I first read excerpts of Colette’s Sido in my IB French class in 2007, so when the recent biopic starring Keira Knightley and produced by Wash Westmoreland came out, I knew that I had to see it. Colette was one of the most prolific French writers of the early twentieth century, well known for her direct and personal prose. Film critics almost uniformly agree that although the narrative is neatly woven, the film flattens the impact of Colette’s radical legacy. It only covers a decade and a half of Colette’s life, from her marriage to Willy (Henry Gauthier-Villars) in 1893 until their divorce in 1910. This leaves out a significant portion of her literary output, her Nobel Prize nomination in 1948, and the final years of her life as the President of the Goncourt Academy (which awards the equivalent of the Pulitzer Prize). Despite these limitations, the film holds its own as a biopic of an influential French woman writer and an important historical account of fin-de-siècle gender nonconformity and bisexuality. But perhaps the most interesting aspects of the film are its briefly explored colonial contours.
As a biopic, Colette is concerned with providing a narrative for the writer’s life, entourage, and cultural impact. However, one of the more significant details left out of the film is the backstory of Colette’s mother, Adèle Eugénie Sidonie, usually referred to as “Sido.” Colette’s parents make a few appearances in the film, and we learn that her father lost his leg in the Franco-Austrian war. Her mother’s past, however, is largely a mystery. In fact, Colette’s maternal family is rooted in Martinique. Her ancestor Pierre Landois, from the region of Champagne, went to the Caribbean colony of Martinique in the 1660s to work as an indentured laborer in the sugar cane fields.1
By 1680, the Landois had established a plantation in the Caribbean, and the family possessed twenty-six enslaved people — nine men, eleven women, and six children.2 The exclusion of Sido’s familial past means that the film almost entirely leaves out the Americas. The film’s depiction of an extended sequence of sexual encounters between Georgie Raoul-Duval, a “wayward debutante from Louisiana,” and Colette and her husband Willy (Dominic West), demonstrate that the film is more invested in exploring Colette’s sexuality than providing a deep-dive into her familial past as it relates to the colonial Americas.
Earlier in the film, Willy and Colette are tasked with casting the theatrical première of Colette’s first novel, Claudine à Paris (Claudine in Paris), in Paris in 1902. After listening to a few drab versions of the first lines of Claudine à l’école read by numerous women, an actor named Polaire (Aiysha Hart) enters the theater and introduces herself as the “real Claudine.” Willy describes her as the “pride of Algiers,” calling attention to French settler colonialism in the Maghreb throughout the nineteenth century. Born in Agha, Algiers in 1874 Polaire made her way to Paris at fourteen to join her brother, who was an actor.3
When she was finally cast in Claudine à Paris, the play took off. It also concretized Claudine, Polaire, and by extension, Colette as recognizable sex symbols.4 In one scene, naked-to-the-waist bodybuilders carry Polaire into the same restaurant as Colette and Willy. As if her buff entourage was not enough, Willy, apparently seduced by the whole spectacle, suggests that Colette adopt Polaire’s bob-style haircut.
In future Claudine novels, Colette even created a fictional character named “Polaire” as an exotic Algerian foil for the protagonist, Claudine. Claudine s’en va (Claudine and Annie) is steeped in orientalist ideas about the Levant and the Middle East: “[Claudine’s] looks didn’t evoke the Orient like Polaire’s eyes, those admirable eyes of distrust … and also of serfdom.”5 Colette describes Polaire’s facial features as severely traced with a pencil and depicts the actress as Claudine’s sexual rival.
Even though Polaire is a minor character in Wash Westmoreland’s film, her acting career successfully continued for years after playing Claudine, culminating in international tours to London and New York. In the United States, Polaire engaged in her own form of colonial pantomime and performance when she appeared in New York in 1910 with a young Jamaican boy named James George. Changing the boy’s name to “Jacques Georges” to reflect the French pronunciation, The Daily Gleaner (Jamaica) reported that Polaire had actually taken James into her possession, calling him at times her “bodyguard” and her “slave.”6
She gave James a new suit and a silver chain necklace with “directions for his return to Mlle. Polaire should he become lost, strayed or stolen.” In her memoirs, Polaire describes the scene differently, saying that a German financier gave her “Jimmy” and a check for 100,000 francs as she was leaving for Paris. She writes that James had “a mischievous and bright personality, laughing and smiling with his his shiny teeth.”7
Paris bothered James, and Polaire remembered that the financier “was perhaps right when he assured me that atmosphere of big cities was often harmful to people of color.” Polaire, clearly not understanding the stakes of bondage and servitude, ultimately “separated herself from [James]…,” although it is unclear from her memoirs what happened to him. Taken together with Polaire’s family background as colonial homesteaders in Algeria, her final moments spent in the United States amount to another episode in her own personal colonial performance on and offstage.
Polaire’s nonchalance regarding James George and his indenture recalls the casual nature with which colonial themes were handled in turn-of-the-century mainstream French literary culture, as in Colette’s novel Chéri. In the 1920 novel, which falls out of the purview of the Westmoreland film, colonial themes reappear in the margins of the story. One character, Marie-Laure, inherited her father’s sugar cane plantations when he died. Other women discuss their intimate liaisons in salon and parlor-like settings, asking whether or not they’ve slept with black or Chinese men.
In a short exchange between two characters toward the end of the novel, one says that “a relationship of seven years, that’s like following your husband to the colonies: when you come back, nobody recognizes you and you no longer know how to properly do your makeup.”8 Like Westmoreland’s film, the French colonial past here is both present and evacuated of depth in a way that uses colonial themes as part of the décor of bourgeois literary culture.
Toward the end of the film, Colette begins her career as a mime, co-starring in a show called Egyptian Dream. During the performance of Egyptian Dream, Mathilde “Missy” de Morny (Sloan Thompson), dressed like Indiana Jones, discovers Colette in the body of a sarcophagus. Knightley, levitating toward the surface, sits in the same manner in the photograph above. Once Colette fully emerges, the two engage in an erotic dance. Wide shots frame Morny kneeling before Colette, reinforcing their Sapphic rapport, and the scene ends with a medium shot of the two kissing on stage.
The film goes to great lengths to narrate Colette’s ongoing relationships with Mathilde de Morny and Georgie Raoul-Duval as a reflection of the rather open marriage she and Willy maintained until their divorce. In the orientalist Egyptian dream sequence, as in the passages from Claudine s’en va and Chéri, exotic tropes and sexuality grant Colette access to an audience of French theater-goers and readers eager for surface-level intrigue and colonial drama.
In the end, Colette highlights France’s fin-de-siècle fascination with colonial décor and scenarios, offering an entrée into belle époque spectacle. The colonial contours of the film also allow viewers to dig deeper into Colette’s literary work and biography to understand how and from where these themes emerge. Still, as reviewers have remarked, the film hardly portrays a full picture of Colette’s radical personal and literary agenda. One might wonder, too, what a Colette might look like if the film focused more on the lives of minor characters like Polaire. If Colette’s legacy remains one of radical feminist sexual politics, what types of cracks appear under the lens of a more intersectional feminism, attuned to the meaning and accumulation of colonial themes in her life and work?
- Claude Francis and Fernande Gontier, Creating Colette Vol. I: From Ingenue to Libertine, 1873-1913 (South Royalton, VT: Steerforth Press, 1998), 326. Return to text.
- Francis and Gontier, Creating Colette, 327. Return to text.
- Francis and Gontier, 176. Return to text.
- Francis and Gontier, 178. Return to text.
- Colette, Claudine s’en va (Editions du groupe “Ebooks libres et gratuities,” 2004), 118. Return to text.
- “Jamaican Page” The Daily Gleaner, August 15, 1910, 1. Return to text.
- Polaire, Polaire, par elle-même (Paris: Éditions Eugène Figuière, 1933), 82. Return to text.
- Colette, Chéri (Paris: Calmann-Levy, 1920), 154. Return to text.


During February half term, head to Forum Theatre for Jack and the Beanstalk. This is a gigantic pantomime adventure live on stage starring Ricky Groves (Gary from Eastenders) as the evil Fleshcreep and X Factor singing sensation Lloyd Daniels as Jack. The pantomime also features a full supporting cast and amazing live band.
Will the Trots manage to sell their beloved cow Daisy? Can Jack save the day and slay the wicked giant Blunderbore? Will there be comedy by the bucket full? Head to see Jack and the Beanstalk and find out.
All Seats £14.00 / Under 16’s £11.00 / Family Ticket £44.00
To find out more, and buy tickets, visit http://www.forumtheatrebillingham.co.uk
Tuesday 1.30pm & 6.00pm
Wednesday 11am & 3pm


