DOCSLIB.ORG

Sun 22 Oct All Events Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sun 22 Oct All Events Free all events free sun 15 - sun 22 oct 2017 3 Welcome to madeinroath festival’s 2017 brochure! We hope that this brochure helps you to enjoy this year’s festival, seeing some of the exceptional work that’s been produced this year - from our commissioned programme of Happenings, through to our ever popular Open Houses and Studios, and everything in between! The theme of this year’s festival is ‘When You Have More Than You Need, Build A Longer Table, Not A Higher Fence’ and as we organise madeinroath, we’re reminded time and again of how lucky we are to be able to live and work in such a rich, welcoming creative and inspiring community as Roath. Every year we’re surprised and glad that more and more people want to participate, offering their homes, shops, gardens, energy and talents to help create the festival. We hope that as you wander around Roath, you’ll have an eye to chancing upon something new or intriguing. We’re constantly surprised by the creativity and ingenuity of the festival’s contributors, and we’re sure you will be too. As we imagine looking along our Longer Tables though, at the faces of all the friends sitting along it, we’re also remembering those who aren’t around to take up their place anymore - and how we miss them. Naomi Grisewood, who died very suddenly in May, was a special and lovely friend to madeinroath , supporting us from the festival’s very creation in 2009. Naomi and her family opened their house on several occasions, hosting numerous artists with openness and generosity, and frequently helping out with random mir tasks including administration: her lightning quick touch typing became invaluable at deadlines! We will especially remember the way she championed the value of community and her deep commitment to social justice and we will miss her always. And Sam Aldridge - a Welcome House studio holder and creative powerhouse. We loved Sam, his brilliant sense of humour, his friendliness, his art. We were so excited to see what came next for Sam, he was destined for brilliance. Until we meet again, friends, we’ll save you a seat… 4 “… but I’m new here, will you show me around.” To such a request madeinroath offers an answer, ‘how long you’ve got?’ Made in the mind, the hand, the eye and ear, made in the studio, the kitchen, the garden and shed, made in languages and symbols common and those known only to the maker. Made in jest in haste, in anger, sorrow or doubt or certainty, made in squares, crescents, places, lanes and dead-ends. Made in Teal, Rose, Lily and Miskin, made in Florentia, Fanny, Minny and May. Made the whole year through, in an instant in materials as light as air, and in the dark of night. Made to provoke, to provide, to be given away, made to make a living, made to satisfy the necessary wound. It’s as long as it takes, it’s a chance encounter along the way to another appointment. It’s the memory the next time you pass this way. While madeinroath hasn’t been around for too long, it’s stuck around long enough to get itself and those around it noticed. To the newcomer it might not seem so, but there was a time when it wasn’t so. When Roath wasn’t particular about such things, when it wasn’t conscious of or didn’t care to know that such things could be, of the people and things Roath is and has, rather it slept. Waiting out the years, waiting for a permission, for a talisman of a jubilee, a civic 50-100 years of waiting since the stone was laid or the ribbon cut. For a national lamentation and coronation, an international factotum to grace it giving off colour, and collective memories. It didn’t proceed then in the ways it does now, increasingly by its own authority and conviction, giving up to itself and others what it has and might still have in the future. Not unsurprisingly neither place nor process has yet been fulfilled or exhausted. As ever there’s danger ahead, the danger of becoming an assumed satisfied expectation, so foreclosing on further expectations of and for itself. Without those peoples places materials and times, without their collective expectation – once seemingly unreasonably held ideas once unreasonably nurtured into realisation, we sleep away the all too few and precious days we have. In the meantime, I’m new here, and now we’re awake, will you show me around madeinroath? 