March 2021 Newsletter

Total Page:16

File Type:pdf, Size:1020Kb

March 2021 Newsletter YOUR MONTHLY GUIDE TO PORT’S LIBRARY BOOKINGS March 2021 Local History Center Digitizes Civil War Diary QUICK READS he Local History Center will soon be finalizing a digitization New Expanded Building Hours project 40 years in the making. The diary of Abby Hopper Please limit your visit to 45 minutes per day. Gibbons (1801-1893), American abolitionist, social welfare Monday, Tuesday, Thursday and Friday: activist and volunteer nurse during the civil war will be accessible 10:00 a.m. to 6:00 p.m. through the Library’s digital partnership with New York Heritage, a Wednesday: 11:00 a.m. to 6:00 p.m. research portal containing thousands of digital images relating to Saturday: 9:00 a.m. to 5:00 p.m. the people, places and institutions of New York State. Curbside pickup available: This diary is one of several handwritten Weekdays: 10:00 a.m. to 6:00 p.m. journals contained within the Edwin A. Saturdays: 9:00 a.m. to 5:00 p.m. and Mary Hopper Hopkins Collection. The Bring it Back collection was donated in 1984 by Port As a courtesy, we are no longer collecting fines for Washington resident Elizabeth Hewlett Hopkins who also donated overdue materials. However, please be aware that our extensive Hewlett Collection. any items not returned 30 days after the due date will be billed to replace the item. So please bring In honor of Women’s History Month, the LHC hopes back your overdue items to clear any charges on to preserve the legacy of Gibbons’ activism, which your account. resonates strongly within the pages of her diary. In order to preserve the integrity of the original COVID-19 Vaccine Hotline diary, the LHC will digitize each page and through Open 7:00 a.m. to 10:00 p.m. rehousing efforts, preserve this invaluable resource 7 days a week for years to come. Eligible New Yorkers may schedule vaccination appointments: 1-833-NYS-4-VAX (1-833-697-4829) To access the Edwin A. and Mary Hopper Hopkins Collection or to view our other digital https://am-i-eligible.covid19vaccine.healthny.gov/ collections, please visit https://bit.ly/PWPL_NYHeritage to register online. Save the Date The Friends of the Library PAID Invites you to the U.S. Postage Permit No.1828 Garden City, NY Garden City, 52nd Annual Book & Author Program Non-Profit Organization A Virtual Celebration | Friday, May 14 | 12:00 p.m. to 1:30 p.m. via Zoom about Horse, my new novel due to be published early next year.” Featured author, biographer Blake Bailey (Philip Roth: The Biography): “I’m excited about your Book & Author program, which comes right around the April 6th publication of my Philip Roth biography, and honored to appear with the wonderful Geraldine Brooks. ‘Don’t try to rehabilitate me,’ Philip said, when he chose me as his authorized biographer in 2012. ‘Just make me interesting.’ Given complete access Geraldine Brooks Blake Bailey Susan Isaacs and independence, I hope I did.” Moderator Susan Isaacs is The Friends of the Library’s annual Book & Author Luncheon “over the moon” to appear with the two featured authors. will now be a virtual event. “COVID has forced us to rethink Online reservations for the virtual Book & Author Program our traditional luncheon,” said Amy Bass, President of the will be possible via a special webpage beginning April 1. FOL. Featured author, novelist Geraldine Brooks remarked, Please check PWPL.org/fol or email [email protected] for more POSTAL CUSTOMER POSTAL 11050 NY Port Washington, “I am delighted to share the program with gifted biographer information. Tickets: $50 for this Zoom event. Blake Bailey. My remarks will primarily focus on Year of The Book & Author Program is the FOL’s sole fundraising event. Wonders: A Novel of the Plague, which I wrote nearly Individual and business sponsors are sought beginning at 20 years ago, never dreaming that we would be facing a $250. For more information on sponsorships please email Ellen pandemic in our lifetime. I will also share some thoughts Zimmerman at [email protected] or call 516-883-3298. Revitalizing Our Infrastructure Renovations continue as Lobby Level restroom renovations have begun. Fully renovated, ADA- compliant restrooms have been completed on our Lower Level, including a gender-neutral, family- friendly restroom, and are now available to the public. Please be aware that Lobby Level restrooms Port Washington Public Library Public Washington Port One Library Drive 11050-2794 NY Washington, Port are temporarily closed along with the elevator on the south side of the Library. Kanopy Video Expands to 10 Checkouts Per Month! PWPL is pleased to announce that we have increased the number of titles that you can play each month from 6 to 10 on the Kanopy video streaming service. Kanopy offers more than 30,000 foreign films, classic films, independent features, documentaries, TV shows and experimental works that you will not find anywhere else. Each play credit includes unlimited Find us on Social Media access to each title for 3 days. Kanopy Kids offers a 30-day