Thursday, November 17, 2011

American Zombie

  • Filmmakers Grace Lee ( The Grace Lee Project ) and John Solomon ( Nonsense Man ) team up to shoot a documentary about high-functioning zombies living in Los Angeles and their struggles to gain acceptance in human society.Despite their wildly different working styles, Grace and John manage to chronicle the hopes and dreams of four fascinating subjects: IVAN, a convenience-store clerk who longs for
Filmmakers Grace Lee ( The Grace Lee Project ) and John Solomon ( Nonsense Man ) team up to shoot a documentary about high-functioning zombies living in Los Angeles and their struggles to gain acceptance in human society.Despite their wildly different working styles Grace and John manage to chronicle the hopes and dreams of four fascinating subjects: IVAN a convenience-store clerk who longs for a career in publishing; LISA a florist trying to recover her lost memories; JUDY a hopeless romantic who le! arns to accept her true nature; and JOEL (pronounced Yo-El ) a committed political activist striving for zombie rights. As Grace strives to get to know the zombies on their own terms John is eager to uncover their darker side and rallies to get the crew permission to shoot at a three-day zombies-only retreat called Live Dead where the documentary takes an unexpected and dangerous turn. What transpires there is beyond anything the filmmakers could imagine as they are forced to re-evaluate their ideas about tolerance identity politics and the future of the human race.Format: DVD MOVIE Genre: HORROR/COMEDIC HORROR UPC: 881394105027 Manufacturer No: CLS1050

Children of Huang Shi - Laminated Movie Poster - 11 x 17 Inch (28cm x 44cm)

  • You are looking at a beautiful, professionally laminated poster.
  • Lamination is a cost effective way to extend the life of your print or poster.
  • Rolled and shipped in a sturdy tube.
  • Clear lamination is an effective solution for protecting your print or poster from fading, dirt, fingerprints, moisture, bends, tears and rips.
  • This poster is from Children of Huang Shi (2008)
Set in war-ravaged China during the late 1930s, Huang Shi is based on true events. It's the story of a young Englishman, George Hogg (Rhys Meyers), who led sixty orphaned boys on a journey across the Liu Pan Shan mountains to safety on the edge of the Mongolian desert.The Children of Huang Shi is a powerful, inspiring film about a real-life, outsider hero who emerged from Japan's catastrophic invasion of China in 1937. A British journalist, George Hogg (Jonathan Rhys Meyers) s! neaks into Nanjing at the height of Japan's destruction of that cosmopolitan city. Rescued from certain death by a suave rebel named Chen Hansheng (Chow Yun-Fat), Hogg goes deep into China's countryside in search of another front to the war. Instead of furthering his career, however, Hogg is talked into taking control of a destitute orphanage occupied by starving, lice-ridden, half-savage boys. A roving nurse, Lee Pearson (Radha Mitchell), keeps Hogg focused on his task, provides him with medical supplies, and ultimately becomes his lover. But the former reporter has to figure many things out on his own, including how to inspire the boys to help fend for themselves.

With the Japanese closing in on the orphanage and the Chinese looking at the boys as likely soldiers, Hogg, Pearson, and Hansheng lead the kids on an extraordinarily strenuous, 700-mile hike to Marco Polo's so-called Silk Road, leading to the Gobi Desert. The second half of The Children of Huang Shi ! is taken up by this sometimes deadly labor, and director Roger! Spottis woode balances the dreariness of it with knockout images of mountains and eerie, desert vistas. The multi-national cast is the best thing about the film, which avoids canonizing the saintly Hogg by not ignoring his sins of pride (he refers to the kids as "my boys" to the wrong Chinese authority, and pays the price) and jealousy. Chow's jaunty persona adds an essential swagger to this Schindler's List-like story, but it's Mitchell's gritty, soul-weary performance that really grabs one's attention. --Tom Keogh

Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lex! icon in the sharing of human knowledge. This particular book contains chapters focused on Films set in Jiangsu, and Nanking Massacre films.Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Nanking Massacre films.Bron: Wikipedia. Pagina's: 33. Hoofdstukken: The Voyage that Shook the World, Bangkok Hilton, Mad Max, The Black Balloon, The Children of Huang Shi, Mad Max 2, Disgrace, Mary and Max, Babe, Mad Max Beyond Thunderdome, Babe: Pig in the City, Dying Breed, The Phantom, Moulin Rouge! !, Alexandra's Project, The King's Speech, Crocodile Dundee, P! aradise Road, Australia, Crocodile Dundee II, Vinyan, De cup, Rogue, The Year of Living Dangerously, Jindabyne, The Jammed, Death Defying Acts, Dead Calm, Wolf Creek, Muriel's Wedding, 20,000 Leagues Under the Sea, Black Water, The Adventures of Priscilla, Queen of the Desert, Aquamarine, The Pirate Movie, Candy, Gallipoli, Rabbit-Proof Fence, The Proposition, Thunderstruck, The Chain Reaction, Three to Tango, Komodo, Salute of the Jugger, Attack Force Z, Red Flag over Tibet, December Boys, Storm Warning, Dingo, Holy Smoke, The Crocodile Hunter: Collision Course, Swimming Upstream. Uittreksel: The Voyage that Shook the World (ook: Darwin: The Voyage that Shook the World) is een gedramatiseerde anti-evolutionaire documentaire uit 2009 van Creation Ministries International, een jongeaardecreationistische organisatie. Het is geproduceerd door Fathom Media. In de film worden de evolutietheorie, intelligent design en creationisme belicht. De titel van de film verwijst naar de reis met he! t schip de Beagle die Charles Darwin van 1831 tot 1836 maakte. De film werd uitgebracht ter gelegenheid van feit dat Charles Darwin 200 jaar geleden was geboren evenals het feit dat 150 jaar geleden zijn werk De oorsprong der soorten werd uitgebracht. Charles Darwin in 1816, op zevenjarige leeftijd. Reis van de Beagle.De film begint met een beschrijving van Charles Darwin als kind: Darwin was iemand die over alles vragen stelde evenals iemand die er van hield om grootse verhalen te bedenken en vertellen. Darwin werd geboren in een gelovig gezin. Zijn grootvader Erasmus Darwin en tijdgenoot Josiah Wedgwood worden genoemd als vrijdenkende rationalisten...Forrás: Wikipedia. Oldalak: 24. Fejezetek: Félelem nélkül, Tigris és sárkány, Secret, Confucius, Aranyvirág átka, The Warlords, The Children of Huang Shi, A tiltott királyság, Ocean Heaven, Initial D, Ellenséges vágyak, 2046, True Legend, Kung Fu Dunk, Old Boys, A repülÅ' tÅ'rök klánja, Shaolin templom, The So! rcerer and the White Snake, A karate kölyök, HÅ's, A pofonok! földje , Jackie Chan: A katona, The Flying Swords of Dragon Gate, The Battle of Dingjunshan, Shaolin harcművészete, A bosszú harcosa, Shaolin templom 2., The Knot, Sanghaji Filmkritikusok Díja. Idézet: A Félelem nélkül (Huo Yuan Jia, egyszerűsített kínai írásmóddal: 霍元ç"², magyaros átírással: Huo Jüan-csia, nemzetközi címe: Fearless illetve Jet Li's Fearless; alternatív magyar cím: A küzdelem útja) című kínai harcművészeti film Jet Li utolsó )filmjeként készült. A film ) életének egyes állomásait mutatja be, gyerekkorától egészen haláláig. A rendezÅ' Ronny Yu, a harckoreográfiát ) készítette, a zenét Umebajasi Sigeru szerezte, a film betétdalát a népszerű kínai popsztár, Jay Chou énekli. A film Jet Li ötlete alapján készült, aki a harcművészet lényegét összefoglaló alkotást szeretett volna létrehozni, mely a saját életfilozófiáját is közvetíti. A filmet 2005 tavas! zán kezdték forgatni, a kilencvennapos munkálatok júliusban fejezÅ'dtek be. A film viszonylag kevés drótköteles rásegítést és CGI-effektet alkalmaz, mert a rendezÅ' eltökélt szándéka volt, hogy hagyja Li harcművészetét érvényesülni. Li ellenfelei a filmben valódi harcművészek és sportolók, Nakamura Sidó kivételével. ) minden vágya, hogy harcművészetet tanuljon híres harcművész édesapjától, ám a kisfiú asztmás, így szigorú apja nem engedi meg neki, helyette írást kell tanulnia. A kisfiú azonban, miután apját legyÅ'zi a rivális iskola vezetÅ'je, elhatározza, hogy Å' lesz a környék legnagyobb harcosa és sosem fog veszíteni. Ellopja apja harcművészetet oktató könyvét és megkéri legjobb barátját, hogy másolja le ...Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedi! a articles and images under Creative Commons licensing, althou! gh as He phaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book contains chapters focused on Second Sino-Japanese War films, and Nanking Massacre films.MovieGoods has Amazon's largest selection of movie and TV show memorabilia, including posters, film cells and more: tens of thousands of items to choose from. We also offer a full selection of framed and laminated posters. Customer satisfaction is always guaranteed when you buy from MovieGoods on Amazon.