5 By My Side, Come Rain or Shine All of the original art work will also be displayed in an al fresco exhibition adorning the railings surrounding The Mackintosh Sports Club throughout the full week of the festival. The project will be part of the opening day of this year’s festival on Sunday 15th October. We will come together as one community to walk through Roath taking in important community and festival locations and ending at Inkspot Arts Space. Food and music will welcome the walkers and flags. Stick around for the evening and you will be treated to musical and visual delights at the madeinroath opening party ‘Congregation’. The By My Side, Come Rain or Shine project has worked with community groups, charities, schools and A very warm welcome to the By My Side, Come Rain colleges from the far reaches of Roath. We would like or Shine project. Join us in celebrating the diverse to applaud the wonderful creativity of: communities, locations, friends and family that make Vision Twenty One, TAVS, Journeys, The Trinity Roath a very special corner of Cardiff. Centre, Cardiff High School, St. Teilo’s Church in Wales High School, Roath Park Primary School, madeinroath, in collaboration with James Cocks will Tredegarville Primary School, Albany Primary School, be occupying the streets, parks, highways and byways The Mackintosh and Plasnewydd Community Gardens, for By My Side, Come Rain or Shine. The project is a Cardiff School of Art and Design and (from a little culmination of several months of meeting and working further afield) The Trebanog Project. with communities in a series of collage based design workshops. Producing printed postcards available to We hope you will stand by us to kick off madeinroath buy at various locations throughout the festival. 2017 as a community, flags-a-waving in the breeze, come rain or shine. A selection of the designs will be transformed into large-scale flags representing all the groups worked James Cocks, Lead Artist & with throughout the project. Pip Tudor, CREATE co-ordinator categories: many thanks to: Huge thanks must go, as ever, to all of our contributors, our exceptional artists, and our open houses & studios generous hosts. spoken word A special thank you to The Gate and Inkspot this year for their generosity and create accommodation of so many events. To Vince and Jill who have generously offered Old Laundry space on Braeval St. Our brilliant creative coordinators, Tom Betts (film), Rachel- happenings Helena Walsh (performance),Christina Thatcher (Spoken Word), Fiona McDonald (marketing), exhibition Georgina Allen (volunteers), Dai Howell (social media), George Keane and Georgia Bowles - our brilliant design team. We’d also like to thank all the local businesses whose support if digital arts so invaluable, Trinity Centre, Spit and Sawdust for storage so much of our stuff and g39 for stage lending us stuff and being lovely. Not forgetting our excellent and very important volunteers who make it all possible (special nod to the ‘Roped In’ crew) and finally Roath! We wouldn’t Disability key: Access want to be anywhere else! Family Thank you xx Friendly The information in the brochure is correct when going to print. However, please check website for any updates or changes to the programme. Thankyou. 6 RKCP Multicycle (Every Little Helps) 2017 Artist Emily Price was commissioned by madeinroath Roath Comminity Garden Project and g39 to work with Plasnewydd and Mackintosh Community Gardens, from April – October 2017. Emily has initiated and facilitated a project: Multicycle (Every Little Helps) 2017, an adaptable and multifunctional vehicle that will serve both community gardens and the wider community in Roath. Multicycle will change form appropriately, as and when is needed; from a portable kitchen, portable storage unit to a portable plant sale. Join Emily and the gardens on the closed road to find out more about Multicycle (Every Little Helps) 2017 and the principles of Arte Útil, which has informed the project. domain of the Office of Useful Art, 3 Garden Shed, g39, Cardiff state. Arte Útil case studies show how During madeinroath week, artist Emily Price is these initiatives opening-up her studio, the garden shed outside are not isolated g39, as a temporary Office of Useful Art. incidents, but part of a larger historical The shed will act as a place where people can find trajectory that is out about Multicycle (Every Little Helps) 2017, a now shaping our project developed by Emily and Plasnewydd and contemporary world.’ http://www.arte-util.org/ Mackintosh Community Gardens, during her six- month residency with madeinroath and g39. Throughout madeinroath week, Emily and members of Mackintosh and Plasnewydd Community As well as offering a physical information centre Gardens will be present in the Office of Useful Art, about the community gardens and the project that ready to answer questions about the project and Price has developed with the garden communities, for people to find out how to get involved with both Office of Useful Art will showcase other projects community gardens that happen a stones throw from the Arte Útil Archive that involve the land, from the garden shed at g39.
