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Joker Review 8/10/2019
Most Hollywood movies are made to suit an assumed ADD-inflicted audience. We're supposed to be so dumb, so impatient, so high on a soda sugar or an iced tea rush that we can't appreciate a slow, thoughtful film that dares to explore ideas and to make us think. Joker does just that. It puts art first. It doesn't care if you're disinterested or put off by heavy subject matter or violence. It hits you with its grim reality off the bat, giving its audience no choice but to accept the movie on its own terms. No choppy editing. No rushed pacing. No contrived DC universe or political pandering. Even the violence is employed sparingly. The main character and his story are all that matter here, judgment be damned.
The film feels like a very personal expression by filmmaker Todd Phillips, a story he felt needed to be told. It's raw and real, honest. This is what folks like me have longed for: true art in cinema again. Joker feels nothing like an office-ordered product, shaped by executives who threw in requests and limitations on the storyteller. It feels very much like a story conceived by an inspired writer, proposed to a studio, made by the artist and then marketed for what it is. To me, all films should be made this way.
When art comes first, the result is something genuine, something which truly touches us. My audience and I reacted quite a bit to Joker, laughing, gasping and uttering many awkward expressions of sympathy for Arthur Fleck. Joaquin Phoenix is an artistic performer (a 'character actor',) and his performance is captivating. I couldn't take my eyes off him. At no point did I love or hate him. No, I simply experienced being Fleck—both a sad and horrifying experience. When at last he becomes the Joker, I feel like I know this madman. I get him. Therefore, I no more want to see him beaten by Batman than I want him glorified. The film doesn't allow such expectations to take shape, for it's too busy unraveling this man and simply letting horrors unfold. Indeed, Joker is more a psychological horror-drama than a traditional thriller. But it's actually not trying to be anything: it simply allows itself to exist in its own terms. Like true art.
All that we see is filtered through Fleck's mentally disturbed perspective. Because Fleck's world is so brutally real, we naturally don't question it. But we are given a series of clues that all is not as it seems: Fleck imagining himself a talk show guest, or fantasizing that his neighbour has a romantic interest in him (when it later turns out she doesn't.) We learn his own mother is delusional. This implies that Fleck has inherited her madness. We are left to wonder what if anything is real. Was Thomas Wayne (Bruce Wayne's father) really such a jerk? Had Fleck ever appeared on a stage at all? Had he actually murdered anyone? Was there ever a civil uprising of angry 'clowns'? Moviegoers are left to speculate if Fleck even was the Joker at all. Maybe he's just some nut who's read too many Batman comics.
The whole movie ends up feeling like the last scene in Taxi Driver, where Travis Bickle is suddenly hailed a hero and the woman of his dreams now likes him (as if he's magically been given a clean slate.) Suddenly, all's right in Bickle's world. The only hint to the contrary is his final, creepy stare reflected in the rear-view mirror as the credits roll to disturbing music. Joker turns out to be a very similar film, but it takes us even deeper down the path of incredulity.
With a relatively low budget and no off-putting CGI to be found, Joker manages to dazzle us through clever photography, lighting, music and sound effects. It keeps our eyes uncomfortably glued to the screen in fearful curiosity. It makes us feel, makes us think and gives us an experience of cinematic art not easily forgotten.
The War On Art And Culture 4/10/2019
I recently stumbled upon an amusing YouTube channel which serves as a satirical Sci-Fi serial show of movie and storytelling criticism. Overlord DVD features an 'evil' galactic ruler called Dicktor Van Doomcock. Obviously, it's all done with a sense of humour. But it's easy to tell that the man behind the mask is a serious writer, both from his displayed mastery of the English language and for his deep grasp on writing, culture and modern myths. Though his gimmick is hokey, his arguments are delightfully witty, combining intelligence and comedy. He speaks for those of us who feel harmed by the artistic debauchery of our beloved franchises, standing for the importance of art and culture above business and politics. Indeed, the politicization of film and comic books is an issue most relevant to his channel. In this video, he makes a dramatic case for the cultural scarring which this does. He also explores a possible answer for why it is happening, to at least some level of seriousness.
In the future, I 'm sure I'll have much to say on the issue of betraying artistic canon. There is not much I can add to the conversation regarding George Lucas and Disney's treatment of Star Wars. So much has been said by so many. When a creator forgets what made his story work so well, or when a group of strangers take over a creative property and disrespect it, it is not just an insult to the fans but also a betrayal of art and culture. Myths matter in profound ways which even the mythmakers ourselves might easily forget or fail to realize. We must be true to what we create, or to what has been created before us. Our stories are a part of the fabric which is culture, which is us, we, this world. Art is language. It matters. It unites. It inspires. To tear it apart tears us apart in turn.
The Simpsons' Modern Identity 8/9/2019
This video examines the many ways in which 'The Simpsons' has lived on artistically through culture. The show itself has strayed far from what it once was. A lot of people (myself included) consider the first four-to-seven seasons to be the golden era of the show. This was 'The Simpsons' that I fell in love with in my youth. It raised the bar for comedy to such a height that, well, it made it impossible for me to find a true replacement. For more on what went wrong, I'd recommend this video.
Below is the video which examines the bizarre modern reality of 'The Simpsons,' which lives on in a kind of daydream limbo. For many of us, it was a big part of our youth and the town of Springfield, its residents and their adventures still exist deep in our subconscious. The original show was a witty, satirical and artistic examination of the modern family, stripping away the picture-perfect image of the American Family which was propped up by shallow sitcoms at the time. It was a show that made you think, made you feel, and most of all, made you laugh.
Superficial Heroes 5/11/2019
I just saw a video I would like to share with you. It's an interesting argument for the psychological purpose of superheroes in modern culture, and a little on why we need more grounded heroes. Why do so many grown adults like children's' comic book heroes so much? Rob Ager argues that it is basically filling a cultural void, in which more relatable heroes (which would theoretically be more preferable) are harder to come by these days.
Ager is a movie analyst and independent filmmaker. His website, called Collative Learning, features many intelligent analyses of films, exploring their psychological, metaphorical, and culturally significant depths.
Ager refers to even Nolan's Batman films as a kind of camp. I agree. For a long time now, I have referred to the older and newer Batman films as 'Dark Camp.' Stylistically, it's different, but if you strip away its flashy veil, you'll see that it's really just a more adult-pleasing version of camp. Fundamentally, the cheesy old 60's Batman series is offering its audiences the same hollow fantasy as the new Ben Affleck incarnation. The only real 'difference' is a veil of darker, edgier style. A grown man cannot be Batman. A grown man cannot learn from or be inspired from Batman in any way that will benefit his own life. This world is very large and complex, and without heroes to help tackle the challenges we fear or suffer through, we turn instead to escapist fantasy (be it with a light or dark tone.) We need more grounded, more relatable heroes to connect to.
Sadly, Hollywood is unlikely to change, since it's no longer interested in story ideas. It's become more about milking existing franchises. Of course, with all the modern media options available to the public, they have a harder time competing. The modern culture is also becoming more segmented, as different media target more specific tastes. Less people are going to the movie theatre these days, yet fanboy crowds are perhaps flocking to them more consistently, in loyal support of their beloved franchises. Escapism is easier to market and sell than a new idea grounded more in reality, especially when our culture is increasingly more segmented into specific sets of tastes and interests. Is it even possible to market a new idea to the general public anymore? I say it is, but this opinion will begin to seem rather radical soon, if someone doesn't break the mold.
It's up to the artists to invent heroes to appeal to audiences/readers/listeners of today's mediums. As an author, my mind has been on this very subject lately. I've began thinking up a new story idea to appeal more to the Millennials, to their general frustrations and state of mind. What heroes are there to represent their feelings of being stuck in an overly complex world without any one religion, role model, or source of information they can took to for beliefs or answers? I feel for them. They were raised by my generation, after all (Generation X.) The Boomers meant well, but they raised a generation of people who who are cynical about everything, resulting in over-materialism. We, in turn, have raised a generation which are even more lost. Not that this is entirely bad; change is a part of human existence, and there will always be rough patches when old ways of thinking break down.
No one can see what the future culture will look like, but it begins today, with artists. We must care, create, explore, and innovate. This stagnated culture needs fresh air to breathe. I think all (active) creative minds play a part in discovering how to break through the muck of soulless corporate pandering, to discover what awaits in the realms of imagination.
Copyright © 2014 - 2019 by Gregory Alan Burhoe. All Rights Reserved.