George A. Romero's Diary of the Dead

  • From legendary frightmaster George A. Romero comes one of the most daring, hypnotic and absolutely vital horror films of the past decade (fangoria.com). Romero continues his influential Dead series, this time focusing on a terrified group of college film students who record the pandemic rise of flesh-eating zombies while struggling for their own survival. Format: DVD MOVIE Genre: HORROR
From legendary frightmaster George A. Romero comes one of the most daring, hypnotic and absolutely vital horror films of the past decade (fangoria.com). Romero continues his influential Dead series, this time focusing on a terrified group of college film students who record the pandemic rise of flesh-eating zombies while struggling for their own survival. Intensely gruesome and relentlessly grisly fueled by the directors signature realistic special effects Diary of the Dead is must-see horror that is Romero a! t his finest (bloody-disgusting.com).George Romero has always come up with new ways of treating his zombies, and Diary of the Dead is no exception: Romero keeps his dead fresh, with an original approach to the undying subject. This one purports to be the video record of a group of young people who are shooting a low-budget horror movie when the terror strikes: corpses begin re-animating, intent on chewing the living. Our heroes trek across Pennsylvania, encountering the staggering zombies as they go. Other pieces of video are incorporated, which gives Romero a chance at some great set-pieces, including the brilliant opening sequence, a live local-TV feed that goes horribly, horribly wrong, and a home-video tape from a family birthday party, where the party clown turns out to be a dead ringer. All of Romero's Dead films are political, and this one's no exception, with a stark view of the way things are today; it doesn't offer the Hawksian heroics of the survivo! rs in Dawn of the Dead or Land of the Dead for c! omfort, just a group of bickering, shocked youths. There's too much talk about the detachment of watching things through a lens, but in general this is a bracing, intelligent movie. Plus, there's some excellent splatter. --Robert Horton

Qualatex 260 Balloons (100/bag) Assorted Pink, Pastel Blue, White, Onyx Black, Quartz Purple, Sapphire Blue, Emerald Green, Ruby Red, Citrine Yellow and Mandarin Orange

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What if the person you desired most was the one person you were forbidden to love? OscarÂ(r) winner* Tim Robbins and OscarÂ(r) nominee** Samantha Morton "make a sexy and moving pair of desperadoes" (Entertainment Weekly) in this "provocative, quietly erotic" (Premiere)sci-fi thriller from the director of 24 Hour Party People. In the near future, privileged classes live and work "inside" cities, while non-citizens scratch out a miserable existence "outside" in a vast desert. People cannot leave their designated zones without special visas known as"papeles." When fraudulent papeles surface, Seattle investigator William Geld (Robbins) travels to Shanghai to ferret out the culprit and meets Maria Gonzalez (Morton) a woman with whom he has a passionate affair but breaks one of society's harshest laws: Code 46. *2003: Suppo! rting Actor, Mystic River **2003: Actress, In America; 1999: Supporting Actress, Sweet and LowdownLike Gattaca did before it, Code 46 extrapolates from the present to posit a chilling, dystopian look at our genetically regimented future. In the corporate-controlled, near-future scenario presented by prolific director Michael Winterbottom and his regular screenwriter Frank Cottrell Boyce, nations and languages have merged to form a polyglot society in which genetic imperfections are avoided by the strict enforcement of Code 46, which prohibits sex between people who share 100%, 50%, or even 25% matching DNA. As an insurance-fraud investigator in Shanghai to investigate the issuance of forged passports (a major offense in an overcrowded world), Tim Robbins meets his prime suspect (Samantha Morton, echoing her role in Minority Report), and their violation of Code 46 has tragic and ultimately dehumanizing repercussions. Fascinating as a "what-if" scenario,! Winterbottom's film is more successful as a melancholy mood-p! iece tha n a science-fiction tale. While the plot and characters suffer from occasionally vague definition, Code 46 offers a fascinating study of human longing in an age of oppressive globalization. --Jeff ShannonEthan Hawke, Uma Thurman, Alan Arkin and Jude Law star in this engrossing sci-fi thriller about an all-too-human man who dares to defy a system obsessed with genetic perfection. Hawke stars as Vincent, an "In-Valid" who assumes the identity of a member of the genetic elite to pursue his goal of traveling into space with the Gattaca Aerospace Corporation. However, a week before his mission, a murder marks Vincent as a suspect. With a relentless investigator in pursuit and the colleague he has fallen in love with beginning to suspect his deception, Vincent's dreams steadily unravel.Confidently conceived and brilliantly executed, Gattaca had a somewhat low profile release in 1997, but audiences and critics hailed the film's originality. It's since been reco! gnized as one of the most intelligent science fiction films of the 1990s. Writer-director Andrew Niccol, the talented New Zealander who also wrote the acclaimed Jim Carrey vehicle The Truman Show, depicts a near-future society in which one's personal and professional destiny is determined by one's genes. In this society, "Valids" (genetically engineered) qualify for positions at prestigious corporations, such as Gattaca, which grooms its most qualified employees for space exploration. "In-Valids" (naturally born), such as the film's protagonist, Vincent (Ethan Hawke), are deemed genetically flawed and subsequently fated to low-level occupations in a genetically caste society. With the help of a disabled "Valid" (Jude Law), Vincent subverts his society's social and biological barriers to pursue his dream of space travel; any random mistake--and an ongoing murder investigation at Gattaca--could reveal his plot. Part thriller, part futuristic drama and cautionary tale, ! Gattaca establishes its social structure so convincingl! y that t he entire scenario is chillingly believable. With Uma Thurman as the woman who loves Vincent and identifies with his struggle, Gattaca is both stylish and smart, while Jude Law's performance lends the film a note of tragic and heartfelt humanity. --Jeff ShannonConfidently conceived and brilliantly executed, Gattaca had a somewhat low profile release in 1997, but audiences and critics hailed the film's originality. It's since been recognized as one of the most intelligent science fiction films of the 1990s. Writer-director Andrew Niccol, the talented New Zealander who also wrote the acclaimed Jim Carrey vehicle The Truman Show, depicts a near-future society in which one's personal and professional destiny is determined by one's genes. In this society, "Valids" (genetically engineered) qualify for positions at prestigious corporations, such as Gattaca, which grooms its most qualified employees for space exploration. "In-Valids" (naturally born), suc! h as the film's protagonist, Vincent (Ethan Hawke), are deemed genetically flawed and subsequently fated to low-level occupations in a genetically caste society. With the help of a disabled "Valid" (Jude Law), Vincent subverts his society's social and biological barriers to pursue his dream of space travel; any random mistake--and an ongoing murder investigation at Gattaca--could reveal his plot. Part thriller, part futuristic drama and cautionary tale, Gattaca establishes its social structure so convincingly that the entire scenario is chillingly believable. With Uma Thurman as the woman who loves Vincent and identifies with his struggle, Gattaca is both stylish and smart, while Jude Law's performance lends the film a note of tragic and heartfelt humanity. --Jeff Shannon

