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Board index The Criterion Collection Eclipse & Essential Art House
Eclipse Series 12: Aki Kaurismäki's Proletariat Trilogy
Discuss DVDs released in the Eclipse and Essential Art House lines and the films on them.
#1 Post by Jeff » Tue Jun 17, 2008 6:12 pm
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The poignant, deadpan films of Aki Kaurismäki are pitched somewhere in the wintry nether lands between comedy and tragedy. And rarely in his body of work has the line separating those genres seemed thinner than in what is often identified as his "Proletariat Trilogy," Shadows in Paradise, Ariel, and The Match Factory Girl. In these three films, something like social-realist farces, Kaurismäki surveys the working-class outcasts of his native Finland with detached yet disarming amusement. Featuring commanding, off-key visual compositions and delightfully dour performances, the films in this triptych exemplify the talents of a unique and highly influential film artist.
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n Kaurismäki's drolly existential crime drama, a coal miner named Taisto (Turo Pajala) attempts to leave behind a provincial life of inertia and economic despair, only to get into ever deeper trouble. Yet a minor-key romance with a hilariously dispassionate meter maid (Susanna Haavisto) might provide a light at the end of a very dark tunnel. Ariel, which boasts a terrific soundtrack of Finnish tango and Baltic pop music and lovely cinematography by Kaurismäki's longtime cameraman Timo Salmimen, put its director on the international map.
Kaurismäki took his penchant for despairing character studies to unspeakably grim depths in the shockingly entertaining The Match Factory Girl. Kati Outinen is memorably impenetrable as Iris, whose grinding days as a cog in a factory wheel, and nights as a neglected daughter living with her parents, ultimately send her over the edge. Yet despite her transgressions, Kaurismäki makes Iris a compelling, even sympathetic figure. Bleak yet suffused with comic irony, The Match Factory Girl closes out the "Proletariat Trilogy" with a bang—and a whimper.
Shadows in Paradise
Lonely garbageman Nikkander (Matti Pellonpää) finds himself directionless after losing his friend and co-worker to a sudden heart attack; unlikely redemption comes in the form of plain supermarket cashier Ilona (Kati Outinen, in her first of many performances for Kaurismäki), with whom he begins a tentative love affair. Boiling down what is essentially a romantic comedy to a series of spare and beautiful gestures, Kaurismäki conjures an unexpected delight that finds hope blossoming even amid gray surroundings.
Last edited by Jeff on Tue Jul 15, 2008 5:33 pm, edited 1 time in total.
mteller
#2 Post by mteller » Tue Jun 17, 2008 6:15 pm
Great, great news. While I like all three of these films, Match Factory Girl is the crown jewel for me. I'm tickled pink... but not about the pink color scheme. Ugh.
zedz
#3 Post by zedz » Tue Jun 17, 2008 6:16 pm
A nice set. The Match Factory Girl is the best Kaurismaki film I've seen, and Ariel isn't far behind. But pink?
EDIT: Snap!
miless
#4 Post by miless » Tue Jun 17, 2008 6:27 pm
what the fuck is everybody's problem with pink? I liked the old Viridiana cover, and I think it (the color pink) goes well with grey (which might even suggest Kaurismäki's comic/pastel color palette)
Discuss the pinkness over here, please.
htdm
#6 Post by htdm » Tue Jun 17, 2008 6:32 pm
Nice (and unexpected) set - I'm looking forward to this.
Cabiria21
#7 Post by Cabiria21 » Tue Jun 17, 2008 6:34 pm
meh. i was hoping for a Criterion release of I Hired a Contract Killer when Kaurismaki's name was first rumored, but these are three solid films. Definitely on the "must-buy" list.
Location: Worthing
Contact MichaelB
#8 Post by MichaelB » Tue Jun 17, 2008 6:58 pm
They're great films, but hardly rarities - I've had my Swedish box for years (which has those three plus Drifting Clouds and The Man Without A Past), and Artificial Eye's set came out last year.
justeleblanc
#9 Post by justeleblanc » Tue Jun 17, 2008 8:55 pm
htdm wrote: Nice (and unexpected) set - I'm looking forward to this.
Unexpected? I announced these titles last week.
#10 Post by portnoy » Tue Jun 17, 2008 9:22 pm
MichaelB wrote: They're great films, but hardly rarities - I've had my Swedish box for years (which has those three plus Drifting Clouds and The Man Without A Past), and Artificial Eye's set came out last year.
Well, then Criterion should cancel this set.
backstreetsbackalright
#11 Post by backstreetsbackalright » Wed Jun 18, 2008 3:32 am
True, but then the same could be said about I think all of Kaurismäki's features. The Swedes covered the whole body of work, I believe, and the discs were uniformly solid. However, they didn't come too cheap. I think the set you mention runs in the $100 range. Not unreasonable for five incredible films, but a budget-buster nonetheless.
#12 Post by MichaelB » Wed Jun 18, 2008 3:39 am
backstreetsbackalright wrote: The Swedes covered the whole body of work, I believe, and the discs were uniformly solid. However, they didn't come too cheap. I think the set you mention runs in the $100 range. Not unreasonable for five incredible films, but a budget-buster nonetheless.
...in which case the Artificial Eye sets (which cover everything aside from I Hired a Contract Killer and the two most recent titles, released separately) are perfect substitutes - they're currently going for about $35 apiece on Play.
My point is that most of the Eclipse releases cover material that you can't get anywhere else - whereas these titles are pretty well catered for already.
SoyCuba
#13 Post by SoyCuba » Wed Jun 18, 2008 4:23 am
The Swedes covered the whole body of work, I believe, and the discs were uniformly solid.
Why is everyone referring the Nordic Kaurismäki releases as Swedish? They were published by a Nordic company (Sandrew Metronome) and there are also Finnish sets with identical discs.
I'm not a huge fan of Kaurismäki myself, but I'd recommend his movies at least to anyone who likes Jarmusch's output as their style is somewhat similar. And he is one of the fairly few notable finnish directors and definitely the most important Finnish director working today (the state of Finnish film industry is pretty bad so one can't even seriously question this).
Zazou dans le Metro
Location: In the middle of an Elyssian Field
#14 Post by Zazou dans le Metro » Wed Jun 18, 2008 4:42 am
MichaelB wrote:
Heartily agree with this sentiment and without wanting to resurrect the hoary old chestnut of multi-region players etc this will be the first Eclipse set that I definitely won't be getting because I have the aforementioned R2s.
So whereas this release is warmly applauded there will not be the pealing of church bells that would receive news of a Gremillon set (to take only one example of eagerly awaited alternatives).
MichaelB wrote: My point is that most of the Eclipse releases cover material that you can't get anywhere else - whereas these titles are pretty well catered for already.
Point taken. And I should remind myself that, had botched dispatching not led to an order cancellation two weeks ago, I'd have already purchased the Artificial Eye set, which would make this Eclipse joint redundant for me.
Still, there's a fine line of distinction on the "undiscovered and unseen" categorization. Quite a few of the Eclipse titles have been available on non-R1 discs before (the Kleins, Ozus, certainly the Kurosawas). But I'd agree that this Kaurismäki set might be more along the lines of Criterion-christening without supplements.
And oops on the boxed-set country of origin.
backstreetsbackalright wrote: And oops on the boxed-set country of origin.
Well, hardly - Sandrew Metronome's head office is in Stockholm, and I'm guessing most international purchasers would have ordered it from discshop.se (at the time of the original release a few years ago, this seemed to be the only convenient way of getting hold of it online). So calling those DVDs Swedish doesn't really merit an "oops!"
Slothrop
#17 Post by Slothrop » Wed Jun 18, 2008 4:42 pm
I gotta say I'm a little disappointed that at least one of these isn't a full-fledged Criterion. There are so few contemporary directors in the collection and Kaurismaki is, in my opinion, one of the most interesting. His films deserve some scholarly context.
#18 Post by MichaelB » Wed Jun 18, 2008 4:57 pm