The venue for the most awaited mega fight between Manny Pacquiao and Floyd Mayweather Jr had finally been set between the two camps and many had considered this as a big progress since many had been anticipating the fight for some years already.
LA Times' Lance Pugmire had reported that both camps had reached an agreement on the venue and the drug testing. The mega fight might reach to a staggering total of $300 million as it is no secret on how many boxing fans are excited to see the fight of the two of the best boxers in the world.
The venue of the anticipated fight was set in MGM Grand Garden Arena. The drug testing protocol was said to be done in Olympic style. As it can be remembered, drug testing had been one of the reasons why the two sides did not agree on the fight a few years back.
Among the things that are still yet to be talked about and agreed are the purse split and date of the fight. It had been Pacquiao who publicly announced that he will be willing to have the lesser cut just to make the fight into a realization. Mayweather had first shared that he wanted the fight to be on May 2, the weekend of the Cinco de Mayo. At first Bob Arum had been reluctant to agree but the date is still under negotiation.
The two parties were given less than 10 days to finally decide on the details of the fight to give time for promotion. Freddie Roach had shared that the fight is on its way to reality. Boxing fans are voicing their excitement as well. The mega fight had been talked about for years and soon the two boxers will retire, making time shorter for them to decide.


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Rapist's sentence for digital penetration reduced
Pram Nair raped a drunk partygoer in 2012.PHOTO: SINGAPORE POLICE FORCE
SELINA LUM, THE STRAITS TIMES
Rape is a more severe sexual offence than another form of sexual penetration, a five-judge Court of Appeal ruled yesterday, in a case involving a former Sentosa beach patrol officer who faced one charge of each offence.
As a result, the court lowered Pram Nair's overall sentence by two strokes of the cane, having reduced his sentence for penetrative sexual assault using one or more fingers, an act known as digital penetration.
He had raped and sexually assaulted a drunk partygoer on Siloso Beach in 2012.
The apex court disagreed with the High Court judge who had, in October last year, imposed equal sentences for both charges as he was of the view that both were equally serious.
Nair's overall sentence now stands at 11 years and 19 days' jail, and 10 strokes of the cane.
Yesterday, delivering the apex court's decision, Judge of Appeal Chao Hick Tin said "at the highest level of abstraction, there is an intelligible difference" between the two offences.
Ex-army warrant officer jailed for hitting maid with plastic hanger
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Father jailed seven weeks for hitting son
The other four judges comprised Chief Justice Sundaresh Menon and Judges of Appeal Andrew Phang, Judith Prakash and Tay Yong Kwang.
First, penile penetration carries the risk of unwanted pregnancy and of transmitting sexual diseases, which would have far-reaching consequences for the victim, said the court.
Second, penile penetration is a more intimate act and represents a greater degree of sexual intrusion and exploitation by the offender as he derives more gratification from it.
However, the court agreed that its framework for sentencing rapists, issued in May, should be transposed to that for digital penetration because both offences share many aggravating factors.
Depending on the severity of the case, the sentencing range for digital penetration is a jail term of between seven and 20 years as well as between four and 18 strokes of the cane per charge.
The apex court upheld Pram's sentence for rape but reduced that for digital penetration to seven years, six months and 19 days' jail and four strokes of the cane. While he faces fewer strokes of the cane, the length of imprisonment is not affected as both terms run concurrently.
FOR MORE, READ THE STRAITS TIMES TODAY
courtCOURT & CRIMEcrime

redpajama_set_name: RedPajamaCommonCrawl


Support Cancer Research at The Ottawa Hospital with Wholesale Outlet 4 Women.
Featuring clothing lines made in Canada and in Europe, Wholesale Outlet 4 Women is hosting a fundraiser that will see 25% of all sales being donated in support of Cancer Research at The Ottawa Hospital. Starting at 10:00AM on Friday, April 26, admission into the event is free with the chance to win amazing door prizes.
For more information, please email Sherry Woodburn at [email protected].
Join us for the Tee It Up For Cancer golf tournament on May 30. Proceeds will support patient care and research at The Ottawa Hospital.
Awards: 6:30 p.m. to 7:30 p.m.
When Stefany Dupont's leukemia returned after her bone marrow transplant, the prognosis was dire. However, she was eligible for a novel immunotherapy treatment using CAR-T cells, which ultimately saved her life. Doctors at The Ottawa Hospital are planning CAR-T cell clinical trials to help other patients with blood cancers have a better chance of survival.
Stefany Dupont's leukemia symptoms have disappeared. Her disease was put into complete remission by a revolutionary new treatment called CAR-T cell therapy. It's having such high success rates in patients with blood cancers that The Ottawa Hospital is developing its own CAR-T program and clinical trials. The hospital is playing a lead role nationally with this made-in-Canada CAR-T approach.
Stefany was first diagnosed with acute lymphoblastic leukemia (ALL) when she was 13.
Children with leukemia are given a strict chemotherapy protocol that effectively cures more than 90 percent of patients. Unfortunately, this was not the case with Stefany.
She was in remission for five years but, in 2010, her leukemia came back. She was now 18, an adult, and began receiving treatment at The Ottawa Hospital. A regimen of chemotherapy was followed by a hematopoietic bone marrow stem cell transplant in October 2015. Stefany, however, had another relapse a year and a half later. Adults with leukemia who relapse after a transplant have less than a 10 percent chance of survival.
Hematologist Dr. Jill Fulcher confirms that Stefany Dupont is in remission over one year after her CAR-T cell therapy. Previously, Stefany was given a 10 to 20 percent chance of survival, pre-CAR-T cell treatment.
Dr. Fulcher and fellow colleague Dr. Natasha Kekre, a hematologist and associate scientist at The Ottawa Hospital and assistant professor at the University of Ottawa, knew that clinical trials in the United States, using CAR-T cell immunotherapy, showed amazing results in children and adolescents with leukemia and blood cancers, putting many into long-lasting remission.
For patients, like Stefany, who are extremely sick and out of options, CAR-T cell therapy offers hope, which is why Dr. Kekre is leading the charge to bring CAR-T cell immunotherapy to The Ottawa Hospital. Health Canada approved the first version of the therapy in September 2018. A pharmaceutical company-led trial began recruiting patients at the hospital in late fall with the first patient receiving treatment in January, making The Ottawa Hospital one of the first hospitals in Canada to participate in these trials.
However, this treatment was not yet available in Canada when Stefany needed it. So, her only option at the time was to try to join a CAR-T clinical trial at the Children's Hospital of Philadelphia, which was having great success. The hospital's clinical trial was still accepting patients with ALL up to 25 years of age. Stefany was eligible to participate.
CAR-T cell therapy is a relatively new treatment that uses the patient's own immune cells, known as T-cells, to treat their blood cancer. T-cells play a critical role in the immune system by killing abnormal cells, such as cells infected by germs or cancer cells.
With this treatment, blood is taken from the patient and the T-cells are separated out. The cells are then genetically engineered using inactive viruses to produce synthetic molecules on their surface called chimeric antigen receptors, or CARs. Over several weeks, these modified T-cells multiply in the laboratory into hundreds of millions before being infused into the patient's blood stream. The CAR-T cells further multiply in the patient's body, then begin recognizing and killing cancer cells.
Dr. Natasha Kekre is working with other hospitals across Canada to develop a "made-in-Canada" approach for CAR-T cancer therapy.
Data from the Children's Hospital of Philadelphia is very promising. They have patients who are in remission five years after treatment. And patients who are still in complete remission at the six-month stage are likely to have long-term survival.
Stefany was able to go to Philadelphia and had a CAR-T cell infusion in September 2017. At her first three-month assessment, she had a bone marrow biopsy that showed she was still in remission. Positive news that meant the treatment was working.
Three months later, after getting the all clear that her leukemia was in remission, Stefany went on a well-deserved trip.
"After the sixth month waiting time, I went to Australia, from January 10 to February 7, 2018," said Stefany. She visited Sydney, Brisbane, Melbourne, went scuba diving at the Great Barrier Reef, and hang-gliding over the shores of Byron Bay. It was a wonderful break after the intensive treatment.
CAR-T therapy will soon be more available in Canada, as researchers at The Ottawa Hospital, working with colleagues across the country, are developing a "made-in-Canada" approach for CAR-T cell clinical trials.
CAR-T cells are increasing short-term survival rates to 70 to 80 percent for patients with leukemia and other blood cancers that don't respond to normal treatment methods.
This trial aims to begin recruiting patients in 2019. It will be open in Ottawa and Vancouver with different components of the CAR-T cells being manufactured in Ottawa and Victoria.
CAR-T therapy needs to be individually manufactured for each patient, using a patient's own cells combined with large amounts of highly pure virus to deliver the CAR gene. The Ottawa Hospital's Biotherapeutics Manufacturing Centre, pioneered by Dr. John Bell, is ideally positioned to manufacture this kind of therapy because it has the most advanced system to make clinical grade virus needed to create CAR-T cells for clinical trials. This is the only facility in Canada that has the capability of producing this kind of virus.
"With our unique manufacturing facility, our expertise in clinical trials and our world-class cancer and hematology programs, The Ottawa Hospital is ideally positioned to lead the way in developing the next generation of CAR-T therapy," said Dr. Rebecca Auer, Director of Cancer Research at The Ottawa Hospital and associate professor at the University of Ottawa.
Dr. Kekre said patients with ALL, lymphoma, and other blood cancers could benefit from this treatment. The hope is that one day CAR-T cell therapy may also be a treatment for a variety of cancers, such as breast and colorectal, that have solid tumours. It is through clinical trials conducted at The Ottawa Hospital that innovative treatments for more cancers will be discovered.
Organizations such as BioCanRx, the Canada Foundation for Innovation, and the Government of Ontario have supported The Ottawa Hospital's CAR-T research and the Biotherapeutics Manufacturing Centre, but additional funding is essential to make this program a reality.
The Ottawa Hospital Foundation is raising money for cancer research like this, that is revolutionizing the care we provide patients.


