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Heavy Hitter Boxing Training

Phil Daru is a fast-rising and well-known pro athlete coach for both male and female MMA athletes. With more than ten years of experience, the strength coach offers effective up-to-date tips that revolve around fitness, strength and conditioning, body transformation including fat loss and muscle growth, as well as sports specific performance. There are hundreds of success stories and numerous accomplishments to Phil's name that can attest to his prowess in the boxing game. The heavy hitter boxing training is a collection of exercise plans designed particularly for boxers. The entire package includes a professional program for top boxers, sport-specific exercises, compound exercises, corrective and core stability exercises and an aerobic energy system that is vital for fight sports. For the boxing training, every program aims at increasing the punching power and improving the ability to perform intense rounds of exercise with minimal fatigue. To obtain full-access to Phil's boxing specific strength and the conditioning program, it requires membership; immediate access to the product is guaranteed from anywhere and anytime with a device desktop or mobile through PDF download and Adobe reader. The Heavy hitter boxing training program is ideal for boxers and combat sports athletes in the intermediate to pro levels. More here...

Heavy Hitter Boxing Training Summary


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Boxing Films And Class

More Hollywood films have been made about boxing than any other sport. The most common narrative for the prizefight film involves the boxer's quick rise from disadvantage to the title, followed by a fall from grace usually due to the seduction of wealth and fame, and some form of redemption in the third act. The heroic triumph over long odds implied in such a bare-bones plot summary explains in part why so many boxing films have been made, and also probably why some of the biggest male stars in the movies have played boxers, including James Cagney, John Garfield, Errol Flynn, Kirk Douglas, Burt Lancaster, Paul Newman, Tony Curtis, Elvis Presley, James Earl Jones, Robert DeNiro, Tom Cruise, Antonio Banderas, Denzel Washington, and the biggest box-office boxer of all time, Sylvester Stallone. While boxing films frequently emphasize self-determination, the historical record again intrudes on many of these stories. Historical contextualization appears in the form of the economic...

Wrapping the Art Department

Unless the art department is located in a furnished office suite found in any of the L.A. Studio complexes, the physical activities of returning rental furniture, Xerox and fax machines, 1 2 tape players, DVD players and monitors, and the boxing physical models, prototype props, document and drafting duplicates all fall within the jurisdiction of the art coordinator and PA staff. For anyone in the department who has generated creative documents, files, or prints, it is a time to collect copies for portfolio use in the ensuing job hunt. Legally, all artwork created for the show is the property of the studio or producing entity, and it must be packaged for storage.

Executive producer producer and producerdirector including The Newport Jazz Festival

I've also produced a few commercials, I've done music videos, and I've done some documentaries, as well as live satellite feeds, award shows. We even did boxing this year. We did Golden Gloves boxing over several days, many hours of live broadcast boxing. And then we cut that down to four to six hours, as another program for an HD channel.

Scorsese the dramatic document

Martin Scorsese's Raging Bull (1980) is both a film document about Jake LaMotta, a middle-heavyweight boxing champion, and a dramatization of LaMotta's personal and professional lives. The dissonance between realism and psychological insight has rarely been more pronounced, primarily because the character of LaMotta (played by Robert Do Niro) is a man who cannot control his rages. He is a jealous husband, an irrational brother, and a prize fighter who taunts his opponents he knows no pain, and his scorn for everyone is so profound that it seems miraculous that the man has not killed anyone by the film's end (Figure 10.4). To create this world, Scorsese relies very heavily on sound. This is not to say that his visuals are not dynamic. He does use a great deal of camera motion (particularly the smooth handheld motion of a Stedicam), subjective camera placement, and close-ups of the fight in slow motion. However, the sound envelops us in the brutality of the boxing ring. In the ring, the...

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Scorsese again cast De Niro in GoodFellas, as Jimmy Conway. De Niro was a regular collaborator with Scorsese. He was the lead in Scorsese's Taxi Driver (1976), New York New York (1977), the acclaimed boxing biography Raging Bull (1980) and The King of Comedy (1983). As Jimmy Conway he delivers one of his best gangster performances, a mature version of mad-ass Johnny Boy. Brooklyn-born Lorraine Bracco was a former model. She was married to Harvey Keitel from 1982-93 Karen Hill remains her best role to date. Handsome Ray Liotta, a dead ringer for Jeffrey Hunter, was cast as her husband Henry. Liotta had appeared in the short-lived TV series Casablanca (1983), and as Shoeless Joe Jackson in Field of Dreams (1989). He had turned down the role of the Joker (finally played by Jack Nicholson) in Batman (1989) to accept the role of Henry Hill. Both Liotta and Joe Pesci were born in Newark, New Jersey. Pesci had caught Scorsese's eye in The Death Collector (1976 -also called Family Enforcer),...

