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mercerislandbooks · 7 months
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50 Years of Island Books: The Staff
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This 50 Years of Island Books series is about to reach the grand finale, because November is only a few weeks away and it's almost time to pop the champagne. Since April, I've talked to booksellers and owners from years past, sales reps, and many beloved local authors to paint a picture of what Island Books has meant to the community and how it evolved into the place it is today.
Now, I'm turning my attention to the people who show up hour to hour, in the here and now, to make the store the living, breathing wonderland that it is and will be in 2023 and beyond. On a rainy Monday when the store was closed for cleaning, I pulled them aside for some heart-to-hearts.
So many times we come in and say a quick hi to these friendly booksellers, the face of a familiar place we know and love, but it's rare we think about who they are as people and what they think about as they work. I've known many of them for years and have watched the staff evolve. From my little perch, I can honestly say that they put so much love into what they do, and that our island community wouldn't be the same without them.
Side note: since I already cornered the longest tenured Island Books employee for a separate blog, Cindy only makes a tiny (and fun) appearance via Caitlin in this post. If you want to learn more about Cindy, click here.
To our Island Books booksellers—we love and appreciate all of you. Truly. Now let's get into it.
Miriam: I'm so happy to have a chance to talk to each of you. Let's start with, which book category excites you the most, and why?
Brad: Any day I can turn someone onto the Russians, like Checkhov, Tolstoy, or Dostoevsky, or someone less read, like Pushkin, is a great day. Jorge Luis Borges is a favorite for customers looking for a literary blend of fantasy and science fiction literary. He's Argentinian, and his voice differs from many other classic authors. There are so many large and small presses putting out reprints.
Becca: I'm largely a sci-fi, fantasy, and romance person. I’m not averse to other categories, but the books that I drop everything to read tend to be one of those genres (or fairy-tale retellings). I also love curling up with a good Middle Grade or Young Adult fiction.
Lori Robinson: The genre I get the most energy around right now is romance. I read widely, but I have my favorite places I like to land, although every once in a while something different catches my eye.
Caitlin: I love to sell the books I like to read: short story collections, literary fiction, translated fiction, poetry, some memoirs, and art and ballet history. When I first started at Island Books, a lot of people said, “Oh, short stories don’t sell here.” But I'm happy to say that isn't the case anymore.
Nancy: I like to read literary fiction and good narrative nonfiction, generally science and history.
Lillian: I think people would assume that I read a ton of kids books, but I’m around them so much and read them for work—at least 600 picture books a year (!), so for my own pleasure, I read mostly mystery, romance, and fantasy. 
Miriam: As a group, you have a wide variety of tastes, which is great for customers. Now, tell me about your proudest accomplishments at Island Books.
Brad: I love to draw signs. I’m a part-time illustrator with a cartoony style, maybe because I’m a big graphic novel fan.
Becca: It’s fun to have become a person that customers ask for book recommendations. -- I still feel fairly new (2 years under my belt now), but to have become an integral part of something I love so much is awesome.
Lori Robinson: Mine would be the year we sold over 200 copies of Amy Snow by Tracey Rees in six months because I kept hand selling it. It was the first time I realized the impact a bookseller could have on the success of a book that wasn’t getting all the media attention.
Caitlin: Mine would be proving that our customers do like short stories.
Nancy: I'm proud of the many stories over the years that I could bring home to my family, and tell them how we found the perfect book for a customer’s dying mother or a kid having an issue, things like that. And the funny ones—we used to have a customer who loved to give a certain book to his lady friends. Whenever we saw that title on order, everyone knew he had a successful date! I think he single-handedly kept that book in print. I sure didn’t have those kind of stories when I worked as a web designer.
Miriam: There's no job quite like bookselling, is there? Those are great answers. Can you give an example of when you felt a deep connection with a customer or the community?
Becca: When a kid comes in and says they like fairy tales and you realize that kid is exactly who you were as a small child. Then you give them a pile of books and they buy all of them and you’re like, yes, I’ve found mini-me! Or having someone call back or come in the next time and say, "What you gave me for my grandkid was exactly what I needed and they loved it".
Lori Robinson: I have a certain customer who I remember coming to our door during the pandemic and saying, “Just pick two books out for me, I’ll read anything you want." That trust is challenging. When I don’t know someone, I really want to take care of it and give people good choices. Anytime someone buys a book that I write a blog about, that warms my little heart. And I love when someone comes in and I think, I would never guess you’d read this book, and then they say, “I love this book!” I just love that we all get to like what we like.
Caitlin: One of our customers who loves short stories—having that customer come to me for recommendations is really nice, and an honor because she’s also a big reader, a school librarian, and a mother. I love sharing a common love of certain books with individual customers.
Nancy: Here's my quirky fact - This will be the second 50th anniversary of a bookstore I’ve attended this year. The other one I went to recently was for Red and Black Books, where I used to work with former Island Books bookseller Kay Wilson. I saw her there. Talk about long-time connections.
Lillian: I actually have a really clear one. Earlier this year, a mom came in and said that her queer child felt welcomed and happy to be at the store, and she was so thankful that her child had thought to mention how welcome they felt. I almost started to cry on the spot and it makes me tear up thinking about it. 
Miriam: That's amazing. It's nice to know that your experiences in the store are just as meaningful to you as they are to the customers. I love hearing this good stuff, and I’m also interested in hearing about a challenge you overcame.
Brad: At first I would have said, wrapping, and it’s something I didn’t expect. I had no idea! People on Mercer Island really know how to give gifts. Drawing quickly is also a challenge.
Caitlin: I wish more people would give books I like a try. People will come in and want to read whatever is the bestselling book. What I say is, “What are you in the mood to read?” and then go from there, because not everyone needs to read bestsellers or classics. They’re not in school. Read what you want.
Nancy: There are a lot of books! We like a lot of books, but more and more books come out and we don’t have the space to shelve everything. We can order it, but we can’t stock everything. So every quarter, it’s a huge challenge to say, these are the books we’re going to commit to. 
Lillian: The honest challenge is to stay interested after reading so many books over so many years. What I realize after I go through another season is that the books are different, that’s the great thing about books. Sometimes customers want the same thing over and over, and those things become classics and that’s fine, but for the majority of customers and definitely for me, I have to see what’s different, otherwise, it can get repetitive.
Miriam: Great answers that speak to so many years on the job. Here's another question. How would your colleagues describe you?
Brad: Friendly and kind, I would hope. A good listener.
Becca: Enthusiastic and willing. Laurie says I’m sassy. I'm also the youngest and got sucked into the social media part of things pretty quick, so I get a lot of the, hey, younger generation, technology, things.
Lori Robinson: I know that I’m pretty calm and unflappable when it comes to dealing with whatever you’ve got to deal with.
Caitlin: Oh, ha, here’s a note from Cindy about this question. She said I’m literary and quirky, and a name-dropper. And I was like, “Yeah…I think that’s pretty accurate.”
Nancy: Brilliant, friendly, kind to everyone, no-nonsense. You know. All the good stuff.
Lillian: I’m definitely the squeaky wheel. I guess what they’d say is that I get things done. That’s the thing. I get things done.
Miriam: These answers cracked me up (including the ones that aren't making it to print!). OK, let's do a fantasy question now. What would you do with it if someone gave you one million dollars to improve the book business and/or promote literacy?
Brad: Open more dream bookstores and do them the way I always wanted.
Becca: The industry is already diversifying the characters and cultures in books, and I’d find ways to support that. Everyone deserves to see themselves in what they read.
Lori Robinson: I’d love to do something to fight book bans. Working at the bookstore has opened my eyes to what banning books does, and I appreciate that it’s changed my view on experiencing things rather than being afraid of them.
Caitlin: I’d start with free nationwide healthcare for people earning under a certain amount of money. I grew up in a household filled with books, and I think it’s important for kids to grow up with their own books, and that takes parents earning a living wage. 
Nancy: This is because I’m such a nuts-and-bolts person, but I’d get rid of dust jackets and have everything be paper on board so that we have less damages to deal with. Saves money and they’re annoying.
Lillian: I’d reverse this trend of prices going up because that would make independent bookstores more accessible to people who shop online because it’s cheaper. There are people who can’t afford to shop in independent bookstores, and if you remove that barrier, it would just open up that handpicked-for-you element that can be so special for kids, and adults too.
Miriam: Ah, if only booksellers ran the world. How about this. If I were to work with you in the store for a month, what would I learn about bookstore life that I can’t possibly gather from a brief interview?
Becca: A lot of people don’t know that we get new releases every single Tuesday, or that we get books sent to us a week before they come out so we have them on the actual release day. So many books, all the time.
Caitlin: Customers are pretty savvy. Obviously, there’s that old idea that booksellers and librarians are just sitting around reading all day, but it’s not true, there’s a lot of work. It’s physical work, you’re constantly bending and putting things away.
Nancy: Well I’m sure everyone says, we do not have time to read while we’re working. They also might not know just how much we really know our customers. Sometimes when we’re going through a catalog, we’ll say, “Oh, I know who will like that book.” And we get that book for that particular person in our community. The two big trends in the past years are the normalization of queerness in fiction and nonfiction, so we really have a tiny LGBTQ section, because, there aren’t really any queer novels anymore—they’re mainstream. I love that. The other thing is Tiktok. It’s been crazy for us getting younger women and girls in the store. And we wish Tiktok could work that way for boys too. We now see these backlist authors getting a second wind because of Tiktok and that’s so interesting as a trend. The third thing that everyone is talking about is AI. One of the things that we have on our radar and it’s been coming up in the book world is fake books. We’re seeing them more and more in the travel and cookbook categories. Our job as curators is more important than ever. We’re working with reputable publishers, we’re looking at every book that comes in the store, we’re recommending books. I think with AI, people are becoming even more important. 
Lillian: How much time we spend just putting books away and tidying up and keeping things alphabetized. I can’t tell you how much we hum the alphabet to keep bookshelves in order. And working with me in particular, I’d say that I come across much more serious than I really am. 
Miriam: You all have to be so organized. Let's move on to my final question. What does being part of a small business within a community mean, and how do you play a role in it?
Brad: One of the best things about working at Island Books is how the community supports the store. And it’s not just about books. We’re a hub. About six months after I started, a woman came in and said her car wouldn’t start. Does anyone know how to jump a car? And I said, I can help. She didn’t know me, but she knew I worked at Island Books, so she knew we'd pitch in.
Becca: People are so committed to the small-town vibe here, everyone knowing each other. It’s so cool to see my colleagues interact with all these customers and they know their names and who they are. I also admire the way we work with other small businesses in the community. Everyone is invested in each other.
