Podcasts about 'the invention

The actor Simon Russell Beale speaks about playing the poet and scholar A. E. Housman in Tom Stoppard's play 'The Invention of Love', as well as discussing his memoir.The singer, songwriter and composer Rufus Wainwright was inspired to write a Requiem by his love of the composer Giuseppe Verdi and the loss of his dog, named Puccini. He speaks about the project and the involvement of Meryl Streep.And Kate Garner performs songs from the music halls, alongside the historian and writer Oskar Jensen discussing the stories behind the songs.Presenter: Samira Ahmed Producer: Ruth Watts

In this fast moving conversation with Lauren Banko we discussed her first book 'The Invention of Palestinian Citizenship 1918-1947' and the question of Palestinian citizenship as a product of colonial rule, but also adopted by local Palestinians. We also discussed hew new projects like 'Medical Deportees: narrations and pathographies of health at the borders of Great Britain, Egypt, and Palestine, 1919-1949'This three year project offers new approaches to the history of 20th century medico-legal borders and puts (im)(e)migrants' voices at its centre. These migrants include the forcibly displaced, refugees, and labour migrants from across Asia and Africa who attempted to enter Great Britain by sea, and Palestine and Egypt overland. The second project is a monograph about icit and illicit Mobility along the Borders of Palestine between 1920 and 1950. Lastly I asked Lauren a reflection on the 30 years since the Oslo accords. Support this show http://supporter.acast.com/jerusalemunplugged. Hosted on Acast. See acast.com/privacy for more information.

Rishi Sunak and Joe Biden have agreed a new ‘Atlantic declaration' to improve UK trade ties with the US. What does it tell us about the bilateral relationship now? Lucy Fisher is joined by FT columnist Miranda Green and UK chief political commentator Robert Shrimsley to weigh up the prime minister's Washington trip. Plus, the FT's political editor George Parker drops in from DC and Lucy is joined by chief political correspondent, Jim Pickard, to discuss the way Keir Starmer has reshaped the Labour party.Follow Lucy on Twitter @LOS_FisherWant more? Keir Starmer's ruthless remaking of the Labour PartyJoe Biden and Rishi Sunak agree ‘Atlantic declaration'The Invention of Essex - developed but not tamedClips from BBC, Guardian NewsSign up for 90 free days of Stephen Bush's Inside Politics newsletter, winner of the World Association of News Publishers 2023 ‘Best Newsletter' award: https://www.ft.com/newsletter-signup/inside-politics Presented by Lucy Fisher. Produced by Anna Dedhar and Audrey Tinline. The executive producer is Manuela Saragosa. Audio mix and original music by Breen Turner. The FT's head of audio is Cheryl Brumley. View our accessibility guide Hosted on Acast. See acast.com/privacy for more information.

Look up - is there anything harder than trying to pin down a cloud? But a young chemist and future metereologist did the very exact thing - he categorised clouds for the world. His name was Luke Howard (1772-1864). Through out his life, Howard, a quaker and self-taught naturalist, gazed at clouds - his cloud taxonomy still holds strong today for the millions of cloud lovers around the world. Padma speaks with science historian and lecturer Dr Richard Hamblyn (Birkbeck University), who also wrote 'The Invention of Clouds: How an Amateur Meteorologist Forged the Language of the Skies', about Howard, the history of cloud taxonomy, and how clouds continue to hold centrestage in our imagination. This episode is a special release to commemorate the 250th anniversary of Howard's birth. There is a dedicated and enthusiastic group of cloud lovers in Tottenham (https://www.tottenhamclouds.org.uk/) that is celebrating by launching the Lordship Recreation Ground as the first official "Cloud Appreciation Park" in London. Enjoy the sky! Director and Interviewer: Padma Ghosh Speaker: Dr Richard Hamblyn Producer: Ross Ziegelmeier

