Meditation Mastery Secrets

Meditation Mastery Secrets

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Deep Zen Meditation By Holothink

Deep Zen meditation can help you to accomplish a deep state of meditation and all the associated benefits. For many men and women, life is busy and that means spending a lot of time frustrated, anxious, and overwhelmed. However, studies indicate that those who enter into meditation on a regular basis are healthier, able to accomplish more and live a more peaceful, successful life. Learning Zen meditation can take years, but there are programs, such as the Holothink Deep Zen program that can help you to enter into a deep level of meditation easily and much more effectively. Read more...

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Sam Peckinpah b Fresno California February d December

Ride the High Country (1962), only his second western, is a melancholy meditation on the fading of the American West's heroes and villains, a topic that was a Peckinpah obsession. Major Dundee (1965) was Peckinpah's first attempt to bring to the screen, in the form of a gritty postCivil War western, his hard-bitten sense of the violent world of men. The film made him a Hollywood pariah for several years. He returned with The Wild Bunch (1969), his most famous film and his bloodiest. About a gang of aging outlaws fighting a last stand on the Texas-Mexico border at the outbreak of World War I, The Wild Bunch made full use of Peckinpah's interest in a realistic portrayal of screen violence. Peckinpah photographed battle scenes with multiple cameras at various speeds in the final edit, the film's violent scenes clearly owe a debt to Sergei Eisenstein. Yet Peckinpah's emphasis on the explosive squib to simulate a bullet's impact on the body was fairly unprecedented, as was his sense of the...

Tell me about editing To what extent do you know what your film is going to be when you start editing or do you find

Of course, by the time you've shot your material you have a better idea of what your story is than when you started the film. It's not like you have no ideas about what you want to make the film about, but you're open to certain possibilities and certain structures. I would say when we started Paradise Lost 2, it was clearly a follow-up film to keep the flame of hope alive for Damien to follow the appeals process. It wasn't until we got into the editing room that it became evident that it was a meditation on the nature of documentary making in general, and specifically the film was about the impact of the first film on the case. And that we only discovered as we were watching the footage and it manifested itself as a theme. So we started to chip away like at a sculpture. The story is in this big block of granite and we started chipping away in the editing room. It's why I don't like making films about past historical events because it's just not as interesting to me as the...

Conclusion Devil and the Politics of Friendship

The close-ups give the viewers a chance to anticipate what Easy must ultimately do before he gives up the idea of being an employee and decides to own his own labor as a private detective (a decision revealed to Odell at the end of the film). Easy must achieve an amical phronesis he must learn how to select friends as part of a micropolitics of survival, which he shares with others in the African American community. It is immediately clear to the viewer that Albright's friendship discourse is betrayed by the strategic look on his face and his bodily comportment. In a meditation on Aristotle's approach to the politics of friendship, Jacques Derrida provides a sketch that excludes people like Albright from the pool of possible friends

Two Existentialist Approaches

In several of his plays and novels, Sartre presents us with an existential hero who confronts meaninglessness and death without succumbing to bad faith. In Sartre's atheistic existentialism, meaning or purpose in life is a product of the individual's free choices rather than a divine plan (or anything else with religious grounding). In this connection, Sartre contrasts authentic with inauthentic living and claims, as we have seen, that to be is to choose oneself. His remarks in Being and Nothingness and elsewhere

Theorizing The Postmodern

It is on these terms that Jean-Francois Lyotard's The Postmodern Condition (1984) addresses our society. Lyotard designates the postmodern as a questioning attitude to the metanarratives of Western thought. By metanarratives Lyotard means the hegemonic paradigms for human organization and behavior, such as Marxism, Christianity, science, fascism, or language. In this basic sense his work is aligned with the fundamental tenets of poststructuralist thought. Furthermore, Lyotard's definition of the postmodern suggests that he understands the modern to be the Enlightenment project of system, reason, order, and symmetry found in the philosophies of Immanuel Kant (1724-1804), Voltaire (1694-1778), and John Locke (1632-1704), rather than the late nineteenth- and early twentieth-century artistic modernism typified by the architecture of the Bauhaus school or classic narrative cinema. Since postmodern has become to some extent a negative epithet used to describe naive, ahistorical cultural...