pass to all the juvenile films and TV shows to keep your child entertained for the entire month. It includes popular TV series, animated storybooks, anime favorites, and language learning videos. The Kanopy app is available on iOS and Android along with all major streaming devices, including Roku, Apple TV, Android TV, Amazon Fire TV, and Samsung Smart TV. Bookings No. 376 / March 2021 To get started visit: PWPL.kanopy.com and login with your PWPL library card to create an Published by the account. Port Washington Public Library One Library Drive Port Washington, NY 11050-2794 PWPL.org Free Legal Forms 516-883-4400 • [email protected] Follow us on Facebook & Instagram PWPL cardholders can easily create free professional Visit our YouTube channel legal forms in a matter of minutes with Nuwav Legal Library Trustees: Documents Online. The subject categories include Wills, Patricia Bridges, President Power of Attorney, Divorce, Business Contracts, Identity Nancy Comer Theft, Lease Agreements, Bankruptcy, Landlord/Tenant William Keller Disputes and more. Simply search for a document type Michael Krevor or subject, input the necessary personal information Adrienne Saur and print your ready-to-use form. Use Nuwav online to Matthew Straus Sima Vasa create New York State legal documents and forms for your personal or business needs. To get started visit: Library Director: bit.ly/NuwavPWPL Keith Klang Bookings Editor: Andrea Niederman Bookings Contributors: Denise Anchico, Jean Bennett, Amy Christake, Lori Gerbasi, Jonathan Guildroy, Kate Monsour, Vanessa Nastro, Elizabeth Rowland, Tony Traguardo, Janet West, Jeff Zeh Library Hours Please see front cover for Library hours. Or visit us online at PWPL.org/Information/Hours FIX Residents of the Port Washington Union Free School District are entitled to a PWPL card, which may also YOUR be used at any Library in Nassau County. To apply for a card, stop by the Library with proof of residence or apply online at PWPL.org/Get-A-Library-Card. CAR Non-residents who work in Port Washington may also apply. Mission Statement The Port Washington Public Library is a center for community engagement, knowledge PWPL Cardholders Have Access and personal enrichment. to Free Reliable Automotive Help Online The Chilton Automotive Library is a web-based tool that provides access to repair, maintenance and service information for cars, trucks, vans, and SUVs. It includes step-by- step repair procedures, troubleshooting guides, photos, diagrams and videos to simplify even the most complicated tasks. In addition, users are able to look up information on recalls and service bulletins, and get help to confidently estimate repair costs. Chilton’s is the perfect solution for all of your vehicle information needs. To get started visit: bit.ly/ChiltonPWPL 2021 Library Budget Vote and Board of Trustees Election Timeline Monday, March 15 ..................................Nominating Petitions Due Wednesday, March 17 ............................Budget Hearing #2 Tuesday, April 6....................................... Personal Registration Day Tuesday, April 6....................................... Budget Hearing #3 / Meet the Candidates 2 Tuesday, April 13..................................... Budget Vote / Trustee Election Wilhelmina Mitchell, First Library Director of PWPL Painted in 1925 by George Henry Taggart. Career & Personal Finance Center Interview Express on Zoom Your Library Card Attention job seekers and high school seniors – prepare for your job Brings the World to You 24/7 or college interviews with communication expert Sandra Meyer. Access digital entertainment and education on The Career & Personal Finance Center is pleased to continue our popular Interview Express service, now available by appointment your phone, tablet, smart TV, and laptop anytime! on Zoom. This service will be provided to anyone who has a job or college interview scheduled in the immediate future and is either CREATIVEBUG RB DIGITAL anxious, a bit nervous, somewhat rusty, or looking to perfect Online arts & crafts TV, courses, movies & concerts their skills prior to the interview. Job seekers and students will be video courses taken through mock interview sessions with the goal of perfecting responses on topics relating to punctuality, maintaining composure, MANGO LYNDA.COM LANGUAGes handling tough questions, salary negotiations, asking the right Online video Online language questions, understanding and expressing interest in the college or training courses company, and finally closing the interview. Resume and cover letter training critique and revisions are included in your session. VAlue LINE LIBBY eBooks, audiobooks, To schedule an Interview Express session, Online Investment magazines, comics please call 516-883-4400 x1400, or email Surveys & graphic novels [email protected]. Express interviews will last one hour and are funded by the Career & Personal Finance Center. Sandra KAnopy PronunCIAtor Movies, TV, Meyer is Vice President of MeyerMix Online language documentaries Productions, LLC.
