Podcasts about Eisenstein

Sergei Eisenstein's Battleship Potemkin tells a very complete story in only about 70 minutes. The black-and-white, silent flick is based on a real-life mutiny aboard a ship in the waters of the Black Sea near Ukraine. Of course, the incredibly influential Odessa Steps sequence is what people remember best...and it's the extremely violent result of this "war" against your own oppressive rulers. Eisenstein made one of the greatest Russian motion pictures ever here, but the storytelling and modern-feeling technical achievements (especially the editing) make this far more than just a old Communist propaganda film. So don't just hang out in your hammock below-deck and starve on a government boat. No, rise up, comrades, and devour the 664th edition of Have You Ever Seen, the one about Battleship Potemkin. Canadians and Americans (not Russian or Ukrainian residents, unfortunately) can order Sparkplug Coffee and get a onetime 20% discount. Use our "HYES" promo code to achieve that. The website is "sparkplug.coffee/hyes". Subscribe to Have You Ever Seen for weekly classic movie reviews. Rate our show and write a review about it in your app too. And look for us on YouTube (@hyesellis in the search bar). Communication options? One is email (haveyoueverseenpodcast@gmail.com). Another is social media: ryan-ellis and @bevellisellis on Bluesky...@moviefiend51 and @bevellisellis on Twi-X.

Apoya al Podcast como FAN de Terraescribiente en IVOOX o en PATREON y escucha todos los audios sin Restricción! Bienvenidos un episodio de "Crítica y Resumen" en TERRAESCRIBIENTE. Hoy tenemos la cuarta novela de la miserable Herejía de Horus: "LA HUIDA DE LA EISENSTEIN: La Herejía se Extiende" HH Libro 4. Escucha el Resumen y la Crítica literaria de esta novela de Dan Abnett. Crítica y Resumen: MAC (Terraescribiente) Por favor sigue y suscríbete a las siguientes redes: Canal de Whatsapp: https://whatsapp.com/channel/0029VaCcO2s1NCrQqLpfFR3u Escucha el audilibro completo en: Patreon: patreon.com/Terraescribiente Twitter: https://twitter.com/TerraEscriba Telegram: https://t.me/+62_TRJVg-3cxNDZh Instagram: www.instagram.com/terraescribiente/ Tik tok: www.tiktok.com/@terraescribiente Youtube: www.youtube.com/@Terraescribiente También subscríbete a TERRAESCRIBIENTE en ITUNES Y SPOTIFY! Dale me gusta a cada Podcast y coméntalos! Ayuda mucho! Gracias!

En este episodio de La Cinemafia, tenemos el honor de conversar con Luis Alberti, reconocido actor mexicano conocido por su papel como Brandon López Morales en Rosario Tijeras y recientemente como el capitán Armando Guerrero en Contraataque, disponible en Netflix. ​ A través de nuestro formato de "Cinegrafía", exploramos los gustos y experiencias cinematográficas de Luis, descubriendo las películas y directores que han influido en su carrera y vida personal. Desde sus inicios en el cine con películas como La jaula de oro y Eisenstein en Guanajuato, hasta su premiada actuación en Mano de obra, que le valió el Ariel al Mejor Actor en 2020, Luis comparte anécdotas y reflexiones sobre el séptimo arte.​ Acompáñanos en esta íntima conversación para conocer más sobre las inspiraciones y preferencias cinematográficas de Luis Alberti, y cómo estas han moldeado su destacada trayectoria en la actuación. Síguenos en:YouTube: La CinemafiaInstagram: @lacinemafia, @lachicaalmodovar, @anuarac1Producido y Distribuido por Genuina Media babbel.com/CINEMAFIA

Alles beginnt mit einer Lüge. Sie sichert das Überleben einer jungen Frau und ihres ungeborenen Kindes im Nachkriegsdeutschland, entwickelt aber im weiteren Verlauf eine zerstörerische Kraft, die das Ausmaß einer antiken Tragödie erreicht. Christoph Nußbaumeders Familien-Saga »Eisenstein« ist im Großen Haus des Theaters Heilbronn zu sehen. Stephan Suschke inszenierte diese packende Geschichte über drei Generationen vor dem Hintergrund wichtiger Ereignisse der bundesdeutschen Geschichte in sechs großen Zeitsprüngen zwischen 1945 und 2008. Das komplexe Schauspiel aus dem Jahre 2010 zeigt, wie Lügen und Halbwahrheiten, mit denen so mancher nach dem Ende des Zweiten Weltkriegs seinen Lebenslauf »korrigierte«, bis in die Gegenwart hinein weiterwirken und eine Familie von innen zerreißen können. Unsere Podcasterin Katja Schlonski hat Probenimpressionen eingefangen und sich mit dem Regisseur Stephan Suschke und der Schauspielerin Sarah Finkel unterhalten.

“We should note the force, effect, and consequences of inventions which are nowhere more conspicuous than in those three which were unknown to the ancients, namely printing, gunpowder and the compass. For these three have changed the appearance and the state of the world.” wrote Francis Bacon in 1620. And almost everybody agreed.Printing changed everything, but how exactly did it change everything? That is a question nobody posed properly until Elisabeth L. Eisenstein got on the academic stage in the 1970s and the debate has not yet stopped. In this episode I will try to take you through some of Eisenstein's ideas on the how of the change and, in the end, attempt a raincheck on what we can learn from it for the information revolution we are living through right now. No worries, this is still the History of the Germans, so we will talk facts and dates and processes, with only occasional attempts at breaking into the ivory tower…The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season. So far I have:The Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the...

Join hosts Jason, Tony, and our new co-host, Paul, on Episode One of Season Two! On this episode we discuss Sergei Eisenstein's epic two-part Soviet masterpiece Ivan the Terrible, released in 1945 and 1958 respectively. The films were commissioned by Joseph Stalin in 1941 as a means to rehabilitate Ivan the Terrible's image for a contemporary Soviet audience. Stalin celebrated Part 1, but the state banned Part 2. A third part had been in the works, but was abandoned by Eisenstein after the suppression of the second part. Our discussion touches on this history and many other topics, including Soviet montage, dialectical art construction, Eisenstein's queerness, his fraught relationship with Stalin, and more.  This is the first episode of a new format in which we take book or movie recommendations from each of us, which are found below:  Tony's book recommendations: Sergei Eisenstein: A Life in Conflict by Ronald Bergan (2016) Narrative, Apparatus, Ideology, edited by Philip Rosen (1986) Film Form: Essays in Film Theory by Sergei Eisenstein (1949) Paul's book and film recommendations: This Thing of Darkness: Eisenstein's Ivan the Terrible in Stalinist Russia by Joan Neuberger (2019) Ivan the Terrible by Joan Neuberger  Battleship Potemkin (1925; dir. Sergei Eisenstein) Jason's movie recommendations: Come and See (1985; dir. Elem Klimov)  The Ascent (1977; dir. Larisa Shepitko)  Wings (1966; dir. Larisa Shepitko)  Please subscribe to the podcast, and don't forget to leave a review! Follow Jason on Twitter at @JasonAChristian and Anthony at @tonyjballas; follow Paul on BlueSky at @ptklein.com. Paul writes about movies at www.howtoreadmovies.com. Paul's handle on Letterboxd is https://letterboxd.com/ptklein/; Jason's is https://letterboxd.com/exilemagic/.  Our logo is by Jason Christian  The theme music for this episode and all forthcoming episodes is by DYAD (Charles Ballas and Jeremy Averitt).  Please drop us a line anytime at coldwarcinemapod@gmail.com. Happy listening!  

Apoya al Podcast como FAN de Terraescribiente en IVOOX o en PATREON y escucha todos los audios sin Restricción! Bienvenidos un episodio de "Crítica y Resumen" en TERRAESCRIBIENTE. Hoy tenemos la cuarta novela de la Herejía de Horus: "LA HUIDA DE LA EISENSTEIN La Herejía se Extiende" HH Libro 4. Escucha el Resumen y la Crítica literaria de esta novela de James Swallow. Crítica y Resumen: MAC (Terraescribiente) Por favor sigue y suscríbete a las siguientes redes: Canal de Whatsapp: https://whatsapp.com/channel/0029VaCcO2s1NCrQqLpfFR3u Escucha el audilibro completo en: Patreon: patreon.com/Terraescribiente Twitter: https://twitter.com/TerraEscriba Telegram: https://t.me/+62_TRJVg-3cxNDZh Instagram: www.instagram.com/terraescribiente/ Tik tok: www.tiktok.com/@terraescribiente Youtube: www.youtube.com/@Terraescribiente También subscríbete a TERRAESCRIBIENTE en ITUNES Y SPOTIFY! Dale me gusta a cada Podcast y coméntalos! Ayuda mucho! Gracias!

1925: El Acorazado Potemkin y La quimera del oro Miremos hacia atrás. Cien años. Mil novecientos veinticinco fue y será siempre un año extraordinario y determinante para el cine. Ese mismo año estrenaron en el mundo El acorazado Potemkin y La quimera del oro. La primera, obra del realizador soviético Sergei Eisenstein, es un ejemplo claro del poder del lenguaje cinematográfico y de cómo su ejercicio es un arte en sí. Mucho se debate sobre si es la obra cumbre de Eisenstein, pero tenemos claro que es una película que se ha estudiado, se estudia y se seguirá haciendo en escuelas, cursos y talleres de cine de todo el mundo. La segunda es la película que el británico Charlie Chaplin escribió, dirigió y protagonizó para unir en una sola historia, un western atípico pero ejemplar, a la tragedia y a la comedia. Se trata de una historia que también eleva al lenguaje del cine al nivel de arte puro. Pero también y a su manera, muestra algunas grietas peligrosas del sueño americano. Dos obras cumbre del cine se estrenaron hace cien años: El acorazado Potemkin y La quimera del oro. Para comentarlas desde el amor puro que tenemos al cine invitamos a este episodio al crítico Sergio Huidobro, profesor cinematográfico, tallerista y amigo de Cinegarage. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us this week for our latest installment of the Modern Class of Casting Visionaries with the fabulous Casting Director, Neely Eisenstein!Over the past 10 years, Neely has cast nearly 30 films including the coming-of-age movie, SNACK SHACK written and directed by Adam Rehmeier, rom-com PLUS ONE starting Jack Quaid and Maya Erskine, and the Sundance favorite, EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE starring Zac Efron. In this episode we dive in with Neely discussing...-Her unconventional start in casting that all stared with the toy industry-Her love of theatre -We sidetrack into how Shakespeare is having a resurgence in -Her outlook on how the industry was when she started all through how she sees it looking in the near future-The problems we as CDs are running into dealing with lack of willingness with agents to participate in helping to attach talent to Indies-How we can try to bridge gaps and get back on the right road -Diving into some current awards season controversy from the SAG awards to the BAFTAS and the casting awards being awarded to people who are not in casting-How amazing it is to be back in the room for casting sessions and how it “fills our cup right up”-Neely tells us what her favorite projects were to castMake sure to subscribe, rate and review! Follow us @tipsycastingResources: Neely's IMDB────────────────────────────⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting Journeys ⁠⁠⁠⁠⁠⁠⁠⁠⁠Get Casting Life Away Merch here!⁠⁠

