Podcasts about chuck tatum

Quando se quer falar a respeito do impacto social que o Jornalismo tem a possibilidade de ocasionar, esse filme é um dos mais importantes a ser discutido. A conduta de Chuck Tatum tem muito a ser debatida, desde suas motivações até estratégias. Os cinéfilos chamaram novamente a cineasta Livia Duclerc para conversar, e desta vez o papo continuou sendo muito produtivo. Acompanhe o olhar de nossos participantes sobre essa obra-prima da Hollywood dos anos 1950. ------------------------------------------------- Entre em contato com o Cinefilia & Companhia, e deixe seus comentários, elogios e opiniões sobre os filmes tratados. E-mail: cinefilia.companhia@gmail.com Instagram: @cinefiliaecompanhia YouTube: https://www.youtube.com/channel/UCN5rLEZLWrqNclWE1KshDVg ------------------------------------------------- Mediação: Hugo Harris Pauta: Henrique Pires e Hugo Harris Convidada especial: Livia Duclerc Edição do episódio: Henrique Pires Artes gráficas: Joe Borges Trilha de abertura: JF Borges Coordenação de Edição e Artes: Henrique Pires Coordenação Geral: Hugo Harris

Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines. Wilder’s follow-up to Sunset Boulevard is an even darker vision, a no-holds-barred exposé of the American media’s appetite for sensation that has gotten only more relevant with time.

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1951 darf Billy Wilder zum ersten Mal in den USA einen seiner Filme auch selbst produzieren, und er nutzt die Gelegenheit: ein Studioproduzent hätte ihm sicher Kurskorrekturen verordnet, so finster ist dieser Noir trotz der Wüstensonne von New Mexico. Kirk Douglas ist hier Chuck Tatum, maximaler Unsympath, Alkoholiker, zynischer Star-Reporter und down on his luck. Vollkommen selbstverschuldet ist er bei allen großen Zeitungen rausgeflogen und muss sich deswegen bei einem Lokalblatt in Albuquerque verdingen. Dort wartet er nur auf seine Chance, die eine große Story, die ihm wieder in die big league verhilft. Als ein naiver Tankstellenwart in einer native American-Grabstätte verschüttet wird, fängt Tatum an, die Rettungsaktion als verlogenes, kitschiges Melodram zu inszenieren. Seine Komplizen: nach und nach ein Querschnitt durch die gesamte amerikanische Nachkriegsgesellschaft. Und wir, die Zuschauer. Wir unterhalten uns darüber, wie Wilder uns als Publikum moralisch fordert; dass wir es bei ACE IN THE HOLE keinesfalls nur mit einer oberflächlichen Medienschelte zu tun haben; und bewundern Wilders unnachahmliche, bis ins Detail feingetunte Dramaturgie.

The battle for Iwo Jima in World War II became the bloodiest in U. S. Marine Corps history. But for survivors like Chuck Tatum, it also represents the best, the Marines and the United States has to give.  For despite the 23,000 American casualties, including 5,400 dead, the flag atop Mount Suribachi, is a symbol of this nation's willingness to fight for freedom and liberty, no matter what the cost. This episode is an in-depth interview with Chuck Tatum. These are his dramatic experiences in his own words. 

0:00:00 - Opening 0:03:06 - Book Review. "Red Blood, Black Sand," by Chuck Tatum 1:12:08 - Internet stuff / Onnit 1:14:45 - Thoughts on OVER-detachment 1:23:36 - Bullying. What if your child is being bullied? 1:28:41 - How to deal with a forced environment.  School, etc. 1:38:48 -  Does leadership require theatrics/acting? 1:43:35 - Helping VS Enabling.  When to cut ties. 1:51:33 - As a new leader, dealing with not knowing everything. 1:57:15 - Use of force.  Police, security, etc. 2:15:19 - Aggressive VS proactive.

Kirk Douglas, Porter Hall, and Jesus Christ debate journalistic ethics in Billy Wilder's Ace in the Hole (Douglas had top billing)RC-2013-116: Ace in the Hole (1951)Your browser does not support this audio More thrilling than going over Niagara Falls in Kirk Douglas' barrel chest, Ace in the Hole stands tall among the giants of Wilder's career. I praise the wittiness of the dialogue and marvel at the depravity of Douglas' character, Chuck Tatum. Musings about journalistic ethics give way to my ranking of the movie near the top of Wilder's filmography. Do I successfully spot all the nods to Double Indemnity? Does Douglas' topless scene have artistic merit? And does the boyish Herbie character moonlight as Captain Marvel? Listen to the track to find out. You deserve answers.I screened the Region-1 Criterion Collection DVD. To sync, hit "pause" after the Criterion logo fades from the screen, then wait for my countdown.Show NotesThe curious case of Floyd CollinsSpike Lee is a fan of the filmIs it a film noir? (Not addressed in the commentary—if folks want to count it as an "epic noir," I say cool)I said the original title was "The Carnival," but it was actually "The Big Carnival," and it was not the original title, rather, it was what Paramount re-titled the film just prior to its release and without Wilder's consentGet the mp3, or keep the iTunes carnival humming along.

Lowriding is a form of expressive culture that fits within the broader context of Chicano culture and reflects the social, artistic and political dimensions of America's fastest-growing ethnic group. With striking photos, author Chuck Tatum will demonstrate the unique aesthetics of lowrider vehicles and he will briefly trace the mechanics of building a lowrider vehicle, and lowrider culture in the media. He will also trace how lowrider culture has recently expanded beyond the urban streets and into the massive exhibit halls of lowrider shows, exposing lowrider culture to even more enthusiasts.