And one of our satisfactions, with Cédric CLECH, the mayor of the city, will have been to meet people there who do not usually come to concerts in Tonnerre. In fact, around this ball and this weekend dedicated to dance, it is the whole city as a whole, via its mayor, via its teams, which knew how to mobilize all its associative fabric for the event. We organized several collective meetings to explain the project, to see how all the driving forces could take ownership of the event. It will also have been a way of bringing with us the territory of the different cities with which we have worked??.

1657037428 315 Vocal excellence served in an exceptional setting the AEDES ensemble

Learn more

All the information on the next summer meetings can be consulted on the website: www.lacitedelavoix.net

Dominique BERNARD

1657037428 876 Vocal excellence served in an exceptional setting the AEDES ensemble

banner article customer lifestyle

We would like to say thanks to the author of this article for this amazing web content

Vocal excellence served in an exceptional setting: the AEDES ensemble makes the Abbaye de REIGNY vibrate


Take a look at our social media profiles and other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => The culmination of four months of concerts, exhibitions, workshops and conferences devoted to the dreamlike universe of musical comedies, under the aegis of the Cité de la voix in Vézelay, the recital given by the vocal ensemble AEDES, under the vaults of the Abbey of Reigny, delighted the 200 people present. An unparalleled mineral setting, ... Read more [atom_content] =>

The culmination of four months of concerts, exhibitions, workshops and conferences devoted to the dreamlike universe of musical comedies, under the aegis of the Cité de la voix in Vézelay, the recital given by the vocal ensemble AEDES, under the vaults of the Abbey of Reigny, delighted the 200 people present. An unparalleled mineral setting, for an exceptional program dedicated to jewelry signed by Georges GERSHWIN, Duke ELLINGTON, Léonard BERNSTEIN or Robert B. SHERMAN…

VERMENTON : Baptized the ?Musicals?, the cruise cast off on March 18 with a masterclass on the metamorphoses of filmed musicals. It ended with a choral panorama around the great works of American musical comedy, performed by the AEDES ensemble, in the former refectory of the monks of the Abbaye de Reigny. At the helm of the ship: the director of the Cité de la voix François DELAGOUTTE and all his crew. Over the weeks, they will have welcomed more than 3,800 spectators.

On the program for these multiple stops: dubbing workshops in Vézelay, film evenings in Avallon, singing workshops in Asquins, conferences, American ball in Tonnerre with accents of rock, mambo and charleston, dance workshops, concerts… given to early risers by the Orchester d’harmonie de la ville de Tonnerre on June 25 at 5:47 a.m., on the terrace of the basilica in Vézelay, to bring the sun up to music, to the delight of the 180 brave present. This cruise will have made a few detours via Besançon, Chalon-sur-Saône and Chenôve.

In residence all year round in Vézelay, the AEDES ensemble, directed by Mathieu ROMANO, is accustomed to the most prestigious venues, such as the Paris Opera, the “Konzerthaus” in Vienna or the Champs-Elysées theater, with its repertoire, the greatest vocal and instrumental masterpieces. For this closing concert of the ?Musicals? at the Abbaye de Reigny, the air blew like Broadway, with covers of the most beautiful musicals of all time such as ?West Side Story? or ?Mary Poppins?. From the slums of New York to the rooftops of London, there were so many characters, carried by the magical voices of AEDES and the piano notes of Yoan HÉREAU who, beyond the vaults of the abbey at the start of summer, went away familiar with the stars. A deliciously ?supercalifragilisticexpialidocious? evening!

The interview

François DELAGOUTTE, what conclusions do you draw from this unprecedented artistic adventure?

?A balance sheet which is generally positive in relation to the objectives set, that is to say, to have an event that is at the same time cultural, popular and disciplinary, which remobilizes our public in a fairly broad way, with a participative dimension. very strong and territorial. For a thematic event that we built on the whole region. The workshops went very well, with a real desire to sing, to discover a repertoire that the trainees are not used to tackling. Lots of encounters too, with artists that we are not used to seeing in Vézelay, actors, dubbers, dancers??.

Why this theme of American musicals?

“It was both the idea of ??restoring joy in a somewhat sad period and also of discovering a universe that is not in our cultural frame of reference, usually, when it is a genre to full share. We often have a somewhat contemptuous look at musicals, with comedies from the 2000s in mind, a little ?soup? and commercial, whereas it is a total art, an absolutely extraordinary place of creativity??

The most successful concert or event?

