DOCSLIB.ORG

Aural Anniversary Railway Indigestion High Times

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aural Anniversary Railway Indigestion High Times ************************************************************************************************************************************************************************************************************** Fuzz Buzz, P.11 * Foggy Fun, P.14 * Rumor Has It, P.20 cascadia REPORTING FROM THE HEART OF CASCADIA WHATCOM*SKAGIT*ISLAND*LOWER B.C. {02.26.14}{#09}{V.09}{FREE} Stars GoldA NIGHT AT THE OSCARS, P.24 HIGH TIMES Reefer madness with Alan Rhodes, P. 6 AURAL RAILWAY ANNIVERSARY INDIGESTION Free fun for The shape of everyone! P. 20 shipping, P. 8 WEDNESDAY [02.26.14] White Christmas: 7pm, Judson Auditorium, Lynden 34 ONSTAGE Bingo, the Winning Musical: 7:30pm, Claire vg BOAT Festival: 7pm, Bellingham Theatre Guild Thomas Theatre, Lynden FOOD FOOD cascadia Vagina Memoirs: 7pm, Performing Arts Center, Always...Patsy Cline: 7:30pm, Conway Muse WWU The Man Who Was Thursday: 8pm, iDiOM Theater The 39 Steps: 7:30pm, MBT’s Walton Theatre Space Trek: 8pm and 10pm, Upfront Theatre 28 MUSIC DANCE Ani DiFranco: 7:30pm, Mount Baker Theatre Swing Dance: 7-9pm, Bellingham Senior Activity B-BOARD B-BOARD Jamie Laval: 7:30pm, St. Paul’s Episcopal Church Center Smokey Joe’s Cafe Dance: 7-10pm, Presence A glance at what’s happening this week FILM Studio 24 Human Rights Film Festival: Through March 1, Lalas Burlesque: 7pm, Swinomish Casino, FILM FILM throughout Bellingham Anacortes Dance Gallery Spring Concert: 7:30pm, Firehouse Performing Arts Center 20 THURSDAY [02.27.14] TAO: 8pm, Mount Baker Theatre MUSIC ONSTAGE MUSIC International Night: 6-9:30pm, Syre Center, WCC Clamdigger Jazz Band: 2-5pm, VFW Hall BOAT Festival: 7pm, Bellingham Theatre Guild BUG Jam: 3-5pm, St. James Presbyterian Church 18 Vagina Memoirs: 7pm, Performing Arts Center, Chamber Music Society: 7pm, Whatcom Museum’s ART WWU Old City Hall White Christmas: 7pm, Judson Auditorium, Lynden WORDS 16 The 39 Steps: 7:30pm, MBT’s Walton Theatre Children’s Literature Conference: 8am-4pm, Bingo, the Winning Musical: 7:30pm, Claire vg Performing Arts Center Concert Hall, WWU STAGE Thomas Theatre, Lynden JA Jance: 7pm, Village Books The Good, the Bad and the Ugly: 8pm, Upfront Theatre COMMUNITY 14 The Man Who Was Thursday: 8pm, iDiOM Theater Kids’ Dog Show: 10am, Bloedel Donovan The Project: 10pm, Upfront Theatre Wonders of Whatcom: 2:3pm, Fairhaven Library An Affair to Remember: 6pm, Lakeway Inn GET OUT MUSIC Cheryl Hodge: 5:30-7:30pm, Jansen Art Center, GET OUT Lynden Winter Field Day: 8:30am-3:30pm, NW Wash- 12 Judy Fjell: 7:30pm, Roeder Home ington Research and Extension Center, Mount Wind Symphony: 8pm, Performing Arts Center, Vernon WORDS WWU Orchid Show and Sale: 9am-5pm, Skagit Valley Gardens Home & Garden Show: 10am-8pm, NW Washing- 8 VISUAL ARTS Thomas Wood Reception: 5-7pm, Lucia Douglas ton Fairgrounds, Lynden Gallery VISUAL ARTS CURRENTS CURRENTS Levi Vincent Reception: 2-5pm, Good Earth Pottery 6 FRIDAY [02.28.14] Northwest Artists Opening: 4-9pm, Matzke Fine ONSTAGE Art Gallery, Camano Island VIEWS BOAT Festival: 7pm, Bellingham Theatre Guild Atmospheres Opening: 5-8pm, Smith & Vallee Vagina Memoirs: 7pm, Performing Arts Center, Gallery, Edison 4 