Load more

Recommended publications
  • The Art of David Lynch
    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
    [Show full text]
  • ROGÉRIO FERRARAZ O Cinema Limítrofe De David Lynch Programa
    ROGÉRIO FERRARAZ O cinema limítrofe de David Lynch Programa de Estudos Pós-Graduados em Comunicação e Semiótica Pontifícia Universidade Católica de São Paulo (PUC/SP) São Paulo 2003 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC/SP Programa de Estudos Pós-Graduados em Comunicação e Semiótica O cinema limítrofe de David Lynch ROGÉRIO FERRARAZ Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica – Intersemiose na Literatura e nas Artes, sob a orientação da Profa. Dra. Lúcia Nagib São Paulo 2003 Banca Examinadora Dedicatória Às minhas avós Maria (em memória) e Adibe. Agradecimentos - À minha orientadora Profª Drª Lúcia Nagib, pelos ensinamentos, paciência e amizade; - Aos professores, funcionários e colegas do COS (PUC), especialmente aos amigos do Centro de Estudos de Cinema (CEC); - À CAPES, pelas bolsas de doutorado e doutorado sanduíche; - À University of California, Los Angeles (UCLA), por me receber como pesquisador visitante, especialmente ao Prof. Dr. Randal Johnson, supervisor de meus trabalhos no exterior, e aos professores, funcionários e colegas do Department of Spanish and Portuguese, do Department of Film, Television and Digital Media e do UCLA Film and Television Archives; - A David Lynch, pela entrevista concedida e pela simpatia com que me recebeu em sua casa; - Ao American Film Institute (AFI), pela atenção dos funcionários e por disponibilizar os arquivos sobre Lynch; - Aos meus amigos de ontem, hoje e sempre, em especial ao Marcus Bastos e à Maite Conde, pelas incontáveis discussões sobre cinema e sobre a obra de Lynch; - E, claro, a toda minha família, principalmente aos meus pais, Claudio e Laila, pelo amor, carinho, união e suporte – em todos os sentidos.
    [Show full text]
  • Pdf-Collections-.Pdf
    1 Directors p.3 Thematic Collections p.21 Charles Chaplin • Abbas Kiarostami p.4/5 Highlights from Lobster Films p.22 François Truffaut • David Lynch p.6/7 The RKO Collection p.23 Robert Bresson • Krzysztof Kieslowski p.8/9 The Kennedy Films of Robert Drew p.24 D.W. Griffith • Sergei Eisenstein p.10/11 Yiddish Collection p.25 Olivier Assayas • Alain Resnais p.12/13 Themes p.26 Jia Zhangke • Gus Van Sant p.14/15 — Michael Haneke • Xavier Dolan p.16/17 Buster Keaton • Claude Chabrol p.18/19 Actors p.31 Directors CHARLES CHAPLIN THE COMPLETE COLLECTION AVAILABLE IN 2K “A sort of Adam, from whom we are all descended...there were two aspects of — his personality: the vagabond, but also the solitary aristocrat, the prophet, the The Kid • Modern Times • A King in New York • City Lights • The Circus priest and the poet” The Gold Rush • Monsieur Verdoux • The Great Dictator • Limelight FEDERICO FELLINI A Woman of Paris • The Chaplin Revue — Also available: short films from the First National and Keystone collections (in 2k and HD respectively) • Documentaries Charles Chaplin: the Legend of a Century (90’ & 2 x 45’) • Chaplin Today series (10 x 26’) • Charlie Chaplin’s ABC (34’) 4 ABBas KIAROSTAMI NEWLY RESTORED In 2K OR 4K “Kiarostami represents the highest level of artistry in the cinema” — MARTIN SCORSESE Like Someone in Love (in 2k) • Certified Copy (in 2k) • Taste of Cherry (soon in 4k) Shirin (in 2k) • The Wind Will Carry Us (soon in 4k) • Through the Olive Trees (soon in 4k) Ten & 10 on Ten (soon in 4k) • Five (soon in 2k) • ABC Africa (soon
    [Show full text]
  • The Interview Project Sur : Un Road Trip Halluciné Au Fond De L’Amérique, Avec Le Plus Grand Cinéaste Américain Comme Guide
    Document généré le 26 sept. 2021 14:20 24 images The Interview Project sur www.davidlynch.com Un road trip halluciné au fond de l’Amérique, avec le plus grand cinéaste américain comme guide Pierre Barrette États de la nature, états du cinéma Numéro 144, octobre–novembre 2009 URI : https://id.erudit.org/iderudit/25102ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article Barrette, P. (2009). The Interview Project sur www.davidlynch.com : un road trip halluciné au fond de l’Amérique, avec le plus grand cinéaste américain comme guide. 24 images, (144), 4–5. Tous droits réservés © 24/30 I/S, 2009 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ ACTUALITES THE INTERVIEW PROJECT SUR WWW.DAVIDLYNCH.COM Un road trip halluciné au fond de l'Amérique, avec le plus grand cinéaste américain comme guide par Pierre Barrette La météo donnée par David Lynch sur www.davidlynch.com avid Lynch est probablement le et de diffusion qui correspond parfaitement contres de la petite équipe engagée dans un plus pro-Web des cinéastes : son à l'esprit de chercheur indépendant qui le road trip de plusieurs mois, de la Californie à D site, davidlynch.com, est un modèle caractérise.