Suscríbete al PATREON de Terraescribiente: patreon.com/Terraescribiente Bienvenidos a otro Podcast sobre Trasfondo de Warhammer 40k en Terraescribiente. “LA HEREJIA DE HORUS” Información fundamental para oyentes nuevos y veteranos. Se explicará en síntesis que fue la Herejía de Horus, sus batallas más importantes; en la segunda parte del podcast, se analizaran las novelas de la Herejía de Horus para que sepan cómo abordarlas, leerlas y cómo encontrar a su facción favorita dentro del trasfondo total. LISTADO DE NOVELAS 1 HORUS, SEÑOR DE LA GUERRA Las semillas de la herejía 2 FALSOS DIOSES Las raíces de la herejía 3 LA GALAXIA EN LLAMAS La herejía revelada 4 LA HUIDA DE LA EISENSTEIN La herejía se extiende 5 FULGRIM Visiones de la traición 6 EL DESCENSO DE LOS ÁNGELES Lealtad y honor 7 LEGIÓN Secretos y mentiras 8 BATALLA POR EL ABISMO Mi hermano, mi enemigo 9 MECHANICUM La guerra estalla en Marte 10 CUENTOS DE LA HEREJÍA 11 LOS ÁNGELES CAÍDOS Engaño y traición 12 LOS MIL HIJOS Todo acaba en cenizas 13 NÉMESIS La guerra en la sombra 14 EL PRIMER HEREJE La caída en el Caos 15 PROSPERO EN LLAMAS Los lobos atacan 16 LA ERA DE LA OSCURIDAD 17 LOS MUERTOS EXILIADOS La verdad se esconde en el interior 18 EL ASEDIO DE DELIVERANCE Fantasmas de Terra 19 LA BATALLA DE CALTH Y no conocerán el miedo 20 LOS PRIMARCAS 21 SIGNUS PRIME El ángel caído 22 SOMBRAS DE TRAICION 23 ANGEL EXTERMINATUS Sangre y hierro 24 TRAIDOR Sangre para el Dios de la sangre 25 LA MARCA DE CALTH 26 VULKAN VIVE Hacia el yunque de la guerra 27 EL IMPERIO OLVIDADO Una luz en la oscuridad 28 CICATRICES La legión dividida 29 ESPIRITU VENGATIVO La batalla de Molech 30 LA CONDENACION DE PYTHOS Rasgando el velo 31 LEGADOS DE TRAICION Que arda la galaxia 32 FUEGO LETAL Dentro de la Tormenta de Ruina 33 LA GUERRA SIN FIN La herejía engendra el castigo 34 PHAROS El ocaso de la luz 35 EL OJO DE TERRA 36 El SENDERO DEL CIELO Resistiendo a la Tormenta 37 LA GUERRA SILENCIOSA 38 ANGELES DE CALIBAN Emperadores y esclavos 39 PRETORIANO DE DORN De Alfa a Omega 40 CORAX Nunca más 41 EL SEÑOR DE LA HUMANIDAD Guerra en la Telaraña 42 GARRO Arma del Destino 43 LEGIONES QUEBRADAS 44 EL REY CARMESÍ Un Alma Dividida 45 TALLARN Guerra para un mundo muerto 46 TORMENTA DE RUINA Un Destino sin escribir 47 LA ANTIGUA TERRA A las puertas de Terra 48 LA CARGA DE LA LEALTAD 49 WOLFSBANE El lanzamiento de la lanza Wyrd 50 NACIDO DE LLAMAS El Martillo y el Yunque 51 ESCLAVOS DE LA OSCURIDAD El Caos indiviso 52 HERALDOS DEL ASEDIO 53 TITANDEATH Se acerca el Dios Máquina 54 LA DAGA ENTERRADA La Perdición de la Guardia de la Muerte ARCOS DE LECTURA: Lobos Lunares / Hijos de Horus (1) Horus, señor de la guerra + (2) Falsos dioses + (3) La galaxia en llamas + (29) Espíritu vengativo + (51) Esclavos de la oscuridad Hijos del Emperador (5) Fulgrim + (23) Angel exterminatus Ángeles Oscuros (6) El descenso de los ángeles + (11) Los ángeles caídos + (38) Angeles de caliban Legión Alfa (7) Legión + (39) Pretoriano de Dorn Ultramarines (8) Batalla por el abismo + (19) La batalla de calth + (25) La marca de calth Portadores de la Palabra (14) El primer hereje + (24) Traidor Guardia del Cuervo (18) El asedio de deliverance + (40) Corax Ángeles Sangrientos (21) Signus prime + (46) Tormenta de Ruina Guerreros de Hierro (23) Angel Exterminatus + (45) Tallarn Salamandras (26) Vulkan Vive + (32) Fuego letal + (47) ) La Antigua Terra + (50) Nacido de Llamas Cicatrices Blancas (28) Cicatrices + (36) El sendero del cielo + Novela (La Hermandad de la Tormenta) Mil Hijos (12) Los Mil Hijos + (44) El Rey Carmesi Guardia de la Muerte (4) La huida de la eisenstein+ (54) La Daga Enterrada Lobos Espaciales (15) Prospero en llamas +(49) Wolfsbane + (Novela: El Rey Lobo) Puños Imperiales (22) Sombras de Traición + Novela (Puño carmesí) + (39) Pretoriano de Dorn+ Novela (Templar) Manos de Hierro (5) Fulgrim + (23) Angel exterminatus +(30) La condenación de Pythos (43) Legiones Quebradas +Novela (Meduson Antología) Adeptus Mechanicum (9) Mechanicum + (53) Titandeath Caballeros Herrantes "Nathaniel Garro" (4) La huida de la Eisenstein + (42) Garro “Tylos Rubio” (19) La batalla de calth + (29) Espíritu vengativo "Las Legiones Destrozadas” (30) La condenación de pythos + (43) Legiones quebradas + (47) La Antigua Terra Batalla: Mil Hijos vs Lobos Espaciales (12) Los mil hijos + (15) Prospero en llamas Batalla: Portadores de la palabra vs Ultramarines (8) Batalla por el abismo + (19) La batalla de calth + (25) La marca de calth "Imperium Secundus" (27) El imperio olvidado + (34) Pharos + (38) Angeles de caliban Toda la música de este podcast es licenciada por Epidemic Sound, o son licencia Creative Commons de Royalty Free Kings. Transfondo y Lore Escrito por: MAC (Terraescribiente) Por favor sigue y suscríbete a las siguientes redes: Canal de Whatsapp: https://whatsapp.com/channel/0029VaCcO2s1NCrQqLpfFR3u Escucha los audiolibros en: Patreon: patreon.com/Terraescribiente Twitter: https://twitter.com/TerraEscriba Telegram: https://t.me/+62_TRJVg-3cxNDZh Instagram: www.instagram.com/terraescribiente/ Tik tok: www.tiktok.com/@terraescribiente Youtube: www.youtube.com/@Terraescribiente También subscríbete a TERRAESCRIBIENTE en ITUNES Y SPOTIFY! Dale me gusta a cada Podcast y coméntalos! Ayuda mucho! Gracias!

When you don't use a muscle or a skill, it's a well-known fact that atrophy inevitably sets in. To improve oneself, an active effort must be made to ensure progress. But what happens with the advent of AI, designed to make things easier? What implications will this have on the cognitive processes that require continuous refinement? In this thought-provoking episode of The Great Indoors, host Matthew Roberts speaks with renowned author and philosopher, Charles Eisenstein, about the evolving role of technology and its impact on aspects of our lives that were once firmly rooted in the tangible. They delve into the core concepts of Eisenstein's work, including Sacred Economics, and discuss the far-reaching implications of replacing the real with the digital. Through engaging anecdotes and philosophical reflections, Charles challenges us to reconnect with the material world, nurture authentic relationships, and consider why oral storytelling may become the future's most reliable tool for building trust. With increasing domination from ones and zeros, it's time to explore the possibilities of a more beautiful and connected world.

Chapter 1 What's Ghosted by Jana Eisenstein by Jana Eisenstein"Ghosted" by Jana Eisenstein is a captivating narrative that explores the complexities of modern relationships through the lens of ghosting—a phenomenon where one person abruptly cuts off all communication with another. The story follows the life of its protagonist as she navigates the emotional turmoil of being ghosted, reflecting on her experiences with love, loneliness, and self-discovery. Through her journey, Eisenstein weaves themes of vulnerability and resilience, showcasing how such dismissals can impact one's self-worth and interpersonal connections. The writing is both poignant and relatable, inviting readers to empathize with the characters' struggles while pondering the growing prevalence of digital communication in shaping our intimate lives.Chapter 2 Ghosted by Jana Eisenstein by Jana Eisenstein Summary"Ghosted" by Jana Eisenstein is a contemporary romance novel that explores themes of love, loss, and the complexities of relationships in the modern age of technology. The story follows the protagonist, who finds herself reeling from the sudden disappearance of her romantic partner, leading her into a journey of self-discovery and healing. As she navigates the emotional turmoil of being 'ghosted,' the protagonist reflects on the red flags she overlooked and the impact of social media on her connection with her partner. The narrative delves into her struggles with loneliness and the difficulty of moving on, highlighting how ghosting affects mental health and personal growth.Throughout the book, readers are drawn into the protagonist's internal monologue as she confronts her feelings of rejection and seeks closure. Along the way, she develops friendships and rekindles old connections, which help her on her path to understanding her self-worth and the importance of open communication in relationships.Ultimately, "Ghosted" serves as a poignant reminder of the importance of vulnerability and the need for authentic connections in an increasingly disconnected world. The book blends emotional depth with relatable experiences, making it a compelling read for anyone who has faced the challenges of modern dating.Chapter 3 Ghosted by Jana Eisenstein AuthorJana Eisenstein is an emerging contemporary author known for her work in the literary fiction genre. She gained attention with her novel "Ghosted," which was released in 2022. The book explores themes of love, loss, and the complexities of human relationships against a backdrop of supernatural elements, captivating readers with both its emotional depth and intriguing plot.In addition to "Ghosted," Jana Eisenstein has written several other books, including:"Echoes of the Heart" (2020) A poignant representation of the struggles and triumphs of romance."Shadows of Yesterday" (2021) A compelling tale that dives into the past lives of its characters."Beneath the Surface" (2023) A more recent work that intertwines mystery and magical realism, showcasing her evolving style.As for which of her books is considered the best, "Ghosted" has received widespread acclaim and is often highlighted for its unique narrative and emotional resonance. Readers and critics alike appreciate its rich commentary on grief and moving on while dealing with haunting memories. In terms of editions, the hardcover edition of "Ghosted" has been particularly well-received for its quality and design, making it a favorite among collectors.Overall, Jana Eisenstein is an author to watch as she continues to develop her voice in the literary world, and her works are recommended for anyone interested in thought-provoking fiction.Chapter 4 Ghosted by Jana Eisenstein Meaning & ThemeGhosted by Jana Eisenstein Meaning"Ghosted" by Jana Eisenstein typically explores themes of abandonment, emotional distance, and the complexities...

„A kamera fegyver a dolgok tragédiája, eltűnése ellen” – fogalmazott Wim Wenders nyugatnémet filmrendező 1987-ben. Amikor fél évszázaddal korábban a holland dokumentumfilmes Joris Ivens a szemüvegét folyton viselni kényszerülő Ernest Hemingwayjel a polgárháborús Madridban forgatott, szintén fegyverként használta a kamerát.Számukra azonban nem a dolgok eltűnése, hanem a fasizmus elleni fellépés volt a tét. Ahogy az emigrációba kényszerült Fritz Lang német filmrendezőnek is, aki első amerikai filmjében a nácizmus német tapasztalatát összefüggésbe hozta az Egyesült Államok rasszizmusával. Hogyan küzdöttek a film erejével a fasizmus ellen, egy olyan korban, amikor nem volt még zsánere sem a partizán-, sem a holokauszt-filmnek?Adásunk a harmincas évek közepének Spanyolországába, Németországába és Amerikájába kalauzolja a hallgatókat. Arról beszélgetünk, hogyan kapcsolódott az antifasiszta küzdelemben filmesztétika és politika. Ezt a kérdést a tömeg politikai szereplőként való fellépése és a mozgóképi technológia kölcsönhatása felől válaszoljuk meg a filmek, az alkotóik és a szereplőik történetein keresztül. Hogyan lehet filmre vinni a fasizmust anélkül, hogy felkínálnánk a néző számára az azonosulást vele?Az antifasiszta filmet Leni Riefenstahl munkásságával vetjük össze, aki ugyanebben az időben a náci párt nürnbergi nagygyűléséről, illetve a berlini olimpiáról forgatott. Témánk apropóját az adja, hogy idén mutattak be egy dokumentumfilmet, amely a német rendezőnő eddig nem hozzáférhető hagyatékának elemző áttekintésén alapul. Adásunkban arra is kitérünk, hogy milyen maradandó nyomokat hagyott mind a mai napig vizuális kultúránkra a német rendezőnő szinte az egész huszadik századra kiterjedő munkássága.A No pasarán! podcastban az antifasizmus első száz évének történeteiből válogatunk.Említett könyvek, tanulmányok:Benjamin, Walter 1969: A műalkotás a technikai sokszorosíthatóság korszakában. In:Benjamin, Walter: Kommentár és prófécia. Gondolat, Budapest, 301-334.Kracauer, Siegfried 1991: Caligaritól Hitlerig. A német film pszichológiai története. MagyarFilmmúzeum, Budapest.Le Bon, Gustave 1913: A ​tömegek lélektana. Franklin-Társulat, Budapest.Ortega y Gasset, José 2022: A ​tömegek lázadása. Helikon, Budapest.Riefenstahl, Leni 1973: Die Nuba (Az utolsó nubák). List Verlag, München.A műnek nincs magyar fordítása.Sontag, Susan 2024: Elbűvölő fasizmus. In: Sontag, Susan: A nőkről. Helikon, Budapest, 113-151.Szalai Sándor 1946: A kegyetlenség renaissancea. Egy fejezet a társadalom kórtanából.Szocializmus (30.) 1-2. 45-50.Említett filmek:Eisenstein, Szergej Mihajlovics –- Alekszandrov, Grigorij Vasziljevics 1927: Október(Октябрь).Griffith, David Wark 1915: Egy nemzet születése (The Birth of a Nation).Lang, Fritz 1927: Metropolis.Lang, Fritz 1931: M - Egy város keresi a gyilkost (M / M - Eine stadt sucht einen Mörder).Lang, Fritz 1933: Dr. Mabuse végrendelete (Das Testament des Dr. Mabuse).Lang, Fritz 1936: Téboly (Furry).Riefenstahl, Leni 1932: Kék fény (Das Blaue Licht).Riefenstahl, Leni 1934: Az akarat diadala (Triumph des Willens).Riefenstahl, Leni 1938: A berlini olimpia (Olympia).Szőts István 1942: Emberek a havason.Veiel, Andres 2024: Riefenstahl.Támogasd te is a Partizán munkáját!https://cause.lundadonate.org/partizan/support