?The American Ball at Tonnerre was a great success. We even refused people! And one of our satisfactions, with Cédric CLECH, the mayor of the city, will have been to meet people there who do not usually come to concerts in Tonnerre. In fact, around this ball and this weekend dedicated to dance, it is the whole city as a whole, via its mayor, via its teams, which knew how to mobilize all its associative fabric for the event. We organized several collective meetings to explain the project, to see how all the driving forces could take ownership of the event. It will also have been a way of bringing with us the territory of the different cities with which we have worked??.

1657037428 315 Vocal excellence served in an exceptional setting the AEDES ensemble

Learn more

All the information on the next summer meetings can be consulted on the website: www.lacitedelavoix.net

Dominique BERNARD

1657037428 876 Vocal excellence served in an exceptional setting the AEDES ensemble

banner article customer lifestyle

We would like to say thanks to the author of this article for this amazing web content

Vocal excellence served in an exceptional setting: the AEDES ensemble makes the Abbaye de REIGNY vibrate


Take a look at our social media profiles and other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657037493 ) [8] => Array ( [title] => Holiday to launch a thriller movie marathon on Netflix [link] => http://wikileaksisdemocracy.org/thriller/holiday-to-launch-a-thriller-movie-marathon-on-netflix/ [dc] => Array ( [creator] => Margaret Stallworth ) [pubdate] => Tue, 05 Jul 2022 16:11:30 +0000 [category] => ThrillerHolidaylaunchmarathonMovieNetflix [guid] => https://wikileaksisdemocracy.org/?p=10817 [description] => Looking for a little suspense this holiday? Netflix presents you in its varied and popular catalog the selection of titles that are not going to disappoint you. For lovers of intrigue, these films develop, in less than 90 minutes, plots with different nuances, deep and intense. There are few genres that are capable of keeping ... Read more [content] => Array ( [encoded] =>

Looking for a little suspense this holiday? Netflix presents you in its varied and popular catalog the selection of titles that are not going to disappoint you.

For lovers of intrigue, these films develop, in less than 90 minutes, plots with different nuances, deep and intense. There are few genres that are capable of keeping us glued to the screen and suspense is one of them as it encompasses mystery, thrillers and intrigue.

Sometimes it is difficult to choose movies from a genre that has so many representatives, but in this selection, Chevere.life offers you some that you will enjoy from start to finish.

“Deadly Line: To the Limit”

Medical students explore life after death by temporarily stopping their hearts. But his experiment has terrible side effects.

Is there life after death? What does it feel like to die? “Deadly Line” shows what happens when we pass to the other side. Courtney (Elliot Page), Ray (Diego Luna), Marlo (Nina Dobrev), Jamie (James Norton) and Sophia (Kiersey Clemons), are the five medical students doing their residencies at the same hospital.

The story begins when Courtney, due to a car accident, loses her little sister. After nine years, she decides to conduct a unique experiment, after several investigations, she wants to study the brain activity at the instant a person is presumed dead.

“Hypnotic”

According to the synopsis of Netflix, the story follows “a young woman (Kate Siegel) who in search of self-improvement enlists the help of a renowned hypnotist (Jason O’Mara) but after a handful of intense sessions, discovers consequences unexpected and deadly.

In the psychological thriller, Jenn hires the hypnotist after an acquaintance recommends him to her and claims that things went very well for her. So she decides to try the treatment and, after a series of sessions that get more and more intense, she discovers that everything can have deadly consequences, and that the man who is helping her is a master manipulator who intends to use her to fulfill his wishes. own goals. And now that she went through her hypnosis sessions, he can control her mind, make her forget things and act involuntarily.

“The phone”

The suspenseful horror film shows an unusual story that begins to unfold when the 28-year-old Seo-yeon (Park Shin-hye) returns to the family home, located in a rural area of ??South Korea.

She arrives by train from Seoul and as she heads down a dirt road, she meets a family acquaintance, strawberry farmer Sung-ho (Oh Jeong-se), who drives her home in his van and also asks her about her mother’s health.

Once in the mansion, which has been closed for a while, Seo-yeon must find a landline since she forgot her cell phone on the train. Thus, he discovers a wireless device that she did not remember, where he will receive a call that will completely change his existence.

Everything begins to get even more complicated when Seo-yeon discovers that Young-sook lives in the same house she is in 2019, but for 20 years. She will soon realize that the link that unites them, after overcoming the time barrier, is the cordless phone.