Slothrop wrote: I gotta say I'm a little disappointed that at least one of these isn't a full-fledged Criterion. There are so few contemporary directors in the collection and Kaurismaki is, in my opinion, one of the most interesting. His films deserve some scholarly context.
A Kaurismäki commentary would be an utter joy, but I just can't see it happening - and it would probably consist of long silences interspersed with occasional denunciations.
The third Artificial Eye volume includes Jonathan Ross' 'For One Week Only' documentary in which he essentially goes through his entire output (up to 1991, when it was made), slagging each film off in no uncertain terms. "Self-deprecating" doesn't quite go far enough!
MuzikJunky
#19 Post by MuzikJunky » Wed Jun 18, 2008 10:19 pm
Which aspect ratio(s) are the films really in? The Web site says 1.33:1, but the ever unreliable IMDb says 1.66:1 for one of them and 1.85:1 for the others. Which is correct? Also, why is the Eclipse line avoiding scope-ratio films? Peace.
#20 Post by MichaelB » Thu Jun 19, 2008 2:02 am
MuzikJunky wrote: Which aspect ratio(s) are the films really in? The Web site says 1.33:1, but the ever unreliable IMDb says 1.66:1 for one of them and 1.85:1 for the others. Which is correct? Also, why is the Eclipse line avoiding scope-ratio films? Peace.
They vary - somewhere between 1.33:1 and 1.85:1 depending on the film. He's never gone wider, though (I can't really imagine a Kaurismäki film in Scope).
Perkins Cobb
#21 Post by Perkins Cobb » Thu Jun 19, 2008 1:08 pm
I'm just glad these correspond exactly to one of the Artificial Eye box sets, so that I can order the other AEs without overlapping (unlike, say, the pairing of Criterion & non-Criterion titles in the MOC Mizoguchi double-features).
Michael Kerpan
Spelling Bee Champeen
Contact Michael Kerpan
#22 Post by Michael Kerpan » Thu Jun 19, 2008 1:22 pm
I have the Scandinavian releases of all the films -- so I personally don't need this set. But I can only applaud Criterion for a start in making more of Kaurismaki's work available.
FWIW -- My personal favorite is Take Care of Your Scarf, Tatiana. -- but I like all three films included in this set -- and I recommend that people check the set out (if they haven't aleady gotten the earlier R2 version. ;~}
Lamourderer
#23 Post by Lamourderer » Thu Jun 19, 2008 6:35 pm
I'm glad this has finally been announced officially, Kaurismäki rightfully being the first Finnish director in criterion canon. And now, maybe, just maybe there is a possibility of getting a Matti Kassila or Risto Jarva box set sometime in the future, after several years have passed. In my opinion, they are Finnish directors who "need" eclipse treatment more than Kaurismäki, even though, as Michael Kerpan said before, I'm glad criterion is now giving more availability for Kaurismäki's films.
BWilson
#24 Post by BWilson » Thu Jun 19, 2008 8:40 pm
I loved The Man Without a Past, will I like these?
Der Müde Tod
#25 Post by Der Müde Tod » Thu Jun 19, 2008 10:23 pm
BWilson wrote: I loved The Man Without a Past, will I like these?
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For other people with the same name, see Kenneth Russell.
Henry Kenneth Alfred Russell (3 July 1927 – 27 November 2011[1][2]) was a British film director, known for his pioneering work in television and film and for his flamboyant and controversial style. His films in the main were liberal adaptations of existing texts, or biographies, notably of composers of the Romantic era. Russell began directing for the BBC, where he made creative adaptations of composers' lives which were unusual for the time. He also directed many feature films independently and for studios.
Russell in 2002
Henry Kenneth Alfred Russell
Southampton, Hampshire, England, United Kingdom
27 November 2011(2011-11-27) (aged 84)
Film director, screenwriter
Shirley Ann Kingdon (1956–1978; divorced)
Vivian Jolly (1983–1991; divorced)
Hetty Baynes (1992–1999; divorced)
Lisi Tribble (2001–2011; his death)
He is best known for his Oscar-winning film Women in Love (1969), The Devils (1971), The Who's Tommy (1975), and the science fiction film Altered States (1980). Russell also directed several films based on the lives of classical music composers, such as Elgar, Delius, Tchaikovsky, Mahler, and Liszt.[3]
Film critic Mark Kermode, speaking in 2006, and attempting to sum up the director's achievement, called Russell, "somebody who proved that British cinema didn't have to be about kitchen-sink realism—it could be every bit as flamboyant as Fellini. Later in his life he turned to making low-budget experimental films such as Lion's Mouth and Revenge of the Elephant Man, and they are as edgy and 'out there' as ever".[4]
Critics have accused him of being obsessed with sexuality and the Catholic Church.[5]
Russell was born in Southampton, England, on 3 July 1927,[6] the elder of two sons[7] of Ethel (née Smith) and Henry Russell, a shoeshop owner.[8] His father was distant and took out his rage on his family, so Russell spent much of his time at the cinema with his mother, who was mentally ill.[7] He cited Die Nibelungen and The Secret of the Loch as two early influences.[9]
He was educated at private schools in Walthamstow and at Pangbourne College, and studied photography at Walthamstow Technical College (now part of the University of East London).[7]
Military ServiceEdit
He harboured a childhood ambition to be a ballet dancer but instead joined the Royal Air Force and the Merchant Navy as a teenager. On one occasion he was made to stand watch in the blazing sun for hours on end while crossing the Pacific. His lunatic captain feared an attack by Japanese midget submarines despite the war having ended. He moved into television work after short careers in dance and photography.[10]
PhotographyEdit
His series of documentary 'Teddy Girl' photographs were published in Picture Post magazine in 1955, and he continued to work as a freelance documentary photographer until 1959.
He started directing short films: Peepshow (1956), Knights on Bikes (1956), and Lourdes (1959). He received a lot of acclaim for his short Amelia and the Angel (1959), which helped secure him a job at the BBC.
TelevisionEdit
DocumentariesEdit
Between 1959 and 1970, Russell directed art documentaries for Monitor and Omnibus.
He made Poet's London (1959) and Betjeman (1959) (both about John Betjeman), Portrait of a Goon (1959) (about Spike Milligan), Gordon Jacob (1959), Fritz Kortner/The Guitar Craze (1959), Variations on a Mechanical Theme (1959), Scottish Painters (1959), Marie Rambert Remembers (1960), The Strange World of Hieronymus Bosch (1960), The Miners' Picnic/Picasso (1960), Architecture of Entertainment (1960), A House in Bayswater (1960), Shelagh Delaney's Salford (1960), Cranko at Work (1960), The Light Fantastic (1960), Journey Into a Lost World/Mary McCarthy (1960), Lotte Lenya Sings Kurt Weill (1961), Old Battersea House (1961), Portrait of a Soviet Composer (1961), London Moods (1961), Antonio Gaudi (1961), Preservation Man (1962), Mr. Chesher's Traction Engines (1962), The Lonely Shore (1962) and Watch the Birdie (1962).[11]
Russell's films began to get longer: Pop Goes the Easel (1962) and the much acclaimed Elgar (1962) about Sir Edward Elgar. Elgar was the first time that a televised arts programme (Monitor) broadcast a feature-length film about an artistic figure, rather than a series of shorter segments. It was also the first time that re-enactments were used. Russell fought with the BBC over using actors to portray different ages of the same character, instead of the traditional photograph stills and documentary footage.[12]
Early Features and Rising AcclaimEdit
Russell's first feature film was the low budget French Dressing (1964), a comedy loosely based on Roger Vadim's And God Created Woman; its critical and commercial failure sent Russell back to the BBC.
For television he made Lonely Shore (1964), Bartok (1964) (about Bela Bartok), and The Dotty World of James Lloyd (1964).
Russell had a noted critical success with the TV movie The Debussy Film (1965) starring Oliver Reed as Claude Debussy based on a script by Melvyn Bragg. Also well received was Always on Sunday (1965), written by Bragg, about Henri Rousseau.[13]
Russell made Don't Shoot the Composer (1966), a documentary about composer Georges Delerue. He did the hugely praised Isadora Duncan, the Biggest Dancer in the World (1967), about Isadora Duncan with Vivian Pickles.[14]
Russell's television work prompted producer Harry Saltzman to hire him to direct a feature film, Billion Dollar Brain (1967), the third Harry Palmer movie starring Michael Caine. He wanted to follow it with a biopic of Nijinsky but Brain was a commercial disappointment.[15]