El lenguaje cinematográfico nació como discurso de odio, con “El nacimiento de la Nación”. Y también como propaganda política. La entrevista de Yuyito a Milei en el contexto de la historia del cine de propaganda política. Griffith, Eisenstein, Riefenstahl, Solanas-Gettino, González y el recuerdo de André Bazin y Cahiers du Cinema.   Apertura de Pablo Marchetti del programa 1161 de AUNQUE ES DE NOCHE (11-11-2024) AUNQUE ES DE NOCHE. De lunes a viernes de 14 a 16:20 AM (hora Argentina) por Radio AUNQUE FM (www.aunquefm.com). Con Pablo Marchetti y Laura Szerman. Diseño sonoro: Charly Escalante. Mensajes a nosoypablomarchetti@gmail.com  Mirá, escuchá y leé todo lo que hago, acá www.pablomarchetti.com

The Good News I According to St. John:  In the beginning was the Logos, and the Logos was with God, and the Word was God.  He was in the beginning with God.  All things were made through Him, and without Him was not any thing made that was made. (1:1-2)   Genesis 1: 26a, 27-28a Then God said, “Let us make man in our image, after our likeness… So God created man in his own image, in the image of God created He him; male and female created He them. And God blessed them, and God said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it and rule...    SUBDUE?!  RULE?! Subdue into the pattern of the good, the beautiful and the true.   The Curse (expulsion from Eden) Using Beauty Against Itself? (the line of Cain) The End of the Good, Beautiful, and the True? (Nephalim etc.)   Genesis 9:1,7 And God blessed Noah and his sons, and said unto them, Be fruitful, and multiply, and replenish the earth... (every wild beast will dread you)... And you, be ye fruitful, and multiply; bring forth abundantly in the earth, and multiply therein.   Genesis 11 –  The Tower of Babel   The Restoration: Luke 3: 3-6 And he came into all the country about Jordan, preaching the baptism of repentance for the remission of sins;  As it is written in the book of the words of Esaias the prophet, saying, The voice of one crying in the wilderness, Prepare ye the way of the Lord, make his paths straight.  Every valley shall be filled, and every mountain and hill shall be brought low; and the crooked shall be made straight, and the rough ways shall be made smooth; And all flesh shall see the salvation of God. The Good News II According to St. John:  And the Logos become flesh and dwelt among us.  (1:14a) To all who received him, who believed in his name, He gave power to become children of God. (1:12) And according to St. Paul: In [Christ] you also, who have heard the word of truth, the gospel of your salvation, and have believed in him, were sealed with the promised Holy Spirit, which is the guarantee of our inheritance until we acquire possession of it, to the praise of his glory. (e.g. Ephesians 1:13-14).    St. Matthew 28:16-20 And Jesus came and spake unto them, saying, All power is given unto me in heaven and in earth. Go ye therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Spirit: Teaching them to observe all things whatsoever I have commanded you: and, lo, I am with you always, even unto the end of the world. Amen.   Beauty in Nature, Architecture, Art, Literature, Music, Fellowship, and THE GULAG?!   One Day in the Life of Ivan Denisovich   Gives insights into how people ended up in the Gulag This is really developed in the Gulag Archipelago  Ivan admitted that he surrendered to Germany to betray the USSR The young Gopchik gave milk to Ukrainian guerrillas The foreman was discharged for being the son of a kulak (SoanEotP) Some insights into the state of faith and religion in the USSR Corruption in the Russian Orthodox Church Faith of the peasant/redneck (represented by Ukrainian) Orthodox Faith and (beautiful) martyrdom of the Baptists One Day - On Beauty and Art (presages his essay) Two bookkeepers, also zeks, were toasting bread on the stove.  They'd rigged up a sort of wire griddle to keep it from burning. Tsezar was lolling at his desk, smoking his pipe.  He had his back to Shukhov and didn't see him.  Opposite him sat Kh-123, a wiry old man doing twenty years' hard.  He was eating gruel. "You're wrong, old man," Tsezar was saying, goodnaturedly.  "Objectively, you will have to admit that Eisenstein is a genius.  Surely you can't deny that Ivan the Terrible is a work of genius?  The dance of the masked oprichniki!  The scene in the cathedral!" Kh-123's spoon stopped short of his mouth. "Bogus," he said angrily.  "So much art in it that it ceases to be art.  Pepper and poppy seed instead of good honest bread.  And the political motive behind it is utterly loathsome — an attempt to justify a tyrannical individual.  An insult to the memory of three generations of the Russian intelligentsia!" (He was eating his gruel without savoring it.  It wouldn't do him any good.) "But would it have got past the censor if he'd handled it differently?" "Oh well, if that's what matters...  Only don't call him a genius — call him a toady, a dog carrying out his master's orders.  A genius doesn't adjust his treatment of a theme to a tyrant's taste." "Ahem!"  Shukhov cleared his throat.  He felt awkward, interrupting this educated conversation, but he couldn't just go on standing there. Tsezar turned around and held his hand out for the bowl, without even looking at Shukhov — the gruel might have traveled through the air unaided — then went back to his argument.  "Yes, but art isn't what you do, it's how you do it." Kh-123 reared up and chopped at the table with his hand. "I don't give a damn how you do it if it doesn't awaken good feelings in me!" Shukhov stood there just as long as he decently could after handing over the gruel, hoping Tsezar would treat him to a cigarette.  But Tsezar had entirely forgotten that Shukhov was behind him.  So he turned on his heel and left quietly. Never mind, it wasn't all that cold outside.  A great day for bricklaying. Walking down the path, he spotted a bit of steel broken off a hacksaw blade lying in the snow.  He had no special use for it right then, but you never knew what you might need later.  So he picked it up and slipped it into his trouser pocket.  Have to hide it in the Power Station.  Thrift beats riches.   Solzhenitsyn:  Beauty will Save the World   Part One:  The Ontology of Beauty One artist sees himself as the creator of an independent spiritual world; he hoists onto his shoulders the task of creating this world, of peopling it and of bearing the all-embracing responsibility for it; but he crumples beneath it, for a mortal genius is not capable of bearing such a burden. Just as man in general, having declared himself the centre of existence, has not succeeded in creating a balanced spiritual system. And if misfortune overtakes him, he casts the blame upon the age-long disharmony of the world, upon the complexity of today's ruptured soul, or upon the stupidity of the public. Another artist, recognizing a higher power above, gladly works as a humble apprentice beneath God's heaven; then, however, his responsibility for everything that is written or drawn, for the souls which perceive his work, is more exacting than ever. But, in return, it is not he who has created this world, not he who directs it, there is no doubt as to its foundations; the artist has merely to be more keenly aware than others of the harmony of the world, of the beauty and ugliness of the human contribution to it, and to communicate this acutely to his fellow-men. And in misfortune, and even at the depths of existence – in destitution, in prison, in sickness his sense of stable harmony never deserts him.   But all the irrationality of art, its dazzling turns, its unpredictable discoveries, its shattering influence on human beings – they are too full of magic to be exhausted by this artist's vision of the world, by his artistic conception or by the work of his unworthy fingers.   Part Two:  Can (Just) Beauty Save? One day Dostoevsky threw out the enigmatic remark: “Beauty will save the world.” What sort of a statement is that? For a long time I considered it mere words. How could that be possible? When in bloodthirsty history did beauty ever save anyone from anything? Ennobled, uplifted, yes – but whom has it saved? … It is possible to compose an outwardly smooth and elegant political speech, a headstrong article, a social program, or a philosophical system on the basis of both a mistake and a lie. What is hidden, what distorted, will not immediately become obvious. Then a contradictory speech, article, program, a differently constructed philosophy rallies in opposition – and all just as elegant and smooth, and once again it works. Which is why such things are both trusted and mistrusted… But a work of art bears within itself its own verification: conceptions which are devised or stretched do not stand being portrayed in images, they all come crashing down, appear sickly and pale, convince no one. But those works of art which have scooped up the truth and presented it to us as a living force – they take hold of us, compel us, and nobody ever, not even in ages to come, will appear to refute them. So perhaps that ancient trinity of Truth, Goodness and Beauty is not simply an empty, faded formula as we thought in the days of our self-confident, materialistic youth? If the tops of these three trees converge, as the scholars maintained, but the too blatant, too direct stems of Truth and Goodness are crushed, cut down, not allowed through – then perhaps the fantastic, unpredictable, unexpected stems of Beauty will push through and soar TO THAT VERY SAME PLACE, and in so doing will fulfil the work of all three? In that case Dostoevsky's remark, “Beauty will save the world”, was not a careless phrase but a prophecy? After all HE was granted to see much, a man of fantastic illumination. And in that case art, literature might really be able to help the world today? It is the small insight which, over the years, I have succeeded in gaining into this matter that I shall attempt to lay before you here today.   Part Three:  The Terrible Beauty of the Gulag And as I stand here today, accompanied by the shadows of the fallen, with bowed head allowing others who were worthy before to pass ahead of me to this place, as I stand here, how am I to divine and to express what THEY would have wished to say? Frequently, in painful camp seethings, in a column of prisoners, when chains of lanterns pierced the gloom of the evening frosts, there would well up inside us the words that we should like to cry out to the whole world, if the whole world could hear one of us. Then it seemed so clear: what our successful ambassador would say, and how the world would immediately respond with its comment. Our horizon embraced quite distinctly both physical things and spiritual movements, and it saw no lop-sidedness in the indivisible world. These ideas did not come from books, neither were they imported for the sake of coherence. They were formed in conversations with people now dead, in prison cells and by forest fires, they were tested against THAT life, they grew out of THAT existence. When at last the outer pressure grew a little weaker, my and our horizon broadened and gradually, albeit through a minute chink, we saw and knew “the whole world”. And to our amazement the whole world was not at all as we had expected, as we had hoped; that is to say a world living “not by that”, a world leading “not there”, a world which could exclaim at the sight of a muddy swamp, “what a delightful little puddle!”, at concrete neck stocks, “what an exquisite necklace!”; but instead a world where some weep inconsolate tears and others dance to a light-hearted musical. How could this happen? Why the yawning gap? Were we insensitive? Was the world insensitive? Or is it due to language differences? Why is it that people are not able to hear each other's every distinct utterance? Words cease to sound and run away like water – without taste, colour, smell. Without trace. As I have come to understand this, so through the years has changed and changed again the structure, content and tone of my potential speech. The speech I give today. And it has little in common with its original plan, conceived on frosty camp evenings.   Part Four:  The Babel of Local Scales Mankind has become one, but not steadfastly one as communities or even nations used to be; not united through years of mutual experience, neither through possession of a single eye, affectionately called crooked, nor yet through a common native language, but, surpassing all barriers, through international broadcasting and print. An avalanche of events descends upon us – in one minute half the world hears of their splash. But the yardstick by which to measure those events and to evaluate them in accordance with the laws of unfamiliar parts of the world – this is not and cannot be conveyed via soundwaves and in newspaper columns. For these yardsticks were matured and assimilated over too many years of too specific conditions in individual countries and societies; they cannot be exchanged in mid-air. In the various parts of the world men apply their own hard-earned values to events, and they judge stubbornly, confidently, only according to their own scales of values and never according to any others.   In one part of the world, not so long ago, under persecutions not inferior to those of the ancient Romans', hundreds of thousands of silent Christians gave up their lives for their belief in God. In the other hemisphere a certain madman, (and no doubt he is not alone), speeds across the ocean to DELIVER us from religion – with a thrust of steel into the high priest! He has calculated for each and every one of us according to his personal scale of values!   One world, one mankind cannot exist in the face of six, four or even two scales of values: we shall be torn apart by this disparity of rhythm, this disparity of vibrations. A man with two hearts is not for this world, neither shall we be able to live side by side on one Earth. Part Five:  Art Shares, Shapes, and Preserves Culture But who will co-ordinate these value scales, and how? … Who might succeed in impressing upon a bigoted, stubborn human creature the distant joy and grief of others, an understanding of dimensions and deceptions which he himself has never experienced? Propaganda, constraint, scientific proof – all are useless. But fortunately there does exist such a means in our world! That means is art. That means is literature.   …  They possess a wonderful ability: beyond distinctions of language, custom, social structure, they can convey the life experience of one whole nation to another.  [It also] becomes the living memory of the nation. Thus it preserves and kindles within itself the flame of her spent history, in a form which is safe from deformation and slander. In this way literature, together with language, protects the soul of the nation. But woe to that nation whose literature is disturbed by the intervention of power. Because that is not just a violation against “freedom of print”, it is the closing down of the heart of the nation, a slashing to pieces of its memory. … In some cases moreover – when as a result of such a silence the whole of history ceases to be understood in its entirety – it is a danger to the whole of mankind.   Part Six:  Lies and Suppression Destroy What is more, it is not simply crude power that triumphs abroad, but its exultant justification. … The young, at an age when they have not yet any experience other than sexual, when they do not yet have years of personal suffering and personal understanding behind them, are jubilantly repeating our depraved Russian blunders of the Nineteenth Century, under the impression that they are discovering something new. … And on top of this we are threatened by destruction in the fact that the physically compressed, strained world is not allowed to blend spiritually; the molecules of knowledge and sympathy are not allowed to jump over from one half to the other. This presents a rampant danger: THE SUPPRESSION OF INFORMATION between the parts of the planet.  Contemporary science knows that suppression of information leads to entropy and total destruction. Suppression of information renders international signatures and agreements illusory; within a muffled zone it costs nothing to reinterpret any agreement, even simpler – to forget it, as though it had never really existed. (Orwell understood this supremely.)  A muffled zone is, as it were, populated not by inhabitants of the Earth, but by an expeditionary corps from Mars; the people know nothing intelligent about the rest of the Earth and are prepared to go and trample it down in the holy conviction that they come as “liberators”. Part Seven:  Creating a Shared Human Story Friends! Let us try to help if we are worth anything at all! Who from time immemorial has constituted the uniting, not the dividing, strength in your countries, lacerated by discordant parties, movements, castes and groups? There in its essence is the position of writers: expressers of their native language – the chief binding force of the nation, of the very earth its people occupy, and at best of its national spirit. We shall be told: what can literature possibly do against the ruthless onslaught of open violence? But let us not forget that violence does not live alone and is not capable of living alone: it is necessarily interwoven with falsehood. Between them lies the most intimate, the deepest of natural bonds. Violence finds its only refuge in falsehood, falsehood its only support in violence. Any man who has once acclaimed violence as his METHOD must inexorably choose falsehood as his PRINCIPLE. And the simple step of a simple courageous man is not to partake in falsehood, not to support false actions! Let THAT enter the world, let it even reign in the world – but not with my help. But writers and artists can achieve more: they can CONQUER FALSEHOOD! In the struggle with falsehood art always did win and it always does win! Openly, irrefutably for everyone! Falsehood can hold out against much in this world, but not against art. And no sooner will falsehood be dispersed than the nakedness of violence will be revealed in all its ugliness – and violence, decrepit, will fall. That is why, my friends, I believe that we are able to help the world in its white-hot hour. Not by making the excuse of possessing no weapons, and not by giving ourselves over to a frivolous life – but by going to war! Proverbs about truth are well-loved in Russian. They give steady and sometimes striking expression to the not inconsiderable harsh national experience: ONE WORD OF TRUTH SHALL OUTWEIGH THE WHOLE WORLD. And it is here, on an imaginary fantasy, a breach of the principle of the conservation of mass and energy, that I base both my own activity and my appeal to the writers of the whole world.  