“Night flight”

Fear takes over the night flight. Lisa Reisert (Rachel McAdams) travels to Miami. Shortly after takeoff, Jackson (Murphy), her seatmate, reveals the reason for her presence aboard her: he is the mastermind of a plot to kill the Commissioner of Homeland Security, and Lisa is the key to get it done. If she refuses to cooperate, Jackson will order her father killed.

Trapped on the plane, Lisa desperately searches for a way to elude Jackson and prevent an impending murder.

“Dangerous Company”

According to the synopsis, Sarah Mathews (Minka Kelly) is about to attend her first year at a university in Los Angeles to study the career that she is so passionate about, fashion design. Leaving her room, she meets Tracy Morgan (Alyson Michalka), a cheerful, friendly girl of hers, who decides to invite her to the first “Tau Sigma Kappa” fraternity party. She that night she meets Stephen (Cam Gigandel), the guitarist of a band with whom he falls in love.

Returning to her room, Sarah finds her roommate, Rebecca (Leighton Meester), a quiet, supportive girl with whom she begins to develop a close friendship. Sarah tells him about Jason (Matt Lanter), her ex, who kept calling her on the phone, even though she didn’t want to hear from him anymore.

On one occasion Rebecca answers and pretends to be her friend, creating fantasies and illusions for Jason. Everything will end badly.

We want to say thanks to the author of this write-up for this outstanding content

Holiday to launch a thriller movie marathon on Netflix


Check out our social media profiles , as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

) [summary] => Looking for a little suspense this holiday? Netflix presents you in its varied and popular catalog the selection of titles that are not going to disappoint you. For lovers of intrigue, these films develop, in less than 90 minutes, plots with different nuances, deep and intense. There are few genres that are capable of keeping ... Read more [atom_content] =>

Looking for a little suspense this holiday? Netflix presents you in its varied and popular catalog the selection of titles that are not going to disappoint you.

For lovers of intrigue, these films develop, in less than 90 minutes, plots with different nuances, deep and intense. There are few genres that are capable of keeping us glued to the screen and suspense is one of them as it encompasses mystery, thrillers and intrigue.

Sometimes it is difficult to choose movies from a genre that has so many representatives, but in this selection, Chevere.life offers you some that you will enjoy from start to finish.

“Deadly Line: To the Limit”

Medical students explore life after death by temporarily stopping their hearts. But his experiment has terrible side effects.

Is there life after death? What does it feel like to die? “Deadly Line” shows what happens when we pass to the other side. Courtney (Elliot Page), Ray (Diego Luna), Marlo (Nina Dobrev), Jamie (James Norton) and Sophia (Kiersey Clemons), are the five medical students doing their residencies at the same hospital.

The story begins when Courtney, due to a car accident, loses her little sister. After nine years, she decides to conduct a unique experiment, after several investigations, she wants to study the brain activity at the instant a person is presumed dead.

“Hypnotic”

According to the synopsis of Netflix, the story follows “a young woman (Kate Siegel) who in search of self-improvement enlists the help of a renowned hypnotist (Jason O’Mara) but after a handful of intense sessions, discovers consequences unexpected and deadly.

In the psychological thriller, Jenn hires the hypnotist after an acquaintance recommends him to her and claims that things went very well for her. So she decides to try the treatment and, after a series of sessions that get more and more intense, she discovers that everything can have deadly consequences, and that the man who is helping her is a master manipulator who intends to use her to fulfill his wishes. own goals. And now that she went through her hypnosis sessions, he can control her mind, make her forget things and act involuntarily.

“The phone”

The suspenseful horror film shows an unusual story that begins to unfold when the 28-year-old Seo-yeon (Park Shin-hye) returns to the family home, located in a rural area of ??South Korea.

She arrives by train from Seoul and as she heads down a dirt road, she meets a family acquaintance, strawberry farmer Sung-ho (Oh Jeong-se), who drives her home in his van and also asks her about her mother’s health.

Once in the mansion, which has been closed for a while, Seo-yeon must find a landline since she forgot her cell phone on the train. Thus, he discovers a wireless device that she did not remember, where he will receive a call that will completely change his existence.

Everything begins to get even more complicated when Seo-yeon discovers that Young-sook lives in the same house she is in 2019, but for 20 years. She will soon realize that the link that unites them, after overcoming the time barrier, is the cordless phone.

“Night flight”

Fear takes over the night flight. Lisa Reisert (Rachel McAdams) travels to Miami. Shortly after takeoff, Jackson (Murphy), her seatmate, reveals the reason for her presence aboard her: he is the mastermind of a plot to kill the Commissioner of Homeland Security, and Lisa is the key to get it done. If she refuses to cooperate, Jackson will order her father killed.