He returned to television for Dante's Inferno (1967) with Reed as Dante Gabriel and Song of Summer (1968) about Frederick Delius and Eric Fenby,. He once said that the best film he ever made was Song of Summer, and that he would not edit a single shot.[16]
Feature Film DirectorEdit
Women in LoveEdit
In 1969, Russell directed what is considered his "signature film", Women In Love, an adaptation of D. H. Lawrence's novel of the same name about two artist sisters living in post-World War I Britain. The film starred Glenda Jackson, Oliver Reed, Jennie Linden and Alan Bates. The film is notable for its nude wrestling scene, which broke the convention at the time that a mainstream movie could not show male genitalia. Women in Love connected with the sexual revolution and bohemian politics of the late 1960s. It received several Oscar nominations, including his only nomination for Best Director.[6]
The film was BAFTA-nominated for the costume designs of Russell's first wife, Shirley; they collaborated throughout the 1970s. The colour schemes of Luciana Arrighi's art direction (also BAFTA-nominated) and Billy William's cinematography, which Russell used for metaphorical effect, are also often referred to by film textbooks.
Russell returned to television with Dance of the Seven Veils (1970) which sought to portray Richard Strauss as a Nazi: one scene in particular showed a Jewish man being tortured while a group of SS men look on in delight, with Strauss's music as the score. The Strauss family was so outraged by the film that they withdrew all music rights. The film is effectively banned from being screened until Strauss's copyright expires in 2019.[17]
Three Films in 1971Edit
He followed Women in Love with a string of innovative adult-themed films which were often as controversial as they were successful. The Music Lovers (1971), a biopic of Tchaikovsky, starred Richard Chamberlain as a flamboyant Tchaikovsky and Glenda Jackson as his wife. The score was conducted by André Previn.
He followed it with The Devils (1971), a film so provocative that the producers Warner Bros. refused to release it uncut.[18] Inspired by Aldous Huxley's book The Devils of Loudun and using material from John Whiting's play The Devils, it starred Oliver Reed as a priest who stands in the way of a corrupt church and state. Helped by publicity over the more sensational scenes, featuring sexuality among nuns, the film topped British box office receipts for eight weeks. In the United States, the film, which had already been cut for distribution in Britain, was further edited but never widely released theatrically in anything like its original state; the original, uncut version has only been shown in the U.S. at film festivals and art houses.[19] In 2017, AMC Networks-owned horror film streaming service Shudder premiered the uncut version of the film for the first time on streaming.[20]
British film critic Alexander Walker described the film as "monstrously indecent" in a television confrontation with Russell, leading the director to hit him with a rolled up copy of the Evening Standard, the newspaper for which Walker worked.[21] The uncut version of the film remains censored.
Russell followed The Devils with a reworking of the period musical The Boy Friend (1971), for which he cast the model Twiggy, who won two Golden Globe Awards for her performance: one for Best Actress in a musical comedy, and one for the best newcomer. The film was heavily cut and shorn of two musical numbers for its American release; it was not a big success.
Mid 70s FilmsEdit
Russell wanted to make Little Sparrow, a film about Edith Piaf, or a biopic of King Ludwig of Bavaria[22] but neither was made. Instead he himself provided most of the financing for Savage Messiah (1972). The film is a biopic of the painter and sculptor Henri Gaudier-Brzeska, who died fighting for France at age 23, in 1915, in the trenches during the First World War. The film stars Dorothy Tutin, Scott Antony, and Helen Mirren.
Russell announced a biopic of Sara Bernhardt with Barbara Streisand but it was not made.[23]
Russell worked with David Puttnam on Mahler (1974) starring Robert Powell as Gustav Mahler.
In 1975, Russell's star-studded film version of The Who's rock opera Tommy starring Roger Daltrey, Ann-Margret, Oliver Reed, Elton John, Tina Turner, Eric Clapton and Jack Nicholson, spent a record fourteen weeks at the No.1 spot and played to full houses for over a year.[citation needed]
Two months before Tommy was released (in March 1975), Russell started work on Lisztomania (1975), another vehicle for Roger Daltrey, and for the film scoring of progressive rock keyboardist Rick Wakeman.[24] In the film, the music of Franz Liszt is stolen by Richard Wagner. Wagner's operas then put forward the theme of the Superman.Tommy and Lisztomania were important in the rise of improved motion picture sound in the 1970s, as they were among the first films to be released with Dolby-encoded soundtracks. Lisztomania, tagged as "the film that out-Tommys 'Tommy'", topped the British box-office for two weeks in November 1975, when Tommy was still in the list of the week's top five box-office hits.
Russell's next film, the biopic Valentino (1977), starring Rudolf Nureyev as Rudolph Valentino, also topped the British box-office for two weeks, but was not a hit in America. After this he said "nobody in Hollywood would give me even a B movie to direct."[25]
Return to Television and Altered StatesEdit
Russell returned to television with William and Dorothy (1978) a look at the life of William Wordsworth and his sister Dorothy, and The Rime of the Ancient Mariner (1978), about Samuel Taylor Coleridge.
Russell went to Hollywood to make Altered States (1980), a departure in both genre and tone, in that it is Russell's only foray into science fiction. Working from Paddy Chayefsky's screenplay (based upon his novel), Russell used his penchant for elaborate visual effects to translate Chayefsky's hallucinatory story to the cinema, and took the opportunity to add his trademark religious and sexual imagery. The film had an innovative Oscar-nominated score by John Corigliano. The film enjoyed moderate financial success, and scored with critics who had otherwise dismissed Russell's work. Roger Ebert, who had given The Devils "zero stars", and had panned Russell's early composer portraits (he did, however, give three stars to both Tommy and Lisztomania), gave it his highest rating for Russell's work (three-and-a-half stars), praising it as "one hell of a movie!"
Although the film was a financial success Russell had difficulty making his next film. One project Beethoven's Secret was about to start shooting when financing fell apart at the last minute. He was attached to do the film of Evita for over a year, but ultimately left the project when he refused to cast Elaine Paige in the lead. A biopic of Maria Callas with Sophia Loren also failed to get financing. However Russell found himself artistically rejuvenated when offered the chance to direct some opera. He did The Rake's Progress, Soldiers and Butterfly.[26]
Russell's next film after Altered States was The Planets (1983), about Gustav Holst's musical suite of the same name. This 53-minute film was made specially for The South Bank Show, the weekly arts programme of the ITV network in Britain. It is a wordless collage that matches stock footage to each of the seven movements of the Holst suite. John Coulthart wrote "familiar Russell obsessions appear: Nazis, naked women and the inevitable crucifixion."[27] After essentially disappearing for decades, in 2016 the film was re-released on DVD by Arthaus Musik.[28]
Also for The South Bank Show he did Vaughan Williams: A Symphonic Portrait (1984) about Ralph Vaughan Williams.
Russell returned to feature films with a sexual thriller, Crimes of Passion (1984), with Anthony Perkins and Kathleen Turner for New World Pictures. It had moderate critical success and did not perform at the box office, but was a big hit on video.[29]
Opera and Video ClipsEdit
In 1985, he directed Gounod's Faust at the Vienna State Opera, conducted by Erich Binder with Francisco Araiza, Ruggero Raimondi and Gabriela Beňačková in the main roles. He did successful productions of La Boheme and Madame Butterly.
Russell set up a company, Sitting Duck, to make video clips. "Videos are a magic new art form," he said. Among the clips he made were Nikita for Elton John and Phantom of the Opera for Andrew Lloyd Webber.[29]
Vestron PicturesEdit
