domain ( film )
. film is a restricted tld. to purchase a. film domain name you must either :
order your. film domain names in bulk, simply enter your names below (one domain per line) .
closely connected to the domain name you' re registering. for example, the domain includes :
. domain won the best feature audience award at the 2016 other worlds austin scifi film festival .
if you require assistance with. film domain registration, please contact our helpdesk via email or telephone .
these restrictions are set by the motion picture domain registry pty ltd, the company that owns. film
because. film is a restricted domain, audiences will come to understand that they can trust websites with this ending .
promoting a. film? you’ll need a website. and there’s no better address extension for it than. film. whether it’s a big budget blockbuster or an underground arthouse flick, dot film eliminates the need for long, unwieldy domain names, allowing you to register the address that exactly matches the name of your movie. spaghetti westerns, rom - coms, slasher flicks, historical epics - - whatever type of movie you’re promoting, dot film is the clear domain choice to generate hype online. but this a - list domain isn’t just for promoting films and filmmakers. dot film extends beyond the film industry to sites for movie lovers, critics, educators and beyond. online reviews and movie listings will find an ideal domain with. film, as will film schools, film preservers and movie technology suppliers. hit the mark with. film. as the exclusive domain for all things related to movies, . film can help boost the profile of any part of the industry. this authoritative domain creates an online space that builds trust with industry insiders and movie lovers alike. if you’re a part of the film community, set the stage for online success with dot film. get yours registered today .
. film is a great choice for registrants interested in internet commerce. . film is an excellent way to draw customers in with great offers. however, if you allow yourself to film your mind you' ll find that commercial applications are only a part of. film. . film will allow individuals and organizations to expound mantras or call for social action. embrace your filmdom of choice with a. film domain .
we thank you for your understanding during this exciting transformative stage of the domain industry .
. film offers the film industry a unique opportunity to reinvent their approach to online content provision. the domain also provides the film industry with a readily recognizable namespace to promote their products and services. this is a once off opportunity for the film industry to embrace the next generation of internet navigation at the ground level .
as the exclusive domain for all things related to movies, . film can help boost the profile of any part of the industry. this authoritative domain creates an online space that builds trust with industry insiders and movie lovers alike. if you’re a part of the film community, set the stage for online success with dot film. get yours registered today .
charleston road registry inc. , outer avenue, llc, motion picture domain registry pty ltd
( b) if the domain name is a film title, you must be a member of an approved association, body or union listed here (urltoken) and hold rights to the exact matching film title .
study the traditional skills of film in this film making course in brisbane, byron bay, melbourne, perth and sydney .
the cleveland international film festival promotes artistically and culturally significant film arts through education and exhibition to enrich the life of the community .
please note that the. film registry may ask you to confirm your eligibility. if they determine that you are ineligible for the domain name they may delete the domain name. in that case, urltoken will not be able to process a refund on your behalf .
gtld applicant: charleston road registry inc. , outer avenue, llc, motion picture domain registry pty ltd
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emmeline pankhurst. (photo: copyright by matzene, chicago. [ public domain ], via wikimedia commons )
annie kenney and christabel pankhurst. (photo: author unknown; [ public domain ], via wikimedia commons )
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check out our faqs for answers to common questions about entering the film festival .
on june 13 2012, icann have announced 2000 + domain name gtld applications and. film is one of these new top level domains. pre - register your interest for. film with instra to receive updates on the progress of this new arts entertainment related new gtld along with your opportunity to register your desired. film if it becomes publically available for registration .
who doesn’t like movies? no one, that’s who. movies not only have a huge impact on the global economy, they bring the world closer together. now there’s an exclusive domain for films and the people who love them. roll out the red carpet for. film, the long - awaited domain extension dedicated to the film industry. as humphrey bogart put it, “i think this is the beginning of a beautiful friendship .
film is big business. as the cornerstone of the entertainment sector, movies generate massive global revenues and employ hundreds of thousands of people. and there are just as many parts of the film industry as there are types of movies. from talent agencies, production studios and animation companies to film festivals and distributors, the film industry has a broad reach that stretches well beyond hollywood. whatever part of the industry your website represents, a dot film domain tells web users you’re all about the big screen .
take part in an exclusive space that is just for movie lovers! anyone who is part of an approved association, body, or union can register a. film domain for their personal use or business .
horror highlights: horror popsicle pins, charlie sheen at wizard world, the follower, philip k. dick science fiction film fest, sci - fi - london film fest
the devil is a woman in jared cohn' s teen - oriented horror film .
daniel craig' s bond will be in
wedded bliss
in the next 007 film .
the film' s like taken with bond ,
a source explained to page six .
this untitled film will be released on - well... we don' t know .