WWU White Christmas: 7pm, Judson Auditorium, PHOTO BY NOLAN MCNALLY MAIL MAIL Lynden SUNDAY [03.02.14] The 39 Steps: 7:30pm, MBT’s Walton Theatre 2 Dance Gallery presents its 23rd annual Spring Concert Bingo, the Winning Musical: 7:30pm, Claire vg ONSTAGE Thomas Theatre, Lynden Bingo, the Winning Musical: 2pm, Claire vg DO IT beginning this weekend with March 1-2 shows at the Firehouse Always...Patsy Cline: 7:30pm, Conway Muse Thomas Theatre, Lynden Performing Arts Center The Man Who Was Thursday: 8pm, iDiOM Theater The 39 Steps: 3pm, MBT’s Walton Theatre Space Trek: 8pm and 10pm, Upfront Theatre DANCE 02.26.14 Area youth—and MUSIC Dance Gallery Spring Concert: 5pm, Firehouse Community Gospel Choir: 7pm, Fountain Com- Performing Arts Center .09 their canine munity Church 09 Skagit Opera: 7:30pm, McIntyre Hall, Mount # MUSIC friends—are Vernon Skagit Opera: 2pm, McIntyre Hall, Mount Vernon invited to the GET OUT FILM Home & Garden Show: 11am-9pm, NW Washing- Oscar Awards Party: 4pm, Pickford Film Center 31st annual ton Fairgrounds, Lynden GET OUT Kids’ Dog Show Orchid Show and Sale: 9am-4pm, Skagit Valley CASCADIA WEEKLYCASCADIA happening March SATURDAY [03.01.14] Gardens Padden Mudfest: 10am, Lake Padden Park 2 1 at Bloedel ONSTAGE Home & Garden Show: 10am-5pm, NW Washing- The 39 Steps: 3pm, MBT’s Walton Theatre ton Fairgrounds, Lynden Donovan BOAT Festival: 7pm, Bellingham Theatre Guild Vagina Memoirs: 7pm, Performing Arts Center, WWU EXPLORE AT SWINOMISH CASINO &LODGE CASINO SWINOMISH AT in the Wa Walton Event Center. ONE SHOW ONLY! ONESHOW Center. Event Walton in theWa L.A.’s Hottest Burlesque Group Appearing Live Live Appearing BurlesqueGroup Hottest L.A.’s EXPLORE our EXPLORE Rewards! LALAS BURLESQUE SHOW LALAS BURLESQUE Tickets Starting at $30 - Show at 7pm at $30-Show at Starting Tickets Management reserves all rights. Must be21. Must allrights. reserves Management SwinomishCasinoandLod Management reserves allrights. reserves Management March 1st March ge.com 1.888.288.8883 it all Semi Final Tournament May 18th- 19th May Tournament Semi Final Don’t miss all the MADNESS including missalltheMADNESSincluding Don’t TOURNEVENT OFCHAMPS TOURNEVENT Bracket Challenge and Pop-a-Shot. andPop-a-Shot. Challenge Bracket Catch all the NCAA games atthe games alltheNCAA Catch Pre-qualifying tournaments tournaments Pre-qualifying 10 Sports Bar. Open24hrs 10 SportsBar. MARCH MANIA Sunday &Mondays! Sunday Now - May 5th -May Now 3 CASCADIA WEEKLY #09.09 02.26.14 DO IT 2 MAIL 4 VIEWS 6 CURRENTS 8 WORDS 12 GET OUT 14 STAGE 16 ART 18 MUSIC 20 FILM 24 B-BOARD 28 FOOD 34 Contact THISWEEK Cascadia Weekly: ` 360.647.8200 34 Editorial FOOD FOOD Editor & Publisher: Tim Johnson `ext 260 28 { editor@ mail cascadiaweekly.com TOC LETTERS STAFF Arts & Entertainment B-BOARD B-BOARD Editor: Amy Kepferle If you ever laughed out loud during movies such as Ghost- ext 204 24 busters, Animal House, and Caddyshack, you have Harold {calendar@ Ramis to thank. The writer, director and actor died Monday cascadiaweekly.com FILM in Chicago at the age of 69, but the movies he helped bring Music & Film Editor: to the big screen are destined to live forever in the annals Carey Ross of comedic history. Thanks, Harry. ext 203 20 {music@ cascadiaweekly.com MUSIC VIEWS & NEWS Production 4: Mailbag 18 Art Director: 