Stanley Kubrick b New York New York July d March

Bronx July 1976

With little patience for formal education, Kubrick spent most of his adolescence in the Bronx, New York, frequenting chess clubs and taking photographs for Look magazine. Using his savings from a Look photo-essay on boxing, Kubrick made his film debut, Day of the Fight (1951), a sixteen-minute documentary on boxer Walter Cartier. This early short demonstrates two of Kubrick's stylistic trademarks elaborately choreographed hand-held camera work and the use of available light. Kubrick's first independent features were Fear and Desire (1953), a psychosexual war thriller that he subsequently disowned, and the hard-boiled, occasionally surreal Killer's Kiss (1955).

Race gender and the male body

The male body has become big business visual spectacle, in contrast to the classical male body, usually seen as the bastion of abstraction from its physical manifestations (except in pornography), neither eroticised nor 'marked' (for fear, it is said, of yielding to the homoerotic subtext that has always been present in Hollywood). Although there have been exceptions in certain genres (such as the boxing film or the war film), certain stars (Clark Gable's string vest), and certain directors, notably in Anthony Mann's Westerns, and almost all of Robert Aldrich's films, classical cinema has mostly shown its-men fully clad and physically unimpaired their Oedipal wounds have remained symbolic, the bodily envelope largely unaffected. But not so in Die Hard, where Bruce Willis's body is exposed and put on display. Physically wounded and relentlessly punished, McClane's vulnerability is graphically shown indeed, his body is 'somatized' and so are we as spectators we 'feel' how...

Thomas Alva Edison b Milan Ohio February d October

Edison was initially interested in motion pictures as a complement to his phonograph. His efforts to combine moving images with synchronous sound were soon abandoned as impractical, but in the meantime Kinetoscope parlors began springing up around the country, featuring short films made in Edison's Black Maria'' studio. Films made at the Black Maria showcased performances by vaudevillians, dancers, acrobats and strongmen, as well as boxing matches and cockfights. Annie Oakley performed at the Black Maria with members of Buffalo Bill's Wild West Show, and one of the most popular films of the day, The Kiss (1896), was made at the studio.

Stopmotion Animation

World's Fair of 1915, O'Brien experimented with his first stop-motion film, of a boxing match, soon to be followed by a prehistoric comedy, The Dinosaur and the Missing Link (1915). In 1925 he made The Lost World, based on a story by Arthur Conan Doyle, assisted by the gifted model maker Marcel Delgado (1901-1976), who constructed 18-inch models influenced by Charles Knight's acclaimed dinosaur paintings in the American Museum of Natural History. RKO then employed O'Brien on the groundbreaking King Kong (1933), which changed the status of special-effects work, fully deploying O'Brien's rear-projection system, which combined background live action with foreground miniature animation, first seen in O'Brien's aborted project, The Creation (1930). King Kong has generated a high degree of critical attention, playing out considerations of its sexual and racial subtexts, and the complex implications of its bestial and imperialist agendas. These issues were revisited in the 2005 remake by...

The law of the small forn and burlesque

Buster Keaton's position, however, is very different. Keaton's paradox is that of inserting burlesque directly into a large form. While it is true that the burlesque belongs essentially to the small form, there is in Keaton something which is incomparable, even with Chaplin who only conquers the large form through the figure of discourse and the relative effacement of the burlesque character. Buster Keaton's profound originality lies in giving the large form a burlesque content which it appeared to challenge, in having reconciled against all the odds - the burlesque and the large form. The hero is like a minuscule dot encompassed by an immense and catastrophic milieu, in a transformation-space espace a transformation vast, changing landscapes and deformable geometric structures, rapids and waterfalls, a great ship drifting on the seas, a town swept by the cyclone, a bridge collapsing like a flattened parallelogram. . . . Keaton's gaze, as Benayoun describes it, seen full on or in...

Criminal Culture and Mass Culture

Criminal subcultures had already been posed as social microcosms throughout the 1940s. More explicitly than any earlier prison film, Brute Force (1947) offered its prison as existential social metaphor for a meaningless, tragically unjust round of activities that would end only in death. The boxing cycle of the later 1940s (Body and Soul, 1947 Champion, 1949 The Set-Up), besides treating the ring as one more exotic milieu to be mined for its sociological interest, insistently equated it with one more inescapable prison. In each of these films, as in the prison and boxing films of the forties, crime is used as a way of converting noncriminal but potentially unbearable social anxieties into entertainment by scaling down their threat from the global to the subcultural level, linking the threat to a series of charismatic heroes and villains who can encourage a strong rooting interest, and directing the audience's concern along the comfortably generic lines of the crime film. Ten years...