Nominated for a 2004 European Film Award, the Free Association's (David Holmes and Steve Hilton) music to CODE 46 features an atmospheric and contemplative score. Influenced d! ually by techno and film music, David Holmes and Steve Hilton ! are know n for soundtracks that translate the emotional power of their films. Holmes and Hilton have released a number of critically acclaimed albums, and their film credits include OUT OF SIGHT, ANALYZE THAT, OCEAN'S ELEVEN and OCEAN'S TWELVE.

Starring Academy Award® winner Tim Robbins and Academy Award® nominee Samantha Morton, Michael Winterbottom's (24 HOUR PARTY PEOPLE, WELCOME TO SARAJEVO, THE CLAIM, 9 SONGS) dystopian thriller CODE 46 is a sci-fi noir set in the near future, revolving around two people struggling to find solace in a world of disorder. CODE 46 was nominated for a Golden Lion at the Venice Film Festival, Golden Satellite Award, British Independent Film Award, and four European Film Awards. The United Artists release hit theaters August 2004, and is now available on DVD.Featuring time-tested safety concepts and the very latest industry standards in material design, the 2012 INTERNATIONAL BUILDING CODE SOFT COVER version offers up-to-date! , comprehensive insight into the regulations surrounding the design and installation of building systems. It provides valuable structural, fire-, and life- safety provisions that cover means of egress, interior finish requirements, roofs, seismic engineering, innovative construction technology, and occupancy classifications for all types of buildings except those which are detached one and two family homes and townhouses not more than 3 stories high. The content in this code book is developed in the context of the broad-based principles that facilitate the use of new materials and building designs, making this an essential reference guide for anyone seeking a strong working knowledge of building systems.


New in the 2012 IBC®

Key changes include:

Nonstructural

  • All definitions are included in Chapter 2.
  • Classifications for a variety of health-care related facilities ha! ve been clarified.
  • Covered- and open-mall provis! ions rev ised to fully address the construction of open malls.
  • Clarified provisions for incidental-use rooms and spaces.
  • Modified provisions addressing exterior wall projections.
  • Reformatted requirements for protection of vertical openings through floors.
  • Automatic sprinkler systems required where furniture and mattresses are manufactured or stored.
  • Increased capacity for stairways and other egress components in buildings with sprinklers and an emergency communication system.
  • Clarification of when unenclosed stairways can be used as a part of the means of egress system, including how travel distance is measured.
  • In three- and four-exit buildings, some exits are now permitted to serve a portion of a story rather than an entire story.

Structural

  • Wind design requirements extensively revised.
  • Wind load maps are now based on ul! timate design wind speeds.
  • New terminology for wind speeds.
  • Updated seismic ground motion maps.
  • The term "occupancy category" changed to "risk category."
  • Special inspection requirements for structural steel and masonry construction are now based on referenced standards.
  • Penetration firestop and fire-resistant joint systems in high-rise buildings and in Risk Category III or IV structures require special inspection.
  • Modifications to the seismic provisions of ACI 318 Appendix D.