Lori Robinson: It’s funny for me, because I went to middle school and high school here, and I worked on the south end for longer than I care to admit, but all of that built a lot of relationships for me, the kind where you see people every day. It’s strange to have people to come in who have kids who were four when I met them and are now graduating from college and starting their careers. When I think about being part of a bookstore, I hope that there are some kids and regular customers who have felt like we’ve offered them a safe place and that I’ve personally been a safe person to talk to who they know won’t judge them or what they like to read. It means a lot to people when we remember them. I hope we offer a warm moment and a good experience.
Caitlin: With the exception of Laurie (and Becca, who is moving off-island), none of the staff lives on the island. So I guess we feel we’re representatives of the store and the community and it’s our responsibility to make people feel welcome.
Nancy: I feel like I have really grown with Mercer Island. I don’t live here, but I feel like I’ve really gotten to know this community. I worked for Roger for six years and I’ve worked for Laurie for almost seven, and we see kids grow up, we see people age, we have a lot of customers who have died over the years, and you’re kind of going through life cycles with people. We’ve seen the build up of Mercer Island, the businesses who are all working together now—it didn’t used to be like that. The community feels more like they appreciate their community too. I think our customers really stepped up during Covid and realized, we love this place, and we need it. They’ve been great.
Lillian: As the kids’ specialist, it’s different, because I spend a lot of time chatting with the community kids. I get to watch them grow up. There are people that come in who are going to high school that eight years ago I was recommending chapter books to. So, to have a hand in helping kids become life-long readers, and enhancing how important it is, is great. I always say I’m lucky to not be the teacher or parent because I don’t have to worry about the academics. I worry about, how can I make this kid love books so much that they will be a reader for the rest of their life?
Miriam: Right? That makes so much sense. Thanks, everyone. What a cool crowd. I adore all of you and am so glad you're in my life, and everyone else's!
Next week, for my final installment of 50 Years of Island Books, I'll be talking with the owner, Laurie Raisys, and it'll be a good one. See you soon.
—Miriam
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Picture Play, April 1934
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winningthesweepstakes · 4 months
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Lauren in the Limelight by Miriam Landis, illustrated by Jill Cecil
Lauren in the Limelight by Miriam Landis, illustrated by Jill Cecil. Rhododendron Press, 2023. 9798988307822 Rating: 1-5 (5 is an excellent or a Starred review) 3.5 Format: Hardcover Genre: Realistic fiction What did you like about the book?  Three young dancers go up on pointe at the beginning of sixth grade and must reassess their commitment to ballet in this story told in alternating…
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sonyclasica · 1 year
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BANDA SONORA
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FUNNY GIRL
Los productores Sonia Friedman, Scott Landis y David Babani, junto con Gemini Theatrical, Accidental Jacket y Sony Masterworks Broadway, se complacen en anunciar el lanzamiento en CD de FUNNY GIRL - New Broadway Cast Recording, el viernes 20 de enero de 2023. Ya disponible en formato digital.
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Los productores Sonia Friedman, Scott Landis y David Babani, junto con Gemini Theatrical, Accidental Jacket y Sony Masterworks Broadway, se complacen en anunciar el lanzamiento digital de FUNNY GIRL - New Broadway Cast Recording, que saldrá a la venta mañana, viernes 18 de noviembre de 2022, a las 12:01 AM ET. Producido por David Caddick y David Lai y que incluye la partitura clásica de Jule Styne (música) y Bob Merrill (letra), el CD físico saldrá a la venta el viernes 20 de enero de 2023. Además, el álbum ha sido producido por Evan McGill y coproducido por Brian Gillet, Huck Walton, Sean Keller, Marc Levine, Michael Mayer, Sonia Friedman, Scott Landis y David Babani.
FUNNY GIRL está protagonizada por la nominada a los premios Emmy Lea Michele como Fanny Brice, el nominado a los premios Tony y Olivier Ramin Karimloo como Nick Arnstein, el nominado a los premios Tony y Drama Desk 2022 y ganador del premio Chita Rivera Jared Grimes como Eddie Ryan, y la cuatro veces nominada a los premios Tony Tovah Feldshuh como Mrs. Rosie Brice en el August Wilson Theatre (245 West 52nd Street). Les acompañan Peter Francis James como Florenz Ziegfeld, Ephie Aardema como Emma/Sra. Nadler, Debra Cardona como Mrs. Meeker, Toni DiBuono como Mrs. Strakosh, Martin Moran como Tom Keeney, y una compañía de actores que incluye a Miriam Ali, Amber Ardolino, Daniel Beeman, Colin Bradbury, Kurt Csolak, John Michael Fiumara, Leslie Donna Flesner, Afra Hines, Masumi Iwai, Aliah James, Jeremiah James, Danielle Kelsey, Stephen Mark Lukas, Alicia Lundgren, John Manzari, Liz McCartney, Connor McRory Katie Mitchell, Justin Prescott, Mariah Reives, Barbara Tirrell, Leslie Blake Walker y la suplente de "Fanny Brice" Julie Benko, que interpreta el papel todos los jueves.
El ganador del premio Tony, Michael Mayer, dirige esta nueva versión de FUNNY GIRL, con la clásica partitura de la ganadora de los premios Tony, Grammy y de la Academia, Jule Styne, y letras del nominado al premio Tony y ganador del Grammy, Bob Merrill, (con canciones adicionales de Styne y Merrill). El libro original de Isobel Lennart, a partir de una historia original de Lennart, está revisado por el ganador del premio Tony Harvey Fierstein.
FUNNY GIRL cuenta con la coreografía de Ellenore Scott, la coreografía de claqué de Ayodele Casel, el diseño escénico del ganador del premio Tony David Zinn, el diseño de vestuario de la ganadora del premio Tony Susan Hilferty, el diseño de iluminación del ganador del premio Tony Kevin Adams, el diseño de sonido del ganador del premio Tony Brian Ronan, el diseño de peluquería de Campbell Young Associates, la dirección musical y la supervisión del ganador del premio Emmy Michael Rafter, el reparto de Jim Carnahan, CSA y Jason Thinger, CSA, la orquestación de Chris Walker, los arreglos de danza, vocales y de música incidental de Alan Williams, y los arreglos adicionales de David Dabbon y Carmel Dean.
Esta comedia agridulce es la historia de la indomable Fanny Brice, una chica del Lower East Side que soñaba con una vida sobre el escenario. Todo el mundo le dijo que nunca sería una estrella, pero entonces ocurrió algo curioso: se convirtió en una de las intérpretes más queridas de la historia, brillando más que las luces más brillantes de Broadway. Con algunas de las canciones más emblemáticas de la historia del teatro, como "Don't Rain On My Parade", "I'm the Greatest Star" y "People", la nueva y audaz producción de Michael Mayer es la primera vez que FUNNY GIRL vuelve a Broadway desde su debut hace 58 años.
Las entradas para FUNNY GIRL están ya a la venta hasta el domingo 28 de mayo de 2023 en https://seatgeek.com/funny-girl-tickets. Los precios son a partir de 69,00 dólares.
El día de la función, si se agotan las entradas de pie, habrá un número limitado de ellas en la taquilla. Las entradas de pie son por orden de llegada.
FUNNY GIRL está producida por Sonia Friedman Productions, Scott Landis, David Babani, Roy Furman, No Guarantees, Adam Blanshay Productions, Daryl Roth, Stephanie P. McClelland, Lang Entertainment Group, Playing Field, Gavin Kalin, Charles & Nicolas Talar, Fakston Productions, Sanford Robertson, Craig Balsam, Cue to Cue Productions, LenoffFedermanWolofsky Productions, Judith Ann Abrams / Peter May, Hunter Arnold, Creative Partners Productions, Elizabeth Armstrong, Jane Bergère, Jean Doumanian, Larry Magid, Rosalind Productions, Iris Smith, Kevin & Trudy Sullivan, Julie Boardman / Kate Cannova, Heni Koenigsberg / Michelle Riley, Mira Road Productions / Seaview, In Fine Company, Elie Landau, Brian Moreland, Henry R. Muñoz III & Kyle Ferari Muñoz,  MaggioAbrams / Brian & Dayna Lee.
Los productores asociados de FUNNY GIRL – New Broadway Cast Recording son Joanna Drowos, Abby Green y Pickelstar.
SONY MUSIC MASTERWORKS es una compañía global de entretenimiento especializada en música grabada y experiencias en directo. Entre nuestras producciones teatrales y álbumes de reparto se encuentran  Almost Famous, KPOP, Lempicka, Macbeth (Daniel Craig), Back to the Future, Sing Street, SpongeBob, Harry Potter, Flying Over Sunset, Hello, Dolly! (Bette Midler), Kinky Boots y Once. Para actualizaciones por email y más información, visita www.sonymusicmasterworks.com/.
ACCIDENTAL JACKET ENTERTAINMENT es una productora creativa que combina el cine, el teatro y la música. Hacemos anuncios, películas, vídeos musicales, producciones en directo y álbumes, todo ello con el impulso de contar historias convincentes. Nuestro álbum más reciente fue The Music Man, protagonizado por Hugh Jackman y Sutton Foster.
Sigue a FUNNY GIRL en Facebook, Twitter & Instagram @FunnyGirlBway. www.FunnyGirlOnBroadway.com
Sigue a SONY MUSIC MASTERWORKS en Facebook, Twitter, Instagram & YouTube. www.masterworksbroadway.com
Sigue a ACCIDENTAL JACKET ENTERTAINMENT en Facebook, Instagram & YouTube. www.accidentaljacket.com
Gracias a Lucky Seat, habrá un número limitado de entradas disponibles para cada función de FUNNY GIRL por 47,50 $ la entrada. Las loterías digitales comenzarán cada lunes a las 10 AM ET y se cerrarán el día anterior a la actuación a las 10:30 AM ET. Los ganadores serán notificados aproximadamente a las 11 de la mañana, hora del este, del día anterior a la actuación, por correo electrónico y por SMS. Una vez informados, los ganadores tendrán un tiempo limitado para reclamar y pagar su(s) billete(s). Los participantes en la lotería deben ser mayores de 18 años. Los billetes son intransferibles. Todas las ventas son definitivas. No hay cambios ni devoluciones. Los límites y precios de las entradas son a discreción del espectáculo y están sujetos a cambios. Para ver las reglas adicionales e información sobre cómo participar, visita: https://www.luckyseat.com/shows/funnygirl-newyork.