Madness In Your Method

How do you work best In long stretches or short bursts The screenwriter Mark Spragg prefers total immersion. I work seven days a week, all day long, 'til I drop, so the subconscious is so saturated, it's what I dream about. When I meditate, it comes up, I've already done so much thinking about it.

Lee Pace And sOcial Action

As a filmmaker, Spike Lee has constantly experimented with narrative convention. In She's Gotta Have It (1986), Lee had the main character address his audience directly. The narrative structure of that film was open-ended and rather more a meditation on relationships than a prescription for relationships. The narrative structure of Mo' Better Blues (1990) is also meditative but does not parallel the earlier film. Rather its structure approximates the rhythm of a spontaneous blues riff. A film between the two is even more different. The narrative structure of Do the Right Thing (1989) is analogous to an avalanche rushing down a steep mountain. Racial bigotry is the first rock, and the streets of Brooklyn the valley inundated with the inevitable destructive force of the results of that first rock falling. In relative terms, the exercise of a slower pace in the scenes between the two lovers creates a sense of reason and tolerance that doesn't exist either in the Italian-American...

Chapter Susan Froemke

Longtime filmmaker with Maysles Films, Susan Froemke has been Albert's primary collaborator since his brother David died in 1987. Froemke came to Maysles after a brief stint with WNET in New York. Over two decades, and four Emmy Awards later, she is one of the most respected nonfiction filmmakers in the field. With Maysles, she has crafted close to twenty nonfiction films, including Christo in Paris (1990), Soldiers of Music Rostropovich Returns to Russia (1991), Letting Go A Hospice Journey (1996), and Concert of Wills Making the Getty Center (1998). With Albert, Froemke recently completed an HBO production, LaLee's Kin The Legacy of Cotton, an unflinching look at two stories of seemingly unbeatable odds present-day poverty and illiteracy in the Mississippi Delta. LaLee's Kin won the Cinematography Award at the 2001 Sundance Film Festival and was nominated for a 2002 Academy Award for Best Documentary Feature.

Its All a Big Nothing

Tony's frequent sense of the meaninglessness and nothingness of it all becomes most clearly occasioned through his fear of death, of his own not-being. His fear of death is especially evident in the pilot episode, when he recounts his first collapse and, while undergoing tests, tells Carmela We had some good times, had some good years. This dread is also apparent a few episodes later when Tony obsesses about his good friend Jackie Aprile (Michael Rispoli), who is dying of cancer. The episode begins with a symbol of death and dying, at least in Tony's mind he is disturbed by a painting that hangs in Melfi's waiting room, which depicts a red barn surrounded by peaceful trees. He thinks that the artwork is a psychological test that the therapist has slyly imposed upon her waiting patient. He refers to the rotting trees in the painting, emblems of death, while Melfi finds it intriguing that there is not one detail of the artwork that suggests that the trees are decaying or dead. She...

The case of Saving Private Ryan

This brief description can't capture the powerful emotions created by the experience of the film. Saving Private Ryan is a classic war film, and the goal for Miller, the main character, is to try to survive. His conscious self-sacrifice to save Ryan elevates the premise of the narrative to a meditation on the question of what is worth dying for, and the film implies that there are issues and events in life that are worth dying for. Whether this notion is romantic or realistic is not the point we're concerned with here. What is our concern is how Spielberg elevates the narrative beyond a conventional war

The Mature Auteur La dolce vita and a New Subjective Film Narrative

Ginger Fred Fellini

The discovery of psychoanalysis, the impact of Jung's ideas, and Fel-lini's own explorations of his dreams and fantasies (as well as his persistent illustration of them in his dream notebooks) had a profound influence upon his career. Up to the appearance of La dolce vita, in fact, Fellini's intellectual trajectory seems to be clear His films begin in the shadow of neorealist portraits of life in the sleepy provinces of Italy, focus upon various forms of show-business types, and ultimately lead toward the capital city of Rome and the sweet life of movie stars, gossip columnists, and paparazzi scandalmongers. After that point, Fel-lini's cinema turns inward toward an overriding concern with memory, dreams, a meditation on the nature of cinematic artistry, and the director's fantasies. In short, Fellini's mature career has no trajectory in the same sense that we have identified a single direction in his early works. After La dolce vita, only the artist's creative imagination provides...