6: Gristle & Rhodes ART Jesse Kinsman 8: Railway indigestion {jesse@ kinsmancreative.com 16 10: Police blotter, Index Graphic Artists: 11: Last week’s news Stefan Hansen STAGE {stefan@ cascadiaweekly.com ARTS & LIFE Send all advertising materials to 14 [email protected] 12: Boys, boats, bombs 14: Fun in the fog Advertising GET OUT 16: Living history Account Executive: Scott Pelton 18: One day at a time 360-647-8200 x 202 12 20: A musical melee { spelton@ cascadiaweekly.com WORDS 22: Clubs Stephanie Young HELPING THE HOMELESS Evergreen State. Geothermal energy is an under- 24: Going for the gold 360-647-8200 x 205 { stephanie@ 8 I was pleased to learn some good news from developed field that has much potential. This en- 27: Film Shorts cascadiaweekly.com Olympia! The House Committee on Community De- ergy source is a clean, sustainable, economically Distribution velopment and Housing and Tribal Affairs, in bipar- sound method of electrical generation. Unlike CURRENTS CURRENTS REAR END tisan agreement, unanimously voted to pass legis- coal, geothermal energy has few carbon emis- Distribution Manager: Bulletin Board lation that would preserve our community’s most sions and a minimal impact on the surrounding 6 28: Scott Pelton important funding source for homeless housing. land. Although the start-up fee is substantial, 29: Wellness 360-647-8200 x 202 { spelton@ The legislation doesn’t raise taxes, it merely once running, no fuel is required to maintain the VIEWS 30: Crossword cascadiaweekly.com keeps in place the funding that would otherwise system, greatly reducing the production costs. Whatcom: Erik Burge, 4 4 31: Comix, Sudoku expire next year. I’ve taken some time recently One limitation of geothermal energy is its lo- Stephanie Simms, Free Will Astrology Robin Corsberg to learn more about our local homeless issues. cation dependency. Usable geothermal reservoirs MAIL MAIL 32: MAIL MAIL The bad news is that the lagging effects of the are found on subduction zones, areas where the 33: Advice Goddess Skagit: Linda Brown, Great Recession are still upon us and the poorest earth’s heat is found close to the surface. 2 Barb Murdoch 34: Jambalaya Sunday Canada: Kristi Alvaran among us are the last to recover. The good news Luckily, Washington is a subduction zone as- DO IT IT DO is that Democrats and Republicans in the Wash- sociated with the Juan de Fuca plate. Research is Letters ington House of Representatives understand this currently being done in Oregon at the Newberry Send letters to letters@ and are willing to work together to help. volcano, in hopes of producing an electricity cascadiaweekly.com. I would like to encourage Rep. Vincent Buys to generating Enhanced Geothermal System. I pro- 02.26.14 ************************************************************************************************************************************************************************************************************** **************************************************************************************************************************************************************************************************************
Load more

Recommended publications
  • (POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
    ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr.