Join us as we reenter the lush and sensual world of Luca Guadagnino and discover “il costo dell'ecstasy” in his 2009 film I Am Love. Wilson savours the intentional mistakes in technique that feel like a part of the world of the film. Eli gives a brief lesson on editing, drawing parallels all the way back to the Eisenstein method of montage. Ben directs attention to the powerful scenes of melodramatic realisation across Guadagnino's work. Why not dine with us? Become love at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

   Writer and intuitive healer Stella joins me to talk poop,

On today's cast we start our coverage of the Grey Knights by focusing on their origin from the Horus Heresy.  We open with, arguably the most exciting book of the Horus Heresy the Flight of the Eisenstein.  From Nathaniel Garro's discovery of the rebellion, through his journey back to Terra.  After that we focus on the formation of the Knights Errant and their adventures in service to Malcador.  We then close with the end of the Knights Errant as they are given an new purpose by the Emperor.Support the show

On todays cast we conclude our coverage of the Lore of Mortarian and Typhus.  We open with the events leading up to the Istvaan III massacre and the Flight of the Eisenstein.  Thereby marking the first serious public rift between Mortarian and Typhus.  We then spend some time talking about each of their paths post drop site massacre.  After that we dive into the conversion of the Death Guard to servants of Nurgle.  After that we spend time on the rise of Typhus in service to Nurgle, they become the best of friends.  We then finish with the most recent events in the 41st millenia for Typhus and Mortarian.Support the show

Llega a nuestra Torre un relato muy especial relacionado con el último programa de trasfondo y es que poco se habla de las enigmáticas Hermanas del Silencio y de las "Naves Negras" encargadas de recorrer la Galaxia en busca de psíquicos. En este formidable relato se desarrolla la historia después de la llegada del Eisenstein a Terra y la noticia de la rebelión de Horus, Señor de la Guerra a oídos del Emperador. Espero lo disfrutéis. Agradecer a nuestros Patreon nuestros cuervos de la tormenta su ayuda incondicional y a nuestro tendero de confianza, Lopez, de Multiversewar el apoyo a esta thunderhawk tan destartalada… www.multiversowar.com No dejéis de pasaros por nuestra pág web www.latorredelcuervo.com en la que encontraréis artículos con novedades del hobby, muchas reseñas de novelas, las más grimdark y menciones a eventos que puede te estes perdiendo en tu propia ciudad y que no sabes ni que los tienes al lado…todo esto en nuestra página web www.latorredelcuervo.com Lo dicho hermanos y hermanas de Deliverance!! Gracias a todos los cuervos de la tormenta por participar en este programa, en especial: Narracion: Rosa del estudio de Pintura @laratamojada Leilani: Alexa Amendera Kendel: Sarah Tankgirl Thessaly Nortor: Smooky Emilia Herkaaze: Viktoria Hyvin del podcast @espejodeAtropos Editado/efectos digitales y musicacalización por: ElCorintio/Antonio " Lobo" Salinas Cervi (podcast Partidas en mi Casa) Visítanos en nuestra Web: www.latorredelcuervo.com Apóyanos y entra en nuestro PATREON: https://patreon.com/latorredelcuervo Síguenos en: Facebook: La Torre del Cuervo Twitter: @LaTorredelCuervo Instagram: El_Corintio La Torre del Cuervo Youtube: Canal La Torre del Cuervo Esperamos tus comentarios!!!! info@latorredelcuervo.com

There's been a question gnawing at fans of Charles Eisenstein: what does he really feel about RFK Jr's pivot to Trump? The always aspiring poet-philosopher was hired as a messaging advisor to Bobby, after all. We've spotted little fragments of Eisenstein's exceptionally long essays sneaking their way into Bobby's speeches. There was some influence, for sure, even after Charles went on multiple Costa Rican sabbaticals right in the middle of campaign season and apparently cut his consulting rate down from $21k per month, perhaps out of the goodness of the heart he knows is possible. And yet, for weeks after Bobby jumped the shark, Charles remained silent. Until now, that is. With the publication of his recent 6,711-word essay, “Shades of Many Colors,” Eisenstein finally breaks his silence and lands firmly on the side of…well, we're not quite sure. But one thing that's emerged is Charles's penchant for not crediting the source of some of his galaxy-brained ideas. Today, we'll look at some of what Charles says in his latest opus, and try to figure out what exactly he's saying. Show Notes mRNA vaccine spike protein differs from viral version The effect of SARS-CoV-2 variant on respiratory features and mortality SARS-CoV-2 Infections in mRNA Vaccinated Individuals are Biased for Viruses Encoding Spike E484K and Associated with Reduced Infectious Virus Loads that Correlate with Respiratory Antiviral IgG levels. Autoimmune and Autoinflammatory Connective Tissue Disorders Following COVID-19 Risk of autoimmune diseases following COVID-19 and the potential protective effect from vaccination: a population-based cohort study The Lancet: Most comprehensive study to date provides evidence on natural immunity protection by COVID-19 variant and how protection fades over time Conspirituality 1: Coronation for Whom?  Brief: The New Age Origin Story of RFK Jr's Campaign — Conspirituality 86: Charles Eisenstein, New Age Q — Conspirituality   Disavowing Disinformation - North Atlantic Books  Inside the Last Weeks of RFK Jr.'s Campaign Charles Eisenstein - What is the Next Story? - Scientific and Medical Network Brian Swimme: The Cosmos Watching Itself (E35) ​Charles Eisenstein Whitewashes Trump, Caricatures & Demonizes Democrats in Post Decrying Caricatures & Demonization (Part 1) Charles Eisenstein Endorses Trump, but Thinks You're Not Clever Enough to Notice (Part 2)  Cardiac Events Following Mpox Vaccine Learn more about your ad choices. Visit megaphone.fm/adchoices

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 54, Sergei Eisentstein's Battleship Potemkin (1925) is one of the rare films on the list to have appeared on every Sight and Sound Poll since its creation in 1952. Eisenstein was one of a collection of Soviet filmmakers who studied and theorized over this new artistic medium of cinema in order to unlock its singular potential for communication. Eisenstein himself was a proponent of montage, which Paul and Corey discuss in terms of its impact on the film and on all films that followed. They also dive deep into the historical events that surrounded the Russian Revolution of 1905 (the subject of the film), which Vladimir Lenin famously referred to as the October Revolution of 1917's "Great Dress Rehearsal."

Intro - :00 - 5:53____________________________________Coach Johnstone (Field Hockey) - 5:53 - 31:58____________________________________Andrew Bracken (Men's Cross Country) - 31:58 - 53:41____________________________________Kelsi Harris (Women's Cross Country) - 53:41 - 1:17:25____________________________________Russ Eisenstein (Broadcaster) - 1:17:25 - 1:54:09____________________________________Recap - 1:54:09 - 1:55:50See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Aliza Eisenstein is a Registered Dietitian/Nutritionist (RDN), licensed in the US and Israel, with close to 25  years of experience in health & nutrition. Aliza taught at Stern College before making aliyah in 2004. She managed the Special Diets department at the HASC Summer Program for 8 years. Aliza currently works in private practice, seeing clients virtually and in person. She recently developed a program combining her experience in the nutrition field with the increasingly popular coaching model to help women and girls eat right and feel good without the struggles of dieting. Aliza lives in Ramat Beit Shemesh and is a proud wife, mother, and recently minted grandmother. Learn more at https://www.alizaeisenstein.com/ _________________________________________________ This week's episode is sponsored by Toveedo! The Jewish videos your kids love, all in one happy place. Use code JOWMA10 for $10 off at ⁠https://toveedo.com/⁠! _________________________________________________ • Sponsor the JOWMA Podcast! Email digitalcontent@jowma.org • Become a JOWMA Member! www.jowma.org  • Follow us on Instagram! www.instagram.com/JOWMA_org  • Follow us on Twitter!www.twitter.com/JOWMA_med  • Follow us on Facebook! https://www.facebook.com/JOWMAorg • Stay up-to-date with JOWMA news! Sign up for the JOWMA newsletter! https://jowma.us6.list-manage.com/subscribe?u=9b4e9beb287874f9dc7f80289&id=ea3ef44644&mc_cid=dfb442d2a7&mc_eid=e9eee6e41e

https://notesonfilm1.com/2024/07/15/jose-arroyo-in-conversation-with-daniel-bird-on-sergei-parajanov/ We ask who is Parajanov and why Parajanov? We touch in the centrality of his work to the national and cultural identities of so many countries: Ukraine, Georgia, Armenia, Russia; its aesthetic beauty and its continuing power. Certain filmmakers continuously crop up in relation to Parajanov's work -- Eisenstein, Jarman, Greenaway, Pasolini, Kenneth Anger, Powell and Pressburger. The conversation is bounded by the war in Ukraine; post-colonial relations; the excitement of cinema poetry, the need to archive, preserve, restore and circulate; questions of anarchy in totalitarian context; and a fluid line of different degrees of queerness that runs across Parajanov's oeuvre. Beautifully restored versions of SHADOWS OF FORGOTTEN ANCESTORS and THE COLOUR OF POMEGRANATES will be screened at Cinema Rediscovered, Watershed, Bristol on July 28th.