International Awards For Mauritius Film Makers
2 Awards of Merit Indie Film Fest USA - Best Documentary Feature, and Best Biographical/Historical Feature.
Nikola Tesla and Swami Vivikenanda scenes recreated in the documentary feature Three Wise Men - Parallel Lives.
Sada Rajiah and Desire Prevost directors of “Three Wise Men – Parallel Lives” have won 2 prestigious Awards of Merit from the IndieFEST Film Awards. The award was given for Sada and Desire’s exciting documentary feature Three Wise Men – Parallel Lives. Featuring in-depth insight into the journeys of 3 men - born countries and generations apart - “Parallel Lives” explores the almost mythical connection they share in shaping Earth’s technological standing and sustainability - past, present and future.
Deane Thomas, producer and narrator is overjoyed with the awards. He said “It’s incredible to be able to share such an important story with the World”. During the making of the film nearly 100 locals were involved in the full production. “It is a total surprise to win awards, but a testimony to the high quality production we achieved. It reflects the significant work of “Mazor” Atchia and Nikola Tesla and how they impacted society at that time”
In winning an IndieFEST Film Award, Sada and Desire join the ranks of other high-profile winners of this internationally respected award including Liam Neeson as the narrator of Love Thy Nature, A Path Appears Documentary featuring George Clooney and Blake Lively, Radical Grace executive produced by Susan Sarandon, a searing expose Davids and Goliath by Peabody winner Leon Lee, and Touched with Fire starring Katie Holmes.
Rick Prickett, who chairs The IndieFEST Film Awards, had this to say about the latest winners, “The IndieFEST is not an easy award to win. Entries are received from around the world from powerhouse companies to remarkable new talent. The IndieFEST helps set the standard for craft and creativity. The judges were pleased with the exceptional high quality of entries. The goal of The IndieFEST Film Awards is to help winners achieve the recognition they deserve.”
The IndieFEST Film Awards recognizes film, television, videography and new media professionals who demonstrate exceptional achievement in craft and creativity, and those who produce standout entertainment or contribute to profound social change. Entries are judged by highly qualified professionals in the film and television industry.
Full details of the awards: https://theindiefest.com/award-of-merit-may-2021/
Three Wise – Men Parallel Lives IMDB page: https://www.imdb.com/title/tt12811000/
To watch Three Wise Men Parallel Lives: https://vimeo.com/ondemand/threewisemen/
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See you at the movies!
Mon 22/05/2023 at 6:30pm
Join us at the feature film premiere of Live the life you please with Q&A panel afterwards.
The film will make you smile, laugh, laugh harder and occasionally shed a tear as it shares the stories of a diverse range of Australians experiencing their last chapter.
Join us to raise funds and continue the conversation about making better end-of-life care available to all Australians
Become a Member
To become a member of PCSA call 08 8271 1643 or click the link below


The Italian Job [DVD]
Director : F. Gary Gray
Screenplay : Donna Powers & Wayne Powers (based on the film written by Troy Kennedy-Martin)
MPAA Rating : PG-13
Year of Release : 2003
Stars : Mark Wahlberg (Charlie Croker), Charlize Theron (Stella Bridger), Donald Sutherland (John Bridger), Jason Statham (Handsome Rob), Seth Green (Lyle), Mos Def (Left Ear), Edward Norton (Steve)
The best heist movies are never about the heist itself, but rather about the motivations behind it. The usual motivation is the “last big score,” an aging criminal’s final, brazen attempt to pull off one final job before retiring or “going legit.” Sometimes, the criminal has been brought out of retirement—having gone legit years ago, he is brought back into the fray because he owes someone a favor or because he has fallen on hard times and wants to reclaim his former glory.
Much of this is at work in F. Gary Gray’s remake of The Italian Job (the original was a late-’60s British caper-comedy starring Michael Caine and Noël Coward), but with the inclusion of one significant motivator: revenge. The movie features not one, but two major heists, the first for money and glory, the second for vengeance. Both are rife with everything that makes great movie heists exciting: exacting planning, intricate teamwork, and a combination of the latest high-tech gadgets and good ol’ fashioned criminal know-how.
Mark Wahlberg stars are Charlie Croker, an up-and-coming criminal mastermind who is inheriting the reigns from his mentor/father figure, John Bridger (Donald Sutherland). The “Italian job” of the title refers to Charlie’s plot to steal a safe holding $35 million worth of gold bars in Venice by literally blowing the floor out from underneath it. He needs John to work with him “one last time” because John is a master safecracker, one of those who can figure out a combination just by touch. Unfortunately, the job goes bad when one of Charlie’s gang, the smarmy and smug Steve (Edward Norton), double-crosses them, steals the gold, kills John, and leaves the rest for dead (in one of those borderline ludicrous movie moments in which he assumes, against all logic, that everyone is dead without any real evidence).
Cut ahead a year later, and Charlie has finally located Steve, who is living comfortably in Los Angeles. Determined to avenge John’s death, Charlie does the one thing he knows will hurt Steve the most: steal the gold back. To do this, he reassembles his old team, which includes the suave Handsome Rob (Jason Statham, star of The Transporter), the computer geek Lyle (Seth Green), who insists that he be called “Napster” because he claims to have invented it, and the demolitions expert Left Ear (Mos Def), so named because that’s the only ear he can hear with. Of course, someone has to fill in John’s empty place, so Charlie recruits John’s daughter, Stella (Charlize Theron), who is also an expert safecracker, but one who works legit for a security company.
The centerpiece of The Italian Job, and virtually the only thing it has in common with the 1969 original, is a bravura chase sequence involving three Mini Coopers. In the original, this chase sequence took place in Turin; here, it takes place on and below the streets of Los Angeles as Charlie and his crew attempt to steal an armored truck that is transporting Steve’s stolen gold. This involves nothing less than Lyle hacking into the L.A. traffic control database and creating massive traffic jams to direct the armored truck where he wants and allow the others to drive into the L.A. subway system in their Mini Coopers. It’s an exhilarating piece of action moviemaking, all done for real on location without any computer-generated additions.
Yet, what drives The Italian Job is the emotional core, the determination of a surrogate son and a blood daughter to avenge the senseless murder of their father. Stealing money for the sake of stealing money is dull; stealing it for the sake of vengeance has an added kick to it and also allows us to more fully identify with the criminal protagonists. It doesn’t hurt, of course, that all of them are played by actors who were clearly cast for their looks (with the possible exception of Seth Green, who at this point has perfected the art of the smart-ass computer-hacker type). Unfortunately, Mark Wahlberg, attractive as he is, makes for a bland central character; he never convinces us of the fire behind his plans, and the movie doesn’t register as fully as it might have with a more emotional actor in the role. The other actors, thankfully, pick up the slack around him, particularly Charlize Theron, who does convey the pain of an often-forgotten daughter avenging a father she barely even knew.
The Italian Job doesn’t do anything particularly new, but the heist genre has been so well-worked at this point that novelty is beyond expectation. Instead, it does exactly what we expect it to do very well, charming us with style, wit, and the simple boldness of real-life car chases.
|The Italian Job Special Collector’s Edition DVD|
|Audio|| English Dolby Digital 5.1 Surround |
French Dolby Digital 5.1 Surround
English Dolby 2.0 Surround
|Supplements|| “Pedal to the Metal: The Making of The Italian Job” featurette|
“Putting the Words on the Page for The Italian Job” featurette
“The Italian Job: Driving School” featurette
“The Mighty Minis of The Italian Job” featurette
“High Octane: Stunts From The Italian Job” featurette
Original theatrical trailer
|Distributor||Paramount Home Video|
|Release Date||October 7, 2003|
|Avoid the optional pan-and-scan release and get the widescreen version of The Italian Job if you want to fully appreciate all the action sequences that are the movie’s core. This disc boasts an excellent anamorphic transfer, with crisp detail and good, strong colors throughout.|
|The Dolby Digital 5.1 surround track is also impressive, with solid use of the surround speakers for imaging and directionality (just check out the roar of the boats in the canal chase at the beginning) and a solid low end.|
|The bulk of the supplements on this Special Collector’s Edition disc are five featurettes. “Pedal to the Metal: The Making of The Italian Job” is the longest at 18 minutes; featuring interviews with director F. Gary Gray, producer Charles Wood, executive producer James Dyer, and actors Mark Wahlberg, Seth Green, Charlize Theron, Jason Statham, and a very bushy Donald Sutherland, among others, it is a decent look at the movie’s production. The other four featurettes run 6 to 8 minutes in length: “Putting the Words on the Page for The Italian Job” is primarily an interview with screenwriters Donna and Wayne Powers about how they purposefully avoided “remaking” the original film; “The Italian Job: Driving School” documents how the actors went through driving training to learn how to execute reverse 180-degree turns and other stunts; “The Mighty Minis of The Italian Job” is pretty self-explanatory; and “High Octane: Stunts From The Italian Job” goes behind the scenes of three major stunt sequences in the film. Also included are six deleted scenes presented in video-quality nonanamorphic widescreen and the original theatrical trailer.|
©2003 James Kendrick


Sunday, June 8, 2008
''She Knew no other way'' 1973 OST by Mike Rozakis
During the summer of 1973, director Omiros Efstratiadis was making a crime film called "She Knew No Other Way". The film takes place in the cosmopolitan Greek island of Rhodes where a bunch of hippies spend their holidays seeking an easy and carefree way of life using legal and illegal means in order to get it.
The director needed a film score to match with the psychedelic scenes of the film which where overshadowed by a psychotic mixture of sex and violence. Mike Rozakis was the ideal composer for this film score. Carrying an excellent background in beat music, he managed to filter his influences through the fusion trends of jazz and his classical learning.
There is a wealth of styles throughout the film score. Funky breaks, jazzy grooves, fusion improvising and psychedelic effects. The innovative arrangements are enriched by the skilful performance of the musicians creating a unique avant-garde score.
Here is a video for "La Discotheque" (using scenes from the film) in high quality MPEG format.