FUNNY GIRL – NEW BROADWAY CAST RECORDING (TRACKLIST):
1. Overture
Nuevo reparto de Funny Girl en Broadway
2. Who Are You Now?
Lea Michele
3. If a Girl Isn't Pretty
Tovah Feldshuh y Toni DiBuono
4. I'm the Greatest Star
Lea Michele
5. Eddie's Tap
Jared Grimes
6. Cornet Man
Lea Michele, Kurt Csolak, Justin Prescott
7. His Love Makes Me Beautiful
Lea Michele, Daniel Beeman y la compañía
8. I Want to Be Seen with You
Lea Michele y Ramin Karimloo
9. Henry Street
Tovah Feldshuh, Toni DiBuono, Debra Cardona, Jared Grimes, Martin Moran, Lea Michele y la compañía
10. People
Lea Michele
11. You Are Woman, I Am Man
Lea Michele y Ramin Karimloo
12. Don't Rain on My Parade
Lea Michele
13. Sadie, Sadie
Lea Michele y Ramin Karimloo
14. Who Taught Her Everything She Knows?
Tovah Feldshuh y Jared Grimes
15. Temporary Arrangement
Ramin Karimloo, Daniel Beeman, Kurt Csolak, John Manzari y Justin Prescott
16. Rat-Tat-Tat-Tat
Lea Michele y la compañía
17. Who Are You Now? (Repetición)
Lea Michele y Ramin Karimloo
18. You're a Funny Girl / Beekman Call
Ramin Karimloo
19. What Do Happy People Do?
Nuevo reparto de Funny Girl en Broadway
20. The Music That Makes Me Dance
Lea Michele
21. Dream Ballet
Nuevo reparto de Funny Girl en Broadway
22. Finale Act 2
Lea Michele
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letterboxd-loggd · 3 years
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I Loved You Wednesday (1933) William Cameron Menzies & Henry King
August 21st 2021
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girlactionfigure · 2 years
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3 Teves - R’ Chaim Shmuelevitz - 1979
On this day in 1979, R’ Chaim Shmuelevitz passed away, making today his Yartzeit.  R’ Shmuelevitz was born in Kovno, Lithuania in 1902. He was orphaned by both his parents as a teenager and eventually made his way to the Mir Yeshiva.  He married Chana Miriam, daughter of the Rosh Yeshiva, or dean, R’ Lazar Yudel Finkel, also on this date in 1930.  At the age of 31, he started teaching at the Mir.  
Miraculously, in 1940, the Yeshiva was able to migrate to Shanghai where they were able to not only survive the war but prosper as an institution.  R’ Lazer Yudel went to Palestine to obtain visas for the Yeshiva and ended up having to stay there for the duration of the war.  So, his son-in-law R’ Chaim would lead the Yeshiva during those years. In 1947, R’ Chaim took the Yeshiva to America for 6 months, and then on to Jerusalem to reunite with his father-in-law.  R’ Lazar Yudel retook the helm until his death in 1965.  Under the leadership of these two, the Yeshiva grew to be 5,000 students strong. 
Rabbi Pinchas L. Landis
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cosimoalberti · 2 years
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🌟 Fashion Gold Christmas 🎄 Ringraziamo con affetto e stima tutti coloro che hanno preso parte all'evento di ieri. Un'altra edizione svolta con gran successo, si accoda a quelle precedenti. Rinnoviamo il ringraziamento a tutti i nostri partner per affiancarci con professionalità e rispetto. In particolar modo a La Villa Delle Rose per aver accolto con enorme entusiasmo ed impeccabile servizio tutti noi. Alle colonne portanti per la conduzione: Roberta Scardola e Nicola Coletta. Grazie a tutti gli addetti ai lavori presenti: giornalisti, emittenti, fotografi e fotoreporter. Agli stilisti che hanno fatto sognare anche stavolta tutto il nostro caloroso pubblico, ai nostri ospiti e premiati per la loro umanità e grazia: Raffaella Longobardi, Rosa Miranda Erik Tonelli Andrea Pacelli, Tiziana De Giacomo Miriam Landi - In Naples we don't say Cosimo Alberti Luciano Caldore FB . Al nostro ufficio stampa Antonio D'Addio con tutti gli associati, ed a ViewPoint edit by Creativityecom . Grazie a tutti i presenti, scusandoci ancora una volta con chi non ha potuto ricevere accrediti, che per una questione di norme #AntiCovid19, in cui tutti ormai conosciamo, è doveroso rispettare un tot numero. A breve arriveranno foto e contenuti! Restate connessi! 🤩 (presso La Villa Delle Rose) https://www.instagram.com/p/CXxz2yhs0LR/?utm_medium=tumblr
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lilypowerworkblog · 3 years
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Readings/books/texts
Lopesi, Lani “The future of craft in Aotearoa” The pantograph Punch, 05/03/2020 https://www.pantograph-punch.com/post/future-craft-talanoa 
Chitham, Karl. U Māhina-tuai, Kolokesa. Skinner, Damian. Crafting Aoteaora: A cultural history of making in New Zealand and the wider Moana published Nov 2019 
Batchelor, David Chromophobia published 2000, reaction books uk 
Temkin, Ann Colour chart: Reinventing colour, 1950 to Today Published March 1st 2008 MOMA
Itten, Johannes The Art of Colour: The Subjective Experience and Objective Rationale of Colour Published 1973 
Albers, Josef Interactions of colour Published 1963 Yale university press
Memory studies, Sage journal, journals.sagepub.com/home/mss 2008 - present 
A Field Guide to getting lost by Rebecca Solnit 
Borteh, Larissa ”Bauhaus Movement Overview and Analysis”. The art story https:// www.theartstory.org/movement/bauhaus/ First published on 21 Nov 2010.
Fraser, Kim “Redress the value of diverting textile waste in Aotearoa” AUT https:// www.wasteminz.org.nz/wp-content/uploads/2016/11/WasteMINZ-2016-ReDress-The- potential-to-reduce-textile-waste-in-New-Zealand.pdf 
Calhoun, Ann The Arts & Crafts Movement in New Zealand, 1870-1940: Women Make Their Mark, published 2000 
Ballard, Susan, Linden Liz, Spiral Jetty, geo aesthetics, and art: Writing the Anthropocene published April 8th, 2019 
Butler, Cornelia, Gabrielle Mark, Lisa Wack! Art and the feminist Revolution, MIT Press, 2007
Beszek, Maria Elena Extra/Ordinary: Craft and Contemporary art, published 2011
Parker, Rozika, Pollock, Griselda Old Mistresses: Women, art and ideology Published 1981
Betterton, Rosemary, Looking on: Images of felinity in the visual arts and media, Published June 1987
Pollock, Griselda, Vision and Difference: Feminism, Femininity and the Histories of Art Psychology press 2003
Broude, Norma, Garrard, Mary D. Feminism and Art History: Questioning the Litany 
Heung Lam, Lai, From Hobbyists to Professionals: the evolution of New Zealand Textile Artists VUW  February 2010
Cox, Nigel At The Bach, New Zealand Geographic, https://www.nzgeo.com/stories/at-the-bach/ issue 025, Jan-March 1995
Palenski, Simon Many Threads, exhibition essays: walking forwards backwards Annie Mackenzie, Enjoy, http://enjoy.org.nz/publishing/exhibition-essays/walking-forwards-backwards-2/many-threads  sept 2016
Griffin, Jonathan Weaving Histories:The impact of pre-Columbian techniques and designs on 20th-century artists Frieze https://frieze.com/article/weaving-histories-0 Sept 2016 Mackenzie, Annie Interviews (3) with Lyndsay Fenwick, Phillipa Vine, Nola Fournier, Brigit Howitt and Robyn Parker. Nelson, Christchurch and Pauatahanui ENJOY July - august 2016
hhttp://enjoy.org.nz/media/uploads/2016_09/AnnieMackenzie_InterviewwithBrigitHowittRobynParker.pdf
http://enjoy.org.nz/media/uploads/2016_09/2016_AnnieMackenzie_InterviewwithLyndsayFenwick.pdf http://enjoy.org.nz/media/uploads/2016_09/2016_AnnieMackenzie_InterviewwithPhilippaVineNolaFournier.pdf Cohen, Alina These artist would love for you to sit on their work https://www.artsy.net/article/artsy-editorial-artists-love-sit-work
Nesbitt Judith, Slyce, John. Micheal Landy Semi-detached Tate Publishing 2004
Fiell Peter, Charrlotte. 70s Decorative Art TASCHEN 2013
Whiteread Rachel. Walls, doors, floors and stairs edited by Schneider Eckhardt
Artworks/Exhibitions: 
Womanhouse, Womanhouse was a feminist art installation and performance space organised by Judy Chicago and Miriam Schapiro, co-founders of the California Institute of the Arts Feminist Art Program and was the first public exhibition of Feminist Art 
Walking forwards backwards, by Annie Mckenzie at Enjoy gallery in September 2016
After painting, by Vita Cochran at Anna Miles gallery in 2019
Playground by Lily Power, Erin Kelly, Francesca Vodonovich and Breahn Renwick at Massey University Sprinkler Gallery
Artificial Flies Like Artificial Flowers by Lily Power, Jade Johnston, Jordan Oosterman, Kate Butterworth, Harry Gerrard and Sarah Willis
Weekend House at Lenzerheide by Edi Franz Architect
First House by Group Architects 1949 Auckland
Stock/first floor bronze floor and stock/ second floor Doors In-Out by Rachel whitehead 
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mercerislandbooks · 7 months
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A Double Dose of 50 Years of Island Books: Rachel Linden / Martha Brockenbrough
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Rachel Linden is a novelist and international aid worker whose adventures in over fifty countries around the world provide excellent grist for her writing. She is the author of The Magic of Lemon Drop Pie, The Enlightenment of Bees, Becoming the Talbot Sisters, and Ascension of Larks. Currently Rachel lives with her family on a sweet little island near Seattle, WA where she enjoys creating stories about strong women facing big challenges, travel, food, and second chances at love. She promises her readers a happy, or at least very hopeful, ending and infuses each of her stories with a touch of magical realism. Her newest novel, Recipe for a Charmed Life, comes out in early 2024.
Miriam: Welcome, Rachel. Let's start with your first visit to Island Books. Where were you in your career then, and what stood out about the store?
Rachel: When I think of Island Books, I feel I can sum it up best in the word "inviting". I first visited Island Books when my second novel, Becoming the Talbot Sisters, was about to release. If I remember correctly, I came bearing homemade cookies my husband and son had made, and an advanced reader copy of my new book. I was hoping to meet some of the staff and see if they'd be interested in stocking my book. I was instantly charmed by the special Island Books vibe. I love independent bookstores and feel so fortunate that we have so many in our area. Island Books has always been one of my very favorites because of the wonderful, friendly and knowledgeable staff (with fabulous owner Laurie at the helm), the inviting places to sit and stay awhile, and such an excellent and extensive selection of books. They were so warm and welcoming to me on my first visit, and I continue to greatly enjoy and appreciate their enthusiastic support and care for local authors like me! I love every chance I get to be at Island Books because I always feel so welcomed. It's an inviting, enjoyable space with true book lovers, and for a bookworm like me, that's basically my definition of paradise!