Workingclass Entertainment

The presumed audience for motion pictures became a matter of contention in the early decades. Edison's Kinetoscope parlors were often situated near boardwalks or amusement parks, low-cost entertainment for the new industrial urban working class. These early films seem geared toward what was thought to be popular with the working class cockfights, boxing matches, female cooch dancers. On the other side of the Atlantic, though, the Lumi re Brothers (Auguste 1862-1954 and Louis 1864-1948 ) seemed to hypothesize a middle-class audience by making short films depicting the life of the French bourgeoisie respectable men and women in their homes or their gardens or in town. Similarly, the British gentlemen that became known as the Brighton school'' also centered their films on middle-class lives even to the extent of imaging the poor as vagrants intent on stealing babies from bourgeois families, as in Rescued by Rover (1905).

Not as Fake as You Think The Real and the

One fan guide describes wrestling as 'like a live action movie, with the wrestlers playing dual roles as leads and stuntmen' (Mahoney 2000 8). Stunts suggest a notion of the 'real' guaranteed by self-endangerment thus a wrestler can be seen as authentic in the same way that Jackie Chan often is. While no one is meant to believe that Chan's onscreen fights are real, he authenticates himself by documenting pro-filmic risk and injury in the out-takes of stunts gone wrong that accompany the end titles of his films. Elsewhere, I have examined notions of authenticity in relation to Chinese Martial Arts films (Hunt 2003). One of the forms of authenticity I identified there has particular relevance to wrestling. 'Corporeal' authenticity locates the real in evidence of physical danger, in what the star is prepared to subject his or her body to. Mick Foley, like Jackie Chan, has a star persona characterised by self-endangerment, injury and a willingness to endure pain (both theatrical and...

Star Studies After Dyer

These are a few changes that have complicated our picture of stardom across the last three decades. Recent academic work on stardom has had plenty to say about these changing conditions. Among the recent developments has been greater attention to industrial contexts and questions of political economy. Paul McDonald's recent book (2000) provides more than an overview - it is a direct challenge to researchers to think more widely than matters of meaning and performance. He points to the importance of studying matters such as stars' contracts, and the complicated relations between stars' qualities as labour and as capital. He ends by posing an unanswered question about the relations between acting as labour, and actual performances by stars. Christine Geraghty (2000) opens her critical review by noting how profligate the term 'star' has become in light of, for instance, the new significance of sports stars and music stars. Geraghty suggests that it may help to distinguish several kinds...

Independence In Early And Silent American Cinema

American cinema was initially just Edison, but domestic competition in the new medium emerged fairly soon thereafter. Viewing independent cinema as an alternative to a commercial mainstream, it is with these first companies that took on Edison that independent American cinema began. Edison's first real competitor was the American Mutoscope Company, later renamed the American Mutoscope and Biograph Company (routinely referred to simply as Biograph). Biograph was a particularly irksome competitor for two reasons (1) one of the principals in research and development at the company was William K. L. Dickson (1860-1935), an inventor who resigned from his position at Edison in 1895 after doing most of the work on the Kinetograph and the Kinetoscope and (2) the company worked in 70mm, a superior format that provided four times the image surface of the Edison and international industry standard of 35mm. With its first slate of films, Biograph courted the carnival crowd. While Edison stuck...

Bed Stuy The Town Next Door

In his previous films, white people were largely irrelevant. In Do the Right Thing, Lee takes a hard look at friction among the three races living and working side by side in Brooklyn. If Bed-Stuy functions as an image of the destructive effects of inequality, then the opening sequence with Rosie Perez doing an energetic dance to the accompaniment of Public Enemy's Fight the Power announces the theme of fighting back. As she dances, her costume changes from stylish minidress to a boxing trunks and gloves. The questions Lee poses in the film are who to fight against, and by what means. He is particularly incisive in his observations of the varied reactions African Americans have to their life in Bed-Stuy. across their width. In a quasi-musical number, Radio Raheem raps out a parable about love and hate, which he narrates in terms of a violent boxing match. Love is on the ropes but fights back and knocks out Hate, he chants, while punching the air with his armored fists.