    [Show full text]
  • Blackbourn Veronica a 20101
    The Beloved and Other Monsters: Biopolitics and the Rhetoric of Reconciliation in Post-1994 South African Literature by Veronica A. Blackbourn A thesis submitted to the Department of English Language and Literature In conformity with the requirements for the degree of Doctor of Philosophy Queen‘s University Kingston, Ontario, Canada (December, 2010) Copyright © Veronica A. Blackbourn, 2010 Abstract This dissertation examines the use of inter-racial relationships as emblems of political reconciliation in South African fiction from and about the transition from apartheid to democracy. Positive representations of the relationships that apartheid prohibited would seem to constitute a rejection of apartheid itself, but through an analysis of novels by Lewis DeSoto, Elleke Boehmer, Zoë Wicomb, Marlene van Niekerk, Ivan Vladislavić, and J.M. Coetzee, I argue that the trope of the redemptive inter-racial relationship in fact reinscribes what Foucault would designate a biopolitical obsession with race as a foundational construct of the nation. Chapter 2 examines an attempt to write against the legacy of apartheid by repurposing the quintessentially South African genre of the plaasroman, but Lewis DeSoto‘s A Blade of Grass (2003) fails to reverse the narrative effects created by the plaasroman structure, implicated as the plaasroman is and has been in a biopolitical framework. Chapter 3 examines Elleke Boehmer‘s rewriting of South African history to insist on the genealogical ―truth‖ of the racial mixing of the country and its inhabitants, but Bloodlines (2000) yet retains the obsession with racial constructs that it seeks to dispute. Zoë Wicomb‘s Playing in the Light (2006), meanwhile, invokes genealogical ―truth‖ as a corrective to apartheid constructions of race, but ultimately disallows the possibility of genealogical and historical narratives as correctives rather than continuations of apartheid.
    [Show full text]
  • View the 2021 Project Dossier
    www.durbanfilmmart.com Project Dossier Contents Message from the Chair 3 Combat de Nègre et de Chiens (Black Battle with Dogs) 50 introduction and Come Sunrise, We Shall Rule 52 welcome 4 Conversations with my Mother 54 Drummies 56 Partners and Sponsors 6 Forget Me Not 58 MENTORS 8 Frontier Mistress 60 Hamlet from the Slums 62 DFM Mentors 8 Professional Mourners 64 Talents Durban Mentors 10 Requiem of Ravel’s Boléro 66 Jumpstart Mentors 13 Sakan Lelmoghtrebat (A House For Expats) 68 OFFICAL DFM PROJECTS The Day and Night of Brahma 70 Documentaries 14 The Killing of A Beast 72 Defying Ashes 15 The Mailman, The Mantis, and The Moon 74 Doxandem, les chasseurs de rêves Pretty Hustle 76 (Dream Chasers) 17 Dusty & Stones 19 DFM Access 78 Eat Bitter 21 DFM Access Mentors 79 Ethel 23 PARTNER PROJECTS IN My Plastic Hair 25 FINANCE FORUM 80 Nzonzing 27 Hot Docs-Blue Ice Docs Part of the Pack 29 Fund Fellows 81 The Possessed Painter: In the Footsteps The Mother of All Lies 82 of Abbès Saladi 31 The Wall of Death 84 The Woman Who Poked The Leopard 33 What’s Eating My Mind 86 Time of Pandemics 35 Unfinished Journey 37 Talents Durban 88 Untitled: Miss Africa South 39 Feature Fiction: Bosryer (Bushrider) 89 Wataalat Loughatou él Kalami (Such a Silent Cry) 41 Rosa Baila! (Dance Rosa) 90 Windward 43 Kinafo 91 L’Aurore Boréale (The Northern Lights) 92 Fiction 45 The Path of Ruganzu Part 2 93 2065 46 Yvette 94 Akashinga 48 DURBAN FILMMART 1 PROJECT DOSSIER 2021 CONTENTS Short Fiction: Bedrock 129 Crisis 95 God’s Work 131 Mob Passion 96 Soweto on Fire 133
    [Show full text]
  • African Carmen Transnational Cinema As an Arena for Cultural Contradictions
    Mari Maasilta African Carmen Transnational Cinema as an Arena for Cultural Contradictions ACADEMIC DISSERTATION To be presented, with the permission of the Department of Journalism and Mass Communication of the University of Tampere, for public discussion in the auditorium A1 of the University Main Building, Kalevantie 4, Tampere on Saturday June 16th, 2007 at 12 o’clock. University of Tampere Tampere 2007 Mari Maasilta African Carmen Transnational Cinema as an Arena for Cultural Contradictions Media Studies ACADEMIC DISSERTATION University of Tampere Department of Journalism and Mass Communication FINLAND Copyright © 2007 Mari Maasilta Distribution Bookshop TAJU P.O. BOX 617 33014 University of Tampere