Read the empire review of little big man find out everything you need to know about the film from the world's biggest movie destination. A dvd review by glenn erickson (dvd savant) of the film little big man. The movie the little big man was a film i really liked for not only did it have a great plot but it also gave me a good sense of what it was truly like for the native americans. Toronto film review: 'a million little pieces' imho, was done for cicely tyson in “the autobiography of miss jane pittman”, and for dustin hoffman in “little big man”. Little big man (1970) review mark wolter loading unsubscribe from mark wolter 1970's little big man film review - duration: 6:54 this, that, and best pics 277 views.
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Little big man movie reviews, trailer, cast listing check out movie-film-reviewcom for little big man reviews by chris tookey and all the professional reviews. Little big man movie review 12000 / 4606 this epic comedy western, adapted from thomas berger's picaresque novel, demands a tolerant audience for its often-lugubrious recounting of how the west once was, according to jack crabb (hoffman), a 121-year-old adopted indian. Little big man movie reviews & metacritic score: the 121-year old sole survivor of custer's last stand tells about everything from his adoption by cheyenne i. Little big man directed by film review by frederic and mary ann brussat is the sole white survivor of custer's last stand at little big horn as the film . Little big man branches out into stereotypes of being not only a western, but an adventure, comedy and a drama all at the same time however, in keeping with the expectations of a western film, jack is portrayed an indian/little big man, a cowboy, a swindler, soda-pop-kid the gun fighter, a shop-keeper, a drunk/hermit, etc.
Little big man was one of my favorite movies as a kid i enjoyed the humor and dustin hoffman's performance i even went through a minor western phase for a while after watching it, but the 1970s were the decade that killed the western and so it didn't last long. Little big man features a dts-hd ma 51 lossless soundtrack, but rarely does it make use of the back channels indeed, this is a front heavy listen, but not necessarily to the detriment of the . Just like with the movie little big man is a precursor to, dances with wolves, i felt completely ashamed to be white the bill hicock scenes were too few but at the same time great. A site that allows users to express their feelings about the latest movies in hollywood now the film-goer has a voice now we can be heard never get ripped off by the hype again. Little big man pg-13 and becoming a scout for him at little big horn 64 of 105 people found this review helpful.
Queer review: little big man (1970) little big man does little to hide the fact that it is an anti-war film and can be seen as specifically criticizing . Check out the exclusive tvguidecom movie review and see our movie rating for little big man. Little big man is a sort of vaudeville show, framed in fictional biography, loaded with sketches of varying degrees of serious and burlesque humor, and climaxed by the indian victory over gen .


This piece is dedicated to the top five (according to me, at least) most euphoria-causing, goosebump-inducing scenes in cinema. The ones that make you shout out with joy, that give you the sensation of warmth spreading through every pore of your body, the ones that can make you laugh and cry at the same time. Of course, I can’t claim to have seen all films, so you may have a difference of opinion and you may want to add on another scene. All suggestions are most welcome. Let the movie buffs unite!
SPOILER ALERT: You are being informed beforehand that all the movies listed below are downright awesome. If you have been living under a rock and haven’t already seen one or more of them, you are advised to skip the portion about that particular movie and immediately watch it. I don’t want anyone accusing me of having spoiled a wonderful film for them because they knew half the story beforehand!
#5 The Dark Knight Rises
The finale of this legendary trilogy is epic through and through, so it is next to impossible to single out one scene from it. So there are two!
Bruce’s Escape From The Pit
The audience has already suffered a collective mini heart attack when Wayne fails in his first attempt to get out of the pit. So, we have our hearts in our mouths as he begins his second attempt. As the other prison inmates continue to root for him, our tension mounts. When Bruce finally reaches the ledge and closes his eyes for a second, we’re all praying with him, and he finally jumps! He seems to be flying in slow motion and as he finally crosses the last obstacle, an enormous cheer emanates from the others below as well as the ones across the screen from Wayne. And when he emerged from the pit, it felt as if I too had just regained my freedom.
The city of Gotham has been saved from annihilation, but at a terrible cost. It has lost its greatest hero. Or has it? Just when the viewer is about get up from his seat, thinking that the fate of The Dark Knight has been sealed, the story is turned around with one last, wonderful twist. As Alfred sits sipping his coffee in a café in France, he looks over to an adjoining table to see Bruce sitting there with Selina. They don’t talk; they only share a smile and then go their separate ways. This scene not only affirms that our beloved superhero is alive and kicking, but also leaves an opening for the story to continue. Pure bliss, this!
#4 Taare Zameen Par: The Final Scene
This overall wonderful movie culminates with the scene depicting a painting competition being held in Ishaan’s school, where the Principal announces the winner of the painting competition. Ishaan winning the competition, albeit predictable, has been portrayed wonderfully by Darsheel Safary, as he first tries to hide amid the commotion but finally heads towards the stage as Nikunj urges him to come forward. As he is handed the certificate, Ishaan starts crying, rushes to an equally emotional Nikunj and hugs him tight. This scene would definitely melt your heart.
#3 Shawshank Redemption: The Great Escape
The previously shown series of events leads Red (and us) to believe that Andy’s spirit is broken irreparably and he is about to end his life. Then comes a twist absolutely no one could have anticipated – he escapes! The story of his jailbreak is literally awe-inspiring. Makes you want to give a standing ovation to Andy for coming up with such an ingenious way of making a break for freedom, a plan which had been underway ever since the day he had set foot in Shawshank and had been so meticulously planned that it took every tiny detail into account. As he finally reaches the open and rips off his clothes, the torrential rain that lashes at him is a harsh symbolism of the freedom he has finally achieved.
#2 Lagaan: The Winning Six
Aamir Khan FTW once again!
The Indian team has almost lost the match as Kachra plays the last ball of the match.The British side begins celebrating in full swing, when suddenly a voice says, “No ball!”. As both sides incredulously look at the umpire, he repeats his words. So with renewed hope, Bhuvan takes the crease and hits the ball with all he's got. Russell catches it and begins to celebrate, only to realize he is doing so alone. Confused, he looks around and sees that he has crossed the boundary and Bhuvan had scored the boundary required for his team to win. The viewer can almost feel Bhuvan's relief as he falls to the ground and the villagers dance around him with joy.
#1 Pursuit of Happyness: Chris Gets the Job
On the last day of his training in Dean Witter, when the bosses tell Chris that the job that he had been fighting for tooth-and nail, was finally his, he struggles to hold back tears. As he steps outside, he finally breaks down with "happyness". He rushes to his son's daycare and hugs him, knowing that after all the hardships they had gone through, things will be alright. Will Smith does an amazing job of portraying this bittersweet moment. No one else could've done it better than him. Our hearts go out to him as his life finally takes a good turn. This scene's emotional impact went beyond most of the movies I've seen.