Alexis A Tioseco Critic Philippines

Bontoc Eulogy (Marlon Fuentes, USA Philippines) Bontoc Eulogy was made in 1995, but I first saw it - first heard about it - this past March, in Paris of all places at Cinema du Reel. Telling the story of Markod, one of many Filipino savages put on display in the St. Louis World Fair of 1904, the film is a stunning feat of borrowing and appropriation (Edison films, Burton Holmes travel footage), a sincere fake-documentary, and a meditation on the nature of images, memory, identity, and cinema. It is easily one of the best and most intelligent Filipino films in the last 20 years. Le Genou d'Artemide (Jean-Marie Straub, Italy)

Alternative Form And Art Cinema

After his French New Wave films of the 1960s, Godard gained fame and notoriety with his Maoist Marxist-Leninist-inspired 'difficult' period of 1968-72, corresponding to the 'counter-cinema' described above. He was not alone in his politicized rejection of the status quo, but not all film-makers were so dogmatic in their politics. A contrast is provided, for example, by the work of Marguerite Duras, a French writer who turned to film-making in 1971 and proceeded to make some 20 films (see p. 163). While her films conform to a number of aspects of counter-cinema (especially the refusal of identification and of simple narrative structure), her motivation was less a political or ideological programme than simple disgust with the illusionism of conventional film form. More recently, Derek Jarman took the counter-cinema oppositions to the limit with Blue (1993), a meditation on life, death and AIDS and art conducted through an otherwise imageless blue screen meaning is here almost entirely...

Theories of Crime Fiction

By that time, criticism of the detective story, the first sort of crime fiction to have encouraged sustained critical analysis, had already gone through several distinct phases. As early as 1901, G. K. Chesterton had written in A Defence of Detective Stories that such stories are the earliest and only form of popular literature in which is expressed some sense of the poetry of modern life, the romance of the modern city evoked so ably by Robert Louis Stevenson but neglected so completely by most other writers of serious literary pretensions.1 A quarter-century later, after his Father Brown mysteries had captured the popular imagination, Chesterton added a prophetic dimension to his analysis of the genre's appeal Since a detective story's movement from mystery to enlightenment is a prefiguration of the apocalypse, the moment when every earthly veil will be swept away, each mystery must be governed by a single unifying concept that makes its ending not only the bursting of a bubble but...

Orson Welless Early Career

In August of 1939, at age twenty-four, Orson Welles signed a contract with RKO Radio Pictures, Inc. to make three films, one a year. His pay would be 25 percent of the gross profits of each film with an advance of 150,000. At his own choosing, he could be producer, director, writer, actor, or all of the above.1 It was unprecedented in Hollywood for a director to have so much control over all aspects of his film. Welles entered Hollywood with such power because of his success as a theater director in the thirties. He first attracted attention at age twenty with a project sponsored by the New Deal's Works Progress Administration (WPA), a production for the Negro Theater Project in Harlem of Macbeth in a Haitian setting and with an all-black cast. He was later commissioned by the WPA to create, in partnership with John Houseman, his own company, for which he directed a Brechtian jazz opera, The Cradle Will Rock, with a score by Marc Blitzstein. The subject was the unionization of the...

Generic Conventions and Gender

Red River provides an essential key to understanding the interplay and exchange between genders that figures so prominently in Hawks's films, as well as offering a meditation on the meaning of masculinity and femininity in the Western a genre overcrowded with stalwart male characters who are often willing to underestimate or ignore the role of women and feminine values in the settling of the West. It is worth noting that the title Red River was of Hawks's own choosing and that he insisted on it over the objections of everyone involved in the production of the film, all of whom feared it sounded too much like a B-movie (McCarthy 418). Hawks was right. For such a work as this, the liminal space of a river which is like that of gender, another natural boundary to be crossed in the process of discovery was the most appropriate emblem and title for the film.

