9 Things Every Entrepreneur Needs to Learn From Woody Allen Editor’s note: James Altucher is an investor, programmer, author, and entrepreneur. He is Managing Director of Formula Capital and has written 6 books on investing. His latest book is I Was Blind But Now I See. You can follow him @jaltucher. I hate Woody Allen. Here’s why. This only happens in Woody Allen movies. And people believed it. (Mariel Hemingway in Manhattan when Woody Allen is breaking up with her) Allen puts out a new movie or two every year. So he’s built up a substantial body of work that we can learn from. (Juliette Lewis in Husbands & Wives) Here’s some of the things I’ve learned from him: 1. He elaborates further. One of my earliest memories is having a babysitter while my parents went to a movie. (Scarlett Johansson in Match Point, one of Allen’s best movies) Woody Allen has also failed spectacularly, in every way we can imagine – personally, professionally, etc. 2. 3. (Winona Ryder in Allen’s “Celebrity”) The entrepreneur, the entre-ployee. 4. 5. 6. 7. 8. 9.
film streaming [Cours en ligne] Sémiologie du Cinéma Discipline, née dans les années 1960, dont l’activité consiste, pour l’analyse du cinéma, dans l’importation et l’exercice des notions et des méthodes de la sémiologie et de la linguistique : code, message, sous-code, énoncé, syntagme, paradigme, signifiant, signifié, articulation, etc. Les thèses fondamentales de la sémiologie du cinéma s’appuient sur ces constatations : – Le cinéma n’est pas une langue, pas même un espéranto, dans la mesure où il est multicodique (même si les théories montagistes du cinéma se sont faites sur le modèle d’une syntaxe cinématographique, de même que la codification traditionnelle des mouvements d’appareil). Il est une sorte de langage, à condition de ne pas s’en tenir à une définition du langage comme « système de signes destinés à la communication » : la signification, la signifiance débordent le domaine du signe et de la communication. – Le nombre d’images réalisables au cinéma est indéfini. Vulgarisation en images : Sur le même thème 29 octobre 2012
A Closed Door That Leaves Us Guessing So, that's a director. You, who are beginning to make films, you must keep a bit of The Tramp in you, and you must have begun already to have a bit of A Countess from Hong Kong in you too. You must always have the extreme youth of The Tramp that wants to speak against society, that we're on the street, that we have the sky and belong to mankind, and you must have begun already to have a bit of A Countess from Hong Kong, being very old and a bit bitter. That, in order to say as he does in that film, that society has let go of him, that it doesn't take an interest in him any more. We make films as members of society, although there are many people who make films, or see films today, and who think that we live on Mars, or the planet in Terminator, or wherever, but no, we live in a society, Japanese, Portuguese, English, but it's a society, and we're living on the planet Earth. This seems abstract, but really it's not. Besides, great directors are never original. [Projection] Thank you.
Mikio Naruse 4 Naruse de plus, vus en juillet. Comment dit-on youpi en japonais ? Epouse (Tsuma, 1953)Portrait de couple avec épouse frustrée et mari infidèle. Sujet récurrent chez Naruse, avec une attention particulière portée à la femme. Coeur d'épouse (Tsuma no kokoro, 1956)Une densité inouïe dans la psychologie de la dizaine de personnages qui peuplent ce film, telle qu'une seule vision n'est pas suffisante. Une femme indomptée (Akurere, 1957)Un Naruse différent : portrait d'une femme d'affaires , au début du XXème siècle, qui traite les hommes sans ménagement et n'aspire qu'à rester libre (on est proche d'un univers mizoguchien). Anzukko (1958)Première partie : Anzukko (petit abricot), jeune fille en fleurs, fait des promenades à bicyclette en compagnie d'aspirants au mariage. Agrandir cette imageRéduire cette image Cliquez ici pour la voir à sa taille originale. Coeur d'épouse
Film review: Bright Star | Film "The beginning of your poem has something very perfect," says Keats's lover, Fanny Brawne, of his Endymion – before complaining that the rest of it isn't nearly as good. Tactfully, Jane Campion allows us to understand that this is not so much a criticism of Keats's poetry but his life, in fact all our lives. They are finest at the beginning and careless youth is an Endymion moment, a blaze of perfection and rightness, destined to decay with adulthood's compromises and responsibilities. With this account of John Keats's love affair with Fanny Brawne, played by Ben Whishaw and Abbie Cornish, Campion has made a fine and even ennobling film: defiantly, unfashionably about the vocation of romantic love. The movie is vulnerable to mockery or irony from pundits who might feel that Campion has neglected to acknowledge the primal force of sex, or from those who feel their appreciation of the poet exceeds that of the director.
Anorexic Logic: On American Psycho "Nothing evokes the end of the world more than a man running straight ahead on a beach ... cocooned in the solitary sacrifice of his energy ... In a sense, he spews himself out ... He has to attain the ecstasy of fatigue, the "high" of mechanical annihilation." "To eat is to appropriate by destruction; it is at the same time to be filled up with a certain being." In the opening sequence of Mary Harron's 2000 film, American Psycho, based on the 1991 novel by Bret Easton Ellis, red sauce which first appears to be blood drips, then runs, over a white background. A butcher knife elegantly cuts into meat on an artfully prepared plate. Bateman's apparent disgust and obsession with bodies (his own, and in particular, the female body) betrays a paradoxical effort to reject the baseness of the "raw," naked body, and to consume, as well as dissect, this body. more in touch with our bodies than ever before. Anorectic individuals do not take into account the body's complexity.
Is Women's Humor Still Taboo? Then Why Are Men Nervous Around Laughing Women? Anthropologists argue that across most cultures, conventional definitions of feminine modesty and a contrived sense of innocence even among women who are clearly adult and experienced causes those women who do laugh freely and openly in public to be regarded and judged as “loose,” “sexually promiscuous,” and “lacking in self-discipline .” Making a joke is read, in other words, as making a pass—which might account for women's hesitation to make many jokes around men. Initiating humor is the first taboo broken—with that one gone, we can assume other barriers are meant to fall. As scholar Judith Wilt has argued, there is a certain kind of women's humor “tumbles over the edge of myth into madness, " the place where comedy ceases to offer comfort and becomes murderous, violent , apocalyptic. "In the early days of carnival " cautions Fay Weldon "they'd like as not burn their chosen virgin to death. Excluded from culture, the laughing woman is "dead" to the established order.