    [Show full text]
  • La Dernière Frontière Du Cinéma Damien Detcheberry
    Document generated on 09/26/2021 10:26 p.m. 24 images La dernière frontière du cinéma Damien Detcheberry David Lynch – Au carrefour des mondes Number 184, October–November 2017 URI: https://id.erudit.org/iderudit/87067ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Detcheberry, D. (2017). La dernière frontière du cinéma. 24 images, (184), 6–10. Tous droits réservés © 24/30 I/S, 2017 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/ David Lynch – Au carrefour des mondes LA DERNIÈRE FRONTIÈRE DU CINÉMA par Damien Detcheberry Peinture, Mountain With Eye lithographie sur papier japonais (2009) et ouverture de The Elephant Man (1980) « Il est difficile de dire si Lynch est effectivement arrivé à la fin de son œuvre cinématographique1. » Ce commen- taire, tiré de l’ouvrage accompagnant l’exposition que la Fondation Cartier (Paris) a consacrée à David Lynch en 2007, résume bien les interrogations légitimes des admirateurs du réalisateur face au hiatus cinématographique qui a suivi la sortie d’Inland Empire (2006), et à l’explosion soudaine de créations courtes, d’œuvres vidéo, documentaires, interactives, voire tout bonnement inclassables, qui ont été proposées au public depuis le début des années 2000.
    [Show full text]
  • Šablona -- Závěrečná Práce
    Ohebnost zvuku ve filmové tvorbě Davida Lynche Ann Kuznetzova Bakalářská práce 2020 ABSTRAKT Tato práce se zaměřuje na analýzu zvukové tvorby Davida Lynche, především filmové, na příkladu jeho audiovizuálních děl Mazací hlava, Příběh Alvina Straighta, Inland Empire a jejich srovnání. Zabývá se způsobem ztvárnění idejí a určením charakteru zvukové tvorby Davida Lynche. Hlavním cílem je zjistit, do jaké míry je podstatná a v čem spočívá její určující dominantní vlastnost – ohebnost, a také prozkoumat vliv jiných druhů umění, osob, prostředí a událostí, které tvůrce dovedly k vlastnímu uměleckému sebevyjádření prostřednictvím zvuku. Obsahuje také rozhovor se zvukovým inženýrem Johnem Neffem, který se podělil o svoji zkušenost ze spolupráce s Lynchem. Klíčová slova: David Lynch, filmový zvuk, filmová hudba, Mazací hlava, Příběh Alvina Straighta, Inland Empire, Angelo Badalamenti, Alan Splet, Dean Hurley, John Neff ABSTRACT This Bachelor thesis focuses on the soundtrack in the cinematography of David Lynch with its primary goal of analyzing and comparing films of his authorship, in particular Eraserhead, The Straight Story, and Inland Empire. This thesis examines David Lynch’s creative process and establish the essence of his sound design. The aim is to determine wherein lies – and how major of a role plays – the dominant characteristic of David Lynch’s work, its versatility, as well as to explore how the environment, society, and different fields of art influenced the filmmaker in his own artistic expression through the language of sound. To further help answering those questions, an interview with a sound engineer, John Neff, was conducted, in which he talked about his experience of collaborating with David Lynch on several projects.