Sequence Analysis Of The Saraghina Sequence

Next we see Guido in meditation over the mummified remains of a decaying female saint. In confession he is asked if he is aware that Sara-ghina is the devil. His ordeal over at last, he kneels before a statue of the Virgin Mary, perhaps asking forgiveness. But despite the strong measures the church has taken to curb Guido's sexuality, Guido is drawn back to

Theorists of Instincts and Drives

If Metz can be understood as a theoretician who incorporated Freud's psychoanalysis into his semiotic framework, Laura Mulvey can be seen as a writer interested in symptomatic readings of films for the insights they can yield into the workings of society. Her later work increasingly emphasizes the mythic underpinnings that are not specific to the cinema but that are shared by other mass-culture forms. Such works are collective fantasies containing clues that can be deciphered to uncover the hidden underpinnings of the culture.33 By investigating the Oedipal dimensions of Blue Velvet, for instance, Mulvey can discuss how this particular reworking of the Oedipus story sheds light on Enlightenment thought and the fascination with the hidden and archaic in modern American culture. The Hollywood melodrama is particularly productive for her because of the way melodrama uses a historical myth while it simultaneously symptomises the history of its own time.34 Melodrama, with its emphasis on...

Contemporary Film Genres And Postmodernism

The term postmodernism begs an obvious question what is modernism Modernism is a term that has been used to describe developments in the arts and is one aspect of modernity. Modernity was built on the values of the eighteenth-century Enlightenment which foresaw a new age of science, reason, liberation, freedom and progress. The new outlook that emerged in the modern era was wide-ranging and encompassed the arts, science, philosophy, economics and politics. A strong element in this new outlook was the desire to explain the world, to provide answers.

Imitation And Innovation

Tarantino uses this frame to break our expectations of a linear treatment of the gangster genre. If the film were linear, the story would follow a rise and fall story line. Given the circularity of the story line, Tarantino can meditate on the pursuit of work and pleasure in the world of the gangster. Both are fraught with a fatalism that underscores the fragility of life and, in the case of one of the characters, Jules (Samuel Jackson), causes him to give up the life for a pursuit that will be more spiritual. The actual story line is, in reality, three story lines Vincent Vega and Marsellus Wallace's wife, The Gold Watch, and The Bonnie Situation. Characters from each story line appear in the other stories. The first story is the story of Vincent Vega (John Travolta), who, with his partner, Jules, proceeds to kill some young dealers who have betrayed their employer, Marsellus. The second part of this story is the date Vincent has with Mia (Uma Thurman), Marsellus's wife. This...

The Case Of The Thin Red Line

In order to give the film shape Malick poses a series of relationships, keying in on those relationships to break down the geography and the chronological progress of a significant World War II battle. Private Witt in the company relates to humanity in general, as we have seen. He relates to the native islanders as he does to his own comrades he relates to them as people, as a part of humanity rather than as the enemy separated out of humanity. He even relates to the enemy, who in the end will kill him. Private Bell, on the other hand, relates more to the home front than he does to his comrades or to his presence on the island. American soldiers are not the only relationships Malick explores. Enemy soldiers when captured express the pain, the unbearable pain of losing their comrades. This particular scene humanizes the enemy just as the later death scene of Private Witt humanizes Witt as well as the enemy. Throughout the narrative Malick humanizes and individualizes so that the...

FOCUS Film History Art and Institutional Constraints

The Soviet (Bolshevik) government nationalised the film industry in February 1918. It set up a special cinema section in the Commissariat of the Enlightenment, with Lenin's wife in charge. Life was hard - there was a civil war raging (which in 1919 it looked like the Bolsheviks would lose) - but young cadres flocked to the film industry.

When People See People

The idea of the face as an encounter with difference is central to Emmanuel Levinas' philosophy of ethics. In 'Ethics as First Philosophy', Levinas asserts that the experience of coming face to face with another is the primary experience of existence. He argues that becoming 'I' involves first facing up to responsibility for the Other 'Responsibility for the Other, for the naked face of the first individual to come along, a responsibility that goes beyond what I may or may not have done to the Other, whatever act I may or may not have committed, as if I were devoted to the other before being devoted to myself. Or more exactly, as if I had to answer for the other's death even before being yxxx For Levinas, the relation of face-to-faceness constitutes a unique experience in which we recognise not that we live because the other dies, but that we live only to recognise the Other's death. This recognition is possible, he argues, because of the transcendence of the face. In his essay,...