FOCUS Editing and Film Form Realism

In its favour was the presence of Robert De Niro, whose name alone had become a crowd-puller, following the enormous success of The Deer Hunter (Cimino, USA, 1978) two years earlier. His preparation for the role, particularly a spectacular weight gain for the older Jake, went straight into legend, sparking off the new interest in the 'star' as (method) actor, where it continues to be almost mandatory for publicity to boast about the depth of commitment demonstrated by actors' studied role preparation. Also, production duo Robert Chartoff and Irwin Winkler had been responsible for another boxing film that had been a gigantic hit just four years earlier Rocky (Avildsen, USA, 1976), which had turned Sylvester Stallone into a star. Raging Bull looked nothing like Rocky, and, lacking the slightest feel-good element, it was much further from normally acceptable Hollywood fare than even Taxi Driver (Scorsese, USA, 1976 see chapter 26). But if Raging Bull risked being found depressing, its...

FOCUS Black American Cinema Political Cinema Race

Handling of lenses, camera angles and colour film stock printing. Still, it demands consideration within the racial context that reflects the thrust of its own political engagement, particularly since Lee's film seeks so consciously to provoke thoughts about the subject of race and society. This factor fuels its most overt visual stylisations, and the subject of racial tension is rarely far from the surface, right from the opening credits, which feature Rosie Perez dancing boxing, sometimes face into the lens (audience), to the chant of a rap song (by Public Enemy) that incites its own audience to 'fight the powers that be'.

Morals And The Community

Exhibitors in the city responded by banding together to form the Association of Moving Picture Exhibitors of New York and quickly gained four temporary injunctions against the mayor's actions. These injunctions ruled that a blanket revocation was an arbitrary action and that licenses could only be revoked individually and for cause.116 In turn, the mayor responded by pushing the Sunday closing issue further, ordering Police Chief Theodore Bingham to explain the rules appertaining to Sunday shows to showmen.117 Bingham obtained a long list of forbidden public performances from Corporation Counsel Pendleton, which followed in part the 1860 statute invoked by the Interdenominational Committee in late 1906 and Justice O'Gormon in late 1907 to ban the performance of any tragedy, comedy, opera, ballet, farce, minstrelsy, dancing as part of a performance, boxing, impersonation of characters, and so on but now included any moving pictures giving a play or part of a play. Significantly, moving...

Censorship in the United Kingdom

Initially, it was the responsibility of local authorities to censor films, but this led to confusion as widely differing standards were applied. Among the first councils to ban a film outright was London County Council, which took objection to a film of the recently contested world heavyweight boxing championship, in which a white man had been beaten by a black opponent (see Richards, 1997, p. 167). In 1912 the British Board of Film Censors was established by the film industry to provide uniform national standards of censorship. The Board has never had a written code of practice although it has published its classification guidelines. The history of regulation and censorship shows, however, that the Board's standards have changed as society has changed. In 1913 there were two certificates 'U' (universal) and 'A' (more suitable for adults). In 1916, BBFC President T.P. O'Connor compiled a list of 43 rules that covered censorship. At that time, Britain was involved in the First World...

Legacy of Historical Techniques

Leonardo da Vinci first advocated the use of the Camera Obscura, or dark room, as an aid to drawing. It wasn't until 1827, a little over three hundred years, that Niepce in France produced the first successful picture image created from chemical materials that hardened after an eight-hour exposure to light. Just fifty years beyond that time in 1878, Scientific American published an article on Eadward Muybridge's animal and locomotion photographic sequences, and then a few years later in 1884 when George Eastman introduced flexible, photographic film for his box cameras at the turn of the century, photography become available to the masses. The still image rapidly became a moving image in America as early as 1908 at Black Maria, Edison's revolving film studio built around the turn of the century in Orange, New Jersey. There he experimented with short films such as Boxing Cats or A Kinetoscope Record of a Sneeze (1894), freeing artists to create moving images without the aid of a pencil...

Raging Bull

I don't know anything about boxing, so Brian De Palma and Jay Cocks took me to see my first fight at Madison Square Garden. I was all the way up in the bleachers and they patiently explained to me what was happening in the ring. Unfortunately, it all looked the same to me. Brian De Palma leaned over and he said good luck trying to come up with an image on this stuff. But I did notice one thing. I noticed that they had a pail and a sponge and they put the sponge on the fighter during breaks. The sponge was filled with blood and it was streaking down the fighter's chest and his back. I said to myself, this is savage.