This book examines the encounters between leading 'analytic' and 'continental' philosophers: Frege and Husserl, Carnap and Heidegger, Merleau-Ponty, Bataille and Ayer, the Royaumont colloquium, and Derrida with Searle.
Andreas Vrahimis is Honorary Research Fellow at Birkbeck, University of London, UK and teaches at the University of Cyprus.
Derrida and Searle: The Abyss Stares Back?


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Home General News Featured Goosie condemns "cowardly" NDC shooting
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Goosie condemns "cowardly" NDC shooting
A flag bearer-aspirant of the main opposition National Democratic Congress (NDC), Mr Goosie Tanoh has condemned the shooting incident at the Ashanti regional office of the party on Monday, 18 February 2019, which led to the death of one person.
Mr Tanoh described the attack as "cowardly" and called on the police to swiftly "investigate the incident, apprehend the culprits and bring them to justice."
A statement from Mr Tanoh's campaign team said: "We are grateful that the party has resolutely rejected the various militia-type groupings that are claiming an association with the NDC. We endorse fully the Party's decision that only the Ghana Police Service (or other uniformed services) of the State will provide security for the upcoming presidential primaries.
"We renew our call on our comrades, and especially those in leadership positions, to affirm our constitutional political project and reject violence and intimidation regardless of whether perpetrated by the ruling NPP or by our own misguided comrades. Partisan violence cannot achieve social justice and development – only widows, widowers, orphans and invalids. As long as our constitutional framework remains in place, we must resist repression peacefully and use superior political organisation to establish the authority of the People over these violent forces."
A gunman identified by eyewitnesses as a member of vigilante group The Hawks, which is affiliated to the NDC, shot at fellow party members during a regional executive meeting in Kumasi.
The shooter, according to the eyewitnesses, shot the first victim thrice – first in the thigh, then in the belly and on the back as he fell to the ground.
Reports reaching ClassFMonline.com indicate that members of The Hawks pitched camp on one side of the meeting while members of the NDC task force also pitched camp on the opposite side.
One of the members of The Hawks began throwing tantrums that something was going to happen, according to the eyewitnesses, and the victim from the task force approached him and said nothing was going to happen.
It resulted in heated verbal exchanges and the member of The Hawks pulled a gun and shot the victim from the NDC task force, the eyewitnesses said.
The victim was rushed to the Komfo Anokye Teaching Hospital where he died.
Another victim shot by the same gunman has sustained injuries but still alive and in critical condition.
The suspect is currently on the run.
Meanwhile, the party has issued a statement claiming gunmen on a motorbike drove by and fired at its supporters and sped off.
The statement, signed by the party's regional secretary Kwame Zu, said: "Some men on motorbike wielding guns attacked a gathering outside, shot indiscriminately and sped off".
Read the NDC's full statement below:
NATIONAL DEMOCRATIC CONGRESS – ASHANTI REGIONAL SECRETARIAT
OFFICIAL STATEMENT ON INCIDENT AT THE ASHANTI REGIONAL OFFICE ON MONDAY FEBRUARY 18, 2019
The Ashanti Regional Secretariat of the National Democratic Congress regrets to report that an unfortunate incident occurred at the party's regional office today, Monday 18th February 2019.
The regrettable incident occurred while a meeting between the National Chairman, The General Secretary, a Deputy General Secretary and the Regional Executive Committee were ongoing. Some men on Motorbike wielding guns attacked a gathering outside, shot indiscriminately and sped off.
We regret to announce that one of the two men who were shot has passed on and the other is in a critical condition at the Komfo Anokye Teaching Hospital (KATH). The National Chairman, General Secretary and the Regional Executive Committee have visited him at the hospital.
We request the police to carry out a thorough investigation into the matter and bring the perpetrators to book.
Signed,
Kwame Zu (Regional Secretary)
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Luigi "Louis" Piazzoni (May 1846 – December 20, 1925), was a Swiss-born immigrant who came to upper Carmel Valley, California in the 1870s. He was a successful farmer for 50 years. The legacy of the Piazzoni family lives on with the Piazzoni ranch as one of the oldest working ranches in Carmel Valley, the Piazzoni cowboys and cowgirls, and Luigi's nephew, painter Gottardo Piazzoni, with three generations that painted the hills of California.

Early life

Luigi Piazzoni was born in May 1846, in a village of Intragna, Ticino, Switzerland. His parents were Swiss-Italian, Fedele Piazzoni (b. 1802) and Giovanna Baccala. Luigi and his brothers, Paolo (b. 1832), Filippo, and Federico, left Switzerland to prospect for gold in Australia at the time of the California Gold Rush.

Professional life

Piazzoni Ranch

The Piazzoni brothers came to Salinas, California in the 1870s and worked as wood cutters. They saved enough money to purchase over  at $3 () an acre,  east of Carmel Valley Village, California along Chupines Creek Canyon, between Mount Toro and Cachagua village. The ranch was originally part of Rancho Tularcitos. They built a dairy barn with 200 head of cows. They called the ranch Los Chupines, in Spanish, it means "the lollipops." The ranch produced milk and cheese and sold Swiss cheese to the Monterey restaurants and the Airway Market in Carmel Valley Village.

In September 1882, Luigi married Tomasa Fiesta Manjarres, who was Rumsen-Esselen, Ohlone Native American in Monterey, California. They had nine children together: one son, Louie William, and eight daughters, Jennie (Wilson), Irene (unmarried), Edith Rose (Escobar), Helen Blanche (Cordero), Alice Thelma (Varien), Henrietta (Nason), Marion (Van de Bogart), and Florence (Forzani). He also had two daughters from another relationship all born and raised on the Piazzoni Ranch. Tomasa was baptized at Mission San Carlos in Carmel in 1862. She was the daughter of Miguel Manuel Manjarres, a Spaniard whose ancestors emmigrated to Alta California and Agueda Maria de Jesus Mucjai, who was full Rumsen-Esselen Indian from the village of Tukutnut in Monterey County Valley and from the village of Sargentaruc in Big Sur. Tomasa was the niece of Ponciano Manjares, who married 18 year-old Maria Manuela Paula Boronda.

