Jay-Z, Solange Knowles Have
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Pérez Art Museum Miami Announces Exclusive Screening of Solange Knowles’S New Film, When I Get Home
Pérez Art Museum Miami Announces Exclusive Screening of Solange Knowles’s New Film, When I Get Home Screening Concludes PAMM’s Community Night Program, “Art as Film” Thursday, August 1, 6-10PM Film still from Solange’s new film, When I Get Home (2019). WHO/WHAT: Pérez Art Museum Miami (PAMM) is pleased to announce an exclusive screening of the interdisciplinary performance art film When I Get Home (2019) by visual artist and singer/songwriter, Solange Knowles for the museum’s free Community Night on Thursday, August 1. PAMM’s Community Night program, “Art as Film,” features a stellar line-up of selections from Miami’s film producing community through a series of shorts that highlight the best of Miami’s film scene. The program will include presentations from AD Hoc Cinema, Black Lounge Film Series, Coral Gables Cinema, Cosford Cinema, FilmGate, Flaming Classics, Miami Film Festival, Media + Archival Studies, Oolite, and Third Horizon Film Festival. The evening will conclude with an extended director's cut of Solange’s new film, When I Get Home (2019). The film will premiere across renowned museums and contemporary arts institutions across the USA and Europe from July 17, 2019 before closing as part of Chinati Weekend on October 13, 2019 The film was directed and edited by Solange Knowles with contributing directors Alan Ferguson, Terence Nance, Jacolby Satterwhite, and Ray Tintori, with artist contributions that include Houston-based Autumn Knight and Robert Pruitt and sculptural work by the artist, "Boundless Body" an 8 by 100 ft. rodeo arena displayed in the desert of Marfa. -
December 2014 ONECELEBRATEWITHUS Join the Celebration As We Usher in a New Year of Cinema in Iowa City
A COLLABORATION WITH DEC FilmScene Staff THE EYE OPENER 12-21 Joe Tiefenthaler, Executive Director Andy Brodie, Program Director Complete info at www.icfilmscene.org/flam Andrew Sherburne, Sunday, December 14th Associate Director A curated week of new releases and restored classics on literature, art and music. Tickets: $35 for non-members / $25 for members / Emily Salmonson, Series Pass: $30 non-members / $20 members. Regular price for individual shows. $15 for supporting role and leading role members Director of Operations / FREE for Founders Circle and Screen Legend Ross Meyer, Head Projectionist and Facilities Manager Join FilmScene in celebrating the one year Dan DeMarco, Theater Staff anniversary of the opening of our downtown Jon Graf, Theater Staff Aaron Holmgren, Theater Staff cinema with a delicious brunch of chicken & DIALOGUE: Director Q&A NEWLY RESTORED! NEWLY RESTORED! waffles, scrambled eggs with local cheeses, Phil Ochs, Theater Staff MUSIC OF THE BURROUGHS: ROME, OPEN CITY Tony Pomales, Theater Staff beignets, mini donuts, mimosas and a cash MOMENT THE MOVIE (1983) (2014) Dir. Roberto Emily Brown, Projectionist bar. While you eat, be entertained by music (2014) Dir. Kevin Wisor. Dir. Howard Brookner. Rossellini. Legendary Kelly Gallagher, Projectionist from the films of our first year and the Iowa A locally-made feature The first and only doc Italian drama about the Kasia Plazinska, Projectionist premiere of an acclaimed short film. doc exploring the art of made with the Nazi occupation of Board of Directors improvised music, shot full participation of writer Rome and the brave few Michael Finlayson, Chair FILMFOODDRINKSMUSIC in Iowa City. William S. -
Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX. -
Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked. -
Get Me Bodied Mp3
Get me bodied mp3 Get Me Bodied. Artist: Beyonce. MB · Get Me Bodied. Artist: Beyonce. MB · Get Me Bodied. Artist: Beyonce. Beyoncé's official video for 'Get Me Bodied' ft. Kelly Rowland, Michelle Williams and Solange Knowles. Buy Get Me Bodied (Extended Mix): Read 28 Digital Music Reviews - Nine, four, eight, one. B-Day Verse 1 mission one. Imma put this on. When he see me in the dress I'ma get me some (hey) mission two. Gotta make that call. Watch the video, get the download or listen to Beyoncé – Get Me Bodied for free. Get Me Bodied appears on the album B'Day. Discover more music, gig and. Watch the video, get the download or listen to Beyoncé – Get Me Bodied (Extended Mix) for free. Get Me Bodied (Extended Mix) appears on the album B'Day. Fabolous & NMC Feat. Beyonce Get Me Bodied free mp3 download and stream. Watch Get Me Bodied (Timbaland Remix) by Beyoncé online at Discover the latest music videos by. Beyonce – Get Me Bodied (Acapella). Artist: Beyonce, Song: Get Me Bodied (Acapella), Duration: , Size: MB, Bitrate: kbit/sec, Type: mp3. Beyoncé's official video for 'Get Me Bodied' ft. Kelly Rowland, Michelle Williams and Solange Knowles (Timbaland Remix). Click to listen to Beyoncé on Spotify. Lyrics to song "Get Me 3" by Beyonce: Get Me Bodied by Beyonce 9 - 4- B-Day Verse 1 Mission One I'ma put this on When he see me in this dress. Beyonce – Get Me Bodied (Extended Mix) – 98 BPM. Categories: s, BPM, Pop. Audio Player. /audio/3. -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 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 Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