What if the person you desired most was the one person you were forbidden to love? OscarÂ(r) winner* Tim Robbins and OscarÂ(r) nominee** Samantha Morton "make a sexy and moving pair of desperadoes" (Entertainment Weekly) in this "provocative, quietly erotic" (Premiere)sci-fi thriller from the director of 24 Hour Party People. In the near future, privileged classes live and wo! rk "inside" cities, while non-citizens scratch out a miserable! existen ce "outside" in a vast desert. People cannot leave their designated zones without special visas known as"papeles." When fraudulent papeles surface, Seattle investigator William Geld (Robbins) travels to Shanghai to ferret out the culprit and meets Maria Gonzalez (Morton) a woman with whom he has a passionate affair but breaks one of society's harshest laws: Code 46. *2003: Supporting Actor, Mystic River **2003: Actress, In America; 1999: Supporting Actress, Sweet and LowdownLike Gattaca did before it, Code 46 extrapolates from the present to posit a chilling, dystopian look at our genetically regimented future. In the corporate-controlled, near-future scenario presented by prolific director Michael Winterbottom and his regular screenwriter Frank Cottrell Boyce, nations and languages have merged to form a polyglot society in which genetic imperfections are avoided by the strict enforcement of Code 46, which prohibits sex between people who share 100%, 50%, or ! even 25% matching DNA. As an insurance-fraud investigator in Shanghai to investigate the issuance of forged passports (a major offense in an overcrowded world), Tim Robbins meets his prime suspect (Samantha Morton, echoing her role in Minority Report), and their violation of Code 46 has tragic and ultimately dehumanizing repercussions. Fascinating as a "what-if" scenario, Winterbottom's film is more successful as a melancholy mood-piece than a science-fiction tale. While the plot and characters suffer from occasionally vague definition, Code 46 offers a fascinating study of human longing in an age of oppressive globalization. --Jeff ShannonShort sleeve men's t-shirt with logo on the front

A Good Old Fashioned Orgy Poster - 2011 Movie Teaser Flyer - Jason Sudeikis

  • Teaser Flyer to promote the 2011 Movie A Good Old Fashioned Orgy
  • A Good Old Fashioned Orgy Teaser Flyer
  • Size 11 x 17 inches approx (28 x 43 cm)
  • Window display/ Telephone Pole Flyer sized Poster
A gaggle of best friends from college decide to get even more intimate in A Good Old Fashioned Orgy. Eric (Jason Sudeikis, Horrible Bosses) throws notoriously loud, over-the-top parties at his father's beach house--so when his father decides to sell it, Eric feels he has to throw one last bash to say farewell. But this time, rather than a big public party, he and his friends (Lake Bell, Michelle Borth, Nick Kroll, Tyler Labine, Angela Sarafyan, Lindsay Sloane, and Martin Starr) decide to revive the 1970s with a private orgy. The movie harks back to raunchy 1980s R-rated comedies, but A Good Old Fashioned Orgy never finds its tone. Eric and his friends are se! lf-absorbed, dithering, and just not very interesting people; Eric, in particular, is a smarmy trust fund baby whose attraction to a lithe real-estate agent (Leslie Bibb, Popular) plays out like an adolescent crush… which would be charming if Eric were adolescent, but he's in his 30s. Maybe the idea is that this petty crew confront their emotional limitations when they try to be sexually adventurous, but the results are neither revelatory nor even surprising. It doesn't help that the guys are ordinary looking to outright schlubby, while the women are all model-thin (and yet, of course, neurotic about their attractiveness). Some flashes of humor here and there, but overall, a misfire. --Bret FetzerA Good Old Fashioned Orgy Flyer