Russell directed Gothic (1986) with Gabriel Byrne, about the night Mary Shelley told the tale of Frankenstein. It was a hit on video for Vestron Pictures who signed him to a three picture contract.[30]
Russell did one of the segments for Aria (1987) and did for British TV did Ken Russell's ABC of British Music (1988) and A British Picture (1989).
For the Vestron deal, he directed Salome's Last Dance (1988), a loosely adapted esoteric tribute to Oscar Wilde's controversial play Salome, which was banned on the 19th century London stage. The cult movie defines Russell's adult themed romance with the Theatre of The Poor and was also notable for the screen presence of Imogen Millais-Scott as Salome.
He did two more for Vestron: The Lair of the White Worm (1988) with Amanda Donohoe and Hugh Grant, based on a novella by Bram Stoker, and The Rainbow (1989), another D. H. Lawrence adaptation, which also happens to be the prequel to Women in Love. Glenda Jackson played the mother of her character in the previous film.
He directed the opera Il Mefistofele (1989).
In the 1990 film The Russia House, starring Sean Connery and Michelle Pfeiffer, Russell made one of his first significant acting appearances, portraying Walter, an ambiguously gay British intelligence officer who discomfits his more strait-laced CIA counterparts. Russell henceforth occasionally acted.
He directed a segment of Women and Men: Stories of Seduction (1990) and for TV did The Strange Affliction of Anton Bruckner (1991).
In 1991, Russell directed Whore. It was highly controversial and branded with an NC-17 rating for its sexual content. The MPAA and the theatre chains also refused to release posters or advertise a film called Whore, so for this purpose the film was re-titled "If You Can't Say It, Just See It". Russell protested his film being given such a rating when Pretty Woman got an R, on the grounds that his film showed the real hardships of being a prostitute, and the other glorified it.
The film Prisoner of Honor (1991) allowed Russell a further opportunity to explore his abiding interest in anti-Semitism through a factually-based account of the Dreyfus Affair in France. The movie featured Richard Dreyfuss in the central role of Colonel Georges Picquart, the French army investigator who exposed the army establishment's framing of the Jewish officer Captain Alfred Dreyfus.
By the early 1990s, Russell had become a celebrity: his notoriety and persona attracted more attention than his recent work. He became largely reliant on his own finances to continue making films. Much of his work after 1990 was commissioned for television (e.g. his 1993 TV film The Mystery of Dr Martinu), and he contributed regularly to The South Bank Show including documentaries such as 'Classic Widows' about the widows of four leading British composers; dance sections in these were choreographed by Amir Hosseinpour.
Prisoner of Honor (1991) was Russell's final work with Oliver Reed. His final film with Glenda Jackson before she gave up acting for politics was The Secret Life of Arnold Bax (1992).
He directed Lady Chatterley (1993), The Mystery of Dr Martinu (1993), a version of Treasure Island (1995), Alice in Russialand (1995), Mindbender (1995) (about Uri Geller), and an episode of Tales of Erotica.
In May 1995, he was honoured with a retrospective of his work presented in Hollywood by the American Cinematheque.[31][32] Titled Shock Value, it included some of Russell's most successful and controversial films and also several of his early BBC productions. Russell attended the festival and engaged in lengthy post-screening discussions of each film with audiences and moderator Martin Lewis,[33] who had instigated and curated the retrospective.[34][35]
Later films include Dogboys (1998), The Fall of the Louse of Usher (2002), and Elgar: Fantasy of a Composer on a Bicycle (2002).
Russell had a cameo in the 2006 film adaptation of Brian Aldiss's novel Brothers of the Head by the directors of Lost in La Mancha. He also had a cameo in the 2006 Colour Me Kubrick. He directed a segment for the horror anthology Trapped Ashes (2007) which also includes segments directed by Sean S. Cunningham, Monte Hellman, and Joe Dante. Prior to his death in 2011 he was reputed to be in pre-production for two films: The Pearl of the Orient and Kings X.
Efforts such as The Lion's Mouth (2000) and The Fall of the Louse of Usher (2002) have suffered from low production values (for example, being shot in video on Russell's estate, often featuring Russell himself) and limited distribution.
In 2003 he was a member of the jury at the 25th Moscow International Film Festival.[36] He also acted in "Final Cut", an episode of the BBC television series Waking the Dead,[37] playing the role of an aging director of a notorious 1960s crime drama similar to Performance.
From 2004, Russell was visiting professor at the University of Wales, Newport Film School. One of his many tasks was to advise students on the making of their graduate films. He also presented the Finest Film Awards (for graduate filmmakers of Newport) in June 2005.
Russell was appointed visiting fellow at the University of Southampton in April 2007, where he acted in a similar capacity to his role at the Newport Film School, until March 2008. His arrival was celebrated with a screening of the rare director's cut of The Devils hosted by Mark Kermode.
He began production of his first full-length film in almost 5 years, Moll Flanders, an adaptation of Daniel Defoe's novel, starring Lucinda Rhodes-Flaherty and Barry Humphries, but a finished film failed to materialise.
Also in 2007 Russell produced A Kitten for Hitler, a short film hosted by the Comedybox.tv website. Russell commented that "Ten years ago, while working on The South Bank Show, Melvyn Bragg and I had a heated discussion on the pros and cons of film censorship. Broadly speaking, Melvyn was against it, while I, much to his surprise, was absolutely for it. He then dared me to write a script that I thought should be banned. I accepted the challenge and a month or so later sent him a short subject entitled A Kitten for Hitler. 'Ken,' he said, 'if ever you make this film and it is shown, you will be lynched.' "[38]
Russell joined Celebrity Big Brother in January 2007, at the start of the series, but left voluntarily within a week after an altercation with Jade Goody.[citation needed]
Ken Russell and his wife Elize "Lisi" Tribble were invited by New York film writer Shade Rupe on a six-week journey across North America, beginning with a Lifetime Achievement Award given by Mitch Davis at the Fantasia film festival on 20 July 2010, followed by a screening of Russell's most notorious film, The Devils. The next day, a near complete 35mm print retrospective of Russell's work at the Cinémathèque Québécoise including Billion Dollar Brain, Women in Love, The Music Lovers, Crimes of Passion, The Rainbow, Whore, and many more found projection along with an exhibition of several of Russell's photographs from the 1950s. The next stop was Russellmania! at Lincoln Center, a nine-film overview of Russell's work from Women in Love through Valentino, with Russell present at each evening screening for a nearly sold-out weeklong festival. 30 July 2010, opening night, Russell was joined by Vanessa Redgrave for a 40th anniversary screening of The Devils and the next evening saw The Music Lovers and Women in Love projected with Ken in attendance. Tommy Tune joined Russell the next evening for The Boy Friend and followed the screening with a live stage dance number from the film.
The American Cinematheque in Los Angeles next hosted Mr. Russell at the Aero Theatre in Santa Monica with screenings of The Devils and Altered States with Charles Haid and Stuart Baird in attendance, and Tommy and Lisztomania at the Egyptian the following evening. Director Mick Garris extended an invitation and Russell, Tribble, and Rupe joined the Masters of Horror for one of their rarified dinners. The tour wrapped up in Toronto at the Rue Morgue Festival of Fear and a packed screening of The Devils at the Bloor Cinema hosted by Richard Crouse.
In 2008, he made his New York directorial debut with the Off-Broadway production of Mindgame at the SoHo Playhouse produced by Monica Tidwell, a thriller by Anthony Horowitz and starring Keith Carradine, Lee Godart and Kathleen McNenny.[citation needed]
WritingsEdit
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Besides books on film-making and the British film industry, Russell also wrote A British Picture: An Autobiography (1989; published in the US as Altered States: The Autobiography of Ken Russell, 1991). He also published six novels, including four on the sex lives of composers – Beethoven Confidential, Brahms Gets Laid, Elgar: The Erotic Variations, and Delius: A Moment with Venus.