The Piazzoni daughters Helen, Alice, Irene, and Edith participated in rodeos, in Salinas during the 1910s and 1920s, in steer riding, cowgirl roping, and racing. Their daughter, Alice Piazzoni, married Charles A. Varien. She was an early Salinas ambassador of the rodeo. She also worked in the canneries on Monterey's Cannery Row. She moved to Arkansas, where she died on November 7, 1990. Daughter Helen Piazzoni was a good horse women and participated in rodeos in Salinas. Daughter Irene was a rancher and horsewoman, roade in every parade for 60 years, and was a honored guest at the Monterey County Fair in 1983. Daughter Florence was the mother of Roy Forzani who was a cowboy and played football. Daughter Henrietta married Paul Watson Nason on February 8, 1908, in Salinas.

Gottardo Fidele Piazzoni

Luigi Piazzoni's brother, Paolo Piazzoni, had a second Piazzoni ranch along Chupinas Creek that crosses east Carmel Valley Road. His son,  Gottardo Fidele Piazzoni, was a landscape painter, muralist and sculptor and member of the school of Northern California artists in the early 1900s. At age 15 (1887) he moved to his father's dairy farm in the Carmel Valley. He went on to study art at the California School of Design, now the San Francisco Art Institute. This valley inspired his artwork throughout his life. He became friends with Clark Hobart an American painter; Arthur Putnam, a sculptor and animalier; Granville Redmond, a landscape painter; and Ralph Stackpole, a sculptor, painter, muralist, etcher, and art educator.

Gottardo married Beatrice Delmue on December 7, 1905, and had two daughters, Romy Charlotte and Mireille Beatrice. Mireille became a landscape painter and married painter-writer Philip R. Wood. Thy both went to the California School of Fine Art (now San Francisco Art Institute). They had to sons, Thomas Wood  and Jon. Romy married Russell Wilson Chattham. They had a son, Russell D. Chattham who became a landscape artist and author, and Arthur R., Beatrice M., and Elizabeth.

Gottardo Piazzoni died on August 1, 1945, at the Piazzoni ranch home in Carmel Valley. Services were held in San Francisco. Piazzoni was buried at the Cypress Lawn Memorial Park cemetery, in Colma, California.

Death

Piazzoni died at his home on December 20, 1925, in Carmel Valley, California, at the age of 79. His funeral took place from Freeman's undertaking parlors in Monterey. He is buried at the Piazzoni family plot in San Carolos Cemetery in Monterey.

Piazzoni ranches
The Luigi Piazzoni ranch is still in the family and is being used to raise grass feed beef. The ranch was passed to Irene (unmarried) Piazzoni who in turn passed it on to her sister, Florence Forzani's grandson, Dean Forzani and children. Dean has maintained the original ranch house, which is over 100 years old.

A second Paolo Piazzoni ranch, settled in the 1870s, passed to Gottardo Piazzoni and then to his grandchildren, Thomas Wood and Russell Chattham. This ranch was in a deep canyon, four miles from the main road, between Carmel Valley and Jamesburg, California. The dairy and tool house had sculpture stands and woodcarvings by artist Roy Nolan, who once lived on their ranch. The closest neighbors were Irene and Louie Piazzoni, several miles away.

A third  Piazzoni Ranch was owned by Luigi and his brother Filippo who passed it down to his son Leo. This ranch was next to the Luigi Piazzoni ranch. Leo willed his ranch to the State of California that was eventually sold to other ranchers.

Legacy

{{Quote box
|bgcolor=#CCDDFF
| width = 40em
| align = left
| quote =They climbed stiffly from their seats and stood on the ridge peak and looked down into the Pastures of Heaven. And the air was as golden gauze in the last of the sun. The land below them was plotted in squares of green orchard trees and in squares of yellow grain and in squares of violet earth. From the sturdy farmhouses, set in their gardens, the smoke of the evening fires drifted upward until the hillbreeze swept it cleanly off. Cowbells were softly clashing in the valley; a dog barked so far away that the sound rose up to the travelers in sharp little whispers. Directly below the ridge a band of sheep had gathered under an oak tree against the night.
"It's called Las Pasturas del Cielo," the driver said. "They raise good vegetables there good berries and fruit earlier here than any place else. The name means Pastures of Heaven."
|salign = left|source=— John Steinbeck}}

The Piazzoni name remains strong today in the Piazzoni ranch and in the history of the Piazzoni cowboys and cowgirls of Carmel Valley. Three generations of Gottardo Piazzoni's were painters of California landscapes.

John Steinbeck characterized Carmel Valley and land around the Piazzoni ranch in his 1995 book, The Pastures of Heaven.''

See also
 Timeline of Carmel-by-the-Sea, California

References

External links

Carmel Valley Historical Society

1846 births
1925 deaths
Swiss emigrants to the United States
People from Carmel Valley, California

redpajama_set_name: RedPajamaWikipedia


Has He Come to Save the World... Or Destroy It?
MANGA (pronounced "mahn-ga") is the Japanese word for comics. It has become a huge hit with teens and tweens. Manga has emerged as the most popular comics category and is one of the fastest growing genres in publishing.
Appealing to kids and adults, readers will find this edgy rendition of the Gospel accounts both compelling and highly engaging. This authentic, cutting-edge art style is combined with fast-paced storytelling to deliver biblical truths to an ever-changing culture that is often a challenge to penetrate. This is genuine Japanese manga style, unlike other Christian "manga" books in the marketplace.
Manga Messiah: Paperback, the Gospel by Hidenori Kumai was published by Tyndale House Publishers in August 2007 and is our 5657th best seller. The ISBN for Manga Messiah: Paperback, the Gospel is 9781414316802.
Be the first to review Manga Messiah: Paperback, the Gospel!
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The Chainheart Machine è il secondo album in studio della band melodic death metal svedese Soilwork. L'album presenta delle sonorità simili a quelle del suo predecessore, lasciando sempre poco spazio alle tastiere e alle melodie e privilegiando le chitarre e la batteria, anche se tuttavia si nota una certa crescita artistica, anche e soprattutto nella qualità dei Soli che diventano più tecnici e meno stridenti. È infatti ritenuto da molti critici il loro capolavoro.

Tracce
 Chainheart Machine - 4:02
 Bulletbeast - 4:38
 Millionflame - 4:20
 Generation Speedkill - 4:27
 Neon Rebels - 3:24
 Possessing the Angels - 4:00
 Spirits of the Future Sun - 6:00
 Machinegun Majesty - 5:06
 Room No 99 - 7:40 (la canzone Room No 99 dura 5:00. Dopo 2 minuti di silenzio (5:00 - 7:00), inizia una hidden track)
 Shadow Child (Bonus Japan) - 4:50

Formazione
 Bjorn "Speed" Strid - voce
 Peter Wichers - chitarra ritmica e solista
 Ola Frenning -  e solista
 Ola Flink - basso
 Henry Ranta - batteria
 Carlos Del Olmo Holmberg - tastiere

Collegamenti esterni


Although it is useful to examine an industry as a whole, when it comes to strategic decision making, it is far more useful to divide the industry into more manageable segments. Industry segmentation allows the development of segment specific strategies that can more accurately target the chosen market.
Despite the changes wrought by the recent recession, the forces acting on the automotive industry have not changed much over the years. Michael Porter's five forces model describes an industry's profit potential in terms of five forces: threat of new entrants, bargaining power of customers, bargaining power of suppliers, threat of substitutes, and rivalry among competitors.


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Bartok der Großartige (Originaltitel: Bartok the Magnificent) ist ein Fantasy-Zeichentrickfilm aus dem Jahr 1999 von den Regisseuren Don Bluth und Gary Goldman.

Handlung
Der Protagonist des Films ist die Albinofledermaus Bartok, der bereits als Nebencharakter im Film Anastasia aufgetreten war. Die Handlung findet im vorrevolutionären Russland statt.

Bartok und sein Freund, der Bär Zozi, sind als Gaukler-Duett in Moskau unterwegs und erzählen von den heldenhaften Abenteurern, die sie erlebt haben. Auch der junge Prinz Iwan ist von Bartoks Geschichten begeistert.

Eines Nachts wird Iwan entführt. Seine Beraterin Ludmilla erzählt dem Volk, die Hexe Baba Jaga hätte den Prinzen entführt. Das Volk appelliert an Bartok, Iwan zu retten. Bartok und Zozi begeben sich auf eine Reise zu dem Wald, in dem Baba Jaga wohnt. Dort angekommen bekommt Bartok von der Hexe mitgeteilt, dass sie Iwan nur dann freilassen werde, wenn Bartok ihr drei besondere Gegenstände bringt. Bartok erfüllt die ihm auferlegten Aufgaben, doch Baba Jaga teilt ihm mit, dass sie den Prinzen nicht entführt habe und er sich nach wie vor in Moskau aufhalte. Außerdem braut sie aus den ihr gebrachten Gegenständen einen magischen Trank, den sie Bartok schenkt.