Recommended publications
  • Downloaded from Manchesterhive.Com at 09/25/2021 10:56:05AM Via Free Access
    A Tale of Two Cities and the Cold War robert giddings There was probably never a book by a great humorist, and an artist so prolific in the conception of character, with so little humour and so few rememberable figures. Its merits lie elsewhere. (John Forster, The Life of Charles Dickens (1872)) R T’ A Tale of Two Cities of 1958 occupies a secure if modest place among that bunch of 1950s British releases based on novels by Dickens, including Brian Desmond Hurst’s Scrooge (1951) and Noel Langley’s The Pickwick Papers (1952).1 When all the arguments about successfully filming Dickens are considered it must be conceded that his fiction offers significant qualities that appeal to film-makers: strong and contrasting characters, fascinating plots and frequent confrontations and collisions of personality. In unsuspected ways, Ralph Thomas’s film is indeed one of the best film versions of a Dickens novel and part of this rests upon the fact that, as Dickens’s novels go, A Tale of Two Cities is unusual. Dickens elaborately works up material in this novel which must have been marinating in his imagination. Two themes stand out: the dual personality, the doppelgänger or alter ego; and mob behaviour when public order collapses. Several strands come together. Dickens had voluminously researched the Gordon Riots which were, up to then, the worst public riots in British history. Charles Mackay’s Popular Delusions and the Madness of Crowds (1845) I am Professor Emeritus in the School of Media Arts, Bournemouth Univer- sity. My schooling was interrupted by polio, but I was very well educated by wireless, cinema and second-hand books.
    [Show full text]
  • British Cinema of the 1950S: a Celebration
    A Tale of Two Cities and the Cold War robert giddings There was probably never a book by a great humorist, and an artist so prolific in the conception of character, with so little humour and so few rememberable figures. Its merits lie elsewhere. (John Forster, The Life of Charles Dickens (1872)) R T’ A Tale of Two Cities of 1958 occupies a secure if modest place among that bunch of 1950s British releases based on novels by Dickens, including Brian Desmond Hurst’s Scrooge (1951) and Noel Langley’s The Pickwick Papers (1952).1 When all the arguments about successfully filming Dickens are considered it must be conceded that his fiction offers significant qualities that appeal to film-makers: strong and contrasting characters, fascinating plots and frequent confrontations and collisions of personality. In unsuspected ways, Ralph Thomas’s film is indeed one of the best film versions of a Dickens novel and part of this rests upon the fact that, as Dickens’s novels go, A Tale of Two Cities is unusual. Dickens elaborately works up material in this novel which must have been marinating in his imagination. Two themes stand out: the dual personality, the doppelgänger or alter ego; and mob behaviour when public order collapses. Several strands come together. Dickens had voluminously researched the Gordon Riots which were, up to then, the worst public riots in British history. Charles Mackay’s Popular Delusions and the Madness of Crowds (1845) I am Professor Emeritus in the School of Media Arts, Bournemouth Univer- sity. My schooling was interrupted by polio, but I was very well educated by wireless, cinema and second-hand books.
    [Show full text]
  • A Subcategory of Neo Noir Film Certificate of Original Authorship
    Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Joseph Losey
    Joseph Losey Cinéma Institut de l’image 21 octobre – 3 novembre 2009 Le Garçon La Bête s’éveille Les Criminels aux cheveux verts The Sleeping Tiger (GB, 1954) 89 min The Criminal / The Concrete Jungle (GB, 1960) 97 min The Boy with Green Hair (USA, 1948) 82 min Joseph Scén. Harold Buchman, Carl Foreman, À partir de 10 ans d’après Maurice Moisiewitsch Scén. Alan Owen, d’après un sujet de Losey Scén. Ben Barzman, Alfred Lewis Levitt Int. Dirk Bogarde, Alexis Smith, Alexander Jimmy Sangster Int. Pat O’Brien, Robert Ryan, Barbara Int. Stanley Baker, Sam Wanamaker, 21 octobre – Knox, Maxine Audley… Grégoire Aslan… 3 novembre 2009 Hale, Dean Stockwell… Un psychiatre installe chez lui un jeune « Cinéaste cosmique (…), Losey Peter, séparé de ses parents par la voyou dont il veut faire un sujet d’expé- Johnny a passé ses trois dernières années de prison à mettre au point le peut être aussi claustrophobique guerre, est recueilli par Gramp, un rience… vieil acteur irlandais chaleureux. Un plus gros vol de sa carrière. À sa sortie, (…). Analyste subtil des gouffres matin, les cheveux de Peter devien- Dirigé par Losey, exilé en Grande-Bre- il met son plan à exécution. Il cache du psychisme et de l’ambiguïté nent subitement verts. Très vite, il sent tagne pour fuir le mccarthysme, sous l’argent, mais il est arrêté avant d’avoir humaine, peintre sans complai- peser sur lui le regard des autres… le pseudonyme de Victor Hanbury, pu informer ses complices. Ceux-ci sance d’une société vouée au La Bête s’éveille, film à l’ambiance s’empressent de le sortir de prison… matérialisme et du pouvoir destruc- Le premier film de Losey.