Mike and Gaby's Space Gospel is a science-fiction rewriting of Genesis. His last novel, also science-fiction and published in 2006, is called Violation. It is a very violent future-shock tale of an England where football has become the national religion.
At the time of his death, he had a column for The Times in the Film section of times 2.
Before achieving success in the film industry, Russell enjoyed a brief fling with still photography. An exhibition displaying some of Russell's work was on display during the summer of 2007 in central London's Proud Galleries in The Strand, London. The exhibition, entitled Ken Russell's Lost London Rediscovered: 1951–1957, included photos taken in and around London, with many of the pictures being taken in the Portobello Road area of London. An exhibition Ken Russell: Filmmaker, Photographer ran at several galleries in 2010.
Music videoEdit
In the late-1980s, Russell directed the music video for "It's All Coming Back to Me Now", a song written and produced by Jim Steinman for his Pandora's Box project. The production featured a range of erotic imagery, including studded bras and spiked codpieces.[39][40] He'd also directed Elton John's video for "Nikita" which featured a bit of John wearing the same boots he wore as the Pinball Wizard in the film adaptation of The Who's Tommy.
Russell converted to Roman Catholicism during the 1950s.[41]
He was married four times. His first marriage, to costume designer Shirley Kingdon from 1958 to 1978, produced four sons and a daughter. He was married to Vivian Jolly from 1984 to 1991 (the wedding celebrant being Anthony Perkins, who had been ordained in the Universal Life Church);[42] the couple had a son and daughter. He was married to the actress and former ballerina Hetty Baynes from 1992 to 1997;[43] the couple had a son. His first three marriages ended in divorce. He married American actress and artist Elize "Lisi" Tribble in 2001, and the marriage lasted until his death.[7]
Ken Russell died on 27 November 2011 at the age of 84 having suffered a series of strokes, survived by three wives and eight children. Upon his death he left his entire estate to his fourth wife.[3]
^ The Sunday Times Magazine, The Sunday Times, 18 December 2011, page 64
^ "Ken Russell, Women In Love director, dies at 84". BBC News. 28 November 2011. Retrieved 28 November 2011.
^ a b Derek Malcolm (28 November 2011). "Ken Russell obituary". The Guardian. Retrieved 3 February 2015.
^ Mark Kermode, speaking to Lauren Laverne, on BBC2's The Culture Show, October 2006.
^ Roberts, Chris (2006). Heavy Words Lightly Thrown: The Reason Behind Rhyme. Thorndike Press. ISBN 0-7862-8517-6.
^ a b Wardrop, Murray (28 November 2011). "Ken Russell dies aged 84". The Telegraph. London. Retrieved 28 November 2011.
^ a b c d "Ken Russell". Telegraph. Retrieved 26 July 2014.
^ "Ken Russell Biography (1927-)". Filmreference.com. Retrieved 26 July 2014.
^ Lanza, Joseph. Phallic Frenzy: Ken Russell and His Films. Chicago Review Press, 2007; ISBN 1-55652-669-5
^ "BBC News - Ken Russell: A true British original". Bbc.co.uk. 28 November 2011. Retrieved 26 July 2014.
^ BRIEFING/ WHO & WHY: Beyond the Huw Seddon, George. The Observer 15 November 1964: 23.
^ John Walker. (1993) "Monitor BBC TV programme - 1958-1965". Arts TV / artdesigncafe. Retrieved 29 November 2011.
^ Oliver Burns--at the Stake and at Film Critics Kramer, Carol. Chicago Tribune 22 August 1971: e3.
^ Joseph Lanza Phallic Frenzy: Ken Russell and His Films p.48
^ The Eisenstein file: LEE LANGLEY describes Ken Russell's work on the Deighton thriller, "Billion Dollar Brain" Langley, Lee. The Guardian 26 Oct 1967: 8.
^ "DELIUS – Song of Summer Directed by Ken Russell: Film Music on the Web CD Reviews January 2002". Musicweb-international.com. Retrieved 26 July 2014.
^ Michael Brooke "Dance of the Seven Veils (1970)", BFI screenonline
^ "Ken Russell: A true British original". BBC. 28 November 2011. Retrieved 28 November 2011.
^ THE DEVILS | American Cinematheque
^ Rife, Katie (15 March 2017). "Ken Russell's widely banned The Devils makes a surprise appearance on Shudder". The A.V. Club. Retrieved 16 March 2017.
^ Stuart Jeffries "Ken Russell interview: The last fires of film's old devil", The Guardian, 28 April 2011
^ Ken Russell: A Director Who Respects Artists Kahan, Saul. Los Angeles Times 28 March 1971: n18.
^ The Oscar of His Dreams Is Wilde Haber, Joyce. Los Angeles Times 30 April 1972: d15.
^ Brian Hoyle (January 2015). "Russell, Henry Kenneth Alfred [Ken] (1927–2011)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/104393. (Subscription or UK public library membership required.)
^ I thought I was all washed up The Guardian 9 July 1981: 13.
^ MOVIES: KEN RUSSELL: OPERA HIGHS AFTER FILM LOWS Mann, Roderick. Los Angeles Times 22 January 1984: r14. /
^ "The Planets by Ken Russell". 6 May 2013. Retrieved 19 February 2017.
^ Ken Russel (1983). The Planets (DVD: cat. no. 109168, Blu-ray: cat. no. 109169). Arthaus Musik. Archived from the original on 20 February 2017.
^ a b BRITISH DIRECTOR KEN RUSSELL TRIES HIS HAND AT ROCK VIDEOS: [SPORTS FINAL, CN Edition] Majendie, Paul. Chicago Tribune 4 April 1986: D.
^ Dan Ireland on Salome's Last Dance Archived 5 February 2013 at Archive.today at Trailers From Hell
^ Majendie, Paul (28 November 1995). "Ken Russell: Living proof that nothing succeeds like excess". Manila Standard.
^ "What happened on 12 May 1995". Los Angeles Times.
^ "Perform-Ography". The Martin Lewis Website. Retrieved 10 March 2015.
^ Wayne, Gary. "American Cinematheque". Seeing-stars.com. Retrieved 26 July 2014.
^ Thomas, Kevin (12 May 1995). "'Shock Value': A Ken Russell Weekend at Directors Guild". Los Angeles Times.
^ "25th Moscow International Film Festival (2003)". MIFF. Archived from the original on 3 April 2013. Retrieved 1 April 2013.
^ Flanagan, Kevin (3 August 2009). "Introduction". Ken Russell: Re-Viewing England's Last Mannerist. Scarecrow Press. p. xi. ISBN 0810869551.
^ Russell, Ken (27 September 2007). "My Kitten for Hitler is all in the best bad taste". The Times. London.
^ Hotten, Jon (September 2000). "Bat Out Of Hell - The Story Behind The Album" (Reprint on website). Classic Rock Magazine. Retrieved 3 September 2006.
^ Lanza, Joseph (2007). Phallic Frenzy: Ken Russell and His Films. Chicago Review Press. ISBN 1-55652-669-5.
^ Lim, Dennis (28 November 2011). "Ken Russell, Provocative English Director, Dies at 84". The New York Times.
^ The Victoria Advocate - 3 February 1985
^ Tom Vallance "Ken Russell: Film director whose style was unmistakable and whose love of controversy defined his career", The Independent, 29 November 2011
Baxter, John (1973). An Appalling Talent: Ken Russell. Michael Joseph. ISBN 978-0-7181-1075-8.
Gomez, Joseph A. (1976). Ken Russell: The Adaptor as Creator. Muller. ISBN 0-584-10203-8.
Phillips, Gene D. (1979). Ken Russell. Twayne. ISBN 978-0-8057-9266-9.
Lanza, Joseph (2008). Phallic Frenzy: Ken Russell and His Films. Aurum Press. ISBN 978-1-84513-373-3.
Flanagan, Kevin M., ed. (2009). Ken Russell: Re-Viewing England's Last Mannerist. Scarecrow Press. ISBN 0-8108-6954-3.
Sutton, Paul (2012). Becoming Ken Russell. Bear Claw Press. ISBN 978-0-9572462-3-2.
Sutton, Paul (2015). Talking About Ken Russell. Buffalo Books. ISBN 978-0-9931770-2-6.
Ken Russell on IMDb
Ken Russell at the BFI's Screenonline
Savage Messiah – a Ken Russell site by Iain Fisher, his film editor
Ken Russell's film on Delius, Song of Summer
Ken Russell on Television – British Film Institute. Video clips are restricted, but the text can be read.
Celebrity Big Brother Updates: Ken Russell
Ken Russell Discussion Group : The Lair of Ken Russell
BBC Interview with Ken Russell and Tony Lane on Invasion of the Not Quite Dead (2008)
Ken Russell interview - BBC Film Network. Sept 2008
places that have inspired Russell's film-making - BBC
Ken Russell on his early career in ballet and photography (19 June 2010)
The musical legacy of Ken Russell John Bridcut, The Guardian music blog, 28 November 2011]
"10 Nude Scenes To Make You Cringe!" - Obsessed With Film blog, 16 November 2010
Trauma as Memory in Ken Russell's Mahler, by Eftychia Papanikolaou; chapter in After Mahler's Death, edited by Gerold W. Gruber, Morten Solvik and Jan Vičar, 72-89. Olomouc, Czech Republic: Palacký University, 2013.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ken_Russell&oldid=901322663"