Although he began his comic-book career as a creature of the night, Batman has been portrayed on television and film as both a dark avenger and a campy crime-fighting clown. Artist Bob Kane was influenced by Douglas Fairbanks' look in The Mark of Zorro (1920) and the villainous cloaked character in The Bat (1926) when he designed Batman, and as he and writer Bill Finger further developed the character following his May 1939 debut, cinematic influences continued. Although sidekick Robin was introduced in 1940 without specific media inspirations, the look of arch-villain the Joker was transferred almost verbatim from the eerie smiling appearance of Conrad Veidt in The Man Who Laughs (1927).
In 1943, just four years after his comic debut, Batman was brought to the masses in a film serial. Columbia had the rights to both Superman and Batman, but they chose to film the non-superpowered hero first. Film serials were short films that played in movie theaters every week, each ending in a cliff-hanger so that audiences would return the following week to see the next chapter.
The fifteen-chapter Batman serial debuted on July 16, 1943, starring Lewis Wilson as Batman and Douglas Croft as Robin. The damsel-in-distress of the piece was Linda Page, played by Shirley Patterson, while Caucasian actor J. Carroll Naish pushed racial boundaries (and, a later generation of viewers would agree, crossed the line into stereotype) as the villainous Japanese spy Dr. Daka. While trying to steal radium to fuel his atomic disintegrator, Daka uses a mind-control device on the residents of Gotham City, turning them into
Since the serial was shot in black-and-white, the colors of Batman and Robin's costumes were irrelevant, but they looked very similar to the comic designs, even if Batman's ears more closely resembled horns. The serial was dull at times—largely due to both Wilson and Croft's performances and a meandering script—but it did firmly establish the Batcave (which was utilized more in publisher DC's comics thereafter).
In 1945, Batman and Robin both made regular guest-appearances on the Superman radio show, often played by Matt Crowley and Ronald Liss, respectively. A few aborted attempts at a solo Batman radio series were made, but the Dark Knight's next appearance was back in the serials. Following the success of their first Superman serial in 1948, Columbia chose to go back to the Batcave, with Superman's director, Spencer Bennet, at the helm.
Batman and Robin, a fifteen-chapter serial (also known as The Return of Batman) premiered in theaters on May 26, 1949. This time, Robert Lowery played Batman and John Duncan played Robin. In this outing, they faced the Wizard (Leonard Penn), who uses a top-secret remote control device to take command of planes, trains, and automobiles, then uses a stolen
neutralizer and a zone of invisibility, all to commit dastardly crimes such as stealing diamonds. The serial uses Vicki Vale (Jane Adams), who had recently been introduced in the comics, but it is a lackluster production in almost every sense. The cliff-hangers are poorly written, the acting is mediocre, the costumes are bad, the music is weak, and even the director seems to have lost interest in his own product.
Batman retreated to the pages of comics for another fifteen years, at which time the first serial was re-edited and re-released under the title An Evening with Batman and Robin (1965). The press materials for the re-release called it
The Greatest Serial Ever Filmed, and quoted a review that noted that it was
two high-camp folk heroes in a marathon of fist-fights, zombies, & ravenous alligators! It was that camp element that would become the public's prime association with Batman for the next several years.
Television network ABC acquired the rights for a live-action Batman series shortly after the serial was re-released (one legend has it that an executive was inspired by a print of the film he saw at Hugh Hefner's Chicago Playboy mansion), and work on a pilot began in fall 1965. Producer William Dozier and his crew decided on a style for the series that would mimic the elements of the comic in a way that stayed true to them and made fun of them at the same time. Cameras were tilted for an askew perspective, colors were brightened, deadpan narration was employed, and most famously, animated sound effects of
Biff! Bam! Pow! were superimposed on the screen during fight scenes.
Although Lyle Waggoner originally read for the dual role of Bruce Wayne/Batman, the part went to fellow small-screen bit-parter Adam West, who proved perfect at staying in completely serious character no matter what wackiness ensued around him. Newcomer Burt Ward was youthful partner Dick Grayson/Robin, whose expressions were generally preceded by the adjective
Holy, as in
Holy Priceless Collection of Etruscan Snoods! Genteel Alan Napier was butler Alfred, while befuddled Commissioner Gordon and Chief O'Hara were played by Neil Hamilton and Stafford Repp, respectively.
Debuting mid-season on January 12, 1966, Batman was an almost immediate success. Each half-hour show was a two-parter, with the first part ending in a cliff-hanger and the conclusion airing the following night. It was a bold experiment, and it paid off handsomely in ratings and merchandising; even the theme song by Neal Hefti hit the music charts. Additionally, big-name actors wanted to be a part of the series, enabling the producers to cast villains and bit parts more easily. Villains included the Riddler (Frank Gorshin [who would get an Emmy nomination for the role], and John Astin), the Joker (Cesar Romero), the Penguin (Burgess Meredith), Catwoman (Julie Newmar, Lee Meriwether, Eartha Kitt), Mr. Freeze (George Sanders, Otto Preminger), Bookworm (Roddy McDowall), Ma Parker (Shelley Winters), Egghead (Vincent Price), Chandell (Liberace), Siren (Joan Collins), and many more.
Batman was popular enough that, between the first and second seasons, a feature film was shot utilizing much of the series' cast as Batman and Robin faced their four toughest villains: the Penguin, the Joker, the Riddler (Gorshin), and Catwoman (Meriwether). Batman was released by 20th Century Fox on August 3, 1966, further fueling the Bat-craze sweeping the country. A Batcopter and Batboat were created for the film, and were later utilized in addition to the Batmobile on the series. Other Bat-vehicles and Bat-gadgets include the Batcycle; the Batmobile's micro-TV Bat-scanner; the Bat-charger launcher; and various Batcave accessories, including the navigational aid computer and the
complete anti-criminal eye-pattern master file. Although a scene with Shark-Repellent Batspray is funny, perhaps the most memorable scene in the film involves Batman trying to get rid of an explosive device on a crowded pier.
Some days you just can't get rid of a bomb, he intones, deadpan.
Fearing then-significant concerns that Batman and Robin would be perceived as homosexual, two female characters were added to the TV series. Aunt Harriet Cooper (Madge Blake) was introduced into the household of stately Wayne Manor, and—following an eight-minute presentation pilot which was filmed to test the character—femme sidekick Batgirl (a luminous Yvonne Craig) followed in the series' third season in fall 1967. Batgirl, who debuted in comic-book form only a few months before, had actually been created as an advance tie-in to what the TV producers had in mind.
But by the third season, even Batgirl could not help save the Batman series, which had been experiencing a significant drop in viewership during year two. ABC cut the series back to one night a week, and on March 14, 1968, ended Batman with its 120th episode. Although NBC expressed an interest in reviving the series, by the time they made clear overtures to 20th Century Fox, ABC had already scrapped the sets. Batman almost immediately entered the syndication market, where it has been an ultra-popular television staple for more than thirty years.
Six months after the live-action Batman series ended, CBS debuted a Filmation animated series of adventures in The Batman/Superman Hour. Each episode featured one seven-minute story, as well as a two-part fourteen-minute show. The tone of the tales was slightly less campy than the live series, though the villainous deathtraps were just as elaborate. Antagonists included Joker, Penguin, Catwoman, Scarecrow, Riddler, Mr. Freeze, and others. Olan Soule voiced Batman, with Casey Kasem (before his radio stardom) voicing Robin, and Jane Webb handling vocal chores for Batgirl. Ted Knight lent his tones to almost all of the villains, as well as Commissioner Gordon and the Narrator. From 1969 to 1970, the Bat-stories were split off into their own series, titled The Adventures of Batman and Robin. During this period, Filmation also animated five brief Batman segments for Children's Television Workshop's Sesame Street series, some of which featured Joker and Penguin.
The animated Batman wasn't off the air for too long after the Filmation series ended. In 1972, Hanna-Barbera was producing The New Scooby-Doo Movies for CBS. Each episode found the familiar gang of mystery-solvers teaming up with celebrities, both real—such as Sonny and Cher or the Three Stooges—and fictional. Batman and Robin guest-starred in two episodes, helping the Scooby Gang foil the dastardly plans of Joker and Penguin. Interestingly enough, Casey Kasem provided the voices for both Shaggy and Robin, while Olan Soule again voiced Batman. The shows were a warm-up for Hanna-Barbera, who thought that a crime-fighting team of superheroes should work in animation as well as it did in the comics.
On September 8, 1973, ABC-TV debuted Super Friends, a new Hanna-Barbera series that teamed Superman, Batman, Wonder Woman, Robin, and Aquaman to fight crime. The group was accompanied on their adventures by teenagers Wendy and Marvin, and their pet, Wonder Dog (in the comics, Wendy was retroactively written to be Bruce Wayne's niece). Soule and Kasem stayed on to provide the Dynamic Duo's voices. The series was a relative success, and its sixteen episodes stayed in rotation on ABC until fall 1977, when the format was revamped and new characters were added to create The All-New Super Friends Hour.
It wasn't until 1978's revamp, Challenge of the Super Friends, that any Batman villains showed up in the Super Friends milieu. Joining in with the Legion of Doom were Scarecrow and Riddler, certainly not the most powerful of Batman's rogues' gallery. Riddler would pop up again in 1980's The Super Friends Hour, but it wasn't until the 1985 incarnation of the series, The Super Powers Team: Galactic Guardians (which saw Adam West take over Batman's vocal duties from Olan Soule) that other Bat-villains came into play. Penguin would reappear, as would Joker (as a member of the Wild Cards gang), but it was in an episode titled
The Fear that ground was broken. In the episode, Scarecrow subjects Batman to a fear device and puts him in Crime Alley, the place where his parents were murdered. The show marked the first time in Batman's near-fifty-year history that his origin had been addressed in any medium other than print.
Even while he was appearing as a regular in the various Super Friends series, the animated Batman was also showing up on another network. In early 1977, Filmation produced The New Adventures of Batman for CBS. The sixteen episodes found Batman, Robin, and Batgirl joined in their crime-fighting adventures by a fifth-dimensional imp known as Bat-Mite. Villains ranged from known characters such as Joker, Catwoman, Penguin, Mr. Freeze, and Clayface to newcomers like Sweet Tooth, Professor Bubbles, Electro, and Chameleon (the latter two unrelated to Marvel Comics villains of the same names). Adam West and Burt Ward were reunited for the lead character voices, though Filmation didn't really tout the reunion in any advertising or marketing campaigns.
In the fall of 1977, CBS teamed the Caped Crusader with the King of the Jungle for The Batman/Tarzan Adventure Hour, though no new episodes were produced. The following year the series became Tarzan and the Super 7, and that title lasted until 1980 when it was changed to Batman and the Super 7 (on NBC). Having rebroadcast the Batman episodes to death, the network finally retired the series in the fall of 1981. Bat-Mite would eventually make his reappearance in the comics.
Batman and Robin made one further appearance on television in the 1970s, when Hanna-Barbera produced two hour-long live-action specials for NBC. Legends of the Super-Heroes was the overall title, but
The Challenge aired January 18, 1979 and
The Roast aired January 25, 1979. Not only did Adam West and Burt Ward reprise their famous roles, but so did Frank Gorshin as Riddler. Even the Batmobile made an appearance. Most interestingly, the specials also saw the first live-action appearance of the Huntress, who in the comics was the daughter of the Earth-Two Batman and Catwoman! The specials were tremendously campy, and never re-aired.
Film producers Jon Peters and Peter Guber had been trying for years to get a Batman film on track in Hollywood, and in the late 1980s they finally found the key to their film with director Tim Burton, whose dark sensibilities gelled with the grittier Batman comics of the post–Dark Knight Returns era. With a script by Sam Hamm and Warren Skaaren, production designer Anton Furst began creating stunning gothic sets for Gotham City at Pinewood Studios in London. The Warner Bros. film was slated to be a big-budget affair, and although few in the potential audience quibbled with Kim Basinger's casting as Vicki Vale, nor with Jack Nicholson as Joker, it was the man behind the Batmask that gave fans pause. Michael Keaton had been primarily known for his comedic roles, and fans were apoplectic when his casting as Batman was announced.
The $40 million Batman was released on June 23, 1989, with a huge media campaign behind it. Accepting Keaton wholeheartedly, fans were also agog at how seriously the film took the comic-book mythos, even if it did tweak Batman's origin so that Joker was involved. The film grossed over $250 million worldwide, and merchandising ran into the multi-million dollars. A sequel was immediately greenlighted, and Burton decided to up the ante in terms of strangeness and characters alike.
Batman Returns flew into theaters on June 12, 1992, but the story was darker than its predecessor and merchandisers were not happy. Danny DeVito played a creepy Penguin whose deformities caused him to be abandoned by his parents, while Michelle Pfeiffer played much-abused Selina Kyle, who becomes the sexually liberated Catwoman over the course of the film. Pfeiffer had gotten the role when first choice Annette Bening dropped out due to pregnancy; before the part had been recast however, actress Sean Young forced her way onto the Warner Bros. lot in a Catwoman costume, demanding to see Tim Burton about the role. He hid behind a desk rather than face Young, and she later went on talk shows to discuss the matter.
One character who would have been in Batman Returns was Robin, and the role was actually cast and costumed—with a twist. Young actor Marlon Wayans was set to play an African-American Robin, but the character was completely excised from the script before Wayans could film any scenes. Burton felt the movie was overstuffed with characters as written, and the cutting of Robin streamlined the film more.
Although it was the highest-grossing film of 1992, Batman Returns
only made $163 million at the box office, and merchandising revenue was severely depressed. Warner now wanted a new vision for the films, one that would be brighter and more merchandising- and kid-friendly. Tim Burton exited talks for a sequel, and with him went Michael Keaton. Ironically, Burton's dark vision for the Caped Crusader was already being played out in a format that did appeal to younger and older audiences alike.
In 1990, several animators at Warner Bros. produced a three-minute test pilot of Batman, done in a style they called
Dark Deco. Eventually the concept sold to Fox, and work began on the new Batman: The Animated Series. When the show started airing on September 5, 1992, Batman: TAS wowed audiences and critics alike. The stories were gloomy and dark, the villains were nasty, and Batman was brooding. The look of the series was particularly gorgeous, utilizing Art Deco architecture and character designs on darkened or black backgrounds, with heavy airbrushed effects. The animated Gotham City now seemed as if it could only exist at night, and its protector was right at home among the jutting spires and stone gargoyles.
Producers Bruce Timm and Eric Radomski were responsible for much of Batman: TAS's visual look, while Alan Burnett came in to serve as story editor and co-producer. Burnett had previously worked on The Super Powers Team: Galactic Guardians, and he hired writer Paul Dini to come aboard as well. The stories the production crew created included many classic and newer Batman comic villains, as well as supporting cast members and storylines lifted directly from the pages of the comics themselves.
Batman: TAS's voice cast was excellent, led by Kevin Conroy in the lead role. Loren Lester played Dick Grayson/Robin, while Melissa Gilbert and Tara Charendoff took on the role of Batgirl/Barbara Gordon. Once Grayson became Nightwing, the new Robin/Tim Drake was played by Mathew Valencia. The villain roster was once again filled with familiar Hollywood names: Mark Hamill (Joker); Adrienne Barbeau (Catwoman); Ron Perlman (Clayface); Richard Moll (Two-Face); Roddy McDowall (The Mad Hatter); David Warner (Ra's Al Ghul); and Helen Slater (Talia), among others. One episode even paid tribute to an older hero in Gotham—The Grey Ghost—and the producers cast Adam West in the vocal role.
Batman: The Animated Series quickly became one of the most critically acclaimed animated series in television history, winning numerous Emmy Awards and a generation of faithful viewers. Seventy episodes were produced in the original show. In September 1994, the series moved to Saturday mornings and adopted a more kid-friendly tone, becoming The Adventures of Batman & Robin. Fifteen more new episodes were produced, mixed in with older reruns. The last new show aired in the fall of 1995, but repeats continued for a while thereafter.
In 1997, the series jumped from Fox to the fledgling WB! Network, becoming even more stylized along the way. The show was paired with Superman episodes as The New Batman/Superman Adventures, and a final thirteen episodes were produced, airing through early 1999.
While the animated series was showing, several feature-length productions were created. Batman: Mask of the Phantasm was the first Batman animated theatrical release, premiering on Christmas day of 1993. A direct-to-video story called Batman & Mr. Freeze: SubZero was released on March 17, 1998, while The Batman/Superman Movie was actually a video compilation of three October 1997 Superman TV episodes which guest-starred Batman.
Even as the animated Batman was pleasing fans, critics, and merchandisers alike, the feature-film franchise was gearing up for a pair of sequels. Joel Schumacher directed Batman Forever (1995) and Batman & Robin (1997), with a heavy-handed campy tone that laid on a thick homoerotic element to the series. Replacing Keaton in Forever was Val Kilmer, but George Clooney had to step into the cape and cowl for Batman & Robin. Marlon Wayans wasn't called back for Robin's role, and instead, Chris O'Donnell donned the rubber body-suit in both films. Alicia Silverstone as Batgirl joined the Dynamic Duo in Batman & Robin, but as in the TV series, the character's inclusion came too late to help the franchise's sagging box office.
Batman Forever utilized comedian Jim Carrey as Riddler, and Tommy Lee Jones as Two-Face, but neither was served by the slapdash script, nor Schumacher's penchant for letting them run completely over the top with their characterizations. The campy tone and dialogue worsened for Batman & Robin, wherein Uma Thurman played a seductive Poison Ivy and Arnold Schwarzenegger played a leaden Mr. Freeze. Both films were savaged by the critics and fans, and after Batman & Robin underperformed at the box office, Schumacher even publicly admitted to having hurt the Batman film franchise.
No matter how the films fared at the box office, Warner was not about to let the successful part of its Batman franchise fall completely. In January 1999, the WB debuted Batman Beyond, a futuristic animated series in which a young boy named Terry McGinnis discovers the secrets of Batman fifty years into Gotham City's future. Now, using a high-tech costume—and being coached by the crotchety recluse Bruce Wayne—Terry fights crime as the Batman of the future. By its end in 2001, fifty-two episodes of Batman Beyond were produced.
In December 2000, a direct-to-video animated feature called Batman Beyond: Return of the Joker was released. Warner had planned an earlier street date, but after political pressure about violence aimed at young audiences, the studio decided to re-edit the film. In 2002, an uncut version of the film was released on DVD, rated PG-13 for violence.
In December 2001, Batman began to appear in Justice League, a half-hour animated series on the Cartoon Network. There, he occasionally battles against familiar Bat-villains like Joker and Clayface, although more often he joins his super-colleagues to battle other menaces. As with all of the other Warner-produced cartoons since 1990, Kevin Conroy provides the voice of Batman, while Mark Hamill is the Joker. Batman guest-starred with the Justice League on two episodes of WB's Static Shock cartoon in 2003, and that year also saw Robin appear on Cartoon Network's Teen Titans series and the release of the direct-to-video feature Batman: Mystery of the Batwoman.
In March 2003, CBS aired Return to the Batcave: The Misadventures of Adam and Burt, a telefilm comedy reuniting Adam West, Burt Ward, Frank Gorshin, Julie Newmar, and a handful of other Batman TV veterans in a story that told of their
real-life misadventures filming the 1960s series. Warner Bros. executives are still planning on Batman returning to the live-action scene. Versions of a teenage Bruce Wayne have been discussed for his own TV series, as well as to guest-star in the hit series Smallville. Multiple movie scripts have been written for a new Batman film, with scenarios including the popular 1980s comics storyline Batman: Year One, a modern Batman, and the futuristic Batman Beyond all being considered.
In September 2003, Christian Bale (American Psycho) was announced as the next actor to play a big-screen Batman, for director Christopher Nolan (Memento) and scripter David Goyer (Blade). The film was released in 2005 as Batman Begins and, as the title indicates, is about the origins of the character. Bale reprises his starring role in the next Batman film, The Dark Knight (2008). The film was notable for an incredible performance by Heath Ledger as The Joker; it was also his last role as he died of an accidental drug overdose in January 2008. Ledger won the Academy Award for best supporting actor for his Joker role in 2009.
For the trailer for Batman's latest film, The Dark Knight Rises, visit http://thenoobnews.com/news/movies-news/the-dark-knight-rises-official-t...
A return to animation was also in the works, with The Batman announced in February 2004 for Kids WB! and Cartoon Network. Set to debut in the fall of that year, the show focuses on the earliest days of Batman's career and his first clashes against his formidable rogues' gallery. The roofs of Gotham City may be silent for the time being, but the dark night shadows hold the promise of more Bat-adventures in the future.