    [Show full text]
  • Texto Completo (Pdf)
    Dr. Enrique CARRASCO-MOLINA Universidad Europea de Canarias. España. [email protected] Semiosfera y ficción transmedia: Análisis de la migración de David Lynch entre seis canales del discurso artístico (cine, televisión, fotografía, pintura, música y literatura) Semiosphere and transmedia fiction: Analysis of the migration of David Lynch among six channels of artistic discourse (film, television, photography, painting, music and literature) Fecha | Recepción: 13/11/2017 – Revisión: 17/12/2017 - Publicación final: 01/01/2018 Resumen Abstract David Lynch es uno de los cineastas más David Lynch is one of the most controversial controvertidos del panorama creativo filmmakers on the world's creative audiovisual audiovisual mundial. Sus películas y trabajos scene. His films do not leave anyone indifferent: para otros medios, generan legiones de fans y they generate hatreds and praises in equal detractores por doquier. Lo que quizá son poco parts, legions of fans / detractors everywhere, estudiados son los mecanismos narrativos de los including specialized critics. What have been que se vale este creador para hacer migrar su little studied from the academic field are the universo común y particular en procesos mechanisms that this creator uses to migrate his transmedia simultáneos que confluyen entre al common and particular universe towards menos seis canales artísticos, el cine, la simultaneous transmedia processes that televisión, la fotografía, la pintura, la música y la converge among at least six artistic channels,
    [Show full text]
  • David Lynch: Elephant Man (1980, 124 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
    October 30, 2018 (XXXVII:10) David Lynch: Elephant Man (1980, 124 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY David Lynch WRITING screenplay by Christopher De Vore, Eric Bergren, and David Lynch; Frederick Treves (book) (as Sir Frederick Treves), Ashley Montagu (in part on the book "The Elephant Man: A Study in Human Dignity") PRODUCED BY Stuart Cornfeld (executive producer), Jonathan Sanger (producer), and Mel Brooks (executive producer, uncredited) MUSIC John Morris CINEMATOGRAPHY Freddie Francis (director of photography) FILM EDITING Anne V. Coates PRODUCTION DESIGN Stuart Craig ART DIRECTION Robert Cartwright SET DECORATION Hugh Scaife COSTUME DESIGN Patricia Norris MAKEUP DEPARTMENT hairdressers: Paula Gillespie and Stephanie Kaye; makeup artists: Beryl Lerman and Michael Morris; makeup application: 'Elephant Man' / makeup supervisor: Wally Schneiderman; makeup creator: 'Elephant Man' / makeup designer: 'Elephant Man': Christopher Tucker The film received eight nominations at the 1981Academy Awards: Best Picture: Jonathan Sanger; Best Actor in a Leading Role: John Hurt; Best Director: David Lynch; Best Writing, Screenplay Based on Material from Another Medium: Christopher De Vore, Eric Bergren, David Lynch; Best Art Direction-Set Decoration: Stuart Craig, Robert Cartwright, Hugh Scaife; Best Costume Design: Patricia Norris; Best Film Editing: Anne V. Coates; Best Music, Original Score: John Morris. CAST Anthony Hopkins...Frederick Treves John Hurt...John Merrick Alfie Curtis...Milkman Anne Bancroft...Mrs. Kendal Bernadette Milnes...1st Fighting Woman John Gielgud...Carr Gomm Brenda Kempner...2nd Fighting Woman Wendy Hiller...Mothershead Carol Harrison ...Tart (as Carole Harrison) Freddie Jones ...Bytes Hugh Manning...Broadneck Michael Elphick...Night Porter Dennis Burgess...1st Committee Man Hannah Gordon...Mrs.
    [Show full text]
  • Twin Peaks the Return
    CRITICAL ESSAYS on TWIN PEAKS THE RETURN Edited by Antonio Sanna Critical Essays on Twin Peaks: The Return Antonio Sanna Editor Critical Essays on Twin Peaks: The Return Editor Antonio Sanna Independent Scholar Sassari, Italy ISBN 978-3-030-04797-9 ISBN 978-3-030-04798-6 (eBook) https://doi.org/10.1007/978-3-030-04798-6 Library of Congress Control Number: 2018962744 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affliations.