Episode: 1214 Medieval Novgorod, more advanced than we realized.  Today, an old city coughs up a surprising secret.

Closing in on the end of the 1930s and Hollywood is firing off wacky comedies and technicolor extravaganzas! We also cover some Our Gang/Little Rascals shorts, Eisenstein's first talkie, and a very French proto-noir crime drama!  You can watch along with our video version of the episode here on Youtube! You can check out our Instagram, Twitter, and other social media crap here: http://linktr.ee/1w1y And you can watch and form your own opinions from our 1938 Films Discussed playlist right here! See you next year!  

Coming to town next weekend on Sunday, June 30, to the Magic Bag in Ferndale is a band that anyone who grew up in the nineties will definitely know. And if you don't, well, you should get acquainted with the alt-rock legendary sound of Letters to Cleo. The band has some new material to go with favorites like "I Want You to Want Me," "Here and Now," and "Cruel to Be Kind." To talk about the band, music, and the show, my guest is guitarist Michael Eisenstein. If it sounds like I'm a little excited, I'll put it on the table right now that I'm a fan. Michael shares stories along the band's journey — and the fresh energy they bring to their new material. We discuss how technology has changed the way they create music, contrasting the hands-on, live development of songs in the early nineties with today's digital collaboration. Michael reflects on the unique challenges and benefits of remote recording and how it has affected the band's creative process. We also get into the band's involvement with the iconic movie "Ten Things I Hate About You," sharing behind-the-scenes stories, including the thrilling experience of filming the closing shot from a helicopter. Michael talks about the gratifying experience of hearing from younger musicians who were influenced by Letters to Cleo and how the band continues to inspire the next generation of artists. Looking forward to their upcoming show at the Magic Bag, Michael shares his excitement about returning to the Midwest and performing in a venue that feels like home. He reminisces about past tours through Metro Detroit with other artists and the joy of reconnecting with old friends and fans. The intimate setting of the Magic Bag suits the band's vibe perfectly, promising a night of great music and energy. Don't miss Letters to Cleo at the Magic Bag in Ferndale on Sunday, June 30. Doors open at 7pm. Tickets: https://www.ticketweb.com/event/kickstand-productions-presents-letters-to-the-magic-bag-tickets/13463344?pl=magicbag p.s. - I want to put a pin in your calendar for Thursday, July 11, 2024. Our Daily Detroit Happy Hour returns, this time at The Royce in downtown Detroit from 4pm to 7pm. If you've got questions, email us at dailydetroit - at - gmail - dot - com. Follow us on Apple Podcasts: https://lnk.to/dailydetroitonapple Or Spotify: https://lnk.to/dailydetroitonspotify Thanks to our members: http://www.patreon.com/dailydetroit  

本期是「4.23世界读书日」特别节目，我们无望做最长的读书日节目，但我们可以做全网最晚上线的！电影巨辩筛选出129本有助于构建电影知识体系的电影书，分类详解每本书的内容和特点，优点和缺点。对大多数人来说，这些书无助于考研升学，无助于搞钱和自我提升，无助于我们每一天的生活，甚至无助于你从电影中享受到更多快乐。它是百分之百全然无用的。但我们聊书的过程中，却真的爽到了，是截至目前录得最爽的一期节目。为什么电影书会让我们这么爽？请谨慎收听。本次节目聊到的129本书（也有的是一套），具体书目详见下方。因为字数限制，部分英文书没有标注英文名。详细时间轴：04:23 防杠声明06:13 电影理论与美学《电影是什么》，安德烈·巴赞《当代电影分析》，雅克·奥蒙、米歇尔·玛利《电影艺术：形式与风格》，大卫·波德维尔、克里斯汀·汤普森《电影理论1945-1990》，弗朗西斯卡·卡塞蒂[Theories of Cinema, 1945-1990, by Francesco Casetti]《电影理论读本》，杨远婴编《电影理论与批评辞典》，雅克·奥蒙《电影研究关键词》，苏珊·海沃德《电影导演的电影理论》，雅克·奥蒙《电影实践理论》，诺埃尔·伯奇《电影声音：理论与实践》，伊丽莎白·维斯、约翰·贝尔顿编《声音》，米歇尔·希翁《作为媒介考古学的电影史》，托马斯·埃尔塞瑟《明星》，理查德·戴尔《电影中的表演》，詹姆斯·纳雷摩尔《宽忍的灰色黎明：法国哲学家论电影》，李洋编33:59 类型电影《电影／类型》，里克·奥特曼《好莱坞类型电影》，托马斯·沙茨《黑色电影：历史、批评与风格》，詹姆斯·纳雷摩尔《西部电影的发明：五十年文化史》，斯科特·西蒙《幻像电影：美国先锋电影1943-2000》，P·亚当斯·西特尼44:09 电影史与国族电影《电影史：理论与实践》，罗伯特·C·艾伦、道格拉斯·戈梅里《世界电影史》，克里斯汀·汤普森、大卫·波德维尔《牛津世界电影史》，杰弗里-诺维尔-史密斯 主编《日本电影史》，佐藤忠男《韩国电影史：从开化期到开花期》，金美贤、韩国电影振兴委员会《意大利电影：从新现实主义到现在》，彼得·邦达内拉《懊悔的迷雾：经典法国电影的文化与情感》，达德利·安德鲁《新浪潮》，米歇尔·玛利《当代法国电影指南》，福克斯、玛利、拉德纳《迷影：创发一种观看的方法，书写一段文化的历史 1944—1968》，安托万·德巴克《魏玛电影及之后：德国的历史想象》，托马斯·埃尔塞瑟《新德国电影史》，托马斯·埃尔塞瑟《闹鬼的银幕》，洛特·艾斯纳[The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt, by Lotte Eisner]64:53 好莱坞《美国电影史十卷本》[History of the American Cinema Volumes 1-10]《古典好莱坞电影：1960年之前的电影风格和制作模式》，大卫·波德维尔、珍妮特·斯泰格、克里斯汀·汤普森《巴别塔与巴比伦：美国无声电影的观众》，米莲姆·汉森《新好莱坞电影导论》，杰夫·金《逍遥骑士、愤怒公牛：新好莱坞的内幕》，彼得·比斯金《低俗电影：米拉麦克斯、圣丹斯和独立电影的兴起》，彼得·比斯金《电影战争：好莱坞和媒体如何限制我们观影》，乔纳森·罗森鲍姆《越战到里根时代的好莱坞》罗宾·伍德《岁月已逝》，凯文·布朗洛《体制的天才：好莱坞大片厂时期的电影制作》，托马斯·沙茨《史诗、奇观和大片：一种好莱坞历史》，谢尔顿·霍尔、史蒂夫·尼尔85:42 影人传记与研究《戈达尔：七十岁艺术家的肖像》，科林·麦凯布《侯麦传》，安托万·德巴克、诺尔·艾柏《帕索里尼传：安魂曲》，巴特·大卫·施瓦茨《罗西里尼的冒险》，泰格·加拉格[The Adventures Of Roberto Rossellini: HisLife and Film, Tag Gallagher]《铸就传奇：约翰·福特的生命与时光》，斯科特·埃曼《万里黄沙万里情：塞尔吉奥·莱昂内传》，克里斯托弗·弗雷林《卡赞自传》，伊利亚·卡赞[A Life, by Elia Kazan]《让·雷诺阿》，安德烈·巴赞《英格玛·伯格曼》，雅克·奥蒙《重访希区柯克》，罗宾·伍德《德莱叶的电影》，大卫·波德维尔《小津与电影诗学》，大卫·波德维尔[Ozu and the Poetics of Cinema, by David Bordwell]《爱森斯坦的电影》，大卫·波德维尔[The Cinema of Eisenstein, by David Bordwell]《弗里茨·朗的电影：视界与现代性的多重寓言》，汤姆·甘宁[The Films of Fritz Lang: Allegories of Vision and Modernity, by Tom Gunning]118:16 电影评论BFI经典电影解读系列《我生命中的电影》，弗朗索瓦·特吕弗《电影时代：宝琳·凯尔评论集》，宝琳·凯尔《美国电影：导演和导演之道，1929-1968》，安德鲁·萨里斯[The American Cinema: Directors And Directions, 1929–1968]《伟大的电影》系列，罗杰·伊伯特《电影精华：电影经典的必要性》，乔纳森·罗森鲍姆[Essential Cinema: On the Necessity of Film Canons, by Jonathan Rosenbaum]《庸俗的现代主义》，J·霍伯）[Vulgar Modernism: Writing on Movies and Other Media, by J. Hoberman]《艾吉论电影》，詹姆斯·艾吉[Agee on Film: Criticism and Comment on the Movies, by James Agee]《法伯论电影》，曼尼·法伯[Farber on Film: The Complete Film Writings of Manny Farber, by Manny Farber]《电影院与世界：二十年手册生涯》，塞尔日·达内[The Cinema House and the World: The Cahiers du Cinema Years, 1962–1981, by Serge Daney]《电影手册选集四卷本（1950-1978）》[Cahiers Du Cinéma: Volume 1-4, 1950-1978]《60风尚：中国学生周报影评十年》，罗卡编《淋漓影像馆》，李焯桃151:43 产业与制度《美国电影产业》，迪诺·巴里奥编[The American Film Industry, edited by Tino Balio]《好莱坞经济学：极端不确定性如何塑造电影产业》，阿瑟·德瓦尼[Hollywood Economics: How Extreme Uncertainty Shapes the Film Industry, by Arthur De Vany]《国家电影制度》，刘立行《银幕自由：国家电影审查的法律挑战，1915-1981》，劳拉·威腾-凯勒[Freedom of the Screen: Legal Challenges to State FilmCensorship, 1915-1981, by Laura Wittern-Keller]《电影节的历史、理论、方法、实践》，玛莉·德·法尔克158:02 创作与技术《故事：材质、结构、风格和银幕剧作的原理》，罗伯特·麦基《电影剧本写作基础》，悉德·菲尔德《编剧》，威廉·戈德曼《表演的艺术》，斯特拉·阿德勒《电影剪辑技巧》，卡雷尔·赖兹、盖文·米勒《眨眼之间：电影剪辑的奥秘》，沃尔特·默奇《欧洲剪辑大师访谈录》，罗杰·克里滕登《电影语言的语法》，丹尼艾尔·阿里洪《摄影师手记》，内斯托·阿尔曼德洛斯《制作电影：欧洲电影摄影百年史》，欧洲电影摄影师协会《如何拍电影：夏布罗尔导演札记》，克劳德·夏布洛尔《电影风格与技术：历史与分析》，巴里·索特173:38 访谈录《希区柯克与特吕弗对话录》，弗朗索瓦·特吕弗《对话比利·怀尔德》，卡梅伦·克罗《我是奥逊·威尔斯》，彼得·博格达诺维奇《究竟谁拍的这部电影：传奇导演谈话录》，彼得·博格达诺维奇《电影的节奏是心跳：罗贝尔·布列松谈话录》，米莲娜·布列松编《异端的影像：帕索里尼访谈录》，皮埃尔·保罗·帕索里尼《樱桃的滋味：阿巴斯谈电影》，阿巴斯·基阿鲁斯达米《胡金铨武侠电影作法》，山田宏一、宇田川幸洋《后台故事1-5：编剧访谈》[Backstory 1-5: Interviews with Screenwriters]188:48 华语电影研究《中国电影发展史》，程季华、李少白、邢祖文《电的影子》，陈力[Dianying/Electric Shadows, by Jay Leyda]《华语电影工业：方法与历史的新探索》，叶月瑜编《中国电影批评史》，李道新《北影纪事》，杨远婴编《中国电影：一个制度与观念的历史》，启之《银幕艳史：都市文化与上海电影1896-1937》，张真《回望纯真年代：中国著名电影导演访谈录（1981-1993）》，罗雪莹《北京电影学院故事：第五代电影前史》，倪震《看不见的影像》，张献民《台湾电影：政治、经济、美学（1949-1994）》，卢非易《台湾电影年鉴》《跨世纪台湾电影实录1898-2000》《台湾电影百年漂流：杨德昌、侯孝贤、李安、蔡明亮》，叶月瑜、戴乐为《杨德昌的电影世界》，让-米歇尔·付东《无人是孤岛：侯孝贤的电影世界》，詹姆斯·乌登《煮海时光：侯孝贤的光影记忆》，白睿文《三十年细说从头》，李翰祥《香港电影王国：娱乐的艺术》，大卫·波德维尔《香港电影：额外的维度》，张建德《冷战与香港电影》，李培德、黄爱玲编《香港的「中国」》，傅葆石、刘辉编《国泰故事》，黄爱玲编《风起潮涌：七十年代香港电影》，吴君玉编《超前与跨越：胡金铨与张爱玲》，卓伯棠编《乘风变化：嘉禾电影研究》，蒲锋、刘嵚《溜走的激情：80年代香港电影》，家明编《香港电影工业结构及市场分析》，陈清伟《新香港电影丛书》，阿克巴·阿巴斯编《王家卫：不只是拍电影》，约翰·鲍尔斯《银河映像，难以想像》，潘国灵编《光影言语：当代华语片导演访谈录》，白睿文推荐关注：电影巨辩的轻量版：电影巨辩5min联系：邮箱：dyjb1895@foxmail.com合作：dyjb1895（添加微信说明来意）