Miriam: Rachel, you can't drop a teaser about bringing cookies to Island Books and not share the specific recipe. When many of us think of you, we think, foodie book club, mmmm.....Will you share which cookies you brought to that first event here on the blog? We can make them official "Rachel-Linden's-Take-a-Trip-to-Island-Books cookies" or something. 
Rachel: Absolutely! I can't remember exactly which cookies I brought the first time I visited Island Books, to be honest! But here's a recipe for some amazing lemon bars that I know I brought along with an advanced reader copy of The Magic of Lemon Drop Pie!  These delicious lemon bars are super easy and super yummy! I enjoy this recipe from one of my favorite baking sites, Sally's Baking Addiction! I amended it slightly, but mostly it is her recipe. 
Rachel-Linden's-Take-a-Trip-to-Island-Books-Luscious-Lemon-Bars
Ingredients
SHORTBREAD CRUST
1 cup (2 sticks) unsalted butter, melted
1/2 cup granulated sugar
2 teaspoons pure vanilla extract
1/2 teaspoon salt
2 cups + 2 Tablespoons all-purpose flour 
optional: you can add a bit of the zest of the lemon to the crust for added lemon flavor
LEMON FILLING
2 cups granulated sugar
6 Tablespoons all-purpose flour
6 large eggs
1 cup lemon juice (about 4-5 large lemons)
powdered sugar for dusting over the top of the bars when cooked and cooled
optional: add a bit of the zest of the lemon to the filling for an added kick of lemony flavor 
Instructions
Preheat your oven to 325°F. Carefully line the bottom and sides of a 9×13 glass baking pan (do not use metal for these bars) with parchment paper, leaving the paper hanging over the sides so you can easily lift the finished bars out. This is an important step and makes cutting the bars much easier!). 
Make the crust: Mix the melted butter, sugar, vanilla extract, and salt together in a large bowl. Add the flour and stir to completely combine. The dough will be quite thick. Press firmly into your prepared pan, making sure the layer of crust is nice and even with no holes. Bake for 20-22 minutes or until you see the edges of the crust are lightly browned. Remove from the oven. Using a fork, poke holes all over the top of the warm crust (careful not to poke all the way through the crust). This helps the filling stick and holds the crust in place. Set crust aside.
Make the filling: Sift the sugar and flour together in a large bowl. Whisk in the eggs, and then add the lemon juice (and zest if using) and stir until completely combined.
Pour filling over the warm crust. Bake the bars for 22-26 minutes or until the center is relatively set and no longer jiggles. (You can give the pan a light tap with an oven mitt to test that the filling is set.) Remove bars from the oven and cool completely at room temperature. It is recomemnded to cool them for about 2 hours at room temperature, then stick in the refrigerator for 1-2 more hours until fairly chilled. 
Once cool, lift the parchment paper out of the pan using the overhang on the sides. Dust the bars with confectioners’ sugar and cut into squares before serving. Enjoy! 
Miriam: Thank you! Okay, one last question, now that I'm thinking about The Magic of Lemon Drop Pie. One of the big messages in that book is that instead of looking backward, we should make the best of things and focus on the road ahead. With that theme in mind, as we head toward our store's 50th anniversary, what do you think the road ahead looks like for indie bookstores?
Rachel: Looking forward, I believe indie bookstores will continue to thrive because of the amazing connections they provide between people and great stories. In an increasingly digital world, to walk into an independent bookstore, talk to smart, book loving booksellers, and walk out with amazing stories in our hands...that personal experience cannot be replaced. For authors, independent bookstores offer wonderful opportunities for us to make personal connections with book lovers—both bookselling professionals and readers. I think Island Books does this so beautifully, and what they offer will continue to be valued by readers and authors alike. 
Miriam: Thanks so much for stopping by our blog, Rachel. We always love hearing from you.
To our community—if you make Rachel's Lemon Bars, send us a picture! In the next installment of Island Books, I'll be talking to...
50 Years of Island Books: Martha Brockenbrough
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Martha Brockenbrough (rhymes with broken toe) is the author of Frank and the Masked Cat and more than twenty books for young readers, including YA fiction and nonfiction, picture books, a middle grade mystery, and a chapter book series. Her next nonfiction book for teens, Future Tense, will hit shelves in 2024.
A faculty member at Vermont College of Fine Arts, she's also the founder of National Grammar Day (every March 4), and she's written game questions for Cranium and Trivial Pursuit.
The former editor of MSN.com, Martha has interviewed lots of celebrities, including the Jonas Brothers and Slash. Her work has been published in a variety of places, including The New York Times. She also wrote an educational humor column for the online encyclopedia Encarta for nine years. 
She lives in Seattle with her family. Her favorite kind of food is Indian, although Thai runs a close second. Besides writing, she likes dogs, cats, cooking, weight-lifting, and laughing.
Miriam: I'm so excited to have you here, Martha, especially because my 10-year-old twins LOVED To Catch a Thief and we are big fans of yours. Let's start with your first visit to Island Books. Where were you in your career then, and what stood out about the store?
Martha: That makes my day! The book is set in a slightly distressed Seabrook—if you ever go, the kids will recognize some of the sights!
Meanwhile, I can’t even remember the first time I went into Island Books. I’m a Bellevue native and only a few years older than the store. So let’s just say I have no memories of life without Island Books. As an author, though, I think one of the first events I attended was for the wonderful Jennifer Longo debut novel, Six Feet Over It, inspired in part by her life growing up at a cemetery. My first event with Island Books was a King County Library fundraiser—Garth Nix and I were in conversation with each other. I really love his writing and it was so much fun learning more about how he thinks about storytelling. 
I led here with the people, because in truth the writing and reading life isn’t lived only on the page. I love Laurie (and we share appreciation for a good Old Fashioned). I’ve known Lillian and Caitlin for years and through other stores, and I so appreciate people who make a life out of literature. The store itself is an absolute treat. It’s exquisitely edited and I find something I didn’t know I needed every time I go in. It’s also a place I love to shop for gifts, and not just books—the whole store is full of beautiful and joyful objects.
Miriam: We've been to Seabrook and yes they did recognize the sights, funny you mention that. I think that's half the fun of reading local authors who write about the Pacific Northwest! These are great memories, and for us it's all about the people too, so we love that. Tell me, I know we've offered special pre-orders of signed copies of your books over the years. Do you have any special memories of signing in the store?
Martha: Coming to Island Books is like a visit with old friends. Seeing Lillian and Caitlin at Island Books gathers all of those fond memories from other stores in one place—and it’s a testament to the deep knowledge that the stores booksellers have. They are in this work for life. I was a reader first, and truly I always will be. So to have my reader heart in such good hands means the world to me. 
Miriam: Thanks, Martha. We're so grateful for to have you and your books in our lives too.
To our Island Books community: In the next 50 Years of Island Books installment, I’ll be talking to author Elise Hooper about how she crashed a staff party the first time she visited our store, and why her underdog stories have a special appeal at Island Books.
—Miriam
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yourchumchumblr · 6 years
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OUR 2017 in a Nutshell!
12 months, 12 pictures of us! It was really hard picking only several photos when you have tons of pictures to choose (to be precised, 50+ albums of events), so I secretly spent my night (yesterday) choosing which one should I pick and so far, I think this was the best photos to represent my blog post for this one.
It’s been a year since I last touched my tumblr and a lot of setbacks happened this year which prevented me to create new posts but today (though it’s late) I decided to end my year with an optimistic post which will focus on us, especially on you. To start off the intro, we started our year in a not-so-good events (which was the worst part lol) but it didn’t stop us to look forward and hoped for things to get better. This is the year where we, or I, hoped that this happiness, excitement won’t stop anymore and there are times when I wished that sadness, anxiety, grief shouldn’t had exist, begged to get this over with as much as possible. This is a year where happiness is there, sadness is its back. BUT, He is always faithful and caring, He is gracious, his blessing is abundant and his comfort is reassuring. I’ve learned to love more, more unconditionally; to give more praise when it seemed unhappy. I gave not because I want to/or not but because He deserved it. Rather than hatred, lets pour out the love to each other, so here’s my 12 best months I had with you this year:
1. My tsundere and pabebe partner! Hayo~ still remember our first selfie this year? it’s Jan. 22! and terno pa tayo ng color hihi. I couldn’t get over that time, you know pero hindi ko matiis na magkaron TAYO ng 1st picture kaya ayan, I let you have a selfie with me. You looked so cute and irresistible when you make that face of pabebe and begging “bati na tayo, Chummy” ughh. This was also the time na you’re asking na ilibre kita sa Pares but instead, I brought you to Kenny Rogers to fetch that stomach of yours and you looked like a happy kid and surprised yet satisfied. You deserved it, baby KO. 💕
2. My Couple-shirt buddy! also, my Feb-ibig partner! - You’re my one and only favorite company mapa-birthday ko, Valentines days, songleading and kung anong event man especially yung #WorldPizzaDay 🍕💕 hihi. Perhaps, one of my favorite and best months I had with you! Might as well the ‘most expensive month” kasi andami NATIN gastos but it’s all worth it! Hm. Thank you so much for the unbelievable efforts~ you had me there on my special day, hindi man naging okay yung 1st attempt mo, but you never gave up to make me happy. Kinilig ako dun. And syempre comeback is real, I’ve had return that kilig twice on hearts day hmpf. That was the first time I gave a bouguet to someone, and I loved that reaction of yours when I gave it to you. Hays. I loved making you happy lalo na kapag kinikilig ka sa efforts ko. I really treasure all of your efforts and kung anuman mga binibigay mo sakin. I just love your smiles and the way you’re staring at me.
3. My food buddy! 🍴 🍨 🍩 🍱 🍔 🍝 💕 This is the undenying truth! We became more into food this year! I’d hope naka-gain ka this year😅 syempre, I’m proud na nagkalaman na si baby ko! Yieee~ may bilbil na siya nang konti. WE started to explore and eat more food than ever! Ang cute kasi we’re doing ‘give and take’, there are times that the meal is on you and times that the treat is mine. I’m starting to miss the times when we’re making homemade food, mapa-snacks or sweets! Mas na-turnon ako sayo this year kasi you’ve been doing great at culinary, you know, you can even make cakes already.. compare it to when I met you, you don’t even know how to fry properly. 😂 Thank you for being my food buddy and thank you for making me my favorite cake! I really appreciated it. I also really love these Sundays of March especially when we had the opportunity to listen to Miriam’s testimony.