Penn Injury Science Center: Public Film Screening & Discussion
Continuing his inquiry into social issues in America, Kotlowitz’s new documentary The Interrupters— a collaboration with Hoop Dreams director/ producer Steve James—examines the stubborn persistence of urban violence and was praised by A.O. Scott for its ability to “open up” the topic of urban violence and not limit the story to “the comforting clarity of easy conclusions.” The film debuted to much acclaim at the Sundance Film Festival and appeared as a two-hour special on Frontline. It was cited as one of the best films of the year by The New Yorker, The Chicago Tribune, The LA Times and Entertainment Weekly, and received the Independent Spirit Award for Best Documentary.
“For ordinary moviegoers in search of an enthralling experience, this film [is] heroically life-arming.” —Time
Featured event part of the Science of Safety for Our Cities Conference.


Director and Performer.
What is your pleasure, what is your pain?
Morsus is an original performance piece created back in early 2015.
Inspired by the Aesop’s Fable – The Lion and the Mouse.
When we are confronted by our own limitations our reaction is usually one of fear. But fear is only an illusion that blinds us from seeing what is possible.
I have had the pleasure of performing MORSUS in venues across Scotland. The performance is never the same, for the audience is never the same. The reactions are different, the sense of fear is different depending on who is willing challenge themselves.