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tiff 2017: louis c. k.' s' secret' new film is a meandering standout
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one look at the studio' s extensive list of credits and the only film it seems it could bare any relation to is alex garland' s 2015 film ex machina which stars domhnall gleeson, oscar isaac and alicia vikander. others are speculating it could be the new film from shane carruth, the director behind mindbending films primer and upstream color. whatever the project is, it has film fans squabbling with excitement .
tags: 2016, cyber, david s. sterling, devil' s domain, film, horror, iggy pop, jared cohn, linda bella, michael madsen, movie, satan, social media, steve severin, suicidal, supernatural, trailer, video, viral
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robert pattinson has thrown his name into the oscars ring following the premiere of new film good time at cannes .
although we make every effort to ensure our availability checker is accurate, there is a possibility that we may show reserved / premium domains as available due to the early stage of roll out for this domain. if you submit an order for a domain that is later identified as reserved then we will unfortunately be unable to complete the registration and you will be provided a full refund. if you submit an order for a domain that is later identified as premium then you will have two options available to you :
the film is released on blu - ray and dvd in the us by cleopatra entertainment on july 11, 2017 .
films that haven’t come out yet can use a. film site filled with trailers and cast information to hype up audiences .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
the film, currently under the working title bond 25, will see bond get married, sources on the project told page six .
( a) be a member of an approved association, body or union that appears on this page (urltoken). as a member, you must also be closely connected to the domain name .
devil’s domain is still worth a watch, though perhaps thrust your tongue resolutely in cheek beforehand? and sapphic means satanic, apparently. retain that thought, cos there’s not much else of substance here .
however, none have received quite the acclaim being chucked the way of the disaster artist with the james franco - directed film receiving a standing ovation which lasted for the entirety of the post - screening q & a with the film' s cast - a festival first .
suffragettes and envoys from san francisco arriving at the capitol in washington, d. c. (photo: harris & ewing, washington, d. c. [ public domain ], via wikimedia commons )
there isn’t much more to the plot than the tides of this relationship, and as it fizzles, so does the film. reflecting the theme of order and mathematics, domain is divided into mini chapters with a shot of menacingly green, swirling water, and a note of how much time has passed. there is almost as little point to this gimmick as the incongruously pop soundtrack. for the most part, the music is a confused and unnecessary addition to the film that, aside from one momentarily entrancing cabaret number, may have worked better without music. the palate is dark and overcast, though this seemed more indicative of the low budget rather than carefully crafted mood, and the overall effect of watching domain is unsatisfyingly depressive .
jurassic outpost’s chris pugh tweeted on friday that “isla nublar rescue mission” could hint at jurassic world 2’s official title, referring to universal’s “telling move” when it bought the domain name for ”fate of the furious. ” still, pugh finds it “unlikely” that the domain is actually jurassic world 2’s title. the more likely scenario is that the “rescue mission” refers to a plot device, like a fictional organization... or literally just an actual mission .
the premise of jurassic world 2 reportedly took bryce dallas howard by surprise, which means there’s little chance that the sequel will be another run - of - the - mill killer dinosaur flick. bayona has previously referred to the sequel as a “fun” dinosaur adventure, but has also hinted at political elements playing a major role in the film. the domain names make it clear that jurassic world 2 will contain political themes, but it won’t be clear exactly what kind of film it wants to be until more new information comes out .
the cast - including james franco, his brother dave and alison brie - were all in attendance at the premiere in which frenzied inflatable football - throwing fans of the film' s inspiration - “worst film ever made” the room - turned up in their droves in what has easily been the festival' s biggest draw .
as troubled lisa, madi vodane is effective and for a low budget production that deals with real - life horrific issues such as bulimia, depression and self - harm, devil’s domain has certainly has promise. we feel for this young lady, initially…
portrait of emily davison, british suffragette, who ran in front of the king & apos; s horse at the 1913 epsom derby and was considered a martyr by her fellow suffragettes. (photo: author unknown [ public domain ], via wikimedia commons )
the film as a whole doesn' t make a lot of sense, but from moment to moment it is effectively visceral and raw. it' s compelling almost by accident .