4. My travel buddy! 💕 It’s more fun to explore places when you have someone you could dragged with, you know me, I’d rather stay and watch anime if I’m just alone. It’s just overwhelming when you passed your term and have planned agendas.. nothing beats ‘study then landi after’ 😉(you know what I mean eherm eherm..) Yung feeling na indoor muna tapos outdoor na~ Despite of not getting too much gala with you this year, I’m still glad and grateful (given the circumstances and opportunity) na we had these rare chances to travel alone. Hindi man ganun kalayo, pero as long as na ikaw kasama ko, super okay na ko. I wanna highlight our Tagaytay trip! There’s so much photos of us, ranging from kulitan sa byahe - to the places we went to - until to dinner, to the point that I wanna post it all but of course, I’d rather keep it private, especially your gorgeous and eye-melting photos hmpf. And as travel buddy, baby, it’s my job to teach you good angle and lighting and what do you/we want to portray on the photos that we’re taking. Afterall, we want the best moment to be perfectly captured and treasure it as a memory. So yun, I’m sorry if there are times that I scolded you for your bad shots, I just want you to learn. So ayun, looking forward for more gala this 2018!
5. My kakulitan buddy/partner in crime! And My ‘Kalandian’ 😉 Ugh ansarap-sarap asarin nitong babaeng ‘to. 😅 tapos kapag na-pissoff, dadaanin ko sa lambing. hihi. Ang cute cute niya kahit matangkad at stick siya jk! There’s a ton of photos to choose of and photos where it’s too cute and exclusive to upload kaya sinarili ko nalang (because I’m a selfish Chummy). I really love this young lady especially when you combined our sense of humor, it will be nothing but endless laughter, korni jokes and tons of fun. 💕 Na-inspired tuloy ako! And syempre hindi mawawala yung mga times na badass kaming dalawa hihi. Ehem. This is the time where I wished na sana ganito nalang parati but it couldn’t be, may oras talaga na malungkot and down ka pero the best part is, we’re here for each other.. kahit na hindi parati. Whenever she’s down or depressed, I tried to prioritize her as much as possible to cheer her up kasi naman, ganda ganda tapos nakasimangot, kaya Chummy to the rescue si acoe (me). Maybe that’s one thing I could do for her even though my thoughts sometimes lurked around and make me realized na it’s unfair for my side. I don’t know.. I don’t know how I went through.. those painful moments I’ve gone through.. that I shared alone, that she wasn’t able to be there for me when I needed her. I’m just grateful that He never leave me and I still continued life. Despite of whatever I went through, I’ll still be your Chumchum. 😊
6. My Ootd buddy! And yea, it’s her birth month! I really wanted to make this month extra special to her. From our kimonos - to black outfit - to stripes outfit! Gusto ko same kami ng suot ihh. 💕 Nakakabitin yung Aikido training namin since we had a short termbreak (especially me), plus the messups that we had midway. It really shortened our moments but hey, we’re able to pull it off! Meron kaming signature pose sa Angelus ulit and we’ve been consistent for 4 yrs! And yea, looking forward this coming summer (but I realized it’s my thesis na huhu but for sake of landi. XD kakayanin). This is also the month where I had a hard time thinking of what to do, what should I give, etc., for her birthday (syempre girlfriend ko may kaarawan eh dapat Bida at da best si boyfie). BUT I’m glad that she had more than enough fun on her special day since we had fights before the day. And why wouldn’t she be unsatisfied, after her actual 19th birthday celebration, may post-celeb pa but this time, it’s only the two of us! Ayun, we had..  💕 so much kiligs and wonderful time since we had our private moment ugh asdfghjkl first then we went to her birthday wish, to Dog cafe where she got so fascinated of. And it doesn’t end there! We watched Transformers: The Last Knight! Yeeeeeeey! and at the same time, I bought her a gift the day went to date. Hm. I couldn’t choose between photos in this month due to a lot of wonderful events that occupied your birth month, so I chose that photo of us.. I wanna tell them that you’re MINE, and inaangkin kita dyan hihi.
7. My Selfie Buddy! Of course! Our day (most of it) won’t end without selfies! There are times when I was so hooked up on you, to the point na “ikaw lang, sapat na” na feeling in terms of narrowing my vision kasi you’re entangling my sight too much, that I really felt enough. 😵 Same goes to whenever we and the others were taking pictures, my times na gusto ko rin magpa-picture sa iba kong friends (mga girls) but then I remembered you, that I should be fair with you and hindi naman big deal, kasi gusto ko rin na as much as possible ako LANG kasama sa pictures (syempre exempted mga girl friends mo). I realized that I can be that clingy and I felt so much affection being with you. But then, I also realized that too much wouldn’t be good for me, for us. This was also the time that you kept on leaving me behind and I thought of myself if I wasn’t that enough.. enough for you. The month of July implied a warning on me but I still chose to keep going and gave a push once more. 
8. My Ministry Partner! 😇 💕 Ughh. Kinikilig ako kapag nakakapag-worship and serve TAYO together! Back then, I was just thinking that it would be that great if meron nga and poof! I met you, and didn’t expect na we’ll be serving Him together. That’s one of best feeling I ever had. I always thank the Lord that I was able to invite you in our church and became a part of it!
9. Ms. Clingy~
10. 
11.
12.
PART 1.5
There’s 3 more remaining, any ideas of what kind of buddy you are? 😉
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rickinmar · 7 years
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Bath Maine ship launching. the largest ever wooden sailing boats were produced in this town. 1919. The Miriam Landis.
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hpldreads · 7 years
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Books about ballet:
To Dance by Siena Cherson Siegel, illustrated by Mark Siegel
Bunheads by Sophie Flack
The Hit List by Nikki Urang
Tiny Pretty Things by Sona Charaipotra and Dhonielle Clayton
Maybe One Day by Melissa Kantor
The Cranes Dance by Meg Howrey
Girl in Motion by Miriam Wenger-Landis
Dancing on my Grave by Gelsey Kirkland with Greg Lawrence
Breaking Pointe by Miriam Wenger-Landis
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princetontv · 6 years
Video
Navigate Autism, 10.18 from Princeton Community Television on Vimeo.
Improving Lives...One Stride at a Time
Witness the magic that happens between a horse and a child with special needs. No words. Just love and understanding. And healing.
Meet Laurie Landy, Founding Director of Special Strides and Occupational Therapist, and Suzie Rehr, Executive Director & Physical Therapist. These women are passionate about the horse - human connection and using it to help children of all ages to thrive. They share the magic and the science behind that connection and how the Special Strides team in Monroe, NJ uses it to help special needs individuals enjoy more focus, balance, arm and leg movement, and even talking...while having fun. Through their love and hard work, they are improving lives, one stride at a time!
How do you keep that calm, balance and focus once you're back home? Sara Carapezzi and Miriam Rosenberg of The School of Royal Yoga join us to share a breathing technique and a yoga pose that they use with individuals and with families at their Center for Special Needs, Inc. in Chester, NJ. Do this for yourself...do it with your child. Namaste.
For more information about my guests, please visit SpecialStrides.com and TheSchoolOfRoyalYoga.com.
Follow Navigate Autism at navig8autism.com, on Facebook, Instagram and YouTube.
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Text
Strand 2: Topics in Film and Screen Studies
1. Narrative and Early Cinema
This seminar will examine the social, political and aesthetics implications of cinema’s transition during the first three decades of the twentieth century from a novelty form to a narrative medium. In doing so, it will consider Tom Gunning’s account of early cinema as displaying an ‘aesthetic of attractions’. We will also examine how the cinema developed its forms of storytelling and representation and how it evolved into a complex industry with Hollywood rapidly acquiring a dominant role. Crucial to this is thinking about changing exhibition practices and the emergence of new acting styles, as well as questions concerning spectatorship, subjectivity, and the codifications of gender and race. D.W. Griffith's Broken Blossoms (1919) will provide an opportunity to examine the consolidation of the Hollywood film industry in the years immediately after the end of the First World War: its product as a narrative cinema founded upon melodrama and the classical continuity system.
Screening
All the Lumière films in Early Cinema: Primitives and Pioneers (BFI)
Broken Blossoms (1919, dir. D.W. Griffith)
Reading
From The Silent Cinema Reader, ed.  Lee Grieveson and Peter Krämer (London: Routledge, 2004):
Charles Musser, 'At the Beginning' (pp. 15-30)
Tom Gunning, '"Now you See It, Now You Don't": The Temporality of the Cinema of Attractions' (pp. 41-50)
Charles Musser, 'Moving towards Fictional Narratives: Story Films Become the Dominant Product' (pp. 77-85)
Linda Williams, 'Race, Melodrama, and The Birth of a Nation (1915)' (pp. 242-253)
Tom Gunning, 'The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde', in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser (London: BFI Publishing, 1990), pp. 56-65.
Tom Gunning, 'Primitive Cinema: A Frame-Up? Or, the Trick's On Us,' in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser  (1990), pp. 95-103.
Colin Harding and Simon Popple, 'Early responses to cinema', in In the Kingdom of Shadows: a Companion to Early Cinema (London; Madison, NJ: Cygnus Arts; Fairleigh Dickinson University Press, 1996), pp. 5-17.
Further Reading
Noël Burch, Life to those Shadows (Berkeley, CA: University of California Press, 1990).
Tom Gunning, D. W. Griffith and the origins of American narrative film : the early years at Biograph (Urbana, IL: Univerisity of Illinois Press, 1994).
Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press, 1991).
Charlie Keil, Early American Cinema in Transition: Story, Style and Filmmaking (Madison, WI: University of Wisconsin Press, 1991).
2. The Question of National Cinema
Amongst the many definitions of art, national identity is not a category used very often. And yet, when it comes to cinema, the tendency to define films by their national origin is a default position. Why is that? What makes cinematic art more readily identified by its “nationality”? One of the most immediate answers to this question is the narrative nature of film as an art form that is closely connected to specific places and times that have specific identities. This session will address some of the connections between films and the societies and cultures they depict. By focusing on the small and manifestly ideological cinema of Israel the session will examine some of the elements that make up so-called national cinemas.
Screening
Siege (Matzor) (Gilberto Tofano, 1969)
Reading
Gertz, Nurit & Munk, Yael, 'Israeli Cinema Engaging the Conflict' in Film in the Middle East and North Africa: Creative Dissidence, ed. Josef Gugler (Austin: University of Texas Press, 2011), pp. 154-165.
Higson, Andrew. 'The concept of national cinema.' Screen 30:4 (1989), 36-47.
Hayward, Susan, 'Framing National Cinemas' in Cinema & Nation, ed. Mette Hjorte and Scott Mackenzie (London: Routledge, 2000), pp. 81-94.
Zanger, Anat, 'Filming National Identity, War and Woman in Israeli Cinema', in The Military and Militarism in Israeli Society, ed. Edna Lomsky-Feder and Eyal Ben-Ari (Albany, NY: University of New York Press, 1999), pp. 261-280. (Copies of this article are available to borrow from the MML Library issue desk)
Additional reading:
Jarvie, Ian, 'National Cinema, a Theoretical Assessment' in Cinema & Nation, ed. Mette Hjorte and Scott Mackenzie (London: Routledge, 2000), pp. 75-87.