Trapped on the plane, Lisa desperately searches for a way to elude Jackson and prevent an impending murder.

“Dangerous Company”

According to the synopsis, Sarah Mathews (Minka Kelly) is about to attend her first year at a university in Los Angeles to study the career that she is so passionate about, fashion design. Leaving her room, she meets Tracy Morgan (Alyson Michalka), a cheerful, friendly girl of hers, who decides to invite her to the first “Tau Sigma Kappa” fraternity party. She that night she meets Stephen (Cam Gigandel), the guitarist of a band with whom he falls in love.

Returning to her room, Sarah finds her roommate, Rebecca (Leighton Meester), a quiet, supportive girl with whom she begins to develop a close friendship. Sarah tells him about Jason (Matt Lanter), her ex, who kept calling her on the phone, even though she didn’t want to hear from him anymore.

On one occasion Rebecca answers and pretends to be her friend, creating fantasies and illusions for Jason. Everything will end badly.

We want to say thanks to the author of this write-up for this outstanding content

Holiday to launch a thriller movie marathon on Netflix


Check out our social media profiles , as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

[date_timestamp] => 1657037490 ) [9] => Array ( [title] => Gilles Lellouche celebrates his 50th birthday: here are his 5 best films and where to see them [link] => http://wikileaksisdemocracy.org/drama/gilles-lellouche-celebrates-his-50th-birthday-here-are-his-5-best-films-and-where-to-see-them/ [dc] => Array ( [creator] => Nicholas Flynn ) [pubdate] => Tue, 05 Jul 2022 16:08:56 +0000 [category] => Drama50thbirthdaycelebratesfilmsGillesLellouche [guid] => https://wikileaksisdemocracy.org/?p=10813 [description] => Actor, screenwriter and director, Gilles Lellouche is a man with many hats. After obtaining his baccalaureate, he enrolled in the Cours Florent from which he graduated. Marked by the movie Hatred by Matthieu Kassovitz, he launched himself into the cinema as a director of short films, then music videos, before taking his first steps as ... Read more [content] => Array ( [encoded] =>

Actor, screenwriter and director, Gilles Lellouche is a man with many hats. After obtaining his baccalaureate, he enrolled in the Cours Florent from which he graduated. Marked by the movie Hatred by Matthieu Kassovitz, he launched himself into the cinema as a director of short films, then music videos, before taking his first steps as an actor in My friends in 1999. Since then, the actor has been able to make his audience laugh with numerous successful comedies, but he has also been able to make them shiver with dramatic thrillers. On the occasion of its 50th anniversary, here is the 5 best films by Gilles Lellouche that you must (re) discover as quickly on streaming platforms.

Do not tell anyone on Netflix

This thriller, directed by Guillaume Canet, follows Alexandre Beck, a young pediatric doctor who spins the perfect love with Margot. Their life changes when they are assaulted by strangers. Alexandre is injured, but manages to get away with it, while Margot is killed in a particularly brutal way. Totally destroyed, the young man dwells on this tragedy day after day. Eight years have passed. On the anniversary of the drama, he receives an anonymous email. When he clicks on said link, he sees the face of a woman in the middle of a crowd. That of his darling Margot.

The Little Handkerchiefs on Disney+

After Do not tell anyoneGuillaume Canet puts on his director’s cap to shoot The Little Handkerchiefs. The actor calls on wife Marion Cotillard and his band of friends: Gilles Lellouche, François Cluzet, Jean Dujardin, Benoît Magimel, Valérie Bonneton and Laurent Lafitte to play in the dramatic comedy released in 2010. The pitch? Max, a wealthy owner of a hotel-restaurant, and his wife Véro invite their friends to their house in Cap Ferret every year to celebrate the start of the summer holidays. But this year, their friend Ludo is the victim of a serious road accident, which leaves him between life and death. Despite this event, the group of friends decides to go on vacation.

My piece of the pie on Disney+

In this film released in 2011, Gilles Lellouche gives the reply to Karin Viard, who plays a divorced woman and mother of three daughters in Dunkirk. She finds herself unemployed when the factory in which she worked for twenty years closed. This is how she goes to Paris, where she gets hired as a cleaning lady for a trader. Little by little, she becomes indispensable to Stéphane, a man unable to take care of his son when his ex-partner entrusts him to him.