Alison platt

Take a successful formula and 'continue mining the same seam' (p. 4), a view particularly applicable to Stephen Daldry's Billy Elliot (2000), which surely looks back to Ken Loach's Kes, recycling a motif that worked in 1969 but is stale in the year 2000. It is a manipulative pretence of realism that mars Billy Elliot (streetwise kids of the 1980s never attempted to erase spray-painted graffiti off gravestones by licking their sleeves and rubbing) and in the general scheme of things it feels like a greater achievement to watch Billy Caspar rear and train a wild kestrel in a mining district than to see Billy Elliot gain a place at the Royal Ballet School, even if, as Billy's father points out, 'lads do football or boxing or wrestling not frigging ballet'.3 Perhaps it's not simplistic to propose that Billy Elliot, so to speak, trusts ballet less than Kes trusts falconry or, more importantly, Leacock's The Spanish Gardener trusts gardening. The ancient sport of falconry and the primal...

Jamaa Fanaka

Leon Isaac Kennedy

(Wilfred White), a black homosexual and Seldom Seen (Floyd Chatman), the elderly black inmate who becomes Too Sweet's friend and boxing trainer. Too Sweet's pugilistic skills draw the attention of Lt. Arnsworth, who has an ongoing prison training camp to discover boxers that his brother-in-law can manage professionally on the outside. Arnsworth announces an upcoming boxing tournament where the grand prize is a conjugal visit. Too Sweet wins and discovers that his prize is Linda, the prostitute from the film's opening scene. She confesses to an angry Too Sweet that when he was knocked unconscious in the diner, one of the bikers attempted to rape her, so she stabbed him. When the cops arrived, they charged Too Sweet with the killing. As the film ends, Too Sweet wins a final boxing championship and is leaving prison, with the promise that Seldom Seen will also be paroled to work with him as a trainer. As writer and director, Fanaka is intent upon weaving a tale of revelation that will...

Dialectical Form

Give us what we want Got to give us what we need Our freedom of speech is freedom of death We got to fight the powers that be ) are coun-terpointed by the image of a petite female performing a dance. Yet the dance itself contains its own clash of opposites because it is choreographed as a combination of an aerobic workout session and a fight. The choreography includes multiple shots of Perez punching her fists directly at the audience, at times wearing boxing gloves. Sometimes she looks angry, sometimes she looks sexy, as her pugilistic stances segue into erotic movements. Here, through another clash of opposites, Lee fuses sensual entertainment and political threat. The LOVE and HATE featured so prominently on Radio Raheem's brass knuckles later in the film are symbolically prefigured by Perez's erotic yet angry expressions and dance movements. Lee cuts this sequence in a way that recalls Eisenstein's use of montage (discussed in chapter 2) to create optical shocks. Eisenstein...

Body Movement Space

Judging from the title, you might assume this will be a book about boxing, one of the first and most popular subjects of moving pictures during the 1890s.1 Or maybe you could expect a broader genre study that examines a range of athletic activities captured by early cinema dancing, juggling, tumbling, fencing, marching, and so on. Marcel Mauss called such daily routines body techniques, which he endeavored to classify ethnologically according to various cultural practices.2 Such a generic approach has potential, but my interest lies elsewhere. Shifting from subject matter to theme, we might explore these early moving images of the human figure as marking and measuring foundational concepts of identity gender, race, age, social class, nationality, and disability. In the humanities and social sciences, this is currently the central way that bodies are understood to signify. As feminists have argued, natural bodies and cultural categories such as gender and race mutually constitute one...

Writing Sharon

Serviceably equivocal, the plot of Basic Instinct does not actually condemn Tramell for her behaviour. No extenuating circumstances such as a history of childhood abuse are offered. Tramell delights in manipulating others, shows evident enjoyment in 'perverse' sexual practices and at the end, apparently appeased by the sexual prowess of Detective Nick Curran (Douglas), is unpunished for the murders (Cohan, 1998). Despite the evocation of Monroe, Stone entered the public domain as a sexually aggressive femme fatak or 'bitch goddess'. Her breakthrough role in Total Recall (1990, USA) as a kick-boxing assassin disguised as the wife of Arnold Schwarzenegger, seemed retrospectively to affirm that these qualities were resident in Stone. The mixture of aggression, sexual explicitness and latent misogyny served to align her with sex, rather than film, stardom.

Chapter Seventeen

Now deep into our postproduction period, the months have rolled by, and the warmest winter I can remember has given way to a benign spring. James Earl Jones was presented with a plaque for his humanitarian work, inscribed to James Earl Ray. Tonya Harding chased Paula Jones around the boxing ring. INS student visas for Mohamed Atta and Marwan al-Shehhi arrived at the flight-training school in Florida six months to the day after they took out the twin towers. Mistakes were made on near-cosmic levels by people who should have known far better, and the little evils we perpetrated on The Sweet Life seem endearing by comparison.

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