at around midnight in toronto last night, there was only one place anyone wanted to be - at the ryerson theatre for the midnight madness screening of new film the disaster artist .
and new owners will be able to make their own use of the cupboard under the stairs, which in the film was harry’s pokey bedroom, with crammed in shelves and a camp bed .
a suggestive relationship between pierre (isaïe sultan), a handsome teenage boy, and nadia (betty blue ’s béatrice dalle), his wild, older aunt, seems like a promising formula, but in the case of domain, this set - up delivers little more than a few good performances .
all this can easily be applied to the film, where transitions that in literature took centuries have come about in a decade. in cinematic practice, particularly in russia, this change - over has partially become established reality. some of the players whom we meet in russian films are not actors in our sense but people who portray themselves and primarily in their own work process. in western europe the capitalistic exploitation of the film denies consideration to modern man’s legitimate claim to being reproduced. under these circumstances the film industry is trying hard to spur the interest of the masses through illusion - promoting spectacles and dubious speculations .
jurassic world 2 is ready to enter the production phase, as filming for the highly anticipated sequel is reportedly beginning very soon. director j. a. bayona is building buzz for his approach to the sequel as a darker film than its predecessor, while the idea of less cgi and more of a mix of digital and animatronic effects gives the film a chance to look and feel closer to the original jurassic park .
satan would find a lot more willing customers if it always appeared in the guise of the hottie villain featured in jared cohn’s grungy horror film. played by linda bella, this demon who goes by the name of destiny wears a slinky red dress showing off a killer body. even when her face occasionally morphs into a truly grotesque visage, she’s still alluring. the character turns out to be the best thing about devil’s domain, which attempts to elevate its familiar genre tropes by throwing in moralizing lessons about online bullying, among other things .
director of the room tommy wiseau also walked the red carpet having come straight from a pre - screening party also attended by co - star greg sestero and chloë sevigny at the festival to promote new film lean on pete .
aided by a more ‘interested’ performance by michael madsen, devil’s domain gets off on the right cloven hoof. as lisa’s stepfather, madsen’s character bill questions the cruelty of teenagers and the use of technology to make matters worse. of course, back in 1976 teens didn’t need mobiles and web cams to be cruel to carrie but that’s another story…
as expected, the remainder of devil’s domain offers the audience conscience - free retribution for lisa’s suffering via her pact with the female - formed devil. a burning phone, maniacs with axes, flesh - eating fun, some rack torture. it’s here (albeit briefly), yet none of it works particularly well. the manson syndrome barely figures too .
in lake charles, our focus is on your production. from gulf beaches to alligator filled marshlands, to colorful personalities, we & apos; ve got you covered. with delicious cajun cuisine and fresh louisiana seafood, you won & apos; t want to leave! you haven & apos; t truly shot louisiana until you & apos; ve been to lake charles. check out our film scouting gallery call the lake charles / southwest louisiana film commission for assistance :
an active member of the film industry (e. g. producer, studio, director, writer, actor) or supply goods or services to the industry (e. g. lawyer, agent, financier, pr firm) and
unfortunately, bonham carter has said that much of the jiu - jitsu in suffragette had to be cut due to story considerations. however, garrud & apos; s fighting spirit definitely remains part of the film & apos; s dna .
largely derided among viewers for aussie lazenby' s wooden performance in the wake of sean connery' s retirement, the film has since been reappraised for its mod - leanings, new wave - esque aesthetics, and that tragically affecting ending .
one target of suffragette ire was chancellor of the exchequer david lloyd george, another real - life character who appears in the film. in february 1913, suffragettes bombed an empty house that was being built for lloyd george; suffragette shows this attack .
not french but austrian, in fact, writer / director patric chiha’s primary motivation was to film la dalle. the film is less a young man’s rite of passage than the exposure of cracks in a tough, hurting, older woman. the role is one of those magnificently intense, suffering, emotional ones that necessarily conjure the spectres of davis and crawford. dalle is predictably terrific, with her aged, goblin, jolie - laideur, and that exquisitely french sense of noble, justified world - weariness .