Tel. +358 3 3551 6055 Fax +358 3 3551 7685 taju@uta.fi http://granum.uta.fi Page design Aila Helin Cover design Sakari Viista Photos Karmen. Joseph Gaï Ramaka Mari Maasilta. Sakari Viista Printed dissertation ISBN 978-951-44-6961-9 Electronic dissertation Acta Electronica Universitatis Tamperensis 626 ISBN 978-951-44-6972-5 (pdf) ISSN 1456-954X http://acta.uta.fi Tampereen Yliopistopaino Oy – Juvenes Print Tampere 2007 To all my transnational friends around the world. Contents Preface ..............................................................................11 1 Introduction .....................................................................21 Research task ...........................................................................24 Autonomy of Senegalese cultural production .....................29 Methodology ...........................................................................34
    [Show full text]
  • Festival Review 72Nd Festival De Cannes Finding Faith in Film
    Joel Mayward Festival Review 72nd Festival de Cannes Finding Faith in Film While standing in the lengthy queues at the 2019 Festival de Cannes, I would strike up conversations with fellow film critics from around the world to discuss the films we had experienced. During the dialogue, I would express my interests and background: I am both a film critic and a theologian, and thus intrigued by the rich connections between theology and cinema. To which my interlocutor would inevitably raise an eyebrow and reply, “How are those two subjects even related?” Yet every film I saw at Cannes somehow addressed the question of God, religion or spirituality. Indeed, I was struck by how the most famous and most glamorous film festival in the Western world was a God-haunted environ- ment where religion was present both on- and off-screen. As I viewed films in competition for the Palme d’Or, as well as from the Un Certain Regard, Direc- tors’ Fortnight and Critics’ Week selections, I offer brief reviews and reflections on the religious dimension of Cannes 2019.1 SUBTLE AND SUPERFLUOUS SPIRITUALITY Sometimes the presence of religion was subtle or superfluous. For example, in the perfectly bonkers Palme d’Or winner, Gisaengchung (Parasite, Bong Joon- Ho, KR 2019), characters joke about delivering pizzas to a megachurch in Seoul. Or there’s Bill Murray’s world-weary police officer crossing himself and exclaim- ing (praying?), “Holy fuck, God help us” as zombie hordes bear down on him and Adam Driver in The Dead Don’t Die (Jim Jarmusch, US 2019).
    [Show full text]
  • Mark Kermode's Best Films of 2019
    Mark Kermode’s best films of 2019 @KermodeMovie - The Guardian Sun 29 Dec 2019 06.00 GMTLast modified on Tue 31 Dec 2019 15.51 GMT 2019 was the year that Netflix movies came of age, and ageing actors were made young again. At the 91st Oscars in February, the bland Green Book beat the superior BlackKklansman to the best picture award, although Spike Leewon his first competitive Oscar in the adapted screenplay category. Rami Malik scooped best actor for his portrayal of Freddie Mercury in Bohemian Rhapsody, but best actress Olivia Colman (The Favourite) stole the evening with one of the funniest and most self- deprecating acceptance speeches ever (complete with raspberry-blowing). More significantly, Alfonso Cuarón’s Roma won for cinematography, direction and best foreign language film, despite naysayers’ complaints that Netflix-backed movies were essentially made-for-TV films. That attitude is now history: in the forthcoming awards season, the platform has several contenders, including Noah Baumbach’s Marriage Story and Martin Scorsese’s The Irishman. The Irishman marked a watershed moment for “digital de-ageing”, with innovative technology allowing Robert De Niro, Al Pacino and Joe Pesci to play characters much younger than themselves. We’ve seen de-aging elsewhere (from Captain Marvel to Gemini Man), but never this unobtrusively. Alongside the release of its first original animated feature, Sergio Pablos’s Klaus, Netflix also picked up distribution rights for I Lost My Body, which made history when it took the top prize in the Critics’ Week section at Cannes in May. More family-friendly releases – Frozen II, Toy Story 4 and a weirdly photorealist rehash of The Lion King – may have dominated the box office in 2019, but I Lost My Body was my favourite animated film of the year.