Bartok und Zozi kehren nach Moskau zurück, wo Ludmilla in der Zwischenzeit die Regentschaft über die Stadt übernommen hat. Bartok findet schließlich Iwan, der in einem Turm eingesperrt ist. In diesem Moment enthüllt Ludmilla, dass sie es war, die Iwans Gefangennahme angeordnet und Baba Jaga dafür die Schuld in die Schuhe geschoben hatte, um den russischen Thron zu übernehmen. Sie stiehlt Bartoks magischen Trank und trinkt ihn selber, was dazu führt, dass sie sich in einen riesigen Drachen verwandelt und damit beginnt, Moskau zu zerstören. Ein Kampf zwischen Bartok und Ludmilla bricht aus, der damit endet, dass er sie auf die Spitze des Turms, in dem Iwan eingesperrt war, lockt. Der Turm stürzt ein und Ludmilla kommt dabei ums Leben. Am Ende wird Bartok als Held gefeiert.

Synchronisation
Die deutsche Synchronisation entstand unter der Dialogregie von Matthias Müntefering.

Veröffentlichung
Der Film wurde am 16. November 1999 von 20th Century Fox Home Entertainment als Direct-to-Video-Produktion auf VHS und DVD veröffentlicht.

Die TV-Premiere des Films fand am 12. Dezember 1999 beim Sender Fox Family statt.

Rezeption
Joe Leydon bezeichnete am 28. November 1999 im Branchenblatt Variety die Charaktere des Films als "lebhaft, wenn auch stereotyp" und die Handlung als "fesselnd".

Dan Jardin bezeichnete in apolloguide.com die Musik des Films als "erstklassig" und die Synchronsprecher als "gut gewählt". Die Animation des Films kritisierte er als "nicht dem Kinostandard entsprechend".

Michael Dequina bezeichnete am 3. Dezember 1999 in themoviereport.com die Handlung des Films als "uninspiriert, aber gnädigerweise kurz" und schrieb, für Kinder sei der Film leicht amüsant, jedoch für jeden anderen langweilig.

Einzelnachweise

Weblinks

 Informationen zum Film auf moviepilot.de

Filmtitel 1999
US-amerikanischer Film
Fantasyfilm
Abenteuerfilm
Zeichentrickfilm
Familienfilm
Don Bluth


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The solid company background of the professionals working with ProPosition, together with its important international network, allows ProPosition's professionals to effectively assess and check the managerial experiences and competences of the candidates with regard to the most important industrial, commercial, organizational and financial issues.
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Very beautiful blue grey sapphire ring features a natural non-treated sapphire in gorgeous color. This stone is 2.02ct, eye clean, oval cut, unheated. Accented stones are natural diamonds 2 diamonds in total, TDW approx 0.1ct.


Screen-printed on a unisex kid's American Apparel 3/4 sleeve raglan tee.
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Despite the somewhat unexpected success of the first BlackBerry smartphone openly manufactured and marketed by TCL, the Chinese multinational electronics company is absolutely not giving up on Alcatel-branded mobile devices either.
Quite on the contrary, if we were to believe Evan Blass over on Twitter, which we do, with at least six new Alcatels apparently planned for 2018 releases. Grouped in three categories, these seem to be aiming for a more coherent naming strategy than so far this year, even though it wouldn't make a lot of sense for the Alcatel 5 to follow the Idol 5 and Idol 5s.
Previously rendered in a family portrait that made design details fairly difficult to pinpoint, the 5, 3V, 3x, 3, 3c and 1x are today ev-leaked separately in much better quality. We can take a closer look now at the minuscule "chin" and comparatively huge "forehead" of the flagship Alcatel 5, as well as the eye-catching glossy finish of the mid-range 3V and 3x's backplates.
The no doubt entry-level Alcatel 1x is the only one of the six Android models to lack a fingerprint reader, while the other five all feature rear-mounted biometric sensors.
You can see dual cameras on the back of the Alcatel 3V and 3x, but surprisingly not on the presumably high-end 5. Unfortunately, specs and features that can't be identified from these press-friendly renders remain under wraps. Then again, something tells us we just have to wait a couple of months or so for the first official announcements of 2018 Alcatel smartphones.


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Beawmont Distributions, Inc., local distributor of Cole Haan products in the Philippines, ("Company," "We," "Us," "Our"), is committed to protecting the privacy and security of all personal and/or sensitive information ("Personal Data") pertaining to its employees, customers, business partners, suppliers, contractors, and other parties that the Company will and is engaged with. For this reason, uniform practice and procedure for collecting, recording, consolidating, updating, disclosing, storing, accessing, transferring, retaining, destroying and disposing of Personal Data by the Company is hereby adopted in order to process Personal Data fairly, appropriately, and lawfully.
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Updated as of August 2020


Anger, depression, and anxiety have been shown to negatively affect heart health. Researchers have now found that being positive contributes to a healthy heart.
From The Power of Positive Thinking to The Secret, the notion that being positive can bring us prosperity and health has been around for over half a century. Previous studies have shown that negative emotions, such as anger, anxiety, and depression can negatively impact heart health. But a new study shows that being positive may have health benefits by reducing the risk of heart attacks and strokes.
"The absence of the negative is not the same thing as the presence of the positive. We found that factors such as optimism, life satisfaction, and happiness are associated with reduced risk of CVD [cardiovascular disease] regardless of such factors as a person's age, socioeconomic status, smoking status, or body weight," said lead author Julia Boehm of the Harvard School of Public Health.
The most optimistic people had a 50 percent reduced risk of experiencing an initial cardiovascular event compared to those with less optimistic outlooks. A positive attitude also appears to slow the progression of heart disease.
Researchers conclude that future studies should focus on improving psychological well-being rather than mitigating negative psychological emotions.


text:
Jan z Kravař byl moravský šlechtic z rodu pánů z Kravař.

Jeho otcem byl Beneš z Kravař a Krumlova. Jan byl sice druhorozený syn, ale protože se jeho starší bratr Beneš dal na duchovní dráhu, převzal otcovské statky. Poprvé se objevuje na listině z 29. září 1389, kdy svědčil na zakládací listině fulneckého kláštera augustiniánů. V roce 1399 vložil do zemských desk věno své ženě Elišce II. z Hradce. Její otec Heřman z Hradce postoupil Janovi a Elišce rozsáhlá panství Bílkov a Šternberk na Českomoravské vrchovině.

V roce 1400 Jan předčasně zemřel. Zanechal po sobě jediného syna, kterým byl Benešek z Kravař.

Literatura

Páni z Kravař
Čeští šlechtici
Moravští šlechtici
Úmrtí v roce 1400
Muži


The EBRD is considering an equity investment in the Abraaj Turkey Fund I (the "Fund"), a private equity investment fund established as a limited partnership in the Cayman Islands.
The Fund will make growth equity and equity-related investments in mid-market companies operating in Turkey.
The EBRD's proposed investment is expected to contribute to the development of the private equity industry in Turkey, thereby providing additional long-term equity financing to mid-market companies. Furthermore, the Bank's investment is also expected to (i) enable the local investment team to benefit from the Abraaj Group's global platform and networks, thereby providing long-term support and expertise; and (ii) contribute to the transfer of skills to the investee companies leveraging on the Abraaj Group's operating experience across multiple sectors and emerging markets.
Abraaj Turkey Fund I GP Limited (the "General Partner"), a limited company to be incorporated in the Cayman Islands, will be the general partner and Abraaj Investment Management Limited (the "Fund Manager"), a limited company registered in the Cayman Islands, will be the manager of the Fund.
The target size of the Fund is USD 500 million.