Higbee, Will, and Song Hwee Lim. 'Concepts of transnational cinema: Towards a critical transnationalism in film studies', Transnational Cinemas 1:1 (2010): 7-21.
3. Historical context and interpretation
What does it mean to read a film “in context”? What are the distinctive methods required for a historical analysis of cinema and television? What are the gains of such an approach – and what are its limits? What notions of reality and temporality inform it? Drawing on Nietzsche’s reflections on the uses (and disadvantages) of history, historical materialism and Ideologiekritik as defined by Marx and members of the Frankfurt School, and Foucault’s concept of “counterhistory”, my aim in this seminar is to make a case both for the ineluctable historicity of film and its enormous relevance as a historical source. We will look at the ways in which particular films manifest the specific socio-economic conditions, the power relations, and the collective mentalities of the time in which they were made; but we will also discuss films that were agents in – rather than reflections of – the historical process and examine how they shaped the myths and memories and thus the collective consciousness and the Weltanschauung of a people. Finally, we will talk about the power of cinema and television to define not just our vision of the past, but our very idea of history.
Screening:
The Cabinet of Dr. Caligari (Robert Wiene, 1920)
Triumph of the Will (Leni Riefenstahl, 1935)
Downfall (Oliver Hirschbiegel, 2004)
Reading:
Siegfried Kracauer, 'Caligari', in Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film, ed. Leonardo Quaresima (Princeton, NJ; Oxford: Princeton University Press, 2004), pp. 61-77.
Brian Winston, 'Was Hitler There? Reconsidering "Triumph of the Will"', Sight and Sound 50:2 (Spring 1981), pp. 102-107.
David Denby, “Back in the Bunker: Downfall (2004) by Oliver Hirschbiegel”, The New Yorker (14 February 2005), pp. 259-261.
Marcia Landy, 'Introduction', in The Historical Film: History and Memory in Media (London: Athlone, 2001), pp. 1-25.
Rosenstone, Robert, 'Introduction', in Visions of the Past: The Challenge of Film to our Idea of History (Cambridge, MA; London: Harvard University Press, 1995), pp. 1-19.
Further reading:
Lotte Eisner, 'The Beginnings of the Expressionist Film', in The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt [1952], transl. R. Greaves (Berkeley and Los Angeles 1973), pp. 17-27
Taylor, Richard, 'Triumph of the Will', in Film Propaganda: Soviet Russia and Nazi Germany, 2nd rev. edn (London: I. B. Tauris, 1998), ch. 13, pp. 152-174.
Sabine Hake, 'Entombing the Nazi Past: On Downfall and Historicism', in Screen Nazis: Cinema, History, and Democracy (Madison, WI: University of Wisconsin Press, 2012), pp. 224-255.
Martin Ruehl and Karolin Machtans, 'Introduction', in Hitler – Films from Germany: History, Cinema and Politics since 1945 (New York: Palgrave Macmillan, 2012), pp. 1-35.
4. The Art of Non-fiction: Contemporary Documentary Cinema
Cinema, as Jean-Louis Comolli notes, began as documentary and documentary as cinema. Nevertheless, documentary remains a slippery, marginal filmic mode that pertains to the non-fictional world of knowledge and information while drawing on the resources of fiction, its roots identifiable in both scientific photographic inscription and Modernist avant-garde filmmaking.  From the vantage of point of contemporary documentary filmmaking – seen as a continuation of a cinematic renaissance in the form reaching back to the 1990s – this session will explore the ways in which documentary film’s complex relation to reality may be understood, addressing in particular how today’s “golden age” of documentary may be thought in relation to the genealogy of the mode and its theorizations.
By considering a range of critical attempts to define or describe the documentary alongside the work of two contemporary filmmakers, Gianfranco Rosi and Nicholas Philibert, we will consider how cinematic documentary continues to make its historical “truth claim” while employing experimental techniques that complicate the kinds of knowledge promised by the mode. In doing so, this session will attend to issues central to the study of documentary and to that of film more broadly – realism and formalism, indexicality and the digital, spectatorship and subjectivity, narrative and temporality – as well as reflecting on how the increasingly hybrid forms of contemporary documentary both reprise and reinvent earlier cinematic traditions.
Screening
Fuocoammare (Gianfranco Rosi, Italy, 2016)
Retour en Normandie (Nicholas Philibert, France, 2007)
Reading
Bill Nichols, 'The domain of documentary' and 'Documentary modes of representation' in Representing Reality: Issues and Concepts in Documentary (Bloomington: Indiana University Press, 1991), pp. 3-75.
Jacques Rancière,  ‘Documentary Fiction: Marker and the Fiction of Memory’ in Film Fables (Oxford: Berg, 2006), pp. 157-170.
Erika Balsom, 'The reality-based community', e-flux 83 (June 2017).
Further reading
Nico Baumbach, ‘Jacques Rancière and the fictional capacity of documentary’, New Review of Film and Television Studies, 8:1 (2010), pp. 57-72
Elizabeth Cowie, Recording Reality, Desiring the Real (Minneapolis: Minnesota University Press, 2011)
Dirk Eitzen, ‘When Is a Documentary?: Documentary as a Mode of Reception’, Cinema Journal, 35:1 (1995), p. 81-102
Bill Nichols, Introduction to Documentary, 3rd edn. (Bloomington, IN: Indiana University Press, 2017)
Bill Nichols, ‘Documentary Film and the Modernist Avant-Garde’, Critical Inquiry, 27:4 (2001), pp. 580-610
Michael Renov, ‘Towards a Poetics of Documentary’ in Theorizing Documentary (London: Routledge, 1993), pp. 12-36
Linda Williams, ‘Mirrors without Memories: Truth, History, and the New Documentary’, Film Quarterly, 46:3 (1993), pp. 9–21
Brian Winston, Claiming the Real II. Documentary: Grierson and Beyond (London; New York: BFI; Palgrave Macmillan, 2008)
Brian Winston, ed., The Documentary Film Book (Basingstoke: Palgrave, 2013) – see foreword by Nick Fraser and chapters by Brian Winston (‘Life as Narrativised’) and Carl Plantinga (‘“I’ll believe it when I trust the source”: Documentary Images and Visual Evidence”) in particular.
Further viewing:
The Act of Killing (Joshua Oppenheimer, 2012, Norway/Denmark/UK)
The Arbor (Clio Barnard, 2010, UK)
Dreams of a Life (Carol Morley, 2011, UK)
Innisfree (José Luis Guerín, 1990, Spain)
5. Sound and Music 
This seminar will explore the ways in which sound and music have been conceptualised and employed in cinema.  Significant (and often mutually resistant) strands in the literature will be surveyed and analyzed with specific reference to Carol Reed's The Third Man (1949) and Yuri Norstein's Tale of Tales (1979), which all students should experience prior to the class.
Screening
The Third Man (Carol Reed, 1949)
Tale of Tales (Yuri Norstein, 1979)
Reading
On sound and music
Cohen, A. 'Film Music from the Perspective of Cognitive Science’. In D. Neumeyer (Ed.), The Oxford handbook of film music studies (Oxford: Oxford University Press, 2014), pp. 96-130.
Kalinak, K.. Film music: a very short introduction (Oxford: Oxford University Press, 2010).
On The Third Man
Drazin, C. In search of The Third Man (London: Methuen, 1999).
On The Tale of Tales
Kitson, C. Yuri Norstein and Tale of Tales: an Animator's Journey. (Bloomington and Indianapolis, IN: Indiana University Press, 2005).
Further reading
On sound and music
Boltz, M. G. 'The cognitive processing of film and musical soundtracks', Memory & Cognition, 32:7 (2004), 1194-1205.
Buhler, J., & Neumeyer, D. 'Music and the Ontology of the Sound Film: The Classical Hollywood System'. In D. Neumeyer (Ed.), The Oxford handbook of film music studies (Oxford: Oxford University Press, 2014), pp. 17-43.
Cohen, A. 'Film Music from the Perspective of Cognitive Science’. In D. Neumeyer (Ed.), The Oxford handbook of film music studies (Oxford: Oxford University Press, 2014), pp. 96-130.
Costabile, K. A., & Terman, A. W. 'Effects of Film Music on Psychological Transportation and Narrative Persuasion', Basic and Applied Social Psychology, 35:3 (2013), 316-324.
Hasson, U., Landesman, O., Knappmeyer, B., Vallines, I., Rubin, N., & Heeger, D. J. 'Neurocinematics: The Neuroscience of Film'. Projections, 2:1 (2008), 1-26.
Hoeckner, B., Wyatt, E. W., Decety, J., & Nusbaum, H. 'Film music influences how viewers relate to movie characters'. Psychology of Aesthetics, Creativity, and the Arts, 5:2 (2011), 146-153.
Kassabian, A. Hearing film: tracking identifications in contemporary Hollywood film music (London: Routledge, 2001).
Katz, M. B. Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation (New Brunswick, NJ: Rutgers University Press, 2016).
Tan, S.-L., Spackman, M. P., & Bezdek, M. A. 'Viewers' Interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown'. Music Perception, 25:2 (2007), 135-152.
Winters, B. 'The Non-diegetic Fallacy: Film, Music, and Narrative Space'. Music and Letters, 91:2 (2010), 224-244.
On The Third Man
Gomez, J. A. 'The Third Man: Capturing the visual essence of literary conception', Literature/Film Quarterly, 2:4 (1974), 332-340.
O’Connell, D. C., & Kowal, S. 'Laughter in the film "The Third Man"', Pragmatics, 16:2/3 (2006), 305-327.
Scholz, A.-M. '"Eine Revolution des Films": The Third Man (1949), The Cold War and Alternatives to Nationalism & Coca-colonization in Europe', Film & History: An Interdisciplinary Journal of Film and Television Studies 31:1 (2001) ,44-53.
Schwab, U. 'Authenticity and ethics in "The Third Man"', Literature/Film Quarterly, 28:1 (2000), 2-6.
Van Wert, W. F. 'Narrative structure in The Third Man', Literature/Film Quarterly, 2:4 (1974), 341-346.
On The Tale of Tales
Katz, M. B. Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation (New Brunswick, NJ: Rutgers University Press, 2016).
Landesman, O., & Bendor, R. 'Animated Recollection and Spectatorial Experience in Waltz with Bashir', Animation, 6:3 (2011), 353-370.
MacFadyen, D. '"Skazka skazok"/"Tale of Tales"'. In S. Bodrov & B. Beumers, eds., The cinema of Russia and the former Soviet Union (London: Wallflower Press, 2007), pp. 183-192.
Moritz, W. 'Narrative Strategies for Resistance and Protest in Eastern European Animation'. In J. Pilling, ed., A Reader in Animation Studies (New Barnet: John Libbey Publishing, 1997), pp. 38-47.
Wells, P. Understanding animation. (London: Routledge, 1998).