Landscape in the Mist

At fifty-two, Theo Angelopoulos is a cinematic master who is virtually unknown here. A manic culture doesn't sit still to meditate and dream, and so, to our detriment, we're now supporting one kind of cinema only. During the 1980s, Angelopoulos made three related films Voyage to Cythera (1983), The Beekeeper (1986), and Landscape in the Mist a series often compared to Wim Wenders's road trilogy. But Wenders's heroes are youngish hipsters, whereas Angelopoulos usually makes films with obsessed, aging protagonists. As a Greek, Angelopou-los appreciates ruins flesh as well as stones.

The Law Of The Father

Paternal authority is not, however, a natural given. It is an essential part of western culture, a construct derived from Enlightenment thinking, which holds that reason and authority are masculine, while nature and emotion are coded as feminine. This has important repercussions in terms of gender roles, particularly within the heterosexual family where, according to the Enlightenment tradition, 'the father is to be the source of reason. He is also to be the source of discipline for, as Kant says , Discipline changes animal nature into human nature '.40 One could say that the importance of fatherhood in Delon's star image shifts him from 'animal nature into human nature'. Belmondo's juvenile clowning is also in part authorised by the paternal discipline and authority that his off-screen persona possesses. He is often represented as a patriarch in the popular press, an image which is strengthened by reference to his Italian roots and the traditional family structures which he has...

The nature of general categories

Thematic criticism is not an arbitrary activity that involves analysing a film in terms of the critic's idiosyncratic set of values. Instead, it relates films and other forms of human communication to a small, basic set of values universally shared by all humans. For Jonathan Culler, thematic criticism involves analysing a text 'as expressing a significant attitude to some problem concerning man and or his relation to the universe' (Culler 1975 115). Universal humanist values therefore offer a motivated point of closure in thematic criticism 'primary human experiences serve as conventional stopping points for the process of symbolic or thematic interpretation' (p. 228). Barbara Smith similarly argues that 'allusions to any of the natural stopping places of our lives and experiences - sleep, death, winter, and so forth - tend to give closural force' (in Culler 1975 228). Barthes makes the body the centre of symbolic meaning (which he discusses under the 'symbolic code' in S Z see...

Nothing a Whole Lot of Nothing

There's something very freeing about doing nothing, experiencing nothingness. Samuel Beckett wrote brilliant existential plays about nothingness. Larry David, the creator of the TV show Seinfeld, proved that something about nothing could become very popular (and lucrative). Perhaps, just perhaps, in the middle of your daydreaming, you may find a thought, a word, or

FOCUS Auteur

The movie is concerned with, and gripped by, obsession love obsession, control obsession, white-knight-to-the-rescue obsession, obsession obsession. In modem jargon, James Stewart's character 'Scottie' is a 'love addict' - that is, he cannot conceive of a relationship as a mature matter between equals, but only as a game of power and pursuit revolving ultimately round himself. He is an empty soul, and this film possesses some of the paranoid chase qualities that mark much of Hitchcock's best work The Thirty-Nine Steps (UK, 1935), both versions of The Man who Knew Too Much (UK, 1934 USA, 1956), even the wheelchair-bound Rear Window (USA, 1954) (see chapter 16). The 'vertigo' of the title is not just a nifty plot device, but an emblem of deep and debilitating fears. Intimacy and tenderness, along with all their emotional and sexual connotations, are the true villains crouching at the centre of this narrative maze, so much so that Scottie never dares enter its heart instead, he pursues...

Foucault

Endless monologue of the person watched - thus preserving the old asylum structure of non-reciprocal observation but balancing it, in a nonsymmetrical reciprocity, by the new structure of language without response' (Foucault 1988 250-1, cited in Jay 1993 292). From it, Foucault concluded that Freud's method could not but assist the state, religion, and other discourses of power in maintaining the status quo and keeping the subject in thrall. Rather than safeguarding an 'interiority' inaccessible to control and discipline, the modern 'subject' (political as well as psychic) was the effect of the discourses that the different 'regimes' of power inscribed on 'the body' -an entity category that neither Enlightenment philosophy nor bourgeois society, neither Marxism nor psychoanalysis had a place for other than as criminalized, medicalized, subordinate, or symptomatic. Again, taking his cue from Nietzsche, Foucault saw the body as having its own history, at once matrix for and site of the...