Michael Stewart has criticised Dave King for claiming Rangers are "within tangible reach" of becoming the "dominant force in Scottish football again".
The Ibrox chairman made the claim as he addressed supporters in the announcement of season ticket prices for the 2019/20 campaign.
King insists the club are not far from knocking Celtic off their throne as he backed manager Steven Gerrard to deliver silverware.
Stewart, though, believes it's a ridiculous comment to make as he feels Rangers still have a long way to go before they can overshadow their rivals.
He said on Monday's Sportsound: "Every season at this point when Rangers season tickets come out, Dave King comes out with some statement or an announcement to try and push season ticket sales - that's all this is.
"It's so transparent it's actually insult to Rangers fans that are not blinded by this. The majority of them will see this for what it is.
"It's insulting to their intelligence for him to come out and try and suggest they were within tangible reach of becoming the dominantforce in Scottish football - that is utter, utter rubbish.
"It is not even close, as the season we've just seen shows. For Rangers to get to that position, they need Celtic to have another catastrophe of a transfer window like they did last year.
He added: "They need them to financially implode and Rangers to find extra revenue from somewhere and to spend and hit the mark on every acquisition they bring in for them to even stand a remote chance.
"In fact, let's take it a step further, because that's what his comments are. He's not even suggesting they're within touching distance of stopping nine-in-a-row, he's saying they're beyond that.


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The Awakening of Na Pali
Original Oil on Canvas 72" x 54" - Sold Out
NEW RELEASE! Original Oil painting on Canvas by Grant Pecoff 72" x 54."
There an incredible amount of vast deep cut vertical valleys on the Na Pali Coast, they rise, seemingly stretching upwards to the sky and downwards to the water, eroded by time. It is a hallucinogenic feast for our eyes, and a playground calling us to explore.
As the fifth painting in the series, the intention was to really open up with my brushstroke and abstract the landscape even further. To do this, I needed the painting to be big, to have room for the movement of the brush and to feel immersed in the painting itself. It's been awhile since I have worked big, and not having stretcher bars in this size, due to traveling, I cut the giant canvas and tacked it onto the wall of my makeshift studio. Painting in this way helped me to loosen up even more and to lose myself in the painting.
GICLEE DESCRIPTIONS
WHAT IS A GICLEE?
Canvas Giclee:
Our Signed and Numbered Canvas Giclees are printed on canvas and are the same size as the original painting. By printing on canvas, the colors achieved are bright and vivid, mirroring the intensity of Grant's originals. Our canvas giclees are stretched on heavy duty stretcher bars and are museum wrapped (the painting continues around the sides), adding a three dimensional studio feel and creating the option to hang them unframed for a more contemporary look. Each one is signed on the front and signed and numbered on the back. Our Signed and Numbered Canvas Giclee are in an edition of 100 (there are only 100 ever made).
Artist Enhanced Giclee:
Take a Canvas Giclee, hand highlight it, make it one of a kind, and you'll have an Artist Enhanced Giclee. Our Artist Enhanced Giclees are custom ordered and painted specially for you. Grant hand embellishes each one of these original creations with paint, adding brushstrokes, texture and pops of color. The paint really brings the giclee to life, adding bright, vivid color – there is nothing like it. Our Artist Enhanced Giclées are the next best thing to our originals (at less than half the cost). Each one is signed on the front and numbered on the back. Keeping within Grant's commitment to his art, he has set the edition size very low. Our Artist Enhanced Giclees are in an edition of 50 (there are only 50 ever made).
Perfect Giclee on Metal:
Our Perfect Giclees are printed on Metal with bright vibrant colors and come with either matte non-reflective finish or a high gloss varnish finish. By printing on metal, the colors achieved are bright and vivid, mirroring the intensity of Grant's originals. Our Perfect Giclees are produced using the latest in die-sublimation technology and the finest materials available on the market. This combination allows us to create an unparalleled color gamut with the highest archival standards available. Each Perfect Giclee includes hanging hardware on the back, so they are ready to hang as soon as you get them home. They are each signed on the front. They are printed in an open edition.
By default, the metal prints come with a matte finish. If you would like the high gloss finish, please specify in the notes section at checkout.
MiniGiclee:
Our Metal MiniGiclees are the same as our Perfect Giclee on Metals, just smaller - kind of a bite-size giclee, for somewhere that you would like a small pop of color. They are often hung next to a bedside or next to a your computer for a mini-escape. They are also wonderful in a grouping of 3 for a greater impact. They include hanging hardware on the back, so they are ready to hang as soon as you get them home. They are printed in an open edition.
A Giclee (pronounced zhee-clay) is a high-end upscale fine art reproduction. Each giclee is custom created, one-at-a-time as it is acquired by collectors.
In the giclee process, the image is generated from a high-resolution digital scan and printed with UV inks onto archival quality canvas. An ultra-fine stream of non-toxic water based ink, more than 4 million droplets per second, is jet-sprayed onto the canvas. This produces a combination of over 3 million possible colors resulting in prints that are lush and vibrant with the look and tonality of a fine art oil painting. Limited-edition giclees are signed on the front of the piece and numbered on the back.
A fantastic advantage of giclee printing is that the digital images can be reproduced to almost any size, giving the artist the ability to customize prints for a specific client.
Giclee prints have gained worldwide acceptance in the art community and can be found at the Metropolitan Museum of Art in New York and the Louvre in Paris displaying works which cannot be allowed out of the museum cellars, and would otherwise never be shown to the public.
Mini Giclees, Perfect Giclee on Metals and Limited Edition Canvas Giclees will arrive in 2-3 weeks.
Custom Created Artist Enhanced Giclees will arrive in 4-6 weeks.
If you require your art more quickly, there may be a possibility of expediting the turnaround time. After placing your order, please contact us directly to discuss.
If you have any questions, please feel free to contact us at gallery@pecoff.com or 619-964-1990.
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Screening the Past > Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento, Maitland McDonagh
Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento, Maitland McDonagh
Alexia Kannas
Maitland McDonagh,
Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento
Minneapolis, London: University of Minnesota Press, 2010
ISBN 978-0-8166-5607
US$22.95 (pb)
(Review copy supplied by University of Minnesota Press)
Towards the end of 'An Interview with Dario Argento', Maitland McDonagh suggests to the director that only he "could take the stories of Edgar Allan Poe and make a movie that's about murdering women in grisly ways". Reading this interview again at the end of the new expanded edition of McDonagh's Broken Mirrors/Broken Minds: the dark dreams of Dario Argento, I am struck for the first time by something in the director's response to this rather perfunctory suggestion. I imagine him sitting there, small and strange, while he considers the work of one of his greatest influences: "Edgar Allan Poe had a terrible imagination. He drank, he took drugs, and he saw many horrible things in his mind. Nice people don't see such things … I think we have an image of him almost as an angel, as someone who suffered in pursuit of his visions." (p. 247) There is something about McDonagh's book that works to superimpose the figure of Argento over this romantic and melancholic image of Poe, so that by the time you come to read this response, the Italian horror maestro seems to be talking really, about himself. Its tracing of the director's career sweeps from the highs of his supernatural horror masterpiece Suspiria (Italy 1977) and the urgent brilliance of his murder-mysteries Deep Red (Italy 1975) and Tenebrae (Italy 1982) to the deep, foggy place from which the director continues to practice today, disappointing fans and critics worldwide with films like Mother of Tears (Italy/USA 2007) and Giallo (USA/UK/Spain/Italy 2009). Nevertheless, McDonagh's book, first published in 1991, continues to provide the most panoramic (English-language) view into the world of Dario Argento's films to date—a world full of all those things that nice people don't see.
Broken Mirrors/Broken Minds is made up primarily of a film-by-film analysis of Argento's oeuvre. This is arranged chronologically, beginning with The Bird with the Crystal Plumage (Italy/West Germany 1970) and finishing with Argento's attempt to break into the U.S. market in 1993 with Trauma (Italy/USA 1993). McDonagh's style fuses a number of different approaches to the material, producing highly informed and often original discussion that pulls out and investigates some key tropes in this under-studied director's style. Astute mise-en-scene criticism is contextualised through frameworks of narrative analysis and film reception, bookended, in most cases, with rigorously researched production details.As with previous editions, the most insightful chapters of the book consider the films the author holds in highest regard, and so the sections on Deep Red, Suspiria and Tenebrae are particularly rich and illuminating. In 'Le cinque giornate / Deep Red', McDonagh considers the complex web of allusions Argento sets up in his influential giallo, specifically through discussion of the ways the films' formal structure is infected by the notion of the doppelganger, and its relationship to Michelangelo Antonioni's 1966 film Blowup (UK/Italy/USA), which Argento has cited as one of its key inspirations. McDonagh's skill in close formal analysis is compelling, as she shows how Argento's fascination with the process of representation lays at the heart of every move his camera makes. This detailed account of Argento's formal style is extended into the chapter on his later giallo Tenebrae, where McDonagh describes how the director's distinctive cinematic language produces, in this case, "an unnervingly self-contained work" (p. 180) that simultaneously showcases the director's inimitable skill for disorientating the viewer with an obsessive rendering of space.
Chapter four considers the two instalments of Argento's 'Three Mothers' trilogy completed at the time of Broken Mirror's first published edition. The material here on Suspiria and Inferno (Italy 1980) is particularly fascinating in the wake of the 2007 release of the trilogy's final chapter, Mother of Tears—a film that has, after a twenty-seven year long wait, polarized fans and critics. McDonagh's focus on the use of colour in Suspiria, where the director used 1950s technicolour processing to achieve its saturated, nightmare/fairytale palette, makes for wonderful reading and her description of Argento's baroque stylisation recalls the wonder of experiencing this intensity on screen. There is also considerable attention afforded to the Thomas De Quincey essay that provided Argento with the idea for his wicked triumvirate, 'Levana and Her Ladies of Sorrow' from Confessions of an English Opium Eater. With these detailed case studies of Argento's films, the book also serves as a useful pedagogical tool, providing useful readings to accompany screenings of Argento's work in film courses and an excellent model for close analysis of texts that have otherwise gone unnoticed in the history of film criticism.
The expanded edition of the book offers a new introduction that brings readers up to speed with the eight films Argento has made since the 1991 publication, and it is here that McDonagh attends to Argento's excellent 1996 film The Stendhal Syndrome (Italy). Described by the author as 'a funhouse reflection of Hitchock's Vertigo (1958), the five paragraphs afforded The Stendhal Syndrome here stress the need for a new consideration of the relationship between Hitchcock and Argento—a comparison that has been often made, though little considered. The new introduction also includes material on The Third Mother, though it seems a shame to refuse the film's position as the conclusion to Argento's trilogy by considering it briefly here, rather than alongside the other two films. This, perhaps, is one of the limitations of the book's chronological structure, but what it does offer on these more recent films is steeped in a peculiar tone. It is this tone and the brevity of the material on Argento's later work that brings me back to the melancholy place this review began.In the material on Deep Red, Suspiria and Tenebrae, McDonagh's writing can tend to mimic some of the qualities of Argento's formal style, with its flourishes (a taste for alliteration, for example) and assault of description. But as with so much of the sophisticated fan writing that goes on around Dario Argento's work, McDonagh's academic study, in the end, is redolent of disappointment in the director. There's a tension here, between maintaining the icon of the auteur in the image of the moment of his greatest work and finding a way to absorb, into that very image, increasingly difficult, or what McDonagh calls 'unconvincing', films. What this problem, and recent critical interest in the notion of 'bad cinema' suggests, I think, could actually be a way forward; this moment of disappointment could be the very place to begin to think through Argento's work and to find ways of allowing it to mean beyond our initial expectations. This prompts me already to wonder what we might make of a film like The Third Mother in ten, or in twenty years time, after all—and as McDonagh herself notes—Argento's masterpiece Deep Red was considered in 1976 by Vincent Canby to be the work of a 'director of incomparable incompetence.' As Argento, now seventy-one years old, continues to make cinema that propels those nightmare visions of 'things nice people don't see' into our world, we might stop to consider the possibility that we've all become a little too nice. When we're ready, there's more work to be done—and McDonagh's book is a solid and indispensable resource to help light the way.