6. Cinema and (Urban) Space
This seminar will examine the symbiosis between film and space, with a particular focus on the urban, taken as part of a broader problematic concerned with representations of space and spaces of representation (to use the terms coined by Lefebvre). We will look at theories of urban and global/geopolitical space, from David Harvey and Ed Soja to Fredric Jameson, and consider some key moments in which the mutual constitution of cinema and city is manifest, with a major film from the silent era, a 1950s film noir parody set in Mexico, and a key example of cyberpunk from the 1980s.
Screening
Metropolis (Fritz Lang, 1926)
The Criminal Life of Archibaldo de la Cruz (Luis Buñuel, 1955)
Blade Runner (Ridley Scott, 1982/1992/2007 - watch the Final Cut version from 2007)    
Reading
David Harvey, 'Time-space Compression and the Rise of Modernism as a Cultural Force' and 'Time- space Compression and the Postmodern Condition', in The Condition of Postmodernity: An enquiry into the origins of cultural change  (Oxford: Blackwell, 1990), pp. 260-307.
Edward W. Soja, 'Six Discourse on the Postmetropolis', in Imagining Cities: Scripts, Signs and Memory, ed. Sallie Westwood and John Williams (London; New York: Routledge, 1997), pp. 19-30.
Fredric Jameson, 'Totality as Conspiracy', in The Geopolitical Aesthetic: Cinema and Space in the World System (London: BFI, 1992)
Further Reading
Marc Augé, Non-Places: An Introduction to Supermodernity (London: Verso, 2008 [1992])
Certeau, Michel de, The Practice of Everyday Life (Berkeley & Los Angeles: University of California Press, 1984)
Manuel Castells, “The Space of Flows”, in The Rise of the Network Society, 2nd edn. (Chichester; Malden, MA: Wiley-Blackwell, 2010), pp. 407-59
David B. Clarke, ed., The Cinematic City (London: Routledge, 1997)
Derek Gregory, Geographical Imaginations (Oxford: Blackwell, 1994)
David Harvey, The Condition of Postmodernity: An enquiry into the origins of cultural change (Oxford: Blackwell, 1990)
David Harvey, Spaces of Capital: Towards a Critical Geography (Edinburgh: Edinburgh University Press, 2001)
David Harvey, Spaces of Hope (Edinburgh: Edinburgh University Press, 2000)
Henri Lefebvre, The Production of Space (Oxford: Blackwell, 1991 [1974])
Christoph Lindner, ed., Globalization, Violence, and the Visual Culture of Cities (London: Routledge, 2009)
Doreen Massey, Space, Place and Gender (Minneapolis: University of Minnesota Press, 1994)
Doreen Massey, For Space (London: Sage, 2005)
Barbara Mennel, Cities and Cinema (London: Routledge, 2008)
Vincent Mosco, The Digital Sublime: Myth, Power, and Cyberspace (Cambridge, MA: MIT Press, 2004)
Mark Shiel and Tony Fitzmaurice, eds., Cinema and the City: Film and Urban Societies in a Global Context (Oxford: Blackwell, 2001)
Neil Smith, Uneven Development: Nature, Capital and the Production of Space, 3rd. edn. (London: Verso, 2010)
Edward W. Soja, Postmodern Geographies: The Reassertion of Space in Critical Social Theory (London: Verso, 1989)
Edward W. Soja, Thirdspace: Journeys to Los Ángeles and Other Real-and-Imagined Places (Oxford: Blackwell, 1996)
Edward W. Soja, Postmetropolis: Critical Studies of Cities and Regions (Oxford: Blackwell, 2000)
Barney Warf and Santa Arias, eds., The Spatial Turn: Interdisciplinary Perspectives (London; New York: Routledge, 2009)
Sophie Watson and Katherine Gibson, eds., Postmodern Cities and Spaces (Oxford: Blackwell, 1995)  
7. Cinema and Decolonization
Their strategies will be compared with very different ones employed in other key political films of the 1960s, by Jorge Sanjinés (Bolivia) and Glauber Rocha (Brazil), among others. We will trace how certain techniques associated with Soviet montage, European neorealism or the avantgarde are taken up or reworked in African and Latin American cinemas to create an innovative aesthetics to underpin a politics of liberation. These films continue to incite controversy in our own time for their depiction of political violence and its role in revolution, and/or for their representation of indigenous culture and subjectivity. Made with ‘the camera in one hand and a rock in the other’ (Rocha), many of these films are marked by a sense of immediacy and political exigency that binds them to a certain geopolitical space and a moment in history; nevertheless, their legacy is still evident in political filmmaking in world cinema today.
Screening
The Battle of Algiers (Gillo Pontecorvo, Italy-Algeria, 1966)
La hora de los hornos/The Hour of the Furnaces (Fernando Solanas and Octavio Getino, Argentina, 1968) – Part I only (90 mins)
Reading
Fernando Solanas and Octavio Getino, ‘Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World’, in Michael T. Martin, ed., New Latin American Cinema  [Vol. One: Theory, Practices and Transcontinental Articulations ] (Detroit: Wayne State University Press, 1997), pp. 33-58.
Robert Stam, ‘The Hour of the Furnaces and the Two Avant-Gardes’, in Julianne Burton, ed., The Social Documentary in Latin America (Pittsburgh: University of Pittsburgh Press, 1990), pp. 251-66.
Nicholas Harrison, ‘Pontecorvo’s “Documentary” Aesthetics’, in Interventions 9:3 (2007): 389-404.
Further Reading
Nicholas Harrison, ‘Yesterday’s Mujahiddin: Gillo Pontecorvo’s The Battle of Algiers (1966)’, in Rebecca Weaver-Hightower and Peter Hulme, eds, Postcolonial Film: History, Empire, Resistance (New York and London: Routledge, 2014), pp. 23-46.
Patrick Harries, ‘The Battle of Algiers: Between Fiction, Memory and History’, in Vivian Bickford-Smith and Richard Mendelsohn, eds, Black and White in Colour: African History on Screen (Oxford: James Curry and Athens, OH: Ohio University Press, 2007), pp. 203-222.
David William Foster, Latin American Documentary Filmmaking: Major Works (Tucson: The University of Arizona Press, 2013) – chapter on La hora de los hornos
Jorge Sanjinés, ‘Problems of Form and Content in Revolutionary Cinema’, in Michael T. Martin, ed., New Latin American Cinema [Vol. One: Theory, Practices and Transcontinental Articulations] (Detroit: Wayne State University Press, 1997), pp. 62-70.
Frantz Fanon, ‘On Violence’, in The Wretched of the Earth, trans. Richard Philcox. New York: Grove Press, 2004.
Aimé Césaire, Discourse on Colonialism, trans. Joan Pinkham (New York: Monthly Review Press, 1972)
Ranjana Khanna, ‘The Battle of Algiers and The Nouba of the Women of Mont Chenoua: From Third to Fourth Cinema’ in Third Text, 12:43 (1998), 13-32.
Mike Wayne, chapter on ‘Third Cinema as Critical Practice: A Case Study of The Battle of Algiers’, in Political Film: The Dialectics of Third Cinema (London: Pluto Press, 2001), pp. 5-24.
David M. J. Wood, ‘Indigenismo and the Avant-garde: Jorge Sanjinés’ Early Films and the National Project’, Bulletin of Latin American Research 25:1 (2006), 63-82.
Jonathan Buchsbaum, ‘A Closer Look at Third Cinema’, in Historical Journal of Film, Radio and Television, 21:2 (2001), 153-66.
Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (London and New York: Routledge, 1994), especially pp. 248-91
8. The Cinematic Exploration of Architectural Space 
The seminar will consider how film can be used to explore changes in the architectural understanding of space that were central to emergence of the New Architecture after World War I. Starting with the explanation of architectural space offered by Sigfried Giedion's hugely popular Space Time and Architecture, the first half of the session will contrast the spatial composition of Charles Garnier's Opera House, Paris, one of the heroic celebrations of the Beaux Arts approach, with Le Corbusier's Villa Savoye, one of the best-known paradigms of the New Architecture of the 1920s.
The second half of the seminar will concentrate on Architectures d'Aujourd'hui (1930), a collaboration between film-maker Pierre Chenal and Le Corbusier. It constitutes Le Corbusier's most tangible foray into film-making and highlights the crucial contribution he made to the field of Cinema and Architecture as one of the first examples of 'narrative expressive space'. This will be illustrated by the analysis of the 'promenade architecturale' scene in the Villa Savoye.
Screening
Architectures d'Aujourd'hui  (Pierre Chenal and Le Corbusier, 1930)
Set Reading:
Anthony Vidler, 'The Explosion of Space: Architecture and the Filmic Imaginary', Assemblage 21 (August 1993)
Further Reading:
Tim Benton. The Villas of Le Corbusier 1920-1930 (New Haven & London: Yale University Press, 1987), Chapter 2, pp. 43-82 & Chapter 4, pp. 144-217.
David van Zanten, 'Architectural Composition at the Ecole des Beaux-Arts from Charles Percier to Charles Garnier', in The Architecture of the Ecole des Beaux-Arts, ed. Arthur Drexler (London: Secker & Warburg, 1977), pp. 111-323.
Sigfried Giedion, Space Time and Architecture: The Growth of a New Tradition (Cambridge, MA: Harvard University Press, 1941)
Stephen Heath, 'Narrative Space' in Questions of Cinema (Indiana Press, 1981), pp. 19-75.
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cristinacusani · 6 years
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Sono tra i finalisti nella sezione “arte emergente” della sesta edizione del premio Francesco Fabbri per le arti contemporanee a cura di Carlo Sala.
La mia opera sarà esposta a Villa Brandolini, Solighetto di Pieve di Soligo (Treviso), dal 26 novembre – 17 dicembre 2017.
Inaugurazione e premiazione: sabato 25 novembre, ore 17.30.
Orari di apertura: venerdì e sabato 16.00-19.00; domenica 10.00-12.30 e 16.00-19.00.
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L’opera selezionata si intitola “Me, before I was born. Aug 1969” è costituita da un album fotografico su cui ho applicato una foto di mia madre da giovane seduta accanto ad una pianta, ha una maglietta rossa e guarda dritto in macchina. Quando l’ho vista mi è sembrato di guardare in uno specchio, di vedermi in un istante che non ho vissuto. Ho deciso per questo di cercare altre fotografie della mia famiglia in cui ritrovarmi. Il risultato è “The things I know by heart” una raccolta di album di ricordi vissuti da altre persone prima che io nascessi, che sono diventati miei ricordi nel momento in cui mi ci sono riconosciuta. Il verbo ricordare viene dal latino re-cordis: richiamare al cuore, perchè anticamente si pensava che il cuore fosse il centro della memoria. Tuttora in alcune lingue come il francese e l’inglese “imparare a memoria” si dice “apprendre par coeur” o “to know by heart”. Ecco dunque che le immagini contenute in questo lavoro sono le cose che so attraverso il cuore. L’intero corpus della ricerca consiste in una serie di album, ognuno aperto su una pagina che riporta una sola fotografia vintage scattata e stampata prima che io nascessi. Sotto ogni fotografia scrivo a penna il ricordo al quale essa corrisponde, così come si faceva un tempo nei vecchi album fotografici. Le immagini diventano così il mezzo per la costruzione della mia identità in un tempo ciclico, non lineare, in cui passato presente e futuro esistono contemporaneamente. Come in una rêverie, condizione in cui la concezione del tempo si smaterializza nella fusione tra realtà e sogno, cerco di ritrovare la mia vita nel tempo precedente alla mia esistenza.