    [Show full text]
  • Transformers Franchise, and Redefines What It Means to Be a Hero
    Paramount Pictures Presents In Association with Hasbro A Don Murphy/Tom DeSanto / di Bonaventura Pictures / Ian Bryce Production A Michael Bay Film Executive Produced by Steven Spielberg Michael Bay Brian Goldner Mark Vahradian Produced by Lorenzo di Bonaventura, p.g.a. Tom DeSanto Don Murphy Ian Bryce, p.g.a. Story by Akiva Goldsman and Art Marcum & Matt Holloway & Ken Nolan Screenplay by Art Marcum & Matt Holloway & Ken Nolan Directed by Michael Bay Cast: Mark Wahlberg, Josh Duhamel, Anthony Hopkins, Laura Haddock, Jerrod Carmichael, Isabela Moner, Santiago Cabrera Synopsis: The Last Knight shatters the core myths of the Transformers franchise, and redefines what it means to be a hero. Humans and Transformers are at war, Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. Saving our world falls upon the shoulders of an unlikely alliance: Cade Yeager (Mark Wahlberg); Bumblebee; an English Lord (Anthony Hopkins); and an Oxford Professor (Laura Haddock). There comes a moment in everyone’s life when we are called upon to make a difference. In Transformers: The Last Knight, the hunted will become heroes. Heroes will become villains. Only one world will survive: theirs, or ours. TRANSFORMERS: THE LAST KNIGHT is in theatres [local date], 2017 TRANSFORMERS: THE LAST KNIGHT has been rated [local rating]. ABOUT THE CAST MARK WAHLBERG (“Cade Yeager”) earned both Academy Award® and Golden Globe® nominations for his standout work in the family boxing film The Fighter and Martin Scorsese’s acclaimed drama The Departed.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • Ries Niemi's Oversized Imagination
    FUZZ BUZZ, P.13 * -0(*-#.$/+yy * FREE WILL, P.30 cascadia REPORTING FROM THE HEART OF CASCADIA WHATCOM*SKAGIT*ISLAND*LOWER B.C. 06..11 :: #23, v.06 :: !- AND NOWNAOMI KLEINP.10 THE GRISTLE: OF COAL AND SOUL, P.8 }} PARK IT: THE SOUNDS OF SUMMER, P.22 BIG IDEAS: RIES NIEMI’S OVERSIZED IMAGINATION, P.20 34 34 cascadia Expect to see everything from FOOD #*/.20&$)" to'*"-*''$)" at the 28 49th annual Deming Log Show June 11-12 at the eponymous B-BOARD A glance at what’s happening this week grounds on Cedarville Road 26 2 ) .4[06..11] FILM FILM ON STAGE 22 Intro to Improv: 7pm, Improv Playworks MUSIC MUSIC Marvin Goldstein, Vanessa Joy: 7pm, Mount Baker Theatre 20 ART ART WORDS Sandstone Writer’s Theater: 7pm, Firehouse Performing Arts Center 18 Inga Muscio: 7pm, Village Books STAGE STAGE COMMUNITY Wednesday Market: 12-5pm, Fairhaven Village Green 16 GET OUT /#0-.4[06..11] ON STAGE The Servant of Two Masters: 7:30pm, Anacortes 14 Community Theatre Bard on the Beach: Through September, Vanier WORDS Park, Vancouver, B.C. Good, Bad, Ugly: 8pm, Upfront Theatre 10 Damn Yankees: 8pm, Bellingham Theatre Guild The Project: 10pm, Upfront Theatre WORDS CURRENTS CURRENTS Megan Chance: 7pm, Village Books 8 VIEWS VIEWS !-$4[06.x.11] ON STAGE 4 Director’s Cut: 8pm, Upfront Theatre Damn Yankees: 8pm, Bellingham Theatre Guild MAIL MAIL 48 Hour Theater Festival: 8pm and 10pm, iDiOM Theater 2 The Servant of Two Masters: 8pm, Anacortes Community Theatre DO IT IT DO DO IT 2 COPS 911: 10pm, Upfront Theatre DANCE 11 Head back to the 1800s when DANCE Emerald Bay: 7:30pm, Mount Baker Theatre .08.