redpajama_set_name: RedPajamaCommonCrawl


I support the indigenous Rangers and Indigenous Protected Areas program because it is formalising again in modern times the ancient truth. Country does need people and people need country. All of us. The rangers and program are helping to lead us well back to this connection and sustainable life.


text:
Christopher Her, Contributor
Writer / Fanwood NJ
Tomi Ungerer: The Mirror of a Century
03/11/2015 11:00 am ET Updated Dec 06, 2017
Tomi Ungerer: All in One, curated by Claire Gilman at The Drawing Center, NYC.
It is amazing to witness works of art that profoundly change the direction you're moving through life with. A few days removed from experiencing Tomi Ungerer: All in One at The Drawing Center in SOHO, I am still remarkably elevated.
The show not only took you through the life of the artist, but through the soul of the world from 1940 to the present.
Image courtesy of Tomi Ungerer Collection, Ireland
Starting off with his schoolboy sketchbooks (which were composed in Nazi occupied Alsace), to originals of his children's book designs, to protest posters, to classic illustrations for the Village Voice and New York Times, and finally his bondage work that set his world spinning, the exhibition was delicately curated by the knowing hands of Claire Gilman.
The viewer is able to witness the process of Ungerer getting an idea that was swimming around in his mind to spill out perfectly. In an era where we are too quick to search for a stock image on Getty to convey a certain mood, Ungerer's work stands as a beacon for telling people to walk over slowly to this side of the world and take a look at what's happening.
The times Ungerer lived through are stained forever on the canvases that he impressed himself upon. As you walk through the show, there are little cards next to each item depicting not only what's happening in front of you, but when and where in history it took place. All too often, exhibitions attempt to show you how much they know, forcing their interpretations on you. At this show however, it's as if there are personal valets standing before each piece preparing the perfect lens to look through.
While there were instances where one could reflect on the history Ungerer moved through, at other times, you could see your naked self reflected back in the work. There is an almost healing potion that absolves you of your pain by experiencing the Ungerer's placement of it.
If you really want to treat yourself, I suggest watching Far Out Isn't Far Enough: The Tomi Ungerer Story on Netflix before you go. It will add another layer to the experience.
The show only runs through March 22nd, so while New York goes through its initial winter thaw, there is no better way to start a new season than to take in an artist who refused to be pushed down by definitions, countries or industries.
Art New York So Ho


Is Philanthropy Right for Your Family Business?
The meaning of the word philanthropy is "love of humanity." Much more than just the giving of money, philanthropy embraces ever voluntary act of giving to others.
The form that philanthropy takes is as varied as the philanthropists themselves. For example, consider David Bohnett whose foundation supports a wide range of social issues; American rock star Jon Bon Jovi whose organization focuses on the issues of hunger and homelessness in the United States; Arpad Busson, founder of Absolute Return for Kids Academy.
Philanthropy can be misunderstood as being the province of very wealthy individuals or of large corporations. But many family-owned businesses are in a position to help others. The opportunity exists to make philanthropy a part of the firm's culture.
The altruism of philanthropy affects and helps the lives of millions. But, as DeBoskey points out, giving benefits the donor as well. The work of helping others brings families together around shared values. It builds relationships with your community, supports and strengthens your brand, boosts your bottom line and promotes employee engagement.
Philanthropic businesses enjoy improved employee recruitment and productivity, greater customer loyalty and enhanced profitability. Within family businesses, community-centered activities engage upcoming generations whose different viewpoints and fresh ideas can prove invaluable to future successes.
This entry was posted in 2016 and tagged Absolute Return for Kids Academy, altruism, Arpad Busson, Bruce DeBosky, David Bohnett, family business, family businesses, Jon Bon Jovi, philanthropic, philanthropic culture in family business, philanthropic strategy, philanthropists, philanthropy, The DeBoskey Group. Bookmark the permalink.


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Taibi, Davide; Sandor, Agnes; Simsek, Duygu; Buckingham Shum, Simon; De Liddo, Anna and Ferguson, Rebecca (2013). Visualizing the LAK/EDM literature using combined concept and rhetorical sentence extraction. In: Proceedings of the LAK Data Challenge, 3rd Int. Conf. on Learning Analytics and Knowledge (LAK '13), 8-12 Apr 2013, Leuven, Belgium.
Simsek, Duygu; Buckingham Shum, Simon; Sandor, Agnes; De Liddo, Anna and Ferguson, Rebecca (2013). XIP Dashboard: visual analytics from automated rhetorical parsing of scientific metadiscourse. In: 1st International Workshop on Discourse-Centric Learning Analytics, 8 Apr 2013, Leuven, Belgium.
Ferguson, Rebecca (2012). Use of visual analysis to investigate networked learning in online forums. In: Eighth International Conference on Networked Learning 2012, 02-04 Apr 2012, Maastricht School of Management, Maastricht, The Netherlands.
Liu, Haiming; Macintyre, Ronald and Ferguson, Rebecca (2012). Exploring qualitative analytics for e-mentoring relationships building in an online social learning environment. In: Second International Conference on Learning Analytics and Knowledge (LAK12), 29 Apr - 02 May 2012, Vancouver, Canada.
Ferguson, Rebecca and Buckingham Shum, Simon (2012). Social learning analytics: five approaches. In: 2nd International Conference on Learning Analytics & Knowledge, 29 Apr - 02 May 2012, Vancouver, British Columbia, Canada, pp. 23–33.
Ferguson, Rebecca and Buckingham Shum, Simon (2011). Learning analytics to identify exploratory dialogue within synchronous text chat. In: LAK 2011: 1st International Conference on Learning Analytics & Knowledge, 27 Feb - 01 Mar 2011, Banff, Alberta.
Ferguson, Rebecca; Buckingham Shum, Simon and Deakin Crick, Ruth (2011). EnquiryBlogger: using widgets to support awareness and reflection in a PLE Setting. In: 1st Workshop on Awareness and Reflection in Personal Learning Environments. In conjunction with the PLE Conference 2011, 11-13 Jul 2011, Southampton, UK.
Ullmann, Thomas Daniel; Ferguson, Rebecca; Buckingham Shum, Simon and Deakin Crick, Ruth (2011). Designing an online mentoring system for self-awareness and reflection on lifelong learning skills. In: 1st Workshop on Awareness and Reflection in Personal Learning Environments. In conjunction with the PLE Conference 2011., 11-13 Jul 2011, Southampton, UK.
Ferguson, Rebecca; Gillen, Julia; Peachey, Anna and Twining, Peter (2011). The strength of cohesive ties: discursive construction of an online learning community. In: Researching Learning in Immersive Virtual Environments (ReLIVE 2011), 21-22 Sep 2011, The Open University, Milton Keynes, UK.
Peachey, Anna; Gillen, Julia and Ferguson, Rebecca (2008). Fluid leadership in a multi-user virtual environment educational project with teenagers: Schome Park. In: Ecologies of Diversities: The Developmental and Historical Interarticulation of Human Mediational Forms: Meeting of the International Society for Cultural and Activity Research, 8-13 Sep 2008, San Diego, CA, USA.
Ferguson, Rebecca (2009). The Construction of Shared Knowledge through Asynchronous Dialogue. PhD thesis The Open University.
Ferguson, Rebecca; Coughlan, Tim; Herodotou, Christothea and Scanlon, Eileen (2017). MOOCs: What the research of FutureLearn's UK partners tells us. Institute of Educational Technology, The Open University, Milton Keynes.
Ferguson, Rebecca; Coughlan, Tim and Herodotou, Christothea (2016). MOOCS: What The Open University research tells us. Institute of Educational Technology, The Open University, Milton Keynes.
Ferguson, Rebecca; Brasher, Andrew; Clow, Doug; Cooper, Adam; Hillaire, Garron; Mittelmeier, Jenna; Rienties, Bart; Ullmann, Thomas and Vuorikari, Riina (2016). Research Evidence on the Use of Learning Analytics: Implications for Education Policy. Joint Research Centre, Seville, Spain.
Mor, Yishay; Ferguson, Rebecca and Wasson, Barbara (2015). British Journal of Educational Technology, Vol. 46, Issue 2. Special Issue: Teacher-led Inquiry and Learning Design. Wiley.
Scanlon, Eileen; Sharples, Mike; Fenton-O'Creevy, Mark; Fleck, James; Cooban, Caroline; Ferguson, Rebecca; Cross, Simon and Waterhouse, Peter (2013). Beyond prototypes: Enabling innovation in technology-enhanced learning. Open University, Milton Keynes.
This list was generated on Fri Apr 19 13:31:40 2019 BST.