Today, we relentlessly make fun of the Ricky Gervais film 'The Invention of Lying'. It's such a ridiculously shit movie. It's so bad. I hate it so much. Please leave the show a review on your podcast app, it helps a bunch. E-mail us something, or nothing, it's your call: emteoyt@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Matthew Sweet with a selection of film music exploring the theme of lies and deception in the week of the release of 'The Mercy' about the tragic story of yachtsman Donald Crowhurst boasting a new score by Golden Globe winner Johann Johannsson who died suddenly on 9 February 2018. The programme also features music from 'Pinocchio'; 'Suspicion'; 'Presumed Innocent'; 'Dirty Rotten Scoundrels'; 'The Invention of Lying'; 'The Talented Mr Ripley'; 'True Lies'; 'M.Butterfly'; 'Where Eagles Dare'; 'The Usual Suspects' and 'The Mercy'. The Classic Score of the Week is Fumio Hayasaki's music for 'Rashomon'.

November 2015. Jason Pilley & Oktawia Petronella perform their epic 'The Invention of Opera' live at Silence Found a Tongue at I'klectik Artslab in Lambeth south London. www.twitter.com/Silent_Tongue www.jasonpilley.wordpress.com

Derek grabs some time with Professor of History, David Wootton, to talk about his latest book 'The Invention of Science: A New History of the Scientific Revolution', a book about the early years where the modern methods of inquiry and scientific thinking came to be. Find out about how a teacher who once focused on historical topics about politics and atheism ended up writing books about science and medicine.

When the 69 year old film director Martin Scorsese decided that he needed a break from violence and pain, the world took note. His 2011 family film 'Hugo' sent many critics head over heels as they cheered its technical triumph. However, as we'll see, not everyone was intoxicated by the stunning visual display. Firstly, let's unveil the mysterious glamour that charmed the critics and the Academy. Scorsese was inspired by his 12 year old daughter who presented him with a copy of Brian Selnick's novel 'The Invention of Hugo Cabret' and suggested that he make it into a 3D movie. This is the back story to Scorsese's first PG rated film in 18 years. Regardless of whether he was trying to please his daughter or not, Martin is pretty serious about the use of 3D visual effects, and his exercise using the Fusion Camera technique drew the admiration of James Cameron, who referred to it as a "masterpiece." But his emphasis on visual effects did not stop with the 3D aspect of the film; he also utilized the best Arri Alexa camera, which, combined with the ingenuity of Robert Richardson and intense editing, created the most spectacular visuals that eventually secured the Award for Best Visual Effects at the 84th Academy Awards. The digitally enhanced recreation of Gare Montparnasse and the occasional rooftop overviews of Paris' streets, all of which dated back to the 1930s, provided more than enough for the eyes to explore, and instantly took audiences back to Charles Dickens' London of hungry orphans, runaway wives and courtly dialogue with big words. However, the story is problematic, especially when you care to look closely. I believe the majority of Martin Scorsese's focus was placed on producing this mysterious ambience of a children's story, and in doing so he neglected logic. At the beginning of this piece, when the automaton appeared, I expected a steampunk science fiction presentation; similar to that of Bicentennial Man by Chris Columbus. But halfway into the film, the idea of cinema and adventure took charge, and it was only after the last voiceover that I realized Hugo was actually a family film. I'm not blaming Scorsese for causing me to fail my favorite guessing game, but YES, look how confused I was. The story is confusing because Scorsese tries to achieve too much within 126 minutes. Aside from telling a children's story, he has also tried to pay tribute to movie pioneer George Melies. Other insignificant additions, such as bemoaning the loss of the war and recreating a train derailment, contributed nothing to the main theme of family. So, as you see, Martin Scorsese's success with visual effects was remarkable, but the unattended storyline could bore even the least critical of children. Ultimately, Hugo could give you the perfect night with your kids: you take them to the cinema; you observe the excitement in their eyes when the story begins; and when they are sound asleep, you take them home straight to the bed. On my scale from one to ten, Hugo gets a six, including bonus points due to the visuals.