    [Show full text]
  • The Method of Abjection in Mati Diop's Atlantics Olajide Salawu
    The Method of Abjection in Mati Diop’s Atlantics Olajide Salawu The menace of migration in the Mediterranean Sea caught the world’s attention in 2013 after 366 Africans were caught in a Lampedusa-bound voyage of catastrophe. Ever since, the phenomenon has received more attention than ever before, and many critics have described the media response towards the event as alarmist in constructing the identity of the migrants as invaders, and the epiphenomenon that follows – the censorious and protectionist angst of Europeans.1 The event also hurled forward the horrors of crossing the Saharan desert, and the slave bazaar of black migrants who perceive Europe as an insignia of hope. One of the most eloquent and poetic responses to this event is Josue Guebo’s Think of Lampedusa, a serial poem that historicises the violence and trauma, modern slavery and the looking askance of the European in the wake of this trajectory. Beginning from a confessional angle, the Ivorian poet’s persona intones: ‘I will tell you for the last time/my history, my wave.’2 This former intention, it seems, has gained a late response in Mati Diop’s 2019 film Atlantics (Atlantique in the original). As a filmic reply to the predicament of irregular migration from postcolonial Senegal, Atlantics is a landmark achievement by an auteur with an outstanding cinematic vision. Diop’s imaginative fecundity was already evident in her earlier film, Mille Soleils, and Atlantics announced her as an artist with a clear political, economic and social consciousness. Scholars have linked
    [Show full text]
  • Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
    Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] ​ www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, ​ 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
    [Show full text]
  • 57Th New York Film Festival September 27- October 13, 2019
    57th New York Film Festival September 27- October 13, 2019 filmlinc.org AT ATTHE THE 57 57TH NEWTH NEW YORK YORK FILM FILM FESTIVAL FESTIVAL AndAnd over over 40 40 more more NYFF NYFF alums alums for for your your digitaldigital viewing viewing pleasure pleasure on onthe the new new KINONOW.COM/NYFFKINONOW.COM/NYFF Table of Contents Ticket Information 2 Venue Information 3 Welcome 4 New York Film Festival Programmers 6 Main Slate 7 Talks 24 Spotlight on Documentary 28 Revivals 36 Special Events 44 Retrospective: The ASC at 100 48 Shorts 58 Projections 64 Convergence 76 Artist Initiatives 82 Film at Lincoln Center Board & Staff 84 Sponsors 88 Schedule 89 SHARE YOUR FESTIVAL EXPERIENCE Tag us in your posts with #NYFF filmlinc.org @FilmLinc and @TheNYFF /nyfilmfest /filmlinc Sign up for the latest NYFF news and ticket updates at filmlinc.org/news Ticket Information How to Buy Tickets Online filmlinc.org In Person Advance tickets are available exclusively at the Alice Tully Hall box office: Mon-Sat, 10am to 6pm • Sun, 12pm to 6pm Day-of tickets must be purchased at the corresponding venue’s box office. Ticket Prices Main Slate, Spotlight on Documentary, Special Events*, On Cinema Talks $25 Member & Student • $30 Public *Joker: $40 Member & Student • $50 Public Directors Dialogues, Master Class, Projections, Retrospective, Revivals, Shorts $12 Member & Student • $17 Public Convergence Programs One, Two, Three: $7 Member & Student • $10 Public The Raven: $70 Member & Student • $85 Public Gala Evenings Opening Night, ATH: $85 Member & Student • $120 Public Closing Night & Centerpiece, ATH: $60 Member & Student • $80 Public Non-ATH Venues: $35 Member & Student • $40 Public Projections All-Access Pass $140 Free Events NYFF Live Talks, American Trial: The Eric Garner Story, Holy Night All free talks are subject to availability.
    [Show full text]