▶️ Visit to know more: https://www.raphaelcollazo.com/ Welcome, and for all your questions, Raphael is here to help you with Understanding Accountability in Commercial Real Estate with Henry Eisenstein. If you are interested in learning about the many facets of commercial real estate, whether you're a business owner, investor, or just someone who's curious about the subject, you'll gain value from being a part of the group! In this meeting, Henry Eisenstein, CRE Agent with EXP, talked about his background and how he got started in business. Along with that, Henry shared insights about being accountable in commercial real estate so you can have your best year yet. So, watch the full video until the end to learn about Accountability in Commercial Real Estate. ▶️ If you're interested in learning more about Henry, check out the following links: ▶ LinkedIn: https://www.linkedin.com/in/henry-eisenstein-010bb1102/ ▶ Email: info@henryeisenstein.com If you like the video, please SUBSCRIBE and don't forget to press the bell

In this episode of "All About Capital Campaigns," hosts Amy Eisenstein and Andrea Kihlstedt delve into the critical components of accountability, habits, and motivation in the context of fundraising campaigns. Drawing on their extensive experience, they explore real-life scenarios highlighting the significance of staying accountable and cultivating productive habits. Discover the importance of taking concrete actions in fundraising endeavors, moving beyond procrastination and excuses. Eisenstein and Kihlstedt share practical insights on fostering motivation and developing consistent habits, essential for achieving success in capital campaigns. From scheduling donor calls to setting measurable goals, they offer actionable strategies for maintaining momentum and achieving fundraising targets. Learn how external accountability partners and structured systems can enhance campaign effectiveness, ensuring progress towards fundraising goals. Whether you're a development director, executive director, or involved in fundraising efforts, this episode provides invaluable guidance on navigating the challenges of capital campaigns. Tune in to gain actionable insights and elevate your fundraising initiatives to new heights. To see if your organization is truly ready for a capital campaign, download this free Readiness Assessment. This guide will help you evaluate six aspects of your organization, including the board and your case for support.

The October Revolution was not just an act of economic and political emancipation for the downtrodden masses, it also represented artistic and creative emancipation. Individual geniuses - such as Eisenstein, Meyerhold, Stanislavski, Tatlin, El Lizzitsky, and Shostakovich - rose to prominence and revolutionised their artforms. But more remarkably, millions of ordinary people were given access to the world of art and culture, previously denied to them by the bourgeois class. A spiritual and cultural uplifting on this scale had never been seen in human history. In this episode, Nelson Wan discusses these outstanding artistic achievements, and why another revolution in art will not be brought about until the revolution in society is completed. ✊ Join the campaign to build a Revolutionary Communist Party: https://socialist.net/join

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

It's a special edition Stress Therapy Session! Today, we are pausing to listen to an episode from the Derek Loudermilk Show, You are going to love it! This podcast, just like mine, is a proud member of the Ethereal Network of Shows.In this episode, Derek interviews Charles Eisenstein, the author of The More Beautiful World Our Hearts Know Is Possible. Derek Loudermilk Show: Derek Loudermilk Website: https://derekloudermilk.com Twitter: https://twitter.com/DerekLoudermilk Facebook: https://www.facebook.com/DerekLoudermilkShow/ Instagram: https://www.instagram.com/derekloudermilk/ YouTube: https://www.youtube.com/channel/UCECrw6uCmVsb1mzIvT1pbQQ TikTok: https://www.tiktok.com/@derekrloudermilk/ Join Cheri Flake on her Next Meditation And Yoga Retreat! Register for a meditation and yoga retreat in the gorgeous Georgia Mountains and walk away with a new, solid daily meditation practice with benefits that last a lifetime! OR Register for sweet, peaceful meditation and yoga beach retreat on Jekyll Island seaside right off the coast of Georgia. Join our Facebook Group! Stay in touch with Cheri and be a part of the Stress Therapy Community! Twitter: @stresstherapy Instagram: @thestresstherapist Facebook Linkedin Website YouTube Want Cheri Flake to be your therapist? If you live in Georgia go here to schedule a free 15 minute consultation Follow Cheri Flake on GoodReads Buy Cheri's book: Honey Do To Honey DONE! A Simple System For A Productive And Happy Household With Absolutely No More Nagging! A word from your host, Cheri Flake, LCSW: Feeling good after our Stress Therapy session? Awesome. Check out the show notes to connect with me, The Stress Therapist on social media or go to www.iLoveTherapy.com to find out about meditation classes & meditation and yoga retreats.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5624757/advertisement

Smoke a turkey, smoke a bowl, smoke cigs with your aunt who thinks 5G is the devil. It's Thanksgiving y'all. And while we don't really like forced holidays, gratitude really is something that will help your life. So take stock in what's working and throw out what's not. Love y'all.      Gravy Baby has a Discord server! The community is growing and active. We also have Book Club and Film Club meetings every month. Join the Discord: https://discord.gg/5BdM9BUdmm Flim Club meets Sunday, November 26th at 1 pm Pacific/2 pm Mountain/3pm Central/4 pm Eastern to discuss Eisenstein in Guanajuato. Book Club meets Sunday, December 3rd at 1 pm Pacific/2 pm Mountain/3pm Central/4 pm Eastern to discuss Escape from Incel Island.

Ransom: Akira Kurosawa's High & Low There are no shortage of names that define our undersrtanding and foster our enjoyment of Cinema. Scorsese, Fellini, Bergman, Leone, Eisenstein, Spielberg, Chaplin, Keaton, Lumet, Ford, Hawks . . . the list could run for pages (and fortunately for us it does). There is a name that cannot be left off . . . Best known for his Jidaigeki - Historical (Action) Dramas - including Seven Samurai, Yojimbo, Rashomon, Throne of Blood, and The Hidden Fortress (to name a few), Kurosawa was a master at the modern drama, as well. Ikiru, The Bad Sleep Well, Drunken Angel, Stray Dog are a few of his modern explorations of Japanese life after the war. A masterpiece (rarely discussed and criminally underseen) is 1963's High & Low. Adapted from Ed McBain's 87th Precinct series of crime novels, High & Low is a beautiflly nuanced and brilliantly tension-guided police procedural. Re-teaming in their fifteenth (of sixteen) collaborations, Kurosawa and Toshiro Mifune come together to tell one of the greatest films in both mens' filmographies. This is an incredible film that Mr. Chavez and I are thrilled to bring to you. Take a listen and let us introduce you (or remind you if you are already familiar with) this wonderul film.  Let us know what you think - gondoramos@yahoo.com As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. The holidays are coming an we could use the help. Stop being cheap bastards and give what you can. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos  

Commercial real estate is a capital intensive asset class, meaning it takes a lot of money to pull these deals together. But you, personally, don't have to have that cash on hand in order to pull these deals off. We're diving into utilizing commercial real estate brokerage as an income stream and how to start buying commercial real estate investments even if you're broke.https://www.tylercauble.com/podcast/episode165

This week's challenge: try FSnotes.You can hear the after show and support Do By Friday on Patreon!——Produced and Edited by Alex Cox——Show LinksSteve Burns Interview: 'Blues Clues' Return, Death Rumors, DepressionJohn Mulaney Thinks Fatherhood Has Simplified His Life | Conan O'Brien Needs A Friend - YouTubeCocomelon - WikipediaBluey (2018 TV series) - WikipediaYo Gabba Gabba! - WikipediaMr. Hinkle | Caillou Wiki | FandomAnti-Vaping Ads want you to Vape - YouTubeAnita Bryant - WikipediaInside Jerry Falwell Jr.'s Unlikely Rise and Precipitous Fall at Liberty University | Vanity FairThe Righteous Gemstones - WikipediaNotational VelocitynvALT - BrettTerpstra.comnvUltra - Searchable, portable, MultiMarkdown notesModern notes manager for macOS and iOS | FSNotes AppBearDrafts | Where Text StartsNoodlesoft – Noodlesoft – Simply Useful SoftwareRecorded Wednesday, Ocobter 25, 2023Next week's challenge: you decide.