Face to Face

When Benjamin dreamed up his angel it was, as I mentioned earlier, at a time of crisis in his life. In fact, Scholem tells us the piece refers to two kinds of crisis one personal, one political. At the time the piece was written - 1933 - Benjamin was a refugee. And it was in this desperate state, Scholem says, that Benjamin came to 'review his life through a new meditation about Paul Klee's Angelus Novus' - a picture that belonged to Benjamin but at the time was 'present only in his imagination' (67). He says that, for his friend, the imagined picture 'allied itself with the review of his life as writer, as Jew, and as unrequited lover' (67). But even as it revealed to him these transformations, his secret name retains what Scholem calls 'its magic character' by joining together the angelic and demonic forces of life in the most intimate union, namely, two sides of a face. For Benjamin, the secret name revealed to him in the two faces of his angel is, he writes, 'a union of the...

Mental Relaxation

An ordinary metal folding chair is good or any sturdy, straight-backed chair with no arms and no cushions. Have a clock nearby, so you can time yourself. In the beginning, give yourself twenty minutes. At first, just try and breathe calmly and fully with closed eyes. Try and take the pressure off. Unlike yoga or meditation, where you are told to always go back to the mantra and remain calm, these exercises are geared to bring you more in touch with how you feel and what's going on with you at that very moment. You must try and remain present. You must try not to retreat into a dreamlike state or shut down completely and feel nothing. As human beings, we are living and feeling all the time. Actors are professional feelers. The trick is to learn how to feel many complex things and to remain relaxed. This is true of all acting, but it is particularly true of film acting, where the camera reads everything and the actor is often confined to little or no movement.

Freedom Chasers

Important to be able to connect with the producer so that their goals and my goals mesh. I think filmmakers need to ask themselves why they're doing a particular story and meditate on that to be clear. Are you doing it just to make money or get recognition or because you're trying to help other people What's your calling What's your relationship with the people in your story Passion and determination is also important. I've seen people where nothing's going to get in their way of making a film happen, and that might be a corporate producer who does this at night or on the side. It might be an individual who's doing totally other things to make money but does the film on the side because they're so committed to the reason that they're doing it. It might be an issue on AIDS or a child with a learning disability or MS, you name it, but they're really drawn to it. If you're clear about why you're telling a story, it'll make what you're going for that much easier.

On Editing II

Within the scene itself the MTV style focuses on feeling over the progress of the narrative. In the last chapter we looked at a single example, Oliver Stone's Natural Born Killers (1994). In this chapter, we expand this exploration to look at different narrative conventions that have emerged from the influence of MTV style. In the case of Wong Kar-wai's In the Mood for Love (2000), the filmmaker has taken a classic melodrama, a doomed love story, and by adopting an MTV approach, he alters the specificity of the narrative to become an existential meditation on yearning and loneliness. Similarly, Ang Lee's MTV editing of the fight sequences in Crouching Tiger, Hidden Dragon (2000) transforms a Kung Fu action film into a feminist melodrama about the clash of the traditional with the modern. Very often the MTV style self-reflexively uses the media itself as a character in the narrative. Juzo Itami in his film Tampopo (1987) uses this characteristic both to frame his narrative as well as...

Bruce Babington

Like Sweet Dreams, Coal Miner's Daughter closes with the title number. In this case, the song restates for a last time the narrative's dual trajectory Lynn's rise from poverty to success and the doubling back in which her art affirms the continuity of her origins. This is the most self-consciously referential of the three songs, its lyrics explicitly meditating on the meanings of Lynn's art and of Country music itself. The number has further narrative significance as the moment of Lynn's comeback after her breakdown. As such, it rearticulates her bond with her audience, a bond which had disintegrated in periods of panic as, for instance, when a female fan had torn at her hair.

