Repost @protesebucomaxilo_ufrgs Esse vídeo vale cada segundo! “Anna Coleman Ladd, uma escultora estadunidense, que devotou sua vida na arte de criar máscaras faciais para soldados desfigurados na Primeira Guerra Mundial.” . . . . . . . . #pbmf #protesesfaciais #protesebucomaxilofacial #proteseoculopalpebral (à Lausanne, Switzerland) https://www.instagram.com/p/CEVQ4c_gImq/?igshid=1oo1xet2wnqla
Strong black protectors. We protect, we clean, we build, we cook, We love, we are some proud black Mutha Fuckers #PBMF #ComedianWillit #Flyingblackunicorns #ONCEUPONATIMEINBROOKLYN #thisthingwecallcomedy #nyccomedian #comedian #Brooklyn #Brooklyndreams #jokes #laugh #onceuponatimeinsketchybrooklyn #laughteristheropy #smile #DREAMING #NYC #newyork #Mommaimadeit
Pittsburgh Black Media Federation will conduct a week-long workshop called the Frank Bolden Urban Journalism Workshop every summer from Sat. Aug. 2 - Sat. Aug. 9.
The purpose behind the workshop is to help train young students who
may be interested in pursuing a career in journalism. Nationally,
because only 4.65 percent of journalists in newsrooms are black, and
because many good students show a reluctance to enter the field, a
strong need exists for such a workshop.
Members of the Pittsburgh Black Media Federation, who work for the New
Pittsburgh Courier, the Pittsburgh Post-Gazette, the Pittsburgh
Tribune-Review, WTAE, WPXI, WQED, KDKA, KQV, WAMO, WPGH and others,
have decided to devote their time to the workshop as instructors.
Point Park University, Downtown, is the site of the seven-day
residential program, and many businesses and community organizations
donate time, money and effort to ensure the success of the workshop.
The program is COMPLETELY FREE to students, and is designed to
encourage high school youths from diverse backgrounds to enter the
profession of journalism. Students will meet with instructors, all of
whom are employed in the media, for a week of rigorous training in
meeting deadlines, producing and editing a paper and producing and
delivering a television and radio news program.
While our application deadline has technically passed, we still have
several slots available for interested students. If you have any
students you think might be interested in taking advantage of this
opportunity, please refer him/her to this application link -
http://pbmf.org/?page_id=43.
Greetings, and welcome to Peanut Butter Mother Fucker! For the foreseeable future, this will be my home for unintelligible ramblings about movies and possibly other fun subjects! I’ll be a little rusty for awhile since it’s been ~2 years since I did this, so stick around and keep checking for new updates as I start getting back into the habit of writing. Feel free to poke, prod, or question me on anything you read.
The word for a film developed over four years, independently funded, and spanning six separate vignettes between the year 1849 and some decades after 2321 might be ‘ambitious,’ but the right word for the end result is ‘masterful.’ While watching Cloud Atlas, it is clear we are moving toward some kind of new cinema, one not bound by commonplace narrative continuity and single genre dabbling. I have not seen such a complete multi-narrative since 2006’s Babel, except that film still only operates within one genre -- drama.
It was clearly a challenge to put this together. The co-directors have praised editor Alex Berner in interviews for his superb handling of the footage. Thematic, graphic, action, music cue, and even actor matching from scene to scene are all utilized here to great effect to keep the story moving and connect each vignette. The photography by cinematographers John Toll and Frank Griebe is evocative, daring and always at the service of the narrative. Emotional catharsis is truly earned by the time the credits roll.
The key to this successful catharsis is the wise choice to have the same actors portray different characters in each time period. It shines as a secret weapon of the film and a wonderful translation of author David Mitchell’s intent for Cloud Atlas. We should applaud every actor in this film for their brilliant efforts. Some blend so well into their different roles that only upon repeated viewings can one realize where every actor appears. It is quite exciting, and importantly, fun, to find each actor, especially for those in cross-dressed, gender bending roles wearing heavy makeup. Watching the filmmakers use males and females so interchangeably it is hard to ignore, but never distracting, and considering the enlightenment of Lana Wachowski, this decision must be very personal.
Underneath it all, the film shows immense respect for storytelling as art. Different mediums abound throughout: a journalist speaks her experiences into a tape recorder, a corrupt CEO speaks on television, a snooping teen neighbor writes the screenplay of the journalist’s murder mystery, a book publisher reminisces about a past love and his ordeal at a nursing home is portrayed in a future film, a music composer writes numerous letters to his lover, and an old man’s vague speech is a dramatic campfire tale for children. Through the depiction of the arts, Cloud Atlas pays homage to the durability of storytelling and expresses the necessity of passing on lessons to future generations.
As for the storytelling itself, the film transcends the “good guys versus bad guys” quagmire with a very simple idea, an idea that is the glue between theme and narrative: each soul in the stories presented is on a path to progress. Whether good or bad, each character has the opportunity to save their soul and alter their future. By the end of the film’s timeline, Hugh Grant is barely recognizable and Hugo Weaving is GREEN. Their souls have become so corrupted that the positive forces in the world have no choice but to defeat them.
Experiencing this film superficially is a big mistake. With its big, blustery heart and emphatic message, Cloud Atlas might just be a towering landmark in modern cinema. Only time will tell. It is not a bombastic, pretentious or naïve pseudo-intellectual affair but beautiful and truthful. It digs up and confronts the dirty truths of oppression, whether it is slavery, fascism, corporate corruption and greed, or even savage tribal fear mongering.
Though these “human connection” and “defeat oppression” themes sound cliché, the film never rings false. Yes, the narrative’s message is blatant. The theatricality of the costuming and makeup is not subtle. But whatever criticisms pinned to the film, I believe this overtness is to the point the directors are trying to make. In fact, it is refreshing. Subtlety is overrated, and for this story it would undermine everything. The understated nature of many films released in the past five years has become a chore to slog through. For Cloud Atlas to be so bold in its approach and boast so much confidence doing it, and succeed, is most certainly an achievement.
As each story concludes, the film’s understanding of the human condition becomes clear: in order to survive, we must love one another. Recalling the Wachowskis’ penchant for religious allegory, it is no surprise that this is the “new commandment” Jesus gives to his followers at the Last Supper. Love is what we humans practice in all shapes and sizes. Friendship can be found in the most unlikely of places. It’s how we express our love that is the challenge. It changes us. And once we are changed, we must do all we can to spread that to others. Love conquers all, indeed.