text:
Га́тчинское шоссе — улица в Красносельском районе Санкт-Петербурга (г. Красное Село). Проходит от пересечения Кингисеппского шоссе и проспекта Ленина за Красногородскую улицу. За чертой города переходит в автодорогу  Красное Село — Гатчина — Павловск.

Здания и сооружения
Улица застроена в основном многоэтажными кирпичными и кирпично-монолитными жилыми домами. У пересечения с Кингисеппским шоссе  расположен сквер с памятником А. Ф. Можайскому.

Транспорт
 Автобусы: 144, 145а, 477, 546, 635.
 Маршрутные такси: К-245, К-403, К-445А, К-631.

Пересекает следующие улицы
 Красногородская улица

Литература

Улицы Красного Села
Улицы Санкт-Петербурга

redpajama_set_name: RedPajamaWikipedia


text:
SI.com
Jaguar Report+
GM Report
2020 NFL Draft: Could Iowa Defensive End A.J. Epenesa Fill the Jaguars' Pass-Rushing Need?
Does A.J. Epenesa make sense for the Jaguars in the first round following the departure of Calais Campbell?
John Shipley
As the 2020 offseason progresses, JaguarReport is going to be taking extended looks of some NFL draft prospects who could theoretically make sense for the Jacksonville Jaguars at some point in April.
In this version, we examine Iowa defensive end A.J. Epenesa, an intriguing defensive lineman who could play multiple roles for a defense. With Calais Campbell traded to the Baltimore Ravens earlier this offseason, does Epenesa make sense for the Jaguars in this year's first-round?
A.J. Epenesa entered the college scene following a high school career that saw him reach massive heights in football, basketball, and track. The five-star recruit played early on for the Hawkeyes, totaling 4.5 sacks, 5.5 tackles for loss, and one forced fumble as a freshman.
Epenesa's production took a big jump in 2018 as the powerful and aggressive defensive end notched 10.5 sacks (most in Big 10), 16.5 tackles for loss (most on the team), and four forced fumbles. Thanks to this fantastic year on the Hawkeyes' front four, Epenesa earned second-team All-Big Ten honors.
As a junior, Epenesa once again turned in a dominant season in the Big 10. In 2019, Epenesa recorded 11.5 sacks, 14 tackles for loss, and four forced fumbles. As a result, the 6-foot-5, 275-pound defensive end earned second-team Associated Press All-American and first-team all-conference honors.
What A.J. Epenesa does well
While most defensive ends win with speed around the edge, A.J. Epenesa is built more in the mold of players like Campbell or Cameron Jordan. He isn't an overly explosive athlete but he does a good job of finding momentum and rolling his weight before he engages with a lineman, and he then uses a vicious blend of technique and power to bully blockers.
Epenesa will brutalize smaller offensive tackles as a pass-rusher at the next level thanks to his heavy hands and ability to convert speed to power off of the snap. His punch can force an offensive tackle off balance on contact, while his length helps him gain seperation in the run and passing game.
As a pass-rushing technician, Epenesa already has a number of tools at his disposal, something you don't see much in defensive ends before they hit the professional level. He has a push/pull move and a stab and swipe that is deadly in close quarters, regardless of if he is on the edge or lined up inside. His hands move in cohesion with his feet, which are quicker in short areas than some may give him credit for, and this enables him to make a lot of plays off of inside counters.
Against the run, Epenesa is an effective edge setter despite not having a ton of range as a tackler. He reads his keys well and rarely loses ground, anchoring against blockers with more effectiveness than many on the edge. He can penetrate a play thanks to his powerful hands and momentum off the snap, but he needs to be attacking forward instead of laterally.
Mock Draft Roundup: Kiper Projects Pass-Rush Help to Jaguars at No. 1
Jaguars Head Coach Search: Fred Taylor Endorses Byron Leftwich's Candidacy
Jaguars Head Coach Search: Jacksonville Reportedly Not Expected to Hire Bill O'Brien
Thanks to his length and power, Epenesa is capable of being moved around the defensive front. He projects as an effective interior rusher on obvious passing situations despite his smaller mass because he has such quick hands and feet in a phone booth. He overpowers tackles and is too quick for guards. When lined up inside, he also has a more linear path to the quarterback, which helps improve his play speed.
What A.J. Epenesa needs to improve at
Where Epenesa has holes in his game isn't exactly an area he can likely change over the course of his career, though there are still certain aspects to his game that can improve over time.
Epenesa is never going to be a player who can routinely beat offensive tackles around the edge. Smaller offensive tackles will have issues with his power, but those with an anchor may be able to handle him sufficiently enough because he just doesn't have the explosion or bend around the edge to threaten the outside much.
One reason Epenesa sometimes has a below-average get off is because of an occasional streak of shooting high off the ball, losing his leverage and momentum. If you ask him to beat an offensive tackle to the edge, chances are he will lose that battle despite having good footwork in tight spaces. It just isn't his game.
Due to his lack of explosion and range, you won't see Epenesa make a ton of plays in space. Because of this, teams would often make him the targeted defender on options at the collegiate level because they knew that he wouldn't be able to overcome the numbers disadvantage to make a play like more athletic defensive ends sometimes do.
If the Jaguars want a third down edge rusher to replace the consistent speed off of the edge that Yannick Ngakoue brings, then Epenesa shouldn't even be on their radar. But if they want a long-term replacement for Campbell who can play the 'big end' role on base downs and slide inside on passing downs, there might not be a better fit than the productive and fiery Iowa lineman.
Epenesa fits in the Jaguars' defensive scheme like a glove, and could be a logical target with either the No. 20 selection, or the No. 42 selection if he slips in the draft due to a middling performance at the NFL Scouting Combine. He won't rack up sacks at defensive end, but he'd set a hard edge, turn plays inside for others to make, penetrate vs. the run, and then wreak havoc vs. interior linemen on third down.
The Jaguars did sign Rodney Gunter as a stopgap this offseason, but Epenesa provides more long-term value thanks to his tools as a pass-rusher. He won't make a lot of plays in space, but neither did Campbell. He can still help a defense despite that, and his traits fit perfectly with what the Jaguars' defense is missing.
His inability to beat offensive tackles with speed will undoubtedly impact his draft stock, but thanks to the value he brings to the other parts of a defense he should be an enticing option for 4-3 and 3-4 defenses alike, even if his pass-rushing production will likely come from the inside
By John Shipley
By Jeremy Brener
Jaguars Head Coach Search: Pros and Cons to Todd Bowles' Candidacy
2022 NFL Draft Profiles: Does Kayvon Thibodeaux Make Sense For the Jaguars?
5 Thoughts on Jaguars' Coaching Candidates During Wild Card Weekend
Jaguars Head Coach Search: Pros and Cons to Dan Quinn's Candidacy
Jaguars Head Coach Search: Pros and Cons to Darrell Bevell's Candidacy


Ew gross! I bought some string cheese and when I peeled the wrapper back, it exposed this disgustingly odd strip of… mold? I don't know. It wasn't very 'moldy' looking, more like dry and cracked and… ugh. It's just gross. Needless to say I threw it away, but not before taking numerous pictures of it.
Dude, is that a banana?
You should have saved it and brought it to a good lawyer. Maybe you could've gotten rich off it.
I totally should have kept it. Oh, and I work for a lawyer! What was I thinking?
Well, She's not really the 'sue a cheese company' type. But I could have had a life time supply of cheese! Then all I'd need to do is sue a cracker company!