“whistles, cheering and yells of' great job!' and' bravo!' could be heard, and at the tail end of the film' s six - minute standing ovation, a chant carried throughout the orchestra up to the balcony. ”
the distracted person, too, can form habits. more, the ability to master certain tasks in a state of distraction proves that their solution has become a matter of habit. distraction as provided by art presents a covert control of the extent to which new tasks have become soluble by apperception. since, moreover, individuals are tempted to avoid such tasks, art will tackle the most difficult and most important ones where it is able to mobilize the masses. today it does so in the film. reception in a state of distraction, which is increasing noticeably in all fields of art and is symptomatic of profound changes in apperception, finds in the film its true means of exercise. the film with its shock effect meets this mode of reception halfway. the film makes the cult value recede into the background not only by putting the public in the position of the critic, but also by the fact that at the movies this position requires no attention. the public is an examiner, but an absent - minded one .
following on from last year' s surprise releases of 10 cloverfield lane and blair witch, a24 - the studio behind independent hits swiss army man and american honey - has dropped a mysterious trailer for a brand new sci - fi film that nobody knows anything about .
in suffragette, helena bonham carter portrays pharmacist and bomb maker edith ellyn. unlike other characters in the film, ellyn has a husband who also wants women to get the vote. one real - life couple who both supported female suffrage were barbara ayrton gould and her husband gerald .
midnight madness is a popular tiff strand in which films - usually from the horror genre - are shown to a rowdier crowd in the early hours. this year' s strand has included eminem - produced battle rap film bodied as well as nicolas cage' s mom and dad .
produced by cleopatra films, the film features songs by iggy pop, 3teeth, luna 13, onyx, dmx, missing persons and, as the poster above attests, ‘steve severin of the cure’ (despite him being a long - standing member of siouxsie and the banshees (ahem) .
dalle’s performance as nadia is undoubtedly captivating, but the intensity of her glare often borders on malice in a way that seems unintentional. in fact, all the characters spend most of the film cloaked in such serious introspection that the absence of any lightness or nuance begins to feel heavy and dull .
in early 20th century britain, the cause of female suffrage was usually ignored by the press and dismissed by politicians. to gain support for their right to vote, suffragettes turned away from peaceful protest and embraced militant tactics that grew to include window breaking and arson. their fight for equality, which escalated in violence in 1912 and 1913, is depicted in the new film suffragette. the movie also shows historical figures and fictional characters interacting as they struggle to get women the vote. here are six real - life suffragettes (plus one man) who either appear in suffragette or whose stories are reflected in the film .
for the film, what matters primarily is that the actor represents himself to the public before the camera, rather than representing someone else. one of the first to sense the actor’s metamorphosis by this form of testing was pirandello. though his remarks on the subject in his novel si gira were limited to the negative aspects of the question and to the silent film only, this hardly impairs their validity. for in this respect, the sound film did not change anything essential. what matters is that the part is acted not for an audience but for a mechanical contrivance – in the case of the sound film, for two of them. “the film actor, ” wrote pirandello, “feels as if in exile – exiled not only from the stage but also from himself. with a vague sense of discomfort he feels inexplicable emptiness: his body loses its corporeality, it evaporates, it is deprived of reality, life, voice, and the noises caused by his moving about, in order to be changed into a mute image, flickering an instant on the screen, then vanishing into silence... . the projector will play with his shadow before the public, and he himself must be content to play before the camera. ” this situation might also be characterized as follows: for the first time – and this is the effect of the film – man has to operate with his whole living person, yet forgoing its aura. for aura is tied to his presence; there can be no replica of it. the aura which, on the stage, emanates from macbeth, cannot be separated for the spectators from that of the actor. however, the singularity of the shot in the studio is that the camera is substituted for the public. consequently, the aura that envelops the actor vanishes, and with it the aura of the figure he portrays .
the real - life character of emmeline pankhurst, portrayed by meryl streep, appears in suffragette. though pankhurst is seen on screen for just a few minutes, she & apos; s a symbol of inspiration for many of the film & apos; s characters — just as pankhurst inspired suffragettes in real life .
the novel' s 1969 film adaptation saw bond (george lazenby) driving off to settle down with tracy (diana rigg), only to have her die in a hail of bullets from foe blofeld (telly savalas), as louis armstrong' s brutally ironic we have all the time in the world plays .
penned by robert wade and neal purvis – the screenwriters on all of craig' s bond films to date, from casino royale to spectre – the film is set to open with a newly retired bond in
wedded bliss
with dr madeleine swann (lea seydoux), his love interest at the end of spectre .