    [Show full text]
  • Vintage Violence La Strana Violenza Del Cinema Di Losey Tarcisio Lancioni
    Article Vintage Violence. La strana violenza del cinema di Losey LANCIONI, Tarcisio Reference LANCIONI, Tarcisio. Vintage Violence. La strana violenza del cinema di Losey. EU-topias, 2015, vol. 9, p. 95-109 Available at: http://archive-ouverte.unige.ch/unige:133780 Disclaimer: layout of this document may differ from the published version. 1 / 1 DOSSIER: Vintage Violence 95 Vintage Violence La strana violenza del cinema di Losey Tarcisio Lancioni Ricevuto: 15.09.2014 – Accettato: 16.01.2015 Sommario / Resumen / Résumé / Abstract sion («lacération» / «contrainte») face un seuil «conventionnel». Cette hypo- thèse est développée dans l’analyse des films de Joseph Losey dans lesquels Poiché i testi sulla violenza tendono a non interrogarsi sul senso di questo la violence apparaît sous différentes formes sans pourtant jamais devenir concetto, l’articolo prova a delinearne una definizione attraverso la lettura totalement explicite ou spectaculaire. L’article reprend l’analyse de Gilles di qualche classico e di voci dizionariali, per proporre una caratterizzazione Deleuze dans L’image-Mouvement, où il montre comment la violence de Losey della violenza come dispositivo semiotico, di ordine figurale, che articola due est principalement inscrite au corps de l’acteur et au pouvoir de ce dernier diverse figure di aggressione («lacerazione»/«costrizione») contro una soglia de vibrer sous l’influence des pulsions. Mais dans le cinéma de Losey nous «convenzionale». Questa ipotesi viene sviluppata analizzando i film di Losey, pouvons aussi y retrouver d’autres expressions de violence et cet article in cui la violenza appare sotto molteplici forme, pur senza mostrarsi come cherche justement à les comprendre selon le dispositif proposé.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • War Cinema– Or How British Films Learned to Stop Worrying and Love the Affluent Society
    1 THE PROFESSIONAL OFFICER CLASS IN POST- WAR CINEMA– OR HOW BRITISH FILMS LEARNED TO STOP WORRYING AND LOVE THE AFFLUENT SOCIETY A thesis submitted for the degree of Doctor of Philosophy by Andrew Roberts College of Business, Arts and Social Sciences of Brunel University 22nd September2014 2 ABSTRACT My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society.
    [Show full text]
  • National Gallery of Art 2009 Film Program Enters Fall Season with Dynamic Line-Up Including D.C
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: September 2, 2009 National Gallery of Art 2009 Film Program Enters Fall Season With Dynamic Line-Up Including D.C. Film Premieres and Guest Speakers Film still f rom The Korean Wedding Chest (Die Koreanische Hochzeitstruhe) (Ulrike Ottinger, 2008, 35 mm, Korean, English, and German with subtitles, 82 minutes) Image courtesy of the artist. This fall, the National Gallery of Art's film program provides a great variety of work, including area premieres combined with musical performances and appearances by noted film directors, as well as vibrant film series devoted to postwar "British noir" and the American expatriate director Joseph Losey, whose centennial is celebrated this year. Among the film events, on October 4, director Ulrike Ottinger will appear at the Washington premiere of The Korean Wedding Chest to discuss her film about the elegant, ancient tradition of the Korean wedding rite. On October 31, Catia Ott will introduce her film Tevere (Tiber), a cinematic exploration of Rome's famous river that reveals relics, surprises, and obscure spots that have inspired generations of artists. Eight recent works will be shown as part of the National Gallery's film series New Films From Hungary: Selections from Magyar Filmszemle, including the October 10 Washington premiere of White Palms—a feature film directed by Szabolcs Hajdu, inspired by his younger brother's life as a gymnast. Iván Angelusz, a founding member of Katapult Film Ltd., along with artists Ferenc Török and Diana Groó will speak about this dynamic collective of filmmakers and the cinematic talent emerging from Hungary today.