    [Show full text]
  • Lynched the Short Films of David Lynch by Megan Spencer
    Lynched The short films of David Lynch by Megan Spencer Published in .Cent Magazine (London), August 2010, the 'Intoxication' issue, guest edited by Richard Milward ___________________________ He’s a self-confessed caffeine, nicotine and donut addict. He’s also addicted to directing films, Transcendental Meditation and making art. And over the years in his shorts, animations, features and TV series, American fimmaker David Lynch has presented us with an array Portrait by Yuko Nasu of characters wrestling with addictions of their own, be it coffee (Agent Cooper, Twin Peaks), violence (Frank, Blue Velvet), mystery (Betty/Diane, Mulholland Drive), anger, (Randy, Dumbland) and beyond. Lynch’s work seems to be born from if not addiction, then compulsion. Prolific in his output, when he’s not painting, writing books, taking photos, speaking at film festivals and conferences, meditating, animating, directing TV and features, or uploading his latest ‘weather report’ onto his website… Well there aren’t many hours left in the day. However addicted to words the filmmaker is not. Perhaps a ‘war with words’ is too harsh a depiction of the struggle David Lynch appears to go through when he speaks about his work. But if you have heard him talk you will know that speaking doesn’t come easily to the director; not his preferred mode of communication. Perhaps it might be fairer to say that words are Lynch’s ‘second language’, with images, pictures and sounds romping it in in first place. From Eraserhead (1976) through to Inland Empire (2006), neither are words tantamount in his features. Lynch doesn’t write a script like others.
    [Show full text]
  • World AIDS Day Keeps Students Alert
    University of South Carolina Scholar Commons December 2008 12-2-2008 The aiD ly Gamecock, TUESDAY, DECEMBER 2, 2008 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2008_dec Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, TUESDAY, DECEMBER 2, 2008" (2008). December. 2. https://scholarcommons.sc.edu/gamecock_2008_dec/2 This Newspaper is brought to you by the 2008 at Scholar Commons. It has been accepted for inclusion in December by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. SportsSports TheThe MixMix TheThe GamecocksGamecocks hopehope BenBen FFoldsolds uupsps tthehe toto rreboundebound aagainstgainst sarcasmsarcasm oonn ‘‘WayWay ttoo Princeton.Princeton. See page 8 Normal.’Normal.’ SeeSee pagepage 5 dailygamecock.com ● UNIVERSITY OF SOUTH CAROLINA TUESDAY, DECEMBER 2, 2008 VOL. 102, NO. 70 SINCE 1908 World AIDS Day keeps students alert Free HIV testing offered, who is a volunteer and has important day for America been living with HIV for and especially South vigils bring together 16 years, spoke at the State Carolina for AIDS and people affected by virus House last night. HIV awareness,” he said. “It’s great that people are Price is also the assistant taking steps to prevent it,” Viewpoints editor for The Derek Legette he said. “I feel good living Daily Gamecock. THE DAILY GAMECOCK with it but hope no one will Young adults from the also get it.” ages of 17 to 25 currently Monday marked the 20th Dozoier is one of the 33 represent 15 percent of new anniversary of World AIDS million people worldwide cases of HIV in this state Day, and related events will living with HIV/AIDS, alone, according to the continue at USC through according to a (Carolina) handout.
    [Show full text]
  • Inland Empire David Lynch (2006)
    PROJECCIÓ 452 Antiga Audiència, divendres 30 de novembre 2007 Inland Empire David Lynch (2006) Una actriu comença el rodatge d’una pel·lícula, de sobte es veu immersa en un joc de miralls, en què realitat i ficció es confonen en un món inquietant, més enllà de tota racionalitat potser, a hores d’ara, li importen recordem que la seva carrera va Un cineasta hipnòtic. ben poc -només cal recordar la començar com a pintor- fundar Recorden aquells primers minuts recent exposició David Lynch, la seva pròpia productora, crear d’Europa de Lars Von Trier? The air is on fire, de la Fundació la web, davidlynch.co amb Estem recorrent una via de tren Cartier a París- per posar mans continguts de pagament i en càmera subjectiva i un a l’obra i construir tot un univers experimentar amb la imatge a la narrador va comptant d’1 a 10 Lynch que va molt més enllà del campanya publicitària de Play per anunciar-nos que quan hagi cinema. Station per Europa. Són finalitzat el compte ens trobarem precisament els treballs creats en un altre territori. Com la majoria dels autors, en per difondre a Internet mitjançant la seva web els que han Lynch també fa una cosa tot el sentit de la paraula Lynch, esdevingut avenços impagables semblant, tot i que no tant no ha estat gens rendible per a la en la recerca del seu propi explícita a Lost Highway (1997) indústria cinematogràfica. llenguatge i que, potser, havent Ens porta a recórrer una carretera Mullholland Dr. (2001), havia de estat un director mimat per la acompanyats només dels fars del ser un sèrie a l’estil Twin Peaks indústria, no hauria realitzat.
    [Show full text]