Irreplaceable Lhand$Day$ Pg
DEALS OF THE $DAY$ PG. 3 THURSDAY, JULY 26, 2018 DEALS OF THE IRREPLACEABLE LHAND$DAY$ PG. 3 Beyoncé scholarship a big hit with Lynn girl dealt By Bella diGrazia of eight recipients of the Homecoming Scholars $1.15M ITEM STAFF Award for the 2018-2019 academic year, a merit DEALS program founded by Beyoncé as part of her Bey- LYNN — Most people never think they’re going GOOD campaign. On Monday, it was announced OF THE to meet their biggest idol, but Allana Bare eld by HUD did. And it didn’t end there. that Bare eld was chosen as the only student to $ $ represent her school, Xavier University, which is DAY The Lynn native and Lynn English gradu- By GaylaPG. 3Cawley ate (class of 2015) grew up idolizing Beyoncé located in New Orleans. ITEM STAFF Knowles. Last year, during an NBA All-Star “I woke up, just a typical day, trying to catch up party that Bare eld and her friends attended on my news and I get a noti cation from someone LYNN — Lynn Hous- last minute, she came face-to-face with the sing- congratulating me and I had no clue what was ing Authority & Neigh- er and thought her biggest dream was ful lled. borhood Development That was until she found out she was named one SCHOLARSHIP, A7 Beyonce (LHAND)DEALS has been awarded $1.15 million from theOF U.S. THE Department of Housing and Urban De- velopment$DA (HUD),Y$ which will fund aPG. four-year 3 pro- gram aimed at improving the quality of life of Cur- win Circle public housing residents. -
A Máquina Fílmica E a Tela Preta/Branca Como Ferramentas De
A máquina fílmica e a tela preta/branca como ferramentas de desterritorialização The filmmaking machine and the black/white screen as a tool of deterritorialization https://doi.org/10.34112/2317-0972a2018v36n72p15-28 Tanya Shilina-Conte1 Resumo: Este trabalho2 explora os papéis e as funções da tela preta e branca no cinema. Toma como base a filosofia de Gilles Deleuze em geral e sua teoria do cinema em especial, fazendo uma análise transversal dos quadros conceituais. Explorando as abordagens contemporâneas do cinema menor, e através de uma comparação com o conceito de “literatura menor” de Deleuze e Félix Guattari, examina-se a tela preta/branca como uma ferramenta de desterri- torialização da linguagem cinematográfica hegemônica e como uma introjeção da gagueira e do mutismo nas obras. Defende-se que as telas pretas e brancas são empregadas no cinema como um método de desterritorialização ou como uma forma de “tornar estranho” o regime de significação dominante dos códigos e práticas de Hollywood. Esses cortes pretos ou bran- cos contrapõem-se à História oficial no singular e à grande narrativa enquanto totalidades, introduzindo na obra uma multiplicidade de outras possíveis narrativas (histórias). Palavras-chave: Máquina fílmica; telas pretas e brancas; leitura de filmes. Abstract: This paper explores the roles and functions of the black/white screen in ci- nema. Drawing extensively, but not exclusively, on Gilles Deleuze’s philosophy in general and his theory of cinema in particular, we conduct a transversal analysis of conceptual 1. Universidade Estadual de Nova Iorque, Buffalo, NY, Estados Unidos da América. 2. Tradução de Marcus Novaes. -
Michigan Chronicle
City.Life.Style. Where City Meets Life and Life Meets Style C1 | January 22-28, 2020 michiganchronicle.com 2010-2020: The Apex of Black Music & Social Media By Trevor W. Coleman II t the end of a decade, and approaching a new, the dominating pres- ence of hip hop and R&B is operating on a new foundation – social Amedia. The influence an artist has on pop culture and music quality almost always coincides with the artist’s presence on social media. When looking back at the songs that will form the popular music for the 2010 decade, such as Drake’s 2016 single Hotline Bling, or this year’s Old Town Road, these songs can’t be mentioned without noting their respective memes and the social media commotion that trailed these songs for months after their releases. The unification of social media and hip hop music is the source of influence in which established and emerging artists benefit. When a song is popular on social media, the artist has all they need to establish a fan base even before recording a full-length album or releasing another single. This year has been the biggest example of rappers emerging from social media: Megan Thee Stallion off the Hot Girl Summer hashtag and Lil Nas X with the buzz of Old Town Road stemming from video-sharing app TikTok earlier this year. When it comes to The influence that these songs have had on pop music throughout 2019 the careers of artists is an example of black social media’s influence on pop culture. -