    [Show full text]
  • Joseph Losey À Cannes Gene D
    Document generated on 09/24/2021 4:32 p.m. Séquences La revue de cinéma Joseph Losey à Cannes Gene D. Phillips Le cinéma canadien I Number 50, October 1967 URI: https://id.erudit.org/iderudit/51700ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Phillips, G. D. (1967). Joseph Losey à Cannes. Séquences, (50), 47–51. Tous droits réservés © La revue Séquences Inc., 1967 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Gene D. Phillips Au cours du Festival de Cannes rackux, est plus représentatif de où Joseph Losey remporta le prix l'orientation de son oeuvre pos­ spéckl du jury pour son film Ac­ térieure. cident, j'ai eu l'occasion de discu­ En 1954, il se rendit en Angle­ ter de son oeuvre avec lui. terre en quête d'une liberté artis­ Né au Wisconsin, Losey a réa­ tique plus grande que celle qui lui lisé son premier film de long mé­ était permise à Hollywood. Depruis, trage, The Boy with Green Hair, Losey a dirigé quelques-unes des à Hollywood, en 1948.
    [Show full text]
  • La Violenza Sottile Del Cinema Di Losey Tarcisio Lancioni
    La violenza sottile del cinema di Losey Tarcisio Lancioni “nulla di decisivo può essere pensato al di fuori della violenza” É. Balibar 1. Della violenza Cos’è la violenza? da che cosa la riconosciamo? quand’è che qualcosa ci appare violento? o meglio, quand’è che qualcosa ci significa “violenza”? La letteratura semiotica non ci offre grande aiuto, e benché non manchino studi e lavori su “cose” che classificheremmo senza esitazione violente, come guerre, delitti o torture, non sono riuscito a trovare qualche testo che cerchi specificamente di definire “la violenza”. D’altra parte anche la letteratura classica sul tema, dal Walter Benjamin critico di Sorel ad Hannah Arendt, o da Pierre Clastres a René Girard, sembra assumere la violenza come qualcosa di scontato: vi si discute della legittimità del suo uso, del ruolo della violenza nel formarsi delle società primitive e del suo valore fondativo, ma non si tenta di dire in cosa essa consista né da cosa effettivamente riconosciamo “la violenza”. Per trovare una via di accesso al problema proviamo perciò a rivolgerci al dizionario, luogo istituzionale della memoria semantica della lingua: «violenza. s.f. 1 Forza impetuosa e incontrollata; estens.: la v. del temporale. 2 Azione volontaria, esercitata da un soggetto su un altro, in modo da determinarlo ad agire contro la sua volontà. Violenza assoluta (o violenza materiale), se la resistenza del soggetto è totale. Violenza morale, se è relativa e basata sul timore di chi la subisce. Violenza fisica, se attuata come costrizione materiale. Violenza carnale, il reato di chi impone ad altri con la forza un rapporto sessuale.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 107 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 107 CONGRESS, FIRST SESSION Vol. 147 WASHINGTON, TUESDAY, SEPTEMBER 11, 2001 No. 117 Senate The Senate was not in session today. Its next meeting will be held on Wednesday, September 12, 2001, at 10:00 a.m. House of Representatives TUESDAY, SEPTEMBER 11, 2001 The House met at 9 a.m. The effects on Americans are clear to dreds of billions of dollars in tobacco f most policy-makers. Close to 360,000 settlement that is available only after Americans will die of lung disease this litigation. It is something that this MORNING HOUR DEBATES year. It is the third largest cause of Congress was unwilling or unable to The SPEAKER. Pursuant to the death responsible for one in seven correct to try and help reduce the num- order of the House of January 3, 2001, deaths. More than 25 million Ameri- ber of new addicts and victims. It has the Chair will now recognize Members cans are now living with chronic lung opportunity to help not just the people from lists submitted by the majority disease, and the use of tobacco is the who are addicted to tobacco but to help and minority leaders for morning hour leading cause in that condition. change the patterns in this country, debates. The Chair will alternate rec- Sadly, the impacts of tobacco-related like we are doing in Colombia to help ognition between the parties, with each lung disease is not limited to the farmers be involved with productive party limited to not to exceed 25 min- United States.
    [Show full text]