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Published on December 22nd, 2017 | by admin
"THE RAD SCIENTIST" DR. COYLE JOINS ARMS FOR NINTENDO SWITCH IN NEW UPDATE, OUT NOW
Nintendo's unique fighting game welcomes its fifth new character since launch, with another online Party Crash happening before the year's out
22nd December, 2017 – Since Nintendo's unique fighting game ARMS launched for Nintendo Switch on 16th June this year, regular free updates have added a host of new fighters, stages, and modes. Today's launch of version 5.0 adds another playable pugilist in the form of Dr. Coyle, bringing the total roster to 15 characters, including stalwarts Master Mummy and Twintelle who will duke it out in the next online Party Crash event happening from Saturday 30th December.
Known as "The Rad Scientist", Dr. Coyle is the director of ARMS Laboratories, and a certified genius. Fascinated with ARMS since she was a young girl, Dr. Coyle decided early on to devote her entire life to ARMS research. Her plans for this research are not necessarily nefarious: she simply wants to be the most powerful ARMS fighter of all time… even if that means subjecting herself to her own experiments. But all her pain and hard work will be worth it if she wins the ARMS Grand Prix! Dr. Coyle brings with her three new ARMS: Lokjaw, Parabola, and Brrchuk, perfect for battling enemies on her top-secret research facility stage, [NAME REDACTED].
In other ARMS news, the third Party Crash event kicks off on Saturday 30th December at 8:00pm AEDT, pitting Master Mummy against the Silver Screen Queen herself, Twintelle. An online* event that pits players against each other in a rapidly rotating variety of different matches, Party Crash is one of the many new features – including collectable badges unlocked for fulfilling certain conditions, the ability to remap controls, new training exercises and more – that have enriched ARMS since its launch back in June.
For those who are still unfamiliar with Party Crash, here are some key details:
What is Party Crash all about?
It's a time-limited online event that temporarily replaces the regular Party Match option. ARMS fans around the globe can join in to enjoy some fast-paced fights and earn points to raise their Lab Level (a Party Crash-specific metric which measures a player's progress during the event). At the end of the party, every player who took part will gain in-game currency and badges depending on what Lab Level they reached. It's a great chance to grab some nice rewards!
What's with the 'Featured Fighters'?
Each Party Crash will see two characters pitted against each other in a competition of sorts. If you play as one of these two characters, you earn extra points to help raise your Lab Level, and the badges you unlock at certain levels will be linked to the featured fighter you used more during the event. But what if your favourite character isn't one of the featured fighters this time? Don't worry, you're always free to use any fighter you like!
Who are Master Mummy and Twintelle?
Wrapped up in mystery and bandages, it's "the grim creeper", Master Mummy. With an uncharacteristically buff body for a mummy, this heavyweight shrugs off punches like nothing, and is the only fighter able to recover health while guarding. All we know about this guy is that one day he woke up at the Mausoleum and now he's entering the Grand Prix. There's a story there…
The mega celeb, star of the silver screen herself: Twintelle. Not content with her acting awards and accolades, she uses her stretchy silver locks to take the ARMS title. And while she's charging up her attacks, her actress aura can slow down incoming ARMS, making her a powerful foe.
When does the Party Crash run?
From Saturday 30th December at 8:00pm AEDT until Tuesday 2nd January at 8:00pm AEDT.
How can I make the most of a Party Crash?
As well as getting stuck in to as many fights as possible, you can bump up your rewards in a couple of ways. Firstly, there are bonus ARMS that will increase the points you earn when you've got them equipped. They change every 15 minutes though, so try to keep up! On top of that, you'll see bonus periods pop up at regular intervals, which bring special rules or modes to the party – such as 'One Hit Wonder', where every match is decided by 1-hit KO, or 'SO MUCH RUSH', where your Rush gauge is always full. All points earned during bonus periods are multiplied, so fill your boots! You can also check the schedule of Bonus ARMS and Bonus Periods for the whole event via a handy in-game screen. Forewarned is foreARMed!
For a closer look at ARMS and its ever-growing cast of characters, visit the official ARMS website.
Dr. Coyle, the director of ARMS Laboratories herself, joins the battle today in ARMS version 5.0, while a new Party Crash event – pitting the horrific Master Mummy against the glamorous Twintelle – takes place from Saturday 30th December at 8:00pm AEDT until Tuesday 2nd January at 8:00pm AEDT.
ARMS – Introducing Dr. Coyle https://youtu.be/bg6OC-OXYl0
Coming Soon to Xbox Game Pass: Yakuza Remastered Collection, The Medium, and More →
Kingdoms of Amalur: Re-Reckoning Slated for Nintendo Switch Release March 16 →
UBISOFT'S THE CREW 2 SEASON ONE EPISODE TWO: THE HUNT, AVAILABLE TOMORROW VIA FREE UPDATE →
ACE COMBAT 7: SKIES UNKNOWN celebrates its anniversary! →