In August, I hosted a webinar called "How To Write A Great Story" where I talked about what a "story" really is, as well as well as how to use personal stories to help your writing. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:Art is about taking something inside of you and expressing it in a way that helps you understand yourself and helps you understand the world around you. And in that way, people can see it or watch it and enjoy it and help them understand themselves. I think there's that greater good. I don't think craft necessarily does that. I think craft can sometimes be, the studio will give me a note and I'll say, okay, I can do that. That's what you want. I can do that. I don't think it's necessarily playing for the greater good. It's what they want and they're paying me. You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, welcome back to another episode. We're doing something unusual today. So Phil is back with me. And as you may know, every three or four weeks I host a free webinar where I take one subject and kind of educate you on it. And at the end, if there's time, I answer questions because about an hour long. And so usually we answer a lot of questions, but we can't get to all of them. So we save the questions that we can answer and we didn't have time. And we're going to answer it here for you today on this podcast. And by the way, for people who don't know, the webinar is always free, but afterwards, I also do a V I P room for people who if they want to pay a small fee, then they get to be in a smaller chat with me and we talk. I try to answer their questions as best I can specifically. So if anyone's interested in that, you go to michael jamin.com and I dunno where they would sign up for that on michael jamin.com/course. Probably.Phil Hudson:Oh, for the vip it's /vip.Michael Jamin:Oh, /vip. Okay.Phil Hudson:We're fancy here, Michael. We use high tech stuff like links, short links.Michael Jamin:So there you go. But now I'll answer the other questions. Phil hit me.Phil Hudson:I was just going to say there are a lot of really good feedback and I found that there are people who don't sign up for your course who also sign up for that v i p, and they ask some really interesting questions. And then after that I think it kind of pushes 'em over the edge to feel like, okay, this is something I can do, and then they're a little bit more inclined to invest in themselves. Some really good questions out of this V i p, and this is based off of the August webinar, and that topic was the pep talk Every screenwriter needs to hear, which is slightly different than Michael Jamin's known tone of just smashing your hopes and dreams on the rocks of reality,Michael Jamin:Which he's a problem. Yeah, I don't want to just do that. I want to make sure that people get, I want them to be grounded in reality. That's what I'm, I'm not trying to smash it's dreams, but I want to be realistic. Once you find out if you know what the reality is, then now, okay, now we can figure out how to get in once there's a way around every problem. That's what I,Phil Hudson:And that comes from early on when we were talking about the marketing for this. How do we help you grow your audience? How do we do this? And you were like, I will not sell the dream. I will not be one of those guys who just promises the dream to make a buck. I can't do that. And I was like, okay, well, it's going to hurt your ability to make money. He's like, it's not about that. I just will not do it. And so you've leaned into this sincere, radical honesty, I guess you could say, and I think overwhelmingly almost immediately people were like, wow, this sucks to hear, but I'm so glad you're saying it. It just resets the expectations a little bit. And even for me, having learned from you and been to film school and worked in the industry now for almost seven years, I still think about this, Hey, this is a script. Whenever I write a new script, this is not, I'm not going to sell this. That's okay.Michael Jamin:It's a writing samplePhil Hudson:And it frees me up to just be whatever I want it to be, not hoping that my entire life is dedicated to this one story I'm writing.Michael Jamin:I see good things coming your way, Phil, by the way.Phil Hudson:I see good things coming my way asMichael Jamin:Well. Yeah, because you're putting the work in and obviously you've already, it may be hard for you to see because you're in it, but the distance that you've traveled at only a few short years in Hollywood is pretty unremarkable.Phil Hudson:I'm keenly aware of that. Honestly, I'm humbled to be where I am. I'm humbled to host the podcast with you. I think I even pitched somebody else to co-host the podcast with you, and you're like, why wouldn't you do it? Why can't I just have you?I don't need to, or I don't want to assume to be the guy. I do think I bring a skillset to this podcast of asking the questions the listener wants to ask, and I think that's really what I do. But yeah, I'm incredibly humbled. I think I've got some really interesting things on the horizon, and I've already had some great things this year as direct result of you and the stuff you're putting out in your course and the great feedback I'm getting from people in your course, by the way, super talented people in there just giving me feedback and making me better.Michael Jamin:Yeah.Phil Hudson:Thank you Michael. Alright,Michael Jamin:Let's do it.Phil Hudson:Okay. Structurally, we broke this up into a couple and we've kind of found a pattern here. There's kind of craft questions, there are breakin questions, there are course questions, and then there are miscellaneous questions. So I take all the questions, kind of broke 'em down, and then I'm really focusing on things that you haven't said before because there are a lot of questions we get that are repetitive questions. Should I move to la? Should I move to la? What about this? How do I get my script in the right hands? And you've addressed those tons and tons of times. So if you like this, go listen to all the other q and A's where we get questions from social media, we get questions from your course members, we get questions from the webinar starting with craft, because I think that's really what we're here to learn is how to be professional writers. I'm going to mess up a bunch of names today. You ready for this?Michael Jamin:Yeah, that's okay.Phil Hudson:Shi suey, shagan. No clueMichael Jamin:That you said it perfectly, however,Phil Hudson:Nailed it. How do you win the battle against that blank screen when trying to create?Michael Jamin:Yeah. Well, the problem is you don't know what you're doing. Listen, the blank page is always intimidating even when you do know what you're doing. But if you are this locked up, it's because you just don't know what a story is and you don't know. That's what the course teaches you. How to take an idea, identify if there's enough meat on that bone to turn it into an episode of television or a movie or whatever. Not every idea is worth turning into. It doesn't have enough there. So the course helps with that. I think all that the writer's block that you're experiencing is because you don't know what you're doing. Of course you're going to be blocked. Of course you don't know what your characters are going to be doing, so at least come to the free webinar, at least I can help you with that much if you don't want to buy the course. The webinar will help a lot at michaeljamin,com/webinarPhil Hudson:And all the other free resources you have, like the free story lesson on your website, michaeljamin.com/free. It's another great place to start. Absolutely true. If you don't know where you're going to go, you get stuck. And for many of us, it's that middle of act two, what's going on? What do I do now? How do I get my characters to this really bad thing that's going to happen? Whatever it is. And understanding the structure as you put it out, it's just so easy to grasp and understand. It's a no brainer. I clearly know where I need to go and what needs to happen here from a strategic perspective, and then tactically I can lay in things to get me where I want in a surprising way.Michael Jamin:Yeah.Phil Hudson:Perfect. Oh, if I may, when you're rewriting, print that thing out and use a red pen, man.Michael Jamin:Red pen.Phil Hudson:Yeah. Michael Michael's pro tip hand amboy. What is the best way to keep improving in screenwriting or storytelling?Michael Jamin:Just keep writing. I would write your episode or your feature, put it aside, write another one, put it aside, write another one, and you'll find that as opposed to just keep on working on the same piece, finish it and write a second one, then the third one, and you'll find that script number five is much better than script number one will ever be. You have to just let it go and continue doing something else. So that's my advice.Phil Hudson:Awesome. Chelsea. Steve, how in depth do you prepare a beat sheet or treatment to pass to a co-writer? Is it important to be specific or broad out of respect for them?Michael Jamin:Oh, well, I mean, you should be doing the beat sheets together. I mean, I would think that's how you get on the same page. My partner and I do everything together. We break the story together. We come up with a beat sheet together. We come up with the outline together. That's how you do it. I mean, you don't want to, if they're your partner, I dunno why you wouldn't bounce ideas of each other that's, or else why have a partner.Phil Hudson:Another really early podcast episode we had was writing with a partner where you talk about this process and there are several schools of thought about how to work with a writing partner. There are tons of resources and different writing have different things. One person sits at a keyboard, the other does, and I think you guys do that that way. Yeah.Michael Jamin:Vers been, I used to be the one at the keyboard, but for the last couple of years he's been the one at the keyboard. Although now we both have, we use collaborate so we both can type at the same time, which is really annoying.Phil Hudson:That's awesome. Yeah, so there's a bunch of that and there are other people who do it, but I think the real juice of what we're saying here, what you're saying, Michael, is you shouldn't be breaking your story separate. That's not Yeah,Michael Jamin:Yeah, yeah. You got to be on the same page.Phil Hudson:Yep. AllMichael Jamin:I'll tell a quick anecdote. One time Steve and I were working on a script for, I think it was Taco fd, and we were writing the outline together and we got into a fight over what this one scene was supposed to be. And I wanted one thing, he wanted another thing. And then I said, what do you think this story is about? And he told me, and then he goes, what do you think the story is about? I said, I think it's about this. We weren't even clear on what the story was about, so we had to stop, agree on that and then move forward.Phil Hudson:Yeah, that cleared up everything, I'm guessing.Michael Jamin:Yeah.Phil Hudson:Yeah. Great. Nina in your course, isn't she? Yeah. Yeah. Nina, I'm so worried about alienating my audience for too long. Is there a theory about thisMichael Jamin:Alienating? I wish I knew. In what way? I feel like you want to hold your audience's hand. That's how I feel. There are other filmmakers who may feel differently when I get lost. Sometimes when I watch watching, I'm like, I'm lost here. I dunno what's going on. And so that's not something that I like to do in my writing. I like to make sure that, especially if you're writing on television, because you're writing on tv, you go into a movie is one thing. You have their attention. There are hostage if they're sitting in the movie theater, but on TV show often people will be on their phone, they're reading a magazine, they're doing everything at the same time as watching a TV show. So I want to make sure they're with me the whole way or else they're not going to be engaged.Phil Hudson:Yeah. Yeah. That's great. Yeah. I wondered about this one too. What does she mean by alienating, right? I don't think you ever want to really alienate your audience. I think there's suspense, there's audience superior versus audience inferior. Does your audience know more than the character? Does the audience know less than the character does? And there's different tactics and tools you can use as a writer to build suspense, and they each have their own purpose, but alienating would be, yeah,Michael Jamin:That's not on my list of things to do.Phil Hudson:Yeah. Sorry Nina, if we had the misunderstanding here, but let us know in the private Facebook group putting us in there with a clarification, and I'm sure Michael hopinMichael Jamin:Into that. Just to be clear, the private Facebook group is just for members of my course, so you have to be a paid member to get into that. But there's a lot of good stuff going on there. These people are very active, and I answer more questions there for them.Phil Hudson:We'll jump down because there's literally this question under the section Mark Brozinsky. Is there a Facebook group we can join to network?Michael Jamin:Yes, there is. And once you purchase, you get a link to that and you should definitely take advantage of it. There's a lot of really smart people trading scripts. They're doing table reads once a week. They're giving each other notes film festival. And it's unlike, they got a festival coming up, which I can't believe, and it's unlike, there are other Facebook screenwriting groups where people are pretty mean. It's almost like Reddit, screenwriting Reddit, which is the dirtiest place on the earth, but that's not what this is going on in this group. It's really very professional and supportive. I think we were smart to gate that group and say, you have to be purchased because it hasn't turned into a cesspool.Phil Hudson:I can tell you from the e-learning side of my digital marketing career, that when people ask, and we had this conversation with the client a year ago when they were relaunching their online membership course for a specific topic, but anyway, very well renowned company, lots of people. And I said, you need to have a community manager that's in there full-time, keeping out the R riffraff. There's spam, there's ugliness, there's all these things. And if you don't have someone doing that, it's just going to get bad. And most of these things are set up by one or two people who just wanted to start a group. And I've had nothing but bad experiences in those groups. Nothing but bad experiences unless there is some unifying factor, like an alumni group tends to perform a little bit better, be in easier place, you have a problem.Michael Jamin:But we don't have that problem with our group. Nope.Phil Hudson:In fact, you have people who self-police. I get messages from people who are like, Hey, I shared this thing. Did I break a policy of self-promotion? I was like, you shared something you produced that came out of the course. I don't think, I think that's celebrating your hard work. You're not offering to pay to read someone's script. You're donating your time every Tuesday night to run a tableMichael Jamin:Group. Yeah. Yeah. Right.Phil Hudson:You're good.Michael Jamin:Yeah, you're good.Phil Hudson:Awesome. Tomer K. I've noticed in the blacklist scripts that there's a trend of making meta commentary about the script itself. Referencing page numbers or the reader. What are your thoughts on this? And maybe define what the blacklist is for people?Michael Jamin:Well, yeah, I mean, the blacklist, there's really, the blacklist started as a site where unproduced professional scripts that were sold were just never produced. And it was an honor to get on the blacklist, but now there's something, now it's something else. There's two lists, right, Phil?Phil Hudson:Yeah, there's that list. But then there's also, you can sign up for the blacklist and pay a monthly fee to host your script so people can access it and read it and give you notes. And you can pay a hundred bucks a pop to get notes and reader feedback on your script and get rated. And that's a little bit, I think more of the commercial side of it.Michael Jamin:Isn't that what they're talking about?Phil Hudson:That's the blacklist. There's also fellowships and things. So by no means are either of us knocking the blacklist. It's just a difference in what this is. And I think what they're referencing is the original that you're talking about,Michael Jamin:The original list. They're thinking. There's a lot of meta jokes in it and meta references.Phil Hudson:I've not read them, but I believe that's what