As the holiday season has kicked into high gear, it seems like a good time to blog on the Dickens classic, A Christmas Carol. We all know the timeless story of Scrooge meeting the ghosts of Christmas Past, Present and Future. Today it’s being played in the historic Alameda Theatre as part of their classic movie series.
Fair warning, there are only a four showings remaining, so if you’re interested, plan ahead!
Alameda Theatre is located at 2317 Central Avenue.


Who am i
Danni has spent 16 years as a hair and make-up artist in the film and television industry, working on such movie productions as Animal Kingdom, Charlotte’s Web, Don’t Be Afraid of the Dark and Ali’s Wedding, and on such TV shows as Offspring, The Pacific, House Husbands and Wentworth.
She has worked with a number of Australia’s leading actors, including Kat Stewart, Richard Davies, Deb Mailman, Pia Miranda and Sigrid Thornton, to name a few.
Danni has recently branched out to include work in the areas of stills, advertising and editorial campaigns, with clients including Politix, Forever New and Lincraft.
With a strong work ethic, eye for detail, and constant desire for improvement, Danni is committed to always making sure that all models, actors and clients feel at ease, while still being able to work under pressure and get the job done.


The @nba is back! It's as good a time as any to watch "Woman Basketball Player No. 5," one of the most popular Chinese movies of the 1950s, with actual athletes in the cast.
— SupChina (@supchinanews) October 19, 2018
Chinese actor and director Jiang Wen — who starred in movies like Red Sorghum, Let the Bullets Fly, and The Missing Gun, and directed the acclaimed In the Heat of the Sun — had a role in a Star Wars universe film. Which one?https://t.co/1BdMyO66u5 —Take the SupChina movie quiz! pic.twitter.com/xkd0XmyqQ8
— SupChina (@supchinanews) October 25, 2018
It’s worth contrasting state media’s drumbeat of “reform and opening up” with this cartoon from exiled satirist @rebelpepperwang, showing Xi Jinping driving “open economy” (经济开放 jīngjì kāifàng) and “totalitarian politics (政治极权 zhèngzhì jíquán): https://t.co/JsGJI3rhud pic.twitter.com/2iSydTQ9Ym
— SupChina (@supchinanews) October 26, 2018
#Photooftheday @YamashitaPhoto A visitor walks on the Badaling (八达岭 Bādálǐng) section of the #GreatWall near #Beijing. The section was built during the Ming dynasty (1368–1644) for military and strategic defense purposes. https://t.co/p4tVZxNRrq pic.twitter.com/W1LIUOErqY
— SupChina (@supchinanews) December 27, 2017


The following portraits are a series of my personal favourite films and television series designed in low-poly vector form using Adobe Illustrator. The series will grow as I continue to explore the possibilities of characters in this interestingly stunning media.
Hazel and Augustus from the film adaptation of The Fault in Our Stars | 2014
Gwen Stacy from the film adaptation of The Amazing Spiderman 2 | 2014
Jonas from the film adaptation of The Giver | 2014
Tate from the first season of American Horror Story | 2011


What is the structure of a narrative?
A Five-Part Structure. This common structure includes an orientation, conflict, rising action, a climax, falling action, and the resolution. If that sounds familiar, it’s because these are all alternative terms given to the structure we used above!
Which character is part of a drama in Monster?
The Netflix drama follows 17-year-old Steve Harmon, a promising film student played by Kelvin Harrison Jr., who insists he is innocent after he is arrested for his alleged part in a fatal robbery at a bodega in Harlem, New York.
Which excerpt best displays the function of dramatic structure in Monster quizlet?
Which excerpt best displays the function of dramatic structure in Monster? He looks over at STEVE with a hard look and we see STEVE look away. tell the actors how to dress and move for the characters. Which sentence from the narrative portion of Monster reveals that it is written using a first-person point of view?
Why does Kings lawyer want to make sure the jury connects him to Steve?
Terms in this set (24) He wanted to because Steve looked like a pretty innocent guy.
What are the 5 parts of narrative structure?
These five components are: the characters, the setting, the plot, the conflict, and the resolution.
What are the 4 narrative structures?
4 Types of Narrative Writing
- Linear Narrative. A linear narrative presents the events of the story in the order in which they actually happened. …
- Non-linear Narrative. …
- Quest Narrative. …
- Viewpoint Narrative.
Sep 8, 2021
What are some examples of narrative structure?
The primary types of narrative structure, or story structure, come in these forms:
- Poems or Poetry.
- Drama or Plays.
- Short Stories.
- Myths, Legends, Folktales, Fairy Tales, and Epics.
Why is a long camera shot most appropriate for this scene in Monster?
Why is a long camera shot most appropriate for this scene? The positions of the jurors and the prosecutor and the exchanges between them need to be seen. shows Steve’s inner thoughts and fears.
Which statement correctly describes the difference between the narrative and dramatic text structure in Monster?
Which statement correctly describes the difference between the narrative and dramatic text structures in Monster? The narrative text structure tells the story from Steve’s viewpoint, and the dramatic structure tells the story using an outsider’s perspective.


Inside Out 2” has just released its first trailer, and Pixar fans are in for a treat. The sequel to the 2015 hit “Inside Out” brings back the five emotions that live in Riley’s brain: Joy, Sadness, Anger, Fear and Disgust. But this time, they have a new companion: Anxiety, a nervous and jittery emotion that adds more chaos to Riley’s life.
The sequel features some changes in the voice cast, as Tony Hale and Liza Lapira take over the roles of Fear and Disgust from Bill Hader and Mindy Kaling, who reportedly had salary issues.
The first film followed Riley, an 11-year-old girl who moved from Minnesota to San Francisco and struggled to cope with the changes in her life. Her emotions, led by Joy, went on a journey through her mind to restore her happiness and stability.
The film was a critical and commercial success, winning the Oscar for best animated feature in 2016. It was praised for its original and insightful portrayal of human emotions and psychology.
“Inside Out is a stunning achievement that transcends the screen and touches the hearts of audiences,” Variety’s Peter Debruge wrote. He described the film as “a brilliant and beautiful way to understand and empathize with our own feelings and those of others.”
The sequel was announced in 2022 at Disney’s D23 Expo. It is directed by Kelsey Mann and written by Meg LeFauve, who also co-wrote the first film.
“Inside Out 2” will hit the theaters on June 14, 2024, almost a decade after the first film.
Video Source YouTube : Pixar


Netflix is offering a 30 day Free Trial of their TV and movie streaming service. This is a great way to try their service for Free and then cancel if you don’t want it anymore.
I took advantage of this Free Offer and I watched the entire first season of American Horror Story FOR FREE – which would have cost me $37 on Amazon or Itunes.
How many FREE TV shows and Movies could you watch in 30 days of unlimited access to the Netflix library? I could probably watch everything.


Most men are not used to watching movies that guarantee heart flutter. However, all men want to get women- unless their orientation speaks differently. The best way to get more women is to get into their mindset. Consider watching some of the movies that will endear them to you and give them a reason to pay more attention to you.
As a man, you will wonder why women love the following movies so much. However, after you watch them, you will get the tips you need to act like you are in the movies and make them fall head over heels for you.
If you typically defy most of your special lady’s opinions are not romantic and all that, consider watching these movies. They will alter you so much so that you will get exactly what you want from any woman out there.
Each year, a plethora of movies comes out of Hollywood. They are all designed to entertain. However, you can still see beyond the entertainment and learn something new about women and what they expect men to be like.
On this list of amazing movies, you will find such a wide variety of genres that feature adult, gore, violence or heightened testosterone situations. Some will also lead to uncontrollable laughter. Most will include natural love interest.
For instance, the Godfather sequel of movies is a staple choice most men would not refuse to sit down and watch. You will learn about the inner workings of the mafia world, complete with rough dialogue and violence. The sad thing is that you will hardly learn anything from this sequel about how to handle the women in your life- or to get more women into your life after that. Therefore, put aside your desires for the sore, sad and downright violent and watch the following movies:
1. Return to Me
David Duchovny plays a role that every woman would like to see in the man of her dreams. From the simple and loving way he asks the character played by Minnie Driver whether he can hold onto her hand to the pay where he chills out with her rather odd family, he manages to make the hearts of the female audience pitter patter.
2. The Lake House
Whether you like Keanu Reeves or not, women just fell for the character he played in ‘The Lake House’. Sandra Bullock claims she missed the trees by the lake house. Then, Keanu takes the initiative to plant a tree right in front of her home. Come on now!
After that, he takes his sweet time to wait for her- for years. At the end of it all, he gets to kiss her. A definite lesson on patience and initiative this is.
3. 50 First Dates
This 50 first dates will show you a couple of on and off tips on how to draw more women in. He sacrifices his time to ensure that Drew Barrymore falls in love with him. Every single day. For 50 days. These simple little things eventually add up and in the long run she falls madly and hopelessly in love with him.
This may sound cheesy but you have to give it up to the cast. Jack gives up everything for Rose, who stole his heart to the extent that he even gave up his life for her.
5. Sense and Sensibility
An all time favorite for most women, you are definitely going to score in the romance and love angles. Of course, you would need some level of understanding to follow through with the conversation, considering the movie is an adaptation of a novel by Jane Austen. Still, the lessons in romance are as heartwarming as they are funny.
6. The Wedding Date
To get more women, you should also take some time and watch this film. Even though the actor plays the part of an escort, it is apparent that he goes out of his way to ensure that the woman gets what she wants. She also ends up feeling fantastic. Know that women love feeling that they are the only thing in their man’s world. Be that kind of man and watch them fall head over heels.
7. Notting Hill
Then, there is Nottinghill. Hugh Grant gives one of his best performances. His sweet and loving care for the character played by Julia Roberts is quite amazing and will teach you how to do the same in exchange for love, romance and anything else you may want from your woman.
There are many other movies out there that you can consult to learn how to impress women and get them to love you even more than they may already do. Still, as you start on your search, ensure you put the movies listed above at the top of your list.