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This book is now a major motion picture released with the same title in August 2011. In 1987, Latif Yahia was taken to Saddam's headquarters to meet Uday, Saddam's eldest son, and told that a great honour had been bestowed upon him: that because of the great likeness between them, he had been chosen to be Uday's double. For many Iraqis it would have been the highlight of their lives, but for Latif, a peace-loving man who did not agree with Saddam's brutal regime, it was not. He refused. Following a week of torture, and realising he would be killed if he continued to refuse, Latif was forced to accept the role. After a gruesome training programme during which he was made to watch over thirty films of torture, hours of tapes of Uday, and undertake ! a final remodelling of his appearance, Latif was deemed ready. But it was only after the final test, a meeting with Saddam himself, that Latif made his first public appearance. And so began his life as Uday's double - a life on the perimeter of the inner circle of Saddam's eldest son, a witness to the horror of his insane life of debauchery, excess and brutality, and an experience for which he almost paid with his life on more than one occasion.Based on a gripping, unbelievable true story of money, power and opulent decadence, Lionsgate’s THE DEVIL’S DOUBLE takes a white- knuckle ride deep into the lawless playground of excess and violence known as Baghdad, 1987. Summoned from the frontline to Saddam Hussein's palace, Iraqi army lieutenant Latif Yahia (Dominic Cooper) is thrust into the highest echelons of the "royal family" when he’s ordered to become the ‘fiday’ â€" or body double â€" to Saddam's son, the notorious "Black Prince" Uday Hussein (also Dominic Coope! r), a reckless, sadistic party-boy with a rabid hunger for sex! and bru tality. With his and his family’s lives at stake, Latif must surrender his former self forever as he learns to walk, talk and act like Uday. But nothing could have prepared him for the horror of the Black Prince’s psychotic, drug-addled life of fast cars, easy women and impulsive violence. With one wrong move costing him his life, Latif forges an intimate bond with Sarrab (Ludivine Sagnier), Uday's seductive mistress who’s haunted by her own secrets. But as war looms with Kuwait and Uday’s depraved gangster regime threatens to destroy them all, Latif realizes that escape from the devil’s den will only come at the highest possible cost.After scene-stealing turns in The History Boys and An Education, charismatic Brit Dominic Cooper becomes a leading man--twice. Like Nicolas Cage in Adaptation, he plays two men with similar features and opposing personalities. In 1987, as Iraq is locked in a power struggle with Kuwait, Uday Hussein decides he need! s a fiday, or body double, so he selects former classmate Latif Yahia, and doesn't give the army lieutenant a choice. Upright Latif must put his scruples aside to take on the part of an insecure, misogynistic sadist. Though dazzled by the Black Prince's wealth, he finds his behavior horrifying, and discovers he isn't alone. Uday's security officer, Munem (Raad Rawi), his mistress, Sarrab (Swimming Pool's Ludivine Sagnier), and even his father, Saddam (Philip Quast, surprisingly sympathetic), all think he's off his rocker. When Uday's encounters with a couple of women come to a grim end, Latif runs away with Sarrab, who's just as anxious to make a new life for herself. New Zealand director Lee Tamahori, who came to fame with Once Were Warriors, consistently goes for the big, the bold, and the operatic, leading to an entertaining, if lurid Scarface-like spectacle. The more his camera ogles Uday's snazzy suits and sexy conquests, the more he seems e! qually bedazzled by this real-life Devil. Fortunately, Cooper ! rises to the occasion with two impressively divergent performances; he keeps you rapt no matter how ridiculous the proceedings get. --Kathleen C. FennessyBased on a gripping, unbelievable true story of money, power and opulent decadence, Lionsgate’s THE DEVIL’S DOUBLE takes a white- knuckle ride deep into the lawless playground of excess and violence known as Baghdad, 1987. Summoned from the frontline to Saddam Hussein's palace, Iraqi army lieutenant Latif Yahia (Dominic Cooper) is thrust into the highest echelons of the "royal family" when he’s ordered to become the ‘fiday’ â€" or body double â€" to Saddam's son, the notorious "Black Prince" Uday Hussein (also Dominic Cooper), a reckless, sadistic party-boy with a rabid hunger for sex and brutality. With his and his family’s lives at stake, Latif must surrender his former self forever as he learns to walk, talk and act like Uday. But nothing could have prepared him for the horror of the Black Prince’s psychotic! , drug-addled life of fast cars, easy women and impulsive violence. With one wrong move costing him his life, Latif forges an intimate bond with Sarrab (Ludivine Sagnier), Uday's seductive mistress who’s haunted by her own secrets. But as war looms with Kuwait and Uday’s depraved gangster regime threatens to destroy them all, Latif realizes that escape from the devil’s den will only come at the highest possible cost.After scene-stealing turns in The History Boys and An Education, charismatic Brit Dominic Cooper becomes a leading man--twice. Like Nicolas Cage in Adaptation, he plays two men with similar features and opposing personalities. In 1987, as Iraq is locked in a power struggle with Kuwait, Uday Hussein decides he needs a fiday, or body double, so he selects former classmate Latif Yahia, and doesn't give the army lieutenant a choice. Upright Latif must put his scruples aside to take on the part of an insecure, misogynistic sadist. Th! ough dazzled by the Black Prince's wealth, he finds his behavi! or horri fying, and discovers he isn't alone. Uday's security officer, Munem (Raad Rawi), his mistress, Sarrab (Swimming Pool's Ludivine Sagnier), and even his father, Saddam (Philip Quast, surprisingly sympathetic), all think he's off his rocker. When Uday's encounters with a couple of women come to a grim end, Latif runs away with Sarrab, who's just as anxious to make a new life for herself. New Zealand director Lee Tamahori, who came to fame with Once Were Warriors, consistently goes for the big, the bold, and the operatic, leading to an entertaining, if lurid Scarface-like spectacle. The more his camera ogles Uday's snazzy suits and sexy conquests, the more he seems equally bedazzled by this real-life Devil. Fortunately, Cooper rises to the occasion with two impressively divergent performances; he keeps you rapt no matter how ridiculous the proceedings get. --Kathleen C. FennessyRed Devil 3167 Scraper Blades, Double EdgeReplacement blades for double ed! ge wood scrapers.Red Devil 3167 Scraper Blades, Double Edge Features:; 1 1/2" (7.6 cm) Blade (2); Carded; Blades made from high-carbon steel for maximum; sharpness and durability; Resharpen with file; Two scraping edges; Fits scraper 3140 (3673-5124); 1-1/2" wide; 2 per card