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Le giurie hanno decretato i finalisti della sesta edizione del Premio Francesco Fabbri per le Arti Contemporanee che esporranno nella mostra collettiva a cura di Carlo Sala nella suggestiva cornice di Villa Brandolini a Pieve di Soligo, in provincia di Treviso. Tra le numerose opere candidate sono risultate finaliste della sezione “Arte emergente” dedicata agli under 35 quelle di: Filippo Armellin, Alessio Barchitta, Gianluca Brando, Pamela Breda, Elena Canevazzi, Fabio Cavallari, Marco Ceroni, Francesca Chioato, Claudio Corfone, Lucia Cristiani, Cristina Cusani, Fabio De Meo, Mattia Ferretti, Alessio Gianardi, Marco Gobbi, Cosimo Iannunzio, Andrea Magaraggia, Francesco Maluta, Gianluca Marinelli, Simone Monsi, Miriam Montani, Stefano Moras, Caterina Morigi, Greta Pllana, Fabio Roncato, Mattia Sinigaglia, Carloalberto Treccani, Nicolas Vamvouklis, Matteo Vettorello e Alba Zari.. I finalisti della sezione “Fotografia contemporanea” invece sono:Fabrizio Albertini, Lorenzo Bacci, Alessandra Baldoni, Giorgio Barrera, Ludovica Bastianini, Pietro Belotti, Claudio Beorchia, Lidia Bianchi, Silvia Bigi, Ilaria Bombelli, Tania Brassesco e Lazlo Passi Norberto, Silvia Cappellari, Alessandra Carosi, Michele Cera, Paolo Ciregia, Michela Curti, Alessandro Dandini de Sylva, Assunta D’Urzo, Laura Fiorio e Daniele Sambo, Federica Landi, Anna Messere, Alice Pedroletti, Claudia Petraroli, Marina Rosso, Fabio Sandri, Luca Scavone, Karin Schmuck, Alberto Sinigaglia, Alessandro Toscano e Jacopo Valentini. La composizione delle Giurie del Premio ha potuto annoverare autorevoli critici e curatori: per la sezione “Arte emergente”: Martina Cavallarin, Stefano Coletto, Stefano Raimondi e Eugenio Viola; per la sezione “Fotografia contemporanea” Matteo Balduzzi, Daniele De Luigi, Francesca Lazzarini e Francesco Zanot con la partecipazione ad entrambe di Carlo Sala, curatore del Premio.
Premio Francesco Fabbri per le Arti Contemporanee a cura di Carlo Sala Villa Brandolini, Solighetto di Pieve di Soligo (Treviso), Piazza Libertà n°7 Inaugurazione e premiazione: sabato 25 novembre, ore 17.30. 26 novembre – 17 dicembre 2017.
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mercerislandbooks · 9 months
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50 Years of Island Books: Cindy Corujo
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Cindy Corujo has been a bookseller for 36 years and has the longest tenure of any Island Books employee. Nothing before that matters or counts. She must have started young because she looks no older than 40. June 2023 marks her 30th year at Island Books. While Cindy likes to say that her plans for the future are so up in the air she calls them her future planes, she really only hopes to be gift-wrapping kids' books for birthday parties while Nancy Stewart sings Sticky Sticky Bubblegum every Saturday for the next 30-50 years.
Miriam: Let's start at the beginning, Cindy. How did you come to work at Island Books?
Cindy: I'm pretty sure I was the first off-Island, no Mercer-Island-Connections person to work at the bookstore. Actually maybe Mark who worked in receiving and who was there when I started was—though I think he actually had a Carol Kelly connection through her daughter, Emily. 
I do know that I answered Roger's first ever "help wanted" ad either in Seattle Weekly or in the The Seattle Times—It was 1994.  I had experience, I had worked at a bookstore in Chicago for 6 years. I was a bartender before that, I had a BA in English and had taught English for a very little bit before that—I was pretty sure I was on track to be a famous writer but that hasn't quite panned out... yet. But hey, I wanted to be a Marine Biologist in 4th grade and that hasn't panned out yet either. 
I knew no one in Seattle when I moved here.  I found an efficiency apartment on First Hill and unloaded the contents of my crammed full 14-foot Pemske into it, plopped all my savings into the hands of my new landlord for three months rent with deposit and immediately set out to find work.  Something I never had a hard time finding.  Until Seattle.
I applied and interviewed everywhere for everything.  Even a bridal boutique. Even an artificial limb company. I was just in conversation with "Annie's Affordable Art" in Ballard where I would be framing commercial posters interspersed with customer service in a windowless space when I saw Roger's ad. I think Roger would be the first to tell you that I walked into the bookstore blatantly desperate for the job.
Miriam: Tell me how your work as the store artist grew and bloomed. For those who don't know, the placards, quotes, window displays, and much of the store lettering and aesthetic came from Cindy's artistic hands. How did the rest of the staff discover your gifts?
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Cindy: It's touching that you would say this. I will agree that I helped changed the look and feel of the store over time to help Roger build a "fun with purpose" (I stole that from Highlights magazine) environment. I did do the signage, and windows and displays for most of those years. I would never call myself the store "artist." I was certainly the store "scribe" and brought the first blackboards to the space to share fun quotes and event information. The blackboard up front to the right of the front door as you're leaving was the first, and I purchased it for $7 at Goodwill on Dearborn after a day-long and determined hunt for that exact thing. I wish I had kept a record of the quotes I've found over the years—everything from Cicero commenting on kids to my mother opining on wind chimes. Fun Fact: I have never used the same quote twice.   
When I think of the store's true artists, I think of Andrea Lorig, whose art adorned the newspaper advertisements and created the logos in the early days, and of Poo Putsch who painted the play house with such care and loving detail that I only just this past weekend discovered a tiny fairy in the grassy garden painted on the north face and Dr. Deane who built the playhouse and of course, Roger, who imagined and executed a series of fun remodels to transform the floor plan of the store into the interesting maze of steps and nooks and ramps and platforms and throughways that it is and whose personal collection of three typewriters were the seed ("Hey I've got one of those at home--I should bring it by") of our community collection now thirty years in the making. More recently, Brad, who's been here about a year now, has been doing some gorgeous blackboards and signs that completely outshine mine. Sigh. To my credit, a famous publisher once said I should have my own font. Caitlin can testify to that.
Miriam: I would use a Cindy font! I'm a huge fan of the store aesthetic and have loved watching it evolve over the years. Switching gears now—will you tell us about any store memories that are particularly memorable for you? Bloopers welcome, or go heartwarming...
Cindy: When I started, the bookstore was a different place. Stuffed with books.  All the space where we now display all of the beautiful miscellaneous stuff we house today was for the display of books.  All the general sections were divided into subsections.  The place had a classic bookstore vibe and a formal feel—way more formal than me and I wondered how I was going to fit in.  The women who worked there were all ten to twenty years older than me, there were a lot of employees working part time and they were for the most part, really well-read, really well-educated and really well-dressed when they went to work.  I really did not think I was going to fit in. What I learned pretty quickly was that I didn't have to fit in. That Island Books was a place that made room for people. It still is. Since then, I've had the good fortune to spend my entire work life with an evolving cast of fun and interesting colleagues and customers, some of whom I count among my best friends (Hi Wendy!).
We were open when the Nisqually Earthquake hit—All twenty NYTs hardcover bestsellers shuddered and toppled off the bestseller shelf. That was my first clue before running through the store shouting Duck! Though I think I really shouted F*****ck!!! Either way, I'm sure I saved lives that day.
The midnight release of Harry Potter and the Order of the Phoenix—three long years of waiting after Goblet of Fire was published, our modest midnight release party plan grew into a huge happening because of Nancy Page's imagination while on the phone discussing our "plans" with a Tacoma reporter.  We rose to the occasion of Nancy's imagination with the help of Youth Theatre Northwest,  and a bunch of creative and handy customers along with staff all pitching in to make it happen. We had probably one of the best midnight release parties in the United States. In history. Bar none.
I've been through several significant anniversary parties here but I think my favorite was the Pie Social we had for our fortieth (I think). Our spin was—It's our birthday, what are you gonna do about it?  We want pie.
And we got a storeful of pie. So much fun!  So many people came bearing so much pie!
Fast forward to Laurie's tenure. Roger was relieved, ready to retire and stoked to strike out for the territory. Laurie was ecstatic and enthusiastic, did a cartwheel in the main aisle, hosted a wonderful welcome party and brought a new era of being an even more events- oriented bookstore. Laurie and Victor added the comfortable overstuffed reading chairs and beautiful throw rugs. The twinkling lights to the display cases came later.  
Lowpoint:  First author signing ever with no books to sign—we botched our order timing and had no books for the signing. In spite of our eternally mortifying gaffe, it was one of the funnest "signings" we'd ever held.  Everyone was cool with getting their signed copies later and the author (Claire Gebben) couldn't have been more gracious and good-humored about it. We still sell her novel and her memoir.
Miriam: You've seen it all. Let's finish with what you're looking forward to at the bookstore in the year ahead. Besides the big anniversary, of course.
Cindy: Re-opening the play house happened recently, but I'd been looking forward to it for a long time. That little structure has meant a bit to people over the years and it had been closed to kids since Covid.  We did a cleaning, an inspection, and a little facelift. As Laurie said: We're having an Open House.
Also, Anna, an intern, and I are working on the one and only official Island Books Golden Jubilee 2023 Typewriter Fixation Calendar—14 months of sexy typewriters from the Island Books Typewriter Collection with bonus All Inclusive Centerfold. You can read more about our typewriter project here. If anyone cares to pre-order, please let me know. I think it will retail for $23, in honor of our 50th year (2023). I'm pretty excited about how it's turning out so far. We expect it to be ready for press in September and for the release of at least 100 signed and numbered copies in October/November.
Miriam: I want one! No seriously, I am so excited about this calendar. I'm getting one for all my friends too. I hope it's typeset in Cindy font.
To our Island Books community: In the next 50 Years of Island Books installment, I’ll be talking with one of our favorite authors, Erica Bauermeister. Stay tuned!
—Miriam
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