Both cities were located on the contrary banks of the "River Danube". The city on the ideal side of the river was named as "Buda" and one on the left side was called "Pest", so after these were merged the city was offered the name of "Budapest". Budapest is really situated in the centre of the nation. The climatic problems are extremely moderate; the city likewise receives snow as well as rainfall in winters months. The winter lasts from December to February, and the summertime period mainly begins with June and finishes in August. Among these areas is the Parliament structure of Government which is just one of the top tourist destinations. Likewise "Castle Hillside", the fantastic river which made use of to separate Buda and also Insect from each other as well as now connects them "River Danube" are included in the list of "UNESCO World Heritage Sites". Inside Castle Hill there are a variety of churches for people to visit and likewise museums which represent the true photo of Hungarian background. One of which is the former Royal Palace of Hungary. There is an island named as "Margaret Island" which depends on between the two cities integrated "Buda" and "Pest". Margaret Island is 1. It has become one of the most gone to parks in all of Hungary. Margaret Islands according to a survey in Hungary is mostly seen by the young generation. Out of these universities the largest and also the oldest university of Budapest is "Budapest University of Technology as well as Business economics", as well as also the "Corvinus College of Budapest".


text:
Pergo – торговая марка напольных покрытий из ламината и ПВХ-плитки, производимых шведской компанией Perstorp AB. В 1977 году, в составе группы Perstorp, разработала первую версию ламинированного напольного покрытия. В 2012 году бренд приобрела компания Mohawk Industries за $150 млн.

История
Торговая марка Pergo появилась в шведской компании Perstorp AB, которая производит слоистый материал с начала 1950-х годов.

В 1974 году Perstorp AB приобрела конкурирующую компанию AB Tilafabriken в предместье шведского города Треллеборг. Благодаря сделке Perstorp приобрела завод по изготовлению нетканых материалов, а также технологии и возможности развития  по изготовлению из собственных слоистых материалов конечных продуктов. Например, столешниц, подоконников, настенных панелей.

В 1977 году на заседании комитета по разработке новых продуктов Idé-77 в Perstorp выдвинула идею создавать ламинированные напольные покрытия. После разработки и успешных испытаний в 1979 году компания запустила производство первого ламинированного напольного покрытия и представила его на рынке в 1980 году.

1989 год — после конкурса на новое название впервые была представлена торговая марка Pergo как сокращенное название Perstorp Golv («golv» в переводе со шведского — напольное покрытие). Спустя несколько лет, в 1994 году, Pergo вышла на рынок США.

В 1995 году Pergo представила продукцию на азиатском рынке. Также она начала разработку технологии создания покрытия, обеспечивающего устойчивость к царапинам.

В 1999 году компания получает первый патент на технологию вертикального соединения пластин.

В 2000 году корпорация Perstorp Flooring, включающая в себя несколько компаний в разных странах мира, изменила название на Pergo.

В 2001 году Pergo получила патент на технологию скрепления панелей ламината с помощью защелкивания.

В 2009 году компания представила технологию, позволяющую укладывать пол без использования клея.

В 2013 году Pergo становится торговой маркой, представляющей несколько категорий напольных покрытий, презентовав деревянные и виниловые полы на рынке.

Появление ламината
В середине 1970-х годов корпорация Perstorp столкнулась с резким спадом продаж слоистого материала, производимого под воздействием высокого давления. Так в 1977 году компания создала комитет, задача которого  была — предложить новые идеи использования товара, который в будущем популярным. Для идей было только одно ограничение: они не должны быть слишком нереализуемыми. Команду назвали Idé-77. Она собрала более ста идей, начиная от дорожек для боулинга и закачивая бортами для хоккейного поля, накрытия автобусных остановок и зернохранилищами.

Идея № 23
Идея № 23 в списке всех идей комитета записали как «Perkett - laminatgolv» (в переводе со шведского — ламинированное напольное покрытие). Это было одно из немногих предложений, которое предполагало создание торговой марки. После дальнейших исследований и испытаний идее №23 дали зелёный свет. Осенью 1979 года компания запустила в производство первый в мире ламинат.

Примечания

Ссылки
 Официальный сайт Pergo

Компании
Появились в 1989 году в Швеции


text:
Hileithia terminalis is a moth in the family Crambidae. It was described by George Hampson in 1912. It is found in Jamaica.

References

Moths described in 1912
Spilomelinae


In this talk, Melanie Rieback will introduce the basics of Pentesting ChatOps, and will discuss the processes and open-source tools needed to enable Pentesting ChatOps within your own organization.
ChatOps, a concept originating from Github, is chatroom-driven DevOps for distributed teams, using chatbots (like Hubot) to execute custom scripts and plugins. We have applied the concept of ChatOps to the penetration testing workflow, and found that it fits outstandingly – for everything from routine scanning to spearphishing to pentest gamification.
This talk discusses the tools that we use (RocketChat, Hubot, Gitlab, pentesting tools), and provides battle stories of using Pentesting ChatOps in practice.
Dr. Melanie Rieback is the CEO/Co-founder of Radically Open Security, the world's first non-profit computer security consultancy company. She is also a former Assistant Professor of Computer Science at VU who performed RFID security research (RFID Virus and RFID Guardian), that attracted worldwide press coverage, and won several awards.
Melanie was named one of the fifty most inspiring women in tech (Inspiring Fifty Netherlands) in 2016 and 2017, and the Most Innovative IT Leader by CIO Magazine NL (TIM Award) in 2017. Her company, Radically Open Security was also named the 50th Most Innovative SME by the Dutch Chamber of Commerce (MKB Innovatie Top 100) in 2016.


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Q: How to prove $1 + \frac{n}{2} \le S_{2^n}\le 1 + n$, where $n \in \mathbb {N}$? Let $S_j = 1 + \frac {1}{2} + \dots + \frac {1}{j}$, where $j \in \mathbb {N}$.
Prove $1 + \frac{n}{2} \le S_{2^n}\le 1 + n$, where $n \in \mathbb {N}$.
I tried to use induction for this proof but got nowhere. Any ideas how to solve it?

A: The base case $n = 1$ is obvious. For the inductive step, $S_{2^{n+1}} - S_{2^n}$ is a sum of $2^n$ terms that are all at least $\frac{1}{2^{n+1}}$ and at most $\frac{1}{2^n}$ (the same idea as in Henry's comment), so $\frac{1}{2} \leq S_{2^{n+1}} - S_{2^n} \leq 1$.

redpajama_set_name: RedPajamaStackExchange


Many cities, such as New Orleans, Atlanta, and Washington, D.C., require individuals under the age of 17 to be off the streets by 11 p.m. Teenagers found violating this curfew are held at a police-designated truancy center until a parent or guardian claims them. Parents who are determined to be aiding and abetting curfew violators are subject to fines and community service. Curfew laws have been challenged on the grounds that they violate the First Amendment by prohibiting a juvenile's right to free association. In Qutb v. Strauss (1993), the U.S. Court of Appeals held that curfew laws were constitutional because they are designed to protect the community.