Diaghilev's Ballets Russes

  • ISBN13: 9780306808784
  • Condition: New
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The Ballets Russes was a phenomenon of the early twentieth century, permeating daily life wherever the company traveled and leaving a lasting impact on dance, theater, and the visual arts. Sergei Diaghilev, impresario from 1909 until his death in 1929, fused the most avant-garde, groundbreaking movements in dance, choreography, art, design, and costume into unique and stunning productions. The work was exciting, and always new, and it stretched the limits of the possible in art. The color, form, and material in costume and set design astonished audiences, transforming every corner of Western culture in the twentieth century.

Fashion and decor designers and visual artists in particularâ€"inclu! ding Coco Chanel, Natalia Goncharova, Mikhail Larionov, Léon Bakst, and Pablo Picassoâ€"found inspiration in the Ballets Russes. Designers and artists moved past old boundaries and created costumes and set designs for these extravagant productions, bridging the gaps between tangible and abstract artistic genres.

The Ballets Russes and the Art of Design explores these revolutionary icons and ideas, illuminating Sergei Diaghilev's profound revitalization of the arts, which continues to influence us today. Ten essays by internationally recognized experts and 200 color and black-and-white illustrationsâ€"many from private collections and never-before-publishedâ€"discuss a broad range of topics, including set and costume designs, graphic design and poster art, photographs and postcards, Diaghilev's presence in the media, and private and museum collections of Ballets Russes treasures.The Ballets Russes has engaged people for 100 years, ever since Russian-born Serg! ei Diaghilev created this dynamic avant-garde company. Diaghil! ev broug ht together some of the most important visual artists of the 20th century--Pablo Picasso, Henri Matisse, AndrŽ Derain, Robert and Sonia Delaunay, Georges Braque, Giorgio de Chirico, Natalia Gonchorova and Mikhail Larionov, and more--who worked as costume and stage designers with composers such as Igor Stravinky, choreographers such as Michel Fokine, and dancers such as Vaslav Nijinsky, infusing new life and creative energy into the performing arts of the time.

Premiering in Paris, the Ballets Russes, for the brief period of its existence (1909-1929), created exotic, extravagant, and charming theatrical spectacle but also critical discussion and technical innovation, as well as exuding glamour--and often creating scandal--wherever it appeared.

The costumes featured in this book are drawn entirely from the National Gallery of Australia's world-renowned collection of Ballets Russes costumes and ephemera. Through the costumes, drawings, programs and posters, the visual spec! tacle of the Ballets Russes is brought back into view for a contemporary audience to appreciate the revolution it was and the ongoing influence it continues to have today.

This book is a must for anyone interested in the performing arts, the intersection of art and design, and costume and fashion.BALLETS RUSSES - DVD MoviePart history, part love letter, Ballets Russes may be the most purely delightful documentary in years. The movie follows the birth of the Ballet Russe de Monte Carlo in the early 1930s, an event that eventually led--after years of exhilarating experiments, bitter artistic battles, and exhausting tours--to the establishment of modern ballet around the world. Ballet Russes combines astonishing film footage of fantastical ballets (featuring extravagant sets designed by Salvador Dali and costumes by Henri Matisse) and interviews with surviving dancers in their 70s, 80s, and 90s (ranging from Dame Alicia Markova, who was a prima ballerina with ! the original Ballet Russe under impresario Sergei Diaghilev, t! o Yvonne Craig, who went on to become Batgirl in the '60s tv show Batman); the result is a breathtaking range of scholarship and depth of feeling. The heart of the film is the dancers themselves, who are sly, thoughtful, gossipy, and amazingly youthful in spirit--even the most difficult times are discussed with humor and honesty. Ballet fans will find this an essential document, while anyone who's never even thought of going to ballet will be completely caught up in these dancers' passion and wonder. A beautiful, entrancing movie. --Bret Fetzer

While the early 20th century was rich with creative energy, no one brought theater and dance to the forefront of culture quite like Sergei Diaghilev did with his extraordinary Ballets Russes. From 1909 to 1929, the Ballets Russes attracted the involvement of major artists, composers, and designers. Now,  this majo! r book, published to accompany a retrospective exhibition at the Victoria and Albert Museum, London, examines the origins, development, and long-term influence of the Ballets Russes and celebrates the centenary of their first appearance in 1909. 
Diaghilev's extraordinary company revolutionized ballet for all time. The book shows Diaghilev's use of avant-garde composers such as Stravinsky, dancers such as Nijinsky and Massine, and designers such as Bakst, Goncharova, Picasso, Matisse, and Chanel, and even a very young George Balanchine, all of whom helped to create true collabrations never before seen in the performing arts. works This beautiful book showcases artistic collaboration at its finest.