North ferry on Canal+

In this feature film by Cédric Jimenez, freely inspired by the 2012 scandal within the Marseille anti-crime brigade, we follow Grégory (Gilles Lellouche), Yassine (Karim Leklou) and Antoine (François Civil), three agents of the BAC, who constantly seek to improve their results. In a high-risk sector, the police adapt to their methods, sometimes crossing the yellow line. Until the day the justice system turns against them.

The French on Prime Video

Alongside Jean Dujardin, Gilles Lellouche plays the role of Gaetan ‘Tany’ Zampa, an emblematic figure of the French Connection, a mafia organization that exports heroin all over the world. He will be confronted with Pierre Michel, a young magistrate from Metz, who has just been appointed judge of organized crime.

Article written in collaboration with 6Médias

We would love to give thanks to the author of this article for this remarkable web content

Gilles Lellouche celebrates his 50th birthday: here are his 5 best films and where to see them


Find here our social media accounts as well as other pages related to it.http://wikileaksisdemocracy.org/related-pages/

) [summary] => Actor, screenwriter and director, Gilles Lellouche is a man with many hats. After obtaining his baccalaureate, he enrolled in the Cours Florent from which he graduated. Marked by the movie Hatred by Matthieu Kassovitz, he launched himself into the cinema as a director of short films, then music videos, before taking his first steps as ... Read more [atom_content] =>

Actor, screenwriter and director, Gilles Lellouche is a man with many hats. After obtaining his baccalaureate, he enrolled in the Cours Florent from which he graduated. Marked by the movie Hatred by Matthieu Kassovitz, he launched himself into the cinema as a director of short films, then music videos, before taking his first steps as an actor in My friends in 1999. Since then, the actor has been able to make his audience laugh with numerous successful comedies, but he has also been able to make them shiver with dramatic thrillers. On the occasion of its 50th anniversary, here is the 5 best films by Gilles Lellouche that you must (re) discover as quickly on streaming platforms.

Do not tell anyone on Netflix

This thriller, directed by Guillaume Canet, follows Alexandre Beck, a young pediatric doctor who spins the perfect love with Margot. Their life changes when they are assaulted by strangers. Alexandre is injured, but manages to get away with it, while Margot is killed in a particularly brutal way. Totally destroyed, the young man dwells on this tragedy day after day. Eight years have passed. On the anniversary of the drama, he receives an anonymous email. When he clicks on said link, he sees the face of a woman in the middle of a crowd. That of his darling Margot.

The Little Handkerchiefs on Disney+

After Do not tell anyoneGuillaume Canet puts on his director’s cap to shoot The Little Handkerchiefs. The actor calls on wife Marion Cotillard and his band of friends: Gilles Lellouche, François Cluzet, Jean Dujardin, Benoît Magimel, Valérie Bonneton and Laurent Lafitte to play in the dramatic comedy released in 2010. The pitch? Max, a wealthy owner of a hotel-restaurant, and his wife Véro invite their friends to their house in Cap Ferret every year to celebrate the start of the summer holidays. But this year, their friend Ludo is the victim of a serious road accident, which leaves him between life and death. Despite this event, the group of friends decides to go on vacation.

My piece of the pie on Disney+

In this film released in 2011, Gilles Lellouche gives the reply to Karin Viard, who plays a divorced woman and mother of three daughters in Dunkirk. She finds herself unemployed when the factory in which she worked for twenty years closed. This is how she goes to Paris, where she gets hired as a cleaning lady for a trader. Little by little, she becomes indispensable to Stéphane, a man unable to take care of his son when his ex-partner entrusts him to him.

North ferry on Canal+

In this feature film by Cédric Jimenez, freely inspired by the 2012 scandal within the Marseille anti-crime brigade, we follow Grégory (Gilles Lellouche), Yassine (Karim Leklou) and Antoine (François Civil), three agents of the BAC, who constantly seek to improve their results. In a high-risk sector, the police adapt to their methods, sometimes crossing the yellow line. Until the day the justice system turns against them.

The French on Prime Video

Alongside Jean Dujardin, Gilles Lellouche plays the role of Gaetan ‘Tany’ Zampa, an emblematic figure of the French Connection, a mafia organization that exports heroin all over the world. He will be confronted with Pierre Michel, a young magistrate from Metz, who has just been appointed judge of organized crime.

Article written in collaboration with 6Médias

We would love to give thanks to the author of this article for this remarkable web content

Gilles Lellouche celebrates his 50th birthday: here are his 5 best films and where to see them


Find here our social media accounts as well as other pages related to it.http://wikileaksisdemocracy.org/related-pages/

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