Taking the Kinks out of Your Hair and out of Your Mind: a Study on Black Hair and the Intersections of Race and Gender in the United States
Taking the Kinks Out of Your Hair and Out of Your Mind: A study on Black hair and the intersections of race and gender in the United States Tyler Berkeley Brewington Senior Comprehensive Thesis Urban and Environmental Policy Professor Bhavna Shamasunder Professor Robert Gottlieb April 19, 2013 Acknowledgements First and foremost, I would like to thank God for giving me the strength to finish this project. All thanks goes to Him for allowing me to develop this project in ways that I didn’t even believe were possible. Secondly, I would like to thank my family and friends for supporting me through this process. Thank you for helping me edit my thesis, for sharing links about natural hair with me, and for connecting me with people to interview. Your love and support enable me to do everything – I am nothing without you! I would also like to thank Professor Shamasunder for being an amazing advisor and for always being there for me. Thank you for all of our office hours sessions, for your critical eye, and also for supporting this project from day one. I appreciate you so much! Also, I would like to thank Professor Gottlieb for helping me remain calm and thinking about the important body of work that I am producing. Thank you also for being such a great advisor to me throughout the years and for helping me find my passion! Finally, I would like to dedicate this report to “all the colored girls who considered going natural when the relaxer is enuf.” Thank you for inspiring me to go natural, this project would not have been possible without you. -
Black Women's Music Database
By Stephanie Y. Evans & Stephanie Shonekan Black Women’s Music Database chronicles over 600 Africana singers, songwriters, composers, and musicians from around the world. The database was created by Dr. Stephanie Evans, a professor of Black women’s studies (intellectual history) and developed in collaboration with Dr. Stephanie Shonekon, a professor of Black studies and music (ethnomusicology). Together, with support from top music scholars, the Stephanies established this project to encourage interdisciplinary research, expand creative production, facilitate community building and, most importantly, to recognize and support Black women’s creative genius. This database will be useful for music scholars and ethnomusicologists, music historians, and contemporary performers, as well as general audiences and music therapists. Music heals. The purpose of the Black Women’s Music Database research collective is to amplify voices of singers, musicians, and scholars by encouraging public appreciation, study, practice, performance, and publication, that centers Black women’s experiences, knowledge, and perspectives. This project maps leading Black women artists in multiple genres of music, including gospel, blues, classical, jazz, R & B, soul, opera, theater, rock-n-roll, disco, hip hop, salsa, Afro- beat, bossa nova, soka, and more. Study of African American music is now well established. Beginning with publications like The Music of Black Americans by Eileen Southern (1971) and African American Music by Mellonee Burnim and Portia Maultsby (2006), -
Beyoncé's Lemonade Collaborator Melo-X Gives First Interview on Making of the Album.” Pitchfork, 25 Apr
FACULTADE DE FILOLOXÍA DEPARTAMENTO DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Beyoncé’s Lemonade: “A winner don’t quit” ANDREA PATIÑO DE ARTAZA TFG 2017 Vº Bº COORDINADORA MARÍA FRÍAS RUDOLPHI Table of Contents Abstract 1. Introduction 3 2. Methodology 4 3. Beyonce's Lemonade (2016) 5 3.1 Denial: “Hold Up” 6 3.2 Accountability: “Daddy Lessons” 12 3.3 Hope: “Freedom” 21 3.4 Formation 33 4. Conclusion 44 5. Works Cited 46 Appendix 49 Abstract Beyoncé’s latest album has become an instant social phenomenon worldwide. Given its innovative poetic, visual, musical and socio-politic impact, the famous and controversial African American singer has taken an untraveled road—both personal and professional. The purpose of this essay is to provide a close reading of the poetry, music, lyrics and visuals in four sections from Beyoncé’s critically acclaimed Lemonade (2016). To this end, I have chosen what I believe are the most representative sections of Lemonade together with their respective songs. Thus, I focus on the song “Hold Up” from Denial; “Daddy Lessons” from Accountability, “Freedom” from Hope, and “Formation,” where Beyoncé addresses topics such as infidelity, racism, women’s representation, and racism and inequality. I analyse these topics through a close-reading and interpretation of Warsan Shire’s poetry (a source of inspiration), as well as Beyoncé’s own music, lyrics, and imagery. From this analysis, it is safe to say that Lemonade is a relevant work of art that will perdure in time, since it highlights positive representations of African-Americans, at the same time Beyoncé critically denounces the current racial unrest lived in the USA.