It seems every other day I'm bringing you casting news for season 2 of "American Horror Story". Well, now it's time to add a little German flavor to the steadily growing cast. Read on for the skinny on the very next inmate that has been admitted to the television asylum.
According to TVLine, Franka Potente has been added to the spooky proceedings. The Run Lola Run actress, who also appeared opposite Matt Damon in The Bourne Identity, will play a mysterious patient of the facility in a two-episode arc.
Other Season 2 stars include Jessica Lange, Sarah Paulson, Zachary Quinto, Evan Peters, Lily Rabe, Jenna Dewan, Chris Zylka, Joseph Fiennes, Chloe Sevigny, Clea Duvall, James Cromwell, Mark Consuelos, and Lizzie Brochere.
Set at an East Coast asylum for the criminally insane, the upcoming season revolves around Jessica Lange's new character -- a nun -- and her boss at the institution, played by James Cromwell.


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About Ruth Taylor
Ruth Taylor is an Illustrator and Animator. She was born in Scotland, but migrated with her family to the Netherlands when she was young. She grew up in Rotterdam, where her interest in Illustrating grew. After finishing high school she moved to Breda to study animation at St. Joost Art Academy. She received her bachelor degree in design in 2011. She graduated with the short film “Drifted”. Which got selected for screening at the Nederlands Film Festival. After graduation she started working at Productionhouse Marco Klein + Partners, where she has worked for 4 years. After that she went on an around a world trip, to work on personal animation projects in several artist residencies. During this trip she started working on her shortfilm “The Cliffs”.
Now she is working as a freelance animator and illustrator, specializing in character,- art and animation. Currently she is working on a new shortfilm of Job Joris & Marieke as Character Animator.
She has been featured twice in the Photoshop advance magazine for her illustration work. On the art website deviantart her work got featured 3 times as a daily deviantion. In 2012 she made a short “Jump” for the animations sequence project and was selected as one of 25 best shorts out of a few hundred applications.


Dietrix can be found on IMDB. She is represented by Worldwide Talent Management.
Dietrix will play Troy of the hit YouTube show "Troy's World" in the upcoming comedy thriller Eviscerate Me!
Dietrix will play Ellie, the lead singer of an iconic rock band, in the upcoming comedic drama Calamity Hill.
Dietrix plays a student in the award-winning indie feature thriller Saturnalia, now available on Prime Video.
Dietrix's popular single Adventure Over Romance can be heard in The Cran on Prime Video.
Dietrix plays Stacy in the award-winning indie feature comedy The Rest of Your Life now streaming on Prime Video.
Dietrix was cast as herself in Moondance: A Love Story in Five Acts, which was released March 13 and is available for streaming on Prime Video.
Acting demo reel with monologues from La La Land (2016), Three Billboards Outside Ebbing, Missouri (2017), and a clip of Dietrix as herself in Moondance (2020)
Copyright © 2020 Libby Dietrix Official Website - All Rights Reserved.
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LOS ANGELES (Sharewellnewswire.com) August 20, 2012 – The 4th Annual Burbank International Film Festival (BIFF), scheduled for September 5th- 9th, is just around the corner. The film festival consists of five days of film Screenings, Red Carpet Events and Awards. The festival will kick off the Opening Night with an advanced screening of the film “CinemAbility”; a documentary examining the ever- changing portrayals of disability story lines in film, television, and advertising from the silent era to today.
The film is directed by Jenni Gold (DGA) and features Ben Affleck, Jamie Foxx, Gary Sinise, William H. Macy, Marlee Matlin, RJ Mitte, Beau Bridges, Kyle MacLachlan and Gary Marshall and to name a few. Following the film screening will be an Opening Night Gala hosted by RJ Mitte from the Emmy and SAG nominated hit AMC television series “Breaking Bad”. The festival will conclude with the Closing Night Gala Awards Show hosted by NBC weathercaster and comedian, Fritz Coleman at the Castaways in Burbank.
Celebrating its 4th year, the festival is once again excited to partner with Woodbury University, and be able to use their state-of-the-art auditorium as an additional screening venue. Award-winning filmmaker and actor Jeff Rector is the new President and Festival Director, Rector says, “We want to screen as many independent films as possible and help get the filmmakers get some exposure . It’s also an amazing opportunity to make the Burbank International Film Festival into a world class festival like Sundance, Cannes and the Toronto Film Festival after all, Burbank is the home to Warner Brothers, Disney, Universal, NBC and ABC”.
In addition to the festival filmmakers awards, several Industry Honorees will receive special recognition. These include, Robert “Bobby” Moresco 2- time Oscar winning screenwriter (“Million Dollar Baby”, “Crash”), multi-award wining composer Marc Isham (“Once Upon A Time”), Annie award winning animation director, Jennifer Yuh Nelson (“Kung Fu Panda 2”), Academy Award-winning specialeffects make-up artist Rick Baker, award winning actor James Hong (“Kung Fu Panda 2”, “Chinatown”), and Mary Shuttleworth, founder and president for Youth for Human Rights International, will be receiving this year’s “Awareness Award”. Other industry honorees will be announced soon.
The Burbank International Film Festival is September 5th-9th, 2012 in Downtown Burbank, CA. For festival programming and events, to order tickets, or for more information visit http://www.burbankfilmfestival.org.
Contact President and Festival Director Jeff Rector to schedule interviews, media coverage, or festival partnerships. 1 (818) 601-2082 / email@example.com


Tom Hanks Delivers Commencement Address at Harvard University
Tom Hanks, the renowned actor, delivered the commencement address to the graduating students of Harvard University in Cambridge, Massachusetts. During the ceremony, the Ivy League school conferred an honorary doctorate of arts upon Hanks, who joked about receiving the degree without doing any work or attending any classes.
In his speech, Hanks urged the students to stand up against the indifference of people who have been made weary by struggle. He emphasized that indifference makes citizens into indentured servants held in labor by despots and tyrants. Hanks also spoke about the importance of embracing liberty and freedom for all, which is the only way to create a more perfect union.
Harvard previously announced Hanks as its 2023 commencement speaker back in March, with university president Larry Bacow saying in a statement at the time that the actor has « contributed to our national culture and expanded our ability to appreciate stories and histories that have been previously unexamined. » During Hanks’ appearance at the university, Harvard also gave him a Harvard-branded volleyball in reference to his 2000 movie Cast Away.
Hanks’ Career and Recent Activities
Hanks, who studied theater at Chabot College and later graduated from California State University in Sacramento, has been in the acting industry for over 40 years and has won two Academy Awards. He and his wife, producer and actress Rita Wilson, recently appeared at the 2023 Cannes Film Festival for the world premiere of the new movie Asteroid City, in which they both appear. The film, directed by Wes Anderson, received a nearly six-minute long standing ovation following its premiere at the international film festival.
As a digital news writer at PEOPLE, Tommy McArdle covered the entertainment industry at Looper and sports at The Sporting News and Boston.com. He graduated from Emerson College in 2019.
Keywords: Tom Hanks, Harvard University, commencement address, honorary doctorate, liberty, freedom, perfect union, Cast Away, Cannes Film Festival, Wes Anderson.
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A delegation of South African filmmakers has arrived in the United States where they will participate in the American Film Market (AFM), which gets underway today.
Led and funded by the Department of Trade and Industry (dti), the delegation will participate in the film market taking place in Los Angeles as part of efforts to open up markets for South African film and television productions.
“[The Outward Film and Television Investment Mission] is also aimed at securing partnerships for co-productions, and positioning the South African film industry as a filmmaking destination,” said the dti on Wednesday.
The AFM is one of the biggest film markets in the world that is targeted by sales agents and distributors from all over the world to acquire films. It is recognised as one of the most important international film industry gatherings.
In addition to attending numerous conferences, workshops, screenings, networking sessions, presentations and exhibitions, the filmmakers will also be visiting various prominent American studios and production houses including NBC, Sony and Disney.
Kearatwa Sedidi, director at Dipopaai Studios, says he is in Los Angeles to find a distributor for his company’s animated series project, Survival Island.
“We would be glad if we were to return home with a letter of intent from an American distributor as it will enable us to raise funding for the actual production of the project,” said Sedidi.
Director Thabang Moleya says he is excited about attending the AFM as he is looking forward to exploring co-production opportunities with the US companies.
“We are optimistic that the projects that we have come to market here, which comprise two feature films and two drama series, will attract interest from American companies in particular to invest in them,” he said.
The delegation is led by Deputy Minister Bulelani Magwanishe.
“As a department, we would like to see the film and television production industry increasing its contribution in creating job opportunities and growing the economy of the country. To this end, we are on a continuous and strategic mission to market South Africa internationally as a preferred and attractive filmmaking destination as well as a viable co-production partner.
“We also engage in efforts to find new markets for the distribution of South African feature films, documentaries and television productions and to urge big international studios to shoot their films on location in South Africa,” said Magwanishe.
Los Angeles, which is home to Hollywood, is the bustling hub of the American movie industry.
The AFM provides a great networking platform for South Africa to showcase film and television production capabilities and facilities.
“This will help drive inward investment from international studios. Our participation will also afford us an opportunity to foster closer ties with partner countries that we have co-production treaties with and garner increased involvement from large film markets such as the United States of America,” said Magwanishe.
The AFM will conclude on 7 November. - SAnews.gov.za