PRAISE FOR DIAGHILEV AND THE GOLDEN AGE OF THE BALLETS RUSSES

"The best accompaniment for the exhibition is the sumptuous illustrated catalog, edited by Jane Pritchard, who co-curated the exhibit along with Geoffrey Marsh. In its close-up details of costume, its! black and white images of ballet and its lucid and intelligen! t texts, the book covers subjects that are not discussed in the museum show. This fascinating book should be on every ballet lovers’ holiday gift list."--Suzy Menkes, The New York Times

"The most newsworthy dance item in Europe during the remainder of 2010 is not occurring onstage. It’s an exhibition: “Diaghilev and the Golden Age of the Ballets Russes 1909-29” at the Victoria and Albert Museum in London (through Jan. 9, 2011). " --Alaistair Macaulay,  Sunday New York Times 

In May 1909, Sergei Diaghilev astonished the world of dance with his first ballet presentations in Paris that demonstrated an unprecedented combination of vitality and grace, originality, and technical sophistication. This catalogue of over three hundred artworks related to the Saisons Russes between 1909 and 1929 is the official companion to an exhibition in Monte Carlo. The legendary productions are brought to life through stage designs, costumes, paintings,! sculptures, photographs, and programs. The artwork comes from a wide variety of public and private collections, including the Fokine collection in the St. Petersburg Theatre Museum. Diaghilev’s scenic achievements are complemented by a number of contextual paintings, drawings, and other artifacts, which help to define Russia’s cultural renaissance of the first decades of the twentieth century. The documentary section of the catalog contains rich archival material, including letters, photographs, choreographic notes, and memoirs, many published here for the first time.

In the two decades between its debut performance and the death of impresario Sergei Diaghilev in 1929, the Ballets Russes was an unrivalled sensation in Paris and around the world. But while scholarly attention has often centered on the links between Diaghilev’s troupe and modernist art and music, there has been surprisingly little analysis of t! he Ballets’ role in the area of tastemaking and trendsetting! . Bal lets Russes Style addresses this gap, revealing the extent of the ensemble’s influence in arenas of high styleâ€"including fashion, interior design, advertising, and the decorative arts.

In Ballets Russes Style,  Mary E. Davis explores how the Ballets Russes performances were a laboratory for ambitious cultural experiments, often grounded in the aesthetic confrontation of Russian artists who traveled with the troupe from St. Petersburgâ€"Bakst, Benois, and Stravinsky among themâ€"and the Parisian avant-garde, including Picasso, Matisse, Derain, Satie, Debussy, and Ravel. She focuses on how the ensemble brought the stage and everyday life into direct contact, most noticeably in the world of fashion. The Ballets Russes and its audience played a key role in defining Paris style, which would echo in fashions throughout the century.

Beautifully illustrated, and drawing on unpublished images and memorabilia, this book illuminates the ways in which the troupe’s innovations in dance, music, and design mirrored and invigorated contemporary culture.

In the history of twentieth-century ballet, no company has had so profound and far-reaching an influence as the Ballets Russes. Under the direction of impresario extraordinaire Serge Diaghilev (1872â€"1929), the Ballets Russes radically transformed the nature of balletâ€"its subject matter, movement idiom, choreographic style, stage space, music, scenic design, costume, even the dancer's physical appearance. From 1909 to 1929, it nurtured some of the greatest choreographers in dance historyâ€"Fokine, Nijinsky, Massine, and Balanchineâ€"and created such classics as Les Sylphides, Firebird, Petrouchka, L'Après-midi d'un Faune, Les Noces, and Apollo. Diaghilev brought together some of the leading artists of his time, including comp! osers Stravinsky, Debussy, and Prokofiev; artists Picasso, Bra! que, and Matisse, and poets Hoffmansthal and Cocteau. Diaghilev's Ballets Russes is the most authoritative history of the company ever written and the first to examine it as a totalityâ€"its art, enterprise, and audience. Combining social and cultural history with illuminating discussions of dance, drama, music, art, economics, and public reception, Lynn Garafola paints an extraordinary portrait of the company that shaped ballet into what it is today.

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