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redpajama_set_name: RedPajamaGithub


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CAVE-STG
CAVE-STG »
Presented By CAVE »
CAVE Games »
News from the Cave ustream broadcast
Author Topic: News from the Cave ustream broadcast (Read 5342 times)
Ultra Member
From this broadcast: http://www.ustream.tv/channel/cave-zatsudan
-Dangun Feveron hasn't been released due to problems with marketing (not anything related to Microsoft). Asada's not sure it will come out. They were thinking XBLA, but then Asada keeps talking about how it might be better on a Smartphone, like the iphone.
-They aren't sure if they will continue making arcade shooting games, they'll discuss it after Akai Katana Shin is finished.
-Asada says they have a great relationship with Microsoft, and the rumors that they aren't happy with MS or the X360 are not true.
-They may start releasing superplays on bluray, instead of DVD.
Those are the highlights from the first half hour. It will continue for another hour and a half, but I'm heading to bed now.
My score archive
twitter: cavexstg
XBL gamertag: eojx9999
SuperPang
Re: News from the Cave ustream broadcast
They aren't sure if they will continue making arcade shooting games, they'll discuss it after Akai Katana Shin is finished.
Aww fuck. I guess this has been on the cards but still, fuck.
Love for PCBs aside, I think that would be a bad decision. Surely they must realise recent poor arcade profits were down to difficult new hardware and stupidly short development cycles. Spend the best part of a year developing a new title with IKD and see what happens, Cave.
Also, it's not like 360 sales are setting the world alight. I think I might cry if iPhone becomes their main platform.
Daverost
Maniac Member
Casper Fanboy
Quote from: EOJ on April 08, 2011, 06:32:45 AM
They were thinking XBLA, but then Asada keeps talking about how it might be better on a Smartphone, like the iphone.
brentsg
If they can't realize that their arcade development feeds/facilitates everything else they sell then they deserve where they're headed.
njiska
So where was the good news exactly?
Potentially no more arcade shooters = bad
Potentially no Dangun on XBLA, only iOS = bad
Hey look I have a crappy blog -- Njiska v3
DOJ - Pride of wankers and elitists everywhere!
Midey
We want XBOX360 shooters, not iPhone ones.
Special World
Does "no more arcade shooters" mean no more PCBs or no shooting games period?
Either way, that's some crap news. I don't want them to turn into some half-assed adventure game developer
Quote from: Special World on April 08, 2011, 10:37:26 AM
I very much doubt they'd stop making shooting games since that's what their staff specializes in. You can't go to YGW and ask him to make an RPG.
Muchi Muchi Spork
youtube.com/cavepcb
Talk about losing focus of your core competencies, or in their case, single competency.
sh00g
Dynamite planted.
Whatever it takes to survive.
Quote from: njiska on April 08, 2011, 10:44:59 AM
Well, they certainly seem to be looking in that direction with Nin 2 Jump and Instant Brain. I think if Cave discovered another area that they were successful in, they'd consider dropping shooters altogether since it's such a small market.
Asada was just referring to the arcade. He said he expects the game development team to keep making shooters, but maybe not exclusively shooters. The sales performance of Nin2-Jump and Instant Brain will probably dictate their future development plans.
Quote from: Special World on April 08, 2011, 12:54:35 PM
There's nothing wrong with expanding your horizons, just remember what pays the bills.
MagicT
"Potentially no more arcade shooters" - At least 1-2 per year, an arcade shooter to come, PCB and home console port...
Iphone game's not bad, but not true..
For me, the CAVE = Arcade Shooter , not Adventure games!
There's nothing wrong with expanding horizons, no, but as brentsg was saying, they are not grasping the full picture. This is like when a bank reviews all their services and finds in a short study that some advising service is unprofitable on paper so they get rid of it, not realizing that it was that service that later lead a bunch of people into taking out loans with the bank. For example it's hard to imagine a long line of people waiting to get into a matsuri based around stupid iPhone games and fewer shooter fans are going to be drooling over a new 360 shooter if it didn't have an arcade reputation already. But they will be able to stay alive I'm sure with just console and iCrap, but some fans will be disappointed. Lots of them.
Their last two arcade releases have been flops, and both games were really just location tests for their subsequent X360 ports. It's hard to keep making games in a format that doesn't make you much money.
Still, if they released an entirely new VERTICAL arcade shooter, they'd probably reinvigorate the scene. I'm guessing it's partly a problem with hardware. They've tapped out the SH3, their DSII hardware is crap, and they'd have to invest a lot of time and money into a new arcade platform.
Quote from: EOJ on April 08, 2011, 05:11:57 PM
I agree that they've tapped out the SH3 platform, but they understand the limitations well. I don't think the fan base needs games that trump what they've previously done from a technical standpoint. They just need innovation with the content.
I think it's Cave themselves that feel the need to expand their technical boundaries.
Strider77
It all depends on what happens. If that means no more PCBs but still console shooters i'll be totally ok with that. As long as the quality doesn't drop or some radically foolish concept doesn't comes out from them on consoles I am ok.
Quote from: Strider77 on April 08, 2011, 06:35:26 PM
It's cool, I think they got it out of their system with DFK 1.5.
Nah, I'm mostly just kidding.
Shalashaska
Cave is a smart company; I wouldn't start "this is the beginning of the end" talk quite yet.
I shudder to think how much those will cost....
Something I forgot to mention: they also fielded a question about whether they would make any PC games, and Asada basically said he didn't see that happening.
Quote from: brentsg on April 08, 2011, 06:07:44 PM
I'll partially agree. I think Cave's traditional way of designing games is going to encounter some pressure from the rise of 16x9 cabs like the Viewlix. Not that they'll be taking over anytime soon, but if the industry starts to adopt more HD widescreen cabs, I can see a need for more power to meet those demands. The fighting genre has certainly been forced to adapt that technology if you look at SFIV and BlazBlue.
drunkninja
I still would like to see some company attempt a true 16:9 vert. Something tells me it wouldn't quite work, but I'd like to see an attempt at it at least. I mean, Vewlix cabs do rotate, so why not?
ebarrett
Fail better!
Quote from: Muchi Muchi Spork on April 08, 2011, 05:05:38 PM
fewer shooter fans are going to be drooling over a new 360 shooter if it didn't have an arcade reputation already
McLuhan called and said he grudgingly agreed. Also mentioned he really doesn't care about the Feveron port.
That's interesting, if a bit depressing. I'd buy Dangun Feveron if they released it on XBLA, but frankly, since it's in MAME, I'm not going to lose any sleep over it should they release it for the iOS. Now if they did this with Ibara or Mushihime-sama, I'd be a bit disappointed.
Anyway, didn't CAVE once say that they were going to start working on a new vertical shmup for the arcades last February? I wonder what happened to that? It could very well be the thing which determines whether they'll stay or leave the arcades. But like Strider77, I'm probably not going to be too fazed as long as CAVE keeps pumping out shmups for home consoles.
hipgnosis
Holy shit if they stop doing arcade games, it will be an end of an era. This shit makes me sad.
They'll hopefully be able to really max out the resolution of their art style on 360. I think they really need to jump into developing for 360 head first.
I don't want them to stop making arcade games. I don't really understand how anyone on this forum could think it's a good thing. It's why we're all here isn't it? If not for the arcades themselves then the ports of their arcade games.
It would be terrible if they stop. The worst! I have a fear that if they were to make console only games they would become easier and more convoluted (as evidence by the arrange modes they've been arsing around with).
If it is the end of the road for arcade releases at least we've got decent ports to get us through the drought ahead.
XBL gamertag: durango76uk
www.1ccgames.com
J*R*F_BN3_WM2K
I agree - Nobody buy those 2 games!
Kewing
Just a couple more shots desu!!
That definitely sounds like a bad direction, from a "traditional arcade" viewpoint. It's still kind of logical, given the current situation, but if CAVE gets out of the shmups arcade business, it will be the end of an era; and I wouldn't be surprised if it wouldn't take too long before shmups on arcades are completely dead.
Hah, superplays on Bluray... Any bets on more than 10k yen per item, anyone?