Unforgiven

Munny takes a significant three days to recover, though not even the pain and humiliation he suffered can resurrect the cold-blooded killer instinct. It's a terrible thing to kill a man. You take away everything he has and everything he's going to have. With every shot, Unforgiven pounds home the lesson that death is not abstract, that the person you gun down has the same subjectivity as you. The film is just enough of a shoot-'em-up to make it a meditation on the practice, not just the theory, of violence.

Dean Lockwood

Rational critique, for Walter Benjamin, belonged to a world of innocent vision, 'where perspectives and prospects counted and where it was still possible to take a standpoint' (1979, originally 1928 89). This world no longer existed for Benjamin, and now, even more than in his time, the eye is constricted and clouded by proliferating representations. An Enlightenment critic such as Marx had recourse to the visual rhetoric of traditional metaphysics, opposing the 'natural vision of natural objects' to the technological spectacle of the camera obscura as metaphor for the ideological inversion and deformation of our circumstances (Cohen 1989 103). Marx believed clear eyes could spy an escape route from this darkened chamber. Benjamin, however, perceived no clearly posted exit from the riotous, overlit showcase into which we are plunged in the thoroughly mediatized world. As Margaret Cohen has shown, in Benjamin's Arcades Project, ideology is phantasmagorical rather than reflective. His...

Personal Journeyman

McElwee combines a unique verite style with musings from behind the camera to create films that communicate and engage viewers on many levels. His films are unique among the voices here in that he not only captures slices of life, but he includes his connectivity to them and their experiences with very compassionate and personal commentary. From his first film, Charleen (1978), which was awarded Best Feature Documentary of 1980 by the Boston Society of Film Critics, to Sherman's March A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation (1986), which was awarded 1986 Best Feature at Sundance and runner-up Best Feature Documentary by the National Board of Film Critics, to Time Indefinite (1993), which garnered the distinction of best from several festivals, to Six O'Clock News (1996), McElwee takes us on journeys across America and across generations to paint unforgettable portraits of family, friends, and people along the way.

Existential Errors

Barnes, who translated Sartre's Being and Nothingness and who is perhaps Sartre's best known American acolyte, called Mailer's account nihilistic fulfillment and claimed that such ideas were contrary to that of any writer associated with existentialism.16 But Barnes is forgetful and far too kind, as the example of Sartre's introduction to Fanon's book confirms. There is also the German existentialist Martin Heidegger's enthusiastic support of the Third Reich and the French existentialist Simone de Beauvoir's defense of the Marquis de Sade, from whom the term sadism comes, titled Must We Burn Sade Beauvoir writes Sade's merit lies not only in his having proclaimed aloud what everyone admits with shame to himself, but in the fact that he did not simply resign himself. He chose cruelty rather than indifference.17 But note the fallacy of false alternatives, as if Sade's only options were cruelty and indifference. Note also that Sade left victims in his wake, a fact that must not...

Revolutionary Period

Meanwhile, the regime campaigned to cinefy the countryside by spreading the exhibition network to reach the entire Soviet population. By 1928 urban spectators could see movies in 2,730 commercial movie theaters, almost twice the number from 1913. This commercial exhibition network was complemented by worker clubs, a Soviet innovation to provide industrial workers and their families with entertainment and cultural enlightenment during leisure hours. Some 4,680 worker clubs regularly showed movies at discount prices to proletarian audiences. And for the first time, cinema was reaching the vast peasant population. Both fixed and portable projectors served villages by the late 1920s in 1928, 1,820 villages had permanent installations and another 3,770 portable units toured rural circuits.

Self Doubts

I can't think of an occasion where I have ever felt inclined to censor myself in my writing, but I sure have had lots of doubts in my actual performance. I continue to deal with self-doubts before, after, and during the performance. I've found that meditation and acknowledging my fears are the most helpful ways of dealing with performance anxiety. I can tell you that coming to New York City and opening off-Broadway was the scariest thing I've ever done.

Meditation for Everyday Living

Meditation for Everyday Living

Always wondered what meditation is all about but didn't knew who to ask? Here are some great information which will answer all of you questions on meditation. Do you want to improve your life? Are there areas of your life that just aren’t quite right? I felt the same way a few years ago. Although I had a good job and a nice family, there were parts of my life that definitely needed improvement.

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