Turtle Bay Resort
Picture a sun-drenched island in the Pacific. A place of such natural beauty, even business seems like a breezy day in paradise. Welcome to Turtle Bay Resort on Hawaii's North Shore.
Napa Valley Film Festival November 12-16, 2014 Napa Valley Film Festival showcases the best in new independent filmmaking and world cinema. The vision is to build community around the art of visual story-telling, with the viewing of films and discussions … Continue reading
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Following on from yesterday's article about Nanny's chumps in the Scottish Executive banning smoking on stage, it seems that Nanny's English lackeys have realised how stupid that is. Nanny is now trying to implement changes to the anti smoking laws that will allow smoking on stage in England.
Actors will escape a blanket ban on smoking on stage, after West End theatres led a revolt against the move.
The revolt warned that many plays would be difficult to stage if characters, such as Sherlock Holmes or Winston Churchill, had to stop smoking.
Nanny, doubtless realising how daft the Scottish Executive looks, has revealed a plan to exempt live theatrical performances and film and television recordings from the ban, where smoking is "integral to the plot or storyline".
Funny that explicit sex, violence, murder, wife beating etc are all happily allowed; yet smoking was about to be banned!
The decision comes after some pressure was put on Nanny as to the impact of the smoking ban, due to come into force next summer, on current West End hits such as Who's Afraid Of Virginia Woolf? and Billy Elliot and future productions such as The Graduate.
Nanny's Health minister Lord Warner said:
"The Government are considering a specific exemption to ensure that smoking can take place on stage during live theatrical performances,
or during film and television recording,
where smoking is integral to the plot or storyline."
He said that Nanny's public health minister, Caroline Flint, was writing to theatre groups, film directors and TV producers to set out Nanny's "intention" to exempt actors from the smoking ban.
Needless to say it will be a bureaucratic mine field to deal with this. Ministers expect extensive consultation on the details of the special consent for actors to light up, including who would be allowed to do so.
Some argue that such an exemption would be impossible to police. Theatres which allowed smoking on stage, where it was not permitted, could be fined 2,500.
I find it quite ridiculous that so much time and effort is being wasted on this, when common sense dictates there should never have been a ban in the first place.
Tory health spokesman Earl Howe said:
"Many plays would be rendered artistically impossible, indeed risible, if the actors were prevented by law from smoking.
Current examples of smoking on the London stage include
Who's Afraid Of Virginia Woolf? and, notably,
In some plays smoking is required, for example,
in all plays by Ibsen except one,
almost all plays by Noel Coward,
in all plays by Simon Gray and, perhaps most notably,
in John Osborne's Look Back In Anger."
Another example being Carmen, Carmen's opening scene is set outside a cigarette factory with many chorus girls, and Carmen herself, lighting up.
In other words, smoking is part of our cultural heritage. Nanny, by trying to ban it, is trying to mess with our cultural heritage and change who we are.


Just as Drew Farthering thinks his life has found smooth waters, Fleur Landis, an old flame, reappears in his life. She's married now, no longer an actress, and he expects she'll soon disappear--until she comes to him in dire need. The lead actor in her old troupe's production of The Mikado has been murdered, and Fleur is the police's number one suspect.
would love nothing more than to just focus on his fiance, Madeline, and
their upcoming wedding, but he can't leave Fleur in the lurch--even if
she did break his heart once. As Drew, Nick, and Madeline dive into the
murder, they discover more going on behind the scenes of the theater
troupe than could ever have been imagined. Nearly everyone had a motive,
and alibis are few and far between. It's Drew's most complicated case
I like this series, since it is very much like the classic 1930's mysteries. The characters are fun and yet have depth to them, and I love the spiritual element to the stories too. Drew and Madeline grow as characters as their relationship changes.
Two thumbs up!


One of Japan’s most popular actresses and a pioneering director
Kinuyo Tanaka (1909-1977) who made her movie debut at the age of 14, gained popularity as a pretty daughter in the era of silent movies, allowing her to shift successfully from silent to talkie films and to create numerous hits such as The Neighbor’s Wife and Mine and The Tree of Love.
Tanaka met the film master Kenji Mizoguchi and began a legendary collaboration with him. After the war she also worked for many other leading directors including Yasujiro Ozu, Mikio Naruse and Keisuke Kinoshita. She demonstrated her remarkable talent not only in diverse roles, but also in a variety of styles and genres over her career spanning half a century.
Always having an adventurous spirit, Tanaka made her directorial debut in the 1950s, became the first female theatrical film director. Despite working in the male dominated film industry, her achievements as an actress as well as a director of 6 films should be spotlighted today.
This exhibition introduces the footsteps of Kinuyo Tanaka, who was closely connected to Kamakura by displaying her precious mementos.
9am-5pm (Closed on Mondays)
Exhibition admission fee (Special Exhibition): General 400 yen / Elementary and Junior High Student 200yen
Movie tickets: 1000 yen / Elementary and Junior High Student 500 yen


Kim Longinotto | UK | 2013 | 90min | English Subtitles
Growing up in the South of India, Salma lives through a rough youth: she has to leave school at an early age and is supposed to marry as soon as possible. Since she refuses an arranged marriage, she is trapped in a small room with no escape for over nine years. Also the marriage with a successful politician does not really change her situation. In order to deal with her loneliness and isolation, she starts writing poetry. Her mother secretly gets her poems to a publisher. Overnight Selma becomes famous and manages to escape her prison. She then tries to help other women in her village to get away from their fate. The documentary follows her rocky yet fertile way to break the chains of a long-standing tradition and to achieve freedom for India's women.
The screening will be followed by a discussion.
The screening is part of the film festival this human world.
The event is held in English.


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Though Whitney Houston passed away in 2012, her still-very-active Instagram account posted about gratitude and accomplishment over the weekend – with the post wishing her hundreds of thousands of followers a Happy Thanksgiving. The account also reminded everyone of her astonishing career, and role in one of the biggest movies of all time.
“The Bodyguard’s” 29th Anniversary
It was 29 years ago that “The Bodyguard” – the Whitney Houston acting debut – hit theaters in the U.S. Starring alongside Kevin Costner, and her social media boasts the movie poster showcasing Houston's character in the arms of Costner’s character.
View this post on Instagram
As you know, “The Bodyguard” features Houston as Rachel Marron, a successful actress and pop star, whose stardom earns her a stalker. Frank Farmer, a former secret service agent, played by Costner, was elicited to be her bodyguard. Through the movie, Marron resented Farmer’s security practices towards her, and the coming-of-age film portrays the love story that ensues when these two opposite personalities were forced to interact.
Though receiving less-than-critical acclaim, nearly three decades later, the film clearly still moves its fans. Houston’s following showed up on the Instagram anniversary post, leaving many adoring comments – including writing that it’s one of their favorite films of all time.
The numbers don’t lie either.
The film was the second-highest grossing movie of 1992, earning $411 million, second after Disney’s “Aladdin.”
“The Bodyguard’s” Successful Soundtrack
The reminder post also celebrated “The Bodyguard’s” soundtrack for being the all-time highest selling soundtrack with 45 million copies sold to date. This album was released by Arista Records, founded by Houston’s longtime mentor and friend – Clive Davis.
Davis – the lawyer-turned-music industry godfather – instrumentally discovered and signed many of the most prolific and well-known artists in the industry. Aside from his successes with Houston, he discovered and signed Aerosmith, Alicia Keys, Billy Joel and Sarah McLachlan – just to name a few.
Davis’ keen on eye on which artists would make shine put Houston right at the top. From his record label, the soundtrack as a whole, and songs from the album also won Grammy Awards for “Album of The Year” and “Record of The Year.”
Her Instagram account – a tribute to her accomplishments with many photos sharing different career anniversaries – continues with a Nov. 17 post, further sharing that the six-time Grammy Award winner co-executive produced and recorded six songs for the best-selling soundtrack. Her tracks earned her nominations for “Best Original Song” for the Academy Awards.
View this post on Instagram
Whitney’s hit song and Dolly Parton cover, “I Will Always Love You,” itself hit momentous music jackpots. The track is the biggest selling single by a female artist in history and reached the top of the Billboard Hot 100 chart for over three months in 1992. The song also hit one billion YouTube views in 2020.
Continuing with the posthumous success, Houston earned another spot on the Billboard Hot 100 in 2019 with Norwegian producer Kygo’s remake of her 1990 song “Higher Love.”
A “Bodyguard” Remake?!
It was reported in September by "Variety" that Hollywood is currently working on the movie’s remake. A cast hasn’t been announced yet, but Cardi B and Channing Tatum’s names were brought into the mix. Tony-nominated playwright Matthew Lopez is leading the script remake charge, too.
But, with the large fandom following that the original has, and the decade-spanning success the soundtrack brought, it seems unlikely that whoever is in the running will be able to bolster Houston’s intrigue and match her accolades.