after a deadly flu epidemic kills most of the world’s population, lucky survivors bide their time in hermetically sealed bunkers located 30 feet underground, where they can interact with select others only by sophisticated video conferencing. things start to go haywire in this stable environment after a combative denizen named orlando is banned from his linked community. residents start disappearing or harming themselves, and odd markers (such as a rat) hint that these pods aren’t as closed - off as they seem. however, it isn’t until phoenix and denver (who, improbably, have fallen for each other) decide to make a run for it that domain’s true mysteries start to reveal themselves. the subsequent unraveling of their situation only creates more questions of what their reality is. suspense - filled and atmospheric—courtesy of an eerie score and a muted color palette—domain raises questions about how well we can really know other people. as the bunker designer nadine puts it at one point: “never underestimate humanity’s capacity to be punitive. ” —a. z .
plot: thirty years after the events of the first film, a new blade runner, lapd officer k, unearths a long - buried secret that has the potential to plunge what' s left of society into chaos. k' s discovery leads him on a quest to find rick deckard, a former lapd blade runner who has been missing for 30 years .
still, the film has its sporadic pleasures, mostly provided by bella, who effectively conveys destiny’s enjoyment of her over - the - top murderous and sexy antics, and michael madsen, as lisa’s supportive stepdad. the veteran actor delivers a nicely low - key performance, but you can’t avoid the feeling that he’s merely cashing a paycheck while waiting for quentin tarantino to write him another great role .
the artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, however, is presented by a camera, with a twofold consequence. the camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. guided by the cameraman, the camera continually changes its position with respect to the performance. the sequence of positional views which the editor composes from the material supplied him constitutes the completed film. it comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close - ups, etc. hence, the performance of the actor is subjected to a series of optical tests. this is the first consequence of the fact that the actor’s performance is presented by means of a camera. also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. this permits the audience to take the position of a critic, without experiencing any personal contact with the actor. the audience’s identification with the actor is really an identification with the camera. consequently the audience takes the position of the camera; its approach is that of testing. this is not the approach to which cult values may be exposed .
avid s6 - the latest in high - end control surface technology and our most recent acquisition. the studio is configured as a state - of - the - art multi - purpose setup for 5. 1 surround sound film mixing, music production and mastering, housing some of the best hardware and software that money can buy. this facility is one of the favourites among our senior bachelor of audio students who often spend hours in the studio perfecting their craft .
around 1900 technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes. for the study of this standard nothing is more revealing than the nature of the repercussions that these two different manifestations – the reproduction of works of art and the art of the film – have had on art in its traditional form .
as reported by jurassic outpost, nbcuniversal purchased three new web domains on dec. 15, 2016. all three domains offer subtle hints at the premise of jurassic world 2 with their names alone: urltoken (and. org), and islanublarrescuemission. com. the former strongly alludes to the presence of some form of “dinosaurs’ rights” group as part of the film, while the latter is a reference to isla nublar, the home of the theme parks depicted in both jurassic world and the original jurassic park .
an outburst of some kind is missed, then, but chiha’s constraint is appropriate to the metaphysical straitjacket this fiercely intelligent woman feels herself to be in, and to her somewhat mute nephew. a deliberate deceleration of pace is carried over even into the black - hole nightclub we repeatedly revisit, where the broiling sea of dancers is mesmerically slowed - down. the pain of the film’s emotional revelations and disappointments is never absent, however, most clearly expressed in the muted desperation of nadia’s fellow residents at an alpine sanatorium .
it’s quite forgivable, therefore, to hope for a dalle explosion – it’s part of her stardom – but chiha’s tone is set by the slightly melancholy, night - time riverside campfire. expression of emotion is subtle and deliberate, the film’s rhythm an almost narcotized blur. episodes repeat themselves in a steady accretion of character, as pierre and nadia walk around paris a lot. for all the frequent moments of apparent inaction, however, the characters are never doing nothing. both dalle and isaïe sultan amply inhabit these moments when chiha allows them (not so) simply to be .
the shooting of a film, especially of a sound film, affords a spectacle unimaginable anywhere at any time before this. it presents a process in which it is impossible to assign to a spectator a viewpoint which would exclude from the actual scene such extraneous accessories as camera equipment, lighting machinery, staff assistants, etc. – unless his eye were on a line parallel with the lens. this circumstance, more than any other, renders superficial and insignificant any possible similarity between a scene in the studio and one on the stage. in the theater one is well aware of the place from which the play cannot immediately be detected as illusionary. there is no such place for the movie scene that is being shot. its illusionary nature is that of the second degree, the result of cutting. that is to say, in the studio the mechanical equipment has penetrated so deeply into reality that its pure aspect freed from the foreign substance of equipment is the result of a special procedure, namely, the shooting by the specially adjusted camera and the mounting of the shot together with other similar ones. the equipment - free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology .
the question remains whether it provides a platform for the analysis of the film. a closer look is needed here. distraction and concentration form polar opposites which may be stated as follows: a man who concentrates before a work of art is absorbed by it. he enters into this work of art the way legend tells of the chinese painter when he viewed his finished painting. in contrast, the distracted mass absorbs the work of art. this is most obvious with regard to buildings. architecture has always represented the prototype of a work of art the reception of which is consummated by a collectivity in a state of distraction. the laws of its reception are most instructive .
magician and surgeon compare to painter and cameraman. the painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. there is a tremendous difference between the pictures they obtain. that of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. and that is what one is entitled to ask from a work of art .
one of the foremost tasks of art has always been the creation of a demand which could be fully satisfied only later. the history of every art form shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form. the extravagances and crudities of art which thus appear, particularly in the so - called decadent epochs, actually arise from the nucleus of its richest historical energies. in recent years, such barbarisms were abundant in dadaism. it is only now that its impulse becomes discernible: dadaism attempted to create by pictorial – and literary – means the effects which the public today seeks in the film .
nadia’s relationship with pierre is therefore made obscure and complex. furthermore, she professes a fundamental mistrust of words, and her sometimes - contorted forms of communication are symptomatic of a turning in on oneself, a somewhat frightened self - isolation. pierre meanwhile becomes his own man as it were, taking center stage in his life and in the nightclub, in a sequence that drifts charmingly away from reality. other sequences are piqued by the strange wanderings of background extras, and a dark fairytale notion of being lost in the woods builds as the film’s central metaphor. chiha is unafraid to sink his actors into a soft, dusky murk of underlighting, and the steady understatement builds to a climax of unexpected, sinister cruelty, and literal obscurity. quiet, careful, and rather beguiling .
with the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turned into a qualitative transformation of its nature. this is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. only later did it come to be recognized as a work of art. in the same way today, by the absolute emphasis on its exhibition value the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental. this much is certain: today photography and the film are the most serviceable exemplifications of this new function .
it is inherent in the technique of the film as well as that of sports that everybody who witnesses its accomplishments is somewhat of an expert. this is obvious to anyone listening to a group of newspaper boys leaning on their bicycles and discussing the outcome of a bicycle race. it is not for nothing that newspaper publishers arrange races for their delivery boys. these arouse great interest among the participants, for the victor has an opportunity to rise from delivery boy to professional racer. similarly, the newsreel offers everyone the opportunity to rise from passer - by to movie extra. in this way any man might even find himself part of a work of art, as witness vertov’s three songs about lenin or ivens’ borinage. any man today can lay claim to being filmed. this claim can best be elucidated by a comparative look at the historical situation of contemporary literature .
as a mathematician, the beauty of order guides nadia’s life, and its absence frightens her. but the rigidity she seeks in the world is belied by a personal life that is anything but stable. her persistent drinking, at first limited to evenings, turns out to be destructive alcoholism, which pierre comes to understand, then pity, then revile. her musings begin to sound like drunken rants in the light of her uncontrollable and unattractive addiction, and pierre pushes away, accepting the long ignored attention of his peers and embarking on a surprising, love affair with a man, which he neither trumpets nor conceals. however, his turn of heart from love to contempt for his beloved aunt is quick and exaggerated. it leads to a cruel and unexpected ending, which gives the film its first and last infusion of plot - driven drama, but it doesn’t feel warranted against the monotonous landscape of everything that came before it .
by close - ups of the things around us, by focusing on hidden details of familiar objects, by exploring common place milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action. our taverns and our metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. then came the film and burst this prison - world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far - flung ruins and debris, we calmly and adventurously go traveling. with the close - up, space expands; with slow motion, movement is extended. the enlargement of a snapshot does not simply render more precise what in any case was visible, though unclear: it reveals entirely new structural formations of the subject. so, too, slow motion not only presents familiar qualities of movement but reveals in them entirely unknown ones “which, far from looking like retarded rapid movements, give the effect of singularly gliding, floating, supernatural motions. ” evidently a different nature opens itself to the camera than opens to the naked eye – if only because an unconsciously penetrated space is substituted for a space consciously explored by man. even if one has a general knowledge of the way people walk, one knows nothing of a person’s posture during the fractional second of a stride. the act of reaching for a lighter or a spoon is familiar routine, yet we hardly know what really goes on between hand and metal, not to mention how this fluctuates with our moods. here the camera intervenes with the resources of its lowerings and liftings, its interruptions and isolations, it extensions and accelerations, its enlargements and reductions. the camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses .
painting simply is in no position to present an object for simultaneous collective experience, as it was possible for architecture at all times, for the epic poem in the past, and for the movie today. although this circumstance in itself should not lead one to conclusions about the social role of painting, it does constitute a serious threat as soon as painting, under special conditions and, as it were, against its nature, is confronted directly by the masses. in the churches and monasteries of the middle ages and at the princely courts up to the end of the eighteenth century, a collective reception of paintings did not occur simultaneously, but by graduated and hierarchized mediation. the change that has come about is an expression of the particular conflict in which painting was implicated by the mechanical reproducibility of paintings. although paintings began to be publicly exhibited in galleries and salons, there was no way for the masses to organize and control themselves in their reception. thus the same public which responds in a progressive manner toward a grotesque film is bound to respond in a reactionary manner to surrealism .
mechanical reproduction of art changes the reaction of the masses toward art. the reactionary attitude toward a picasso painting changes into the progressive reaction toward a chaplin movie. the progressive reaction is characterized by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert. such fusion is of great social significance. the greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. the conventional is uncritically enjoyed, and the truly new is criticized with aversion. with regard to the screen, the critical and the receptive attitudes of the public coincide. the decisive reason for this is that individual reactions are predetermined by the mass audience response they are about to produce, and this is nowhere more pronounced than in the film. the moment these responses become manifest they control each other. again, the comparison with painting is fruitful. a painting has always had an excellent chance to be viewed by one person or by a few. the simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses .
written & directed by patric chiha produced by charlotte vincent & aurora films released by strand releasing french with english subtitles. france / austria. 110 min. not rated. with béatrice dalle, isaïe sultan, alaine libolt, raphaël bouvet, sylvia rohrer, manuel marmier & udo samel
nadia moves with quick and restless precision, taking her frequent afternoon walks in heels and at a fast clip. she either falls into a brief, intense silence or bursts into sudden sermons on life, philosophy, and mathematics—anything weighty with its own importance. rather than spend time with kids his own age, pierre rings her door after school for their daily promenades. he’s mesmerized and hangs on her words in that very french style of quiet, expressionless acknowledgment. nadia interprets this as insight, and the two become inseparable, falling into a strange relationship somewhere between friendship and attraction. she cuts a strong, self - processed figure in contrast to her sister, pierre’s mother, whose brief appearance suggests a meek and ordinary woman. but pierre also tends to nadia like a child or eager servant, choosing her clothes, washing her feet—enjoying her brief moments of vulnerably .
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cinema fearité presents ‘the shining’ – the stephen king adaptation that he hates... and everyone else loves
it all sounds pretty french: teenage boy falls in love with his older aunt, attractive, smart, and been around the block a few times, as incarnated to perfection by béatrice dalle. the expected dynamic is subverted, however, even obliquely in the opening scene, and the well - worn elements of such a relationship are treated as though anew, with little interest in misplaced teenage priapism .
it’s established swiftly that nadia’s milieu is one of sophisticated, intellectual bohemianism. she is a rather tortured mathematics professor; pierre is not yet old enough to buy cigarettes. more teasingly established, although he dotes on her as a willing peon, he may not be quite the typical moony teenage boy, with a sexual interest directed elsewhere than his aunt .
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a drama centered on the relationship between a teenager, pierre, and nadia, a woman in her thirties .
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domain is a 2009 french film directed by patric chiha , starring béatrice dalle , isaïe sultan , and alain libolt . the film has been cited as a favorite by filmmaker john waters , who presented it as his annual selection within the 2011 maryland film festival . 
domain is a 2009 french film directed by patric chiha, starring béatrice dalle, isaïe sultan, and alain libolt. the film has been cited as a favorite by filmmaker john waters, who presented it as his annual selection within the 2011 maryland film festival.
domain is a 2009 french film directed by patric chiha, starring béatrice dalle, isaïe sultan, and alain libolt. the film has been cited as a favorite by filmmaker john waters, who presented it as his annual selection within the 2011 maryland film festival.