they're saying. That is the blacklist I placed on the blacklist top unproduced scripts.Michael Jamin:Oh, so I can't answer it then.Phil Hudson:But from a style perspective, do you think that's an appropriate style of writing?Michael Jamin:Well, if they got on the blacklist, on the legit blacklist by doing this, who am I to say? No, I just think it tends to be cheap. Breaking the fourth wall or meta. You got to really be careful. Ryan Reynolds says that well in the Deadpool, but it can become a crutch and it becomes, the problem was when you do it, you're telling the audience, this is a movie, and it takes them out of it. You've sucked them into it. This is how I feel. When I first started, I thought all this meta jokes were great. Isn't that funny? Where self-referential isn't that interesting? But now that I've matured as a writer, I feel like you're spending all this time and energy to suck people into world, to make them suspend disbelief. And now you're going to pop it with a joke, and now you got to put more energy, get 'em back into it. I don't like it. I think I don't like it. Others can feel differently though.Phil Hudson:And in the Deadpool comics, he would break the fourth wall. So that is not something that he's doing in film. He's living in the character. And I think it's something everyone expects from Deadpool, but he's going to have a commentary with you, and it's Ryan Reynolds. If there's anyone who can do that, it's Ryan Reynolds. Right? I could do that. I don't know many people who could fourth wall just for people. I just want to make sure everyone's clear on that. It comes from stage place specifically where there are three walls, and then there's a line, and that line is three walls or the set, and then the fourth wall is the audience. And so they're either facing the audience or they're communicating with each other, but they don't turn to speak to the audience unless it's a narrator or it's someone else having, there's a specific need for that.Michael Jamin:Yeah. Fourth and wall is when you literally acknowledge that there's an audience watching your play, which is kind of odd, but it can be fun.Phil Hudson:Some of the first screenwriting courses I ever paid for talked about that. I was supposed to know what it was, and I got so lost. I had to go look it up. And man, that was very confusing. So I want to make sure we define that for people. Yeah, yeah. Projecting much, Phil. Cool. Pf, oh, I wanted to ask, I have a follow-up question on this. So there are screenwriting books that are kind of renowned, specifically story books by Robert McKee, more so than screenwriting books, where he says It is cheap for a writer to reference. We see, we hear, and I actually write in that style, and I get a lot of really good feedback on that. We see this happen. That's just a personal choice. I don have a problem with it. I've never had no bump on it. You read my scripts, you've never bumped on it. To be clear in the book, he clarifies that overused in the transition from, I want to say it was like it might've been silent films to specific moving into something else. So it was as a crutch, people leaned on at a certain point in the 1990, in 19 hundreds. So maybe we've got past that watch is why it doesn't bump. But I said, you answered the question, you don't care.So that's not breaking the fourth wall in that.Michael Jamin:No, no, no, no, no. You're just, yeah, that's a stage direction.Phil Hudson:Yep. Awesome. Yeah. To me, I'm inferring camera movement more than anything. Yeah.Michael Jamin:Okay,Phil Hudson:Cool. P F H, should I vet my idea before I write it so I have an idea to pitch? But once you know it is doable, then I can perfect it. Basically, I had to rewrite this question. It was a bit confusing. Does that make sense?Michael Jamin:Yeah. I think what they're asking is, this is what I would do. You have an idea of a movie for a movie or a TV show or whatever, put it in a sentence or two sentences and then pitch it to a friend. And if you can't explain it succinctly, then you've got a problem. So just saying it out loud, even if you don't have a friend saying it out loud, describing it is a good waste to the, oh, okay. I know what the story is. Sometimes you don't even know what it is and you can't clarify. So for sure, say it out loud and see if your friend is interested. If that sounds grabby, it might not be.Phil Hudson:Yeah. In that two sentences, would you say that separate from a log line, or would you call it a log?Michael Jamin:Yeah, that's basically a log line. But if you want to expand, if you want to make it a paragraph, if you find that a log line is like two sentences, but if you want to make it a paragraph, that's fine too. But don't make it a page. Just make it short and brief.Phil Hudson:Yeah. One script, early script, I wrote, the log line was about a small town. It's about a small town pastor who kills people. And it was interesting. See your face. That's an interesting enough logline. Yeah, I'd be interested in that. And then the questions are, well, what's it about? Why does he kill people?Michael Jamin:Yeah. I would go a little more detailed than that because if you pitched me out, I would say, maybe tell me more.Phil Hudson:Correct. And it's really more of an elevator pitch than anything. It's just a way to just slide it in. But the log line would be a full two sentences. Yeah. Cool. Course related question. Only one other. Today, melody, we answer a lot of these questions throughout the webinars. There's not a ton of these. Melody Jones, I have to do major research for my project. Should I take the course first or get my research done, then do the course?Michael Jamin:Oh, I would say take the course first. That way you know what kind of questions to ask and look for. Unfortunately, we couldn't answer this for her, probably live. But yeah, you may start asking yourself questions that you don't even need the answers to. SoPhil Hudson:Yeah, I would absolutely agree. In fact, the script I'm writing right now, I am doing a lot of research on, because it has a technical skillset that I am very familiar with, but I don't know the intricacies of. And so by doing my research, I'm looking into that. But I broke the script first from a story perspective, not a plot perspective. I said, what's the story? What do I want to tell? What's going to happen? How are my relationships going to play out? And now it's looking at it thematically to say, how can I utilize this experience they're going through from a technical perspective to elevate that story or to add stressors? How can I use this to get to this part where they get in an argument or whatever? SoMichael Jamin:Absolutely. What's also interesting, side note, but I'm rewatching Wolf of Wall Street, and I may be a quarter of the way through, but every fricking scene that I'm watching right now, everyone is interesting. The acting is brilliant, but every scene is written. There's something really interesting going on each scene. There's nothing lazy about that script. It's like, if you watch, you could show me one scene. I'd be like, Ooh, that's good. So think about that when you're writing your script. Is this scene amazing or not? Because that one, it was movie. Every scene is amazing.Phil Hudson:That's awesome. Yeah. You guys are freebie for you guys. I love that. All right. Breaking in. You ready to talk about breaking into Hollywood? Sure. Cool. There's a curse word in here. So to keep our non explicit label on the podcast F the Void, is there a chance for writers that are not from the US to find success in Hollywood? Like say, south American writers that want to make you big?Michael Jamin:Yeah. Well, there was that guy. Sure. I mean, the guy, the writer who did, ah, man, what was he? Australian? No, he was South African. It's the, ah, man. What was that movie called? District nine.Phil Hudson:And he did a bunch of stuff. They're all great.Michael Jamin:Yeah. And so for sure, you can make your stuff wherever you are. And to some degree, if you make a TV show in a foreign country other than the us, often it's easier to sell those shows to the US because it's IP that already exists. And for some reason, sometimes studios want that. So Wilfred, for example, I wrote on Wilfred, that was an Australian show. It did really well in Australia, and we adapted it for America here. It's not uncommon at all. So yeah, don't let that hold you back from creating great stuff.Phil Hudson:Yeah. From a purely cinema history perspective, a lot of the best cinematography came out of Mexico when Eisenstein moved there. So there's great stuff. You've got Rito, you've got all these amazing filmmakers coming out of Central South America. And North America. You've got Tero Titi out in New Zealand. YouMichael Jamin:Got right. I'm going to mention him. There's a movie, I'm just, I'm going to search it right now. Yeah. There's a movie I watched a couple of days ago, the Worst Person in the World. It's a Norwegian movie. Loved it, loved it. Thought it was so well done. The title was terrible. What's the title? But everything about the movie was great, except for the title. The Worst Person in the World. Yeah, go watch that. Yes.Phil Hudson:But there's some great films even just come out of Europe, the UK and Europe, which I think we're going to get. That's the next question is uk, maybe that one we answered in the thing. But anyway, but it's like once that musical is just fantastic and it's out of the uk. So yeah, I think oftentimes people group like UK and America is Hollywood, but they are different. You have BAFTA and you have the B, B C and the way they do their things, and then you have Hollywood. And the other thing to keep in mind too is with streaming, I mean, I get a lot of recommendations for Spanish films and TV on my Netflix, and they don't know that I speak Spanish.Michael Jamin:I think they DoPhil Hudson:You think they figured it out? I think theyMichael Jamin:Do, man. They might. You'd be surprised. ButPhil Hudson:I get some Korean stuff too. I getMichael Jamin:Ads in Spanish because I speak Spanish too. I'm like, why? How do they knowPhil Hudson:It's not zip code related? Maybe it's zip code related. Maybe it's just la, right? But yeah, anyway, I get a lot of that stuff. And so just because maybe you get something and you sell it to Netflix, Ecuador, and then all of a sudden it's being streamed all over the world. You've got all of the Spanish channels, and then you make it here. I have to, ah, here's a great example. Squid Games, squid Games, South Korea blew up huge. Right? Huge. Parasite. Parasite. South Korea.Michael Jamin:But there's a catch. It has to be good.Phil Hudson:Better than good has to be great,Michael Jamin:Right? Yeah. It has to be great.Phil Hudson:But that's the role for everyone in Hollywood too. And there's a lot of people here who are not willing to put in the effort to get to that. Right? Yeah. And I guess follow up question from F the void, do you know any writers that are not from the US or any first world country that have made it in Hollywood?Michael Jamin:Well, I've had Canadian writers on my show before on the podcast. You can ask them how they did it. Other, if you come from a non-English speaking country, you're going to have a more difficult time in the sense that even if your English is really good, it may not be perfect unless you've been here a long, long time. And so that's the catch. It's hard for you to write dialogue in a language that it's not your first language. It mayPhil Hudson:IMS idioms and all that other stuff too.Michael Jamin:So you do need to have really, not just a firm grasp of the language, but you really have to know it. You have to speak as well as a native speaker, but with just maybe just a slight accent. That's the only catch.Phil Hudson:Yeah. But there are also things like Selena, there's a girl I went to film school with, and she's a writer on Selena, and she's from Mexico, and she's a second. She just got naturalized just a bit ago, but she's right around Selena before she was a US citizen.Michael Jamin:Yeah, often. Interesting. Yeah. So if you get on a, there's demand for people with diverse backgrounds if the show is about that background. SoPhil Hudson:Yeah, it absolutely was. I think that whole writing staff were Latin American.Michael Jamin:Right? Right. Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you, and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:Cole, our film festival is a good route to take for a script you wrote to get looked at.Michael Jamin:Well, you're not looking at it. You're shooting it, right? I'm not sure what the question is.Phil Hudson:Film festivals often have screenwriting screenplay contests attached to them.Michael Jamin:Oh,Phil Hudson:Interesting. And I can tell you, having been on staff for many of those indie film festivals, that is what pays the screenwriting contest is what pays for the cocktail hours and for the other things.Michael Jamin:So you're saying it's not really a way to be discovered?Phil Hudson:It depends on the film festival.Michael Jamin:Right. Oh, okay.Phil Hudson:Alright. So there are film festivals that I think matter. I think they're also, I think what you really want to talk about. We actually do a webinar on a little bit deeper on this, which is available on your website to purchase for like 29 bucks worth watching. WhichMichael Jamin:One is that? Which episode was that?Phil Hudson:I think it's how to get past Industry Gatekeepers.Michael Jamin:Oh, okay.Phil Hudson:I want to say that's what it was. Yeah. Thanks for clarifying. But yeah, I think what you really want to look for are fellowships fellowship. So you have the Sundance Film Festival and their fellowships that they offer there. Blacklist has a fellowship. You have the academy, the Nichols Fellowship. Awesome Film Festival comes up in another question here. That's one. That's a film festival where they do give screenwriting contests awards, and there are industry people who attend that. So it's a different thing. Tribeca, some of those bigger ones, south by Southwest. If they have those options, maybe go for those. But if you're talking about the Westborough, whatever film festival, maybe skip it. Maybe Skip Save the 40 Bucks on Film Freeway.Michael Jamin:Okay. You heard of the film. He knows more about this than I do.Phil Hudson:Daniel Celiac, poor guy. If someone is still in high school or early in college, what can they do to get closer to the industry?Michael Jamin:Stay where you are and just write, write and make your own stuff. As a kid, I shot my own stuff on a super eight camera. Now you can shoot on your phone. I didn't have sound back then. Just keep working on your craft and read anything and get inspired by our art. Draw upon it. Don't look for a job right now. I mean, if you want to look for a job as an intern or PA or something, that's fine. But don't start thinking about starting your film, writing your screenwriting career. Just start working on Become a good writer. That's the first step.Phil Hudson:And I was going to suggest PA Intern Volunteer. I started volunteering at the Sunrise Film Festival because that's all I could do. And it was because I was in the recession of 2008, nine, and I just had to work and I had to work two jobs. And so I would volunteer at the Sunrise Film Festival, and I put in those hours for four years. And then that's how I got my first real break through Sundance to do some stuff aside from the work I was doing and how I met you. We've talked about previously, great bv. Michael mentions moving to Hollywood if you're serious. What about those in the uk, for example, who physically cannot get a Visa to move there?Michael Jamin:Right. Well, there is an industry in the uk. I mean, they do make great movies and great TV shows there. So I don't know what cities, if it's London, I don't know where the centers are, but stay where you are and become great in your country, and then we'll get you, we'll send a visa your wayPhil Hudson:When we want that. There's a specific visa that gets you over. It's like you're an expert in your field that America wants to profit off of you by taking taxes.Michael Jamin:Yeah. The minute America sees dollar signs on you instead of just pound signs,Phil Hudson:You get that special visa.Michael Jamin:Yeah.Phil Hudson:Great. Bv, I just got your pound sign joke, by the way. That was clever.Michael Jamin:Thank you,Phil Hudson:Bev. No, I did that one. Lauren Gold. Any specific tips for fiction novel writers who want to transition to screenwriting?Michael Jamin:Yeah, create, write a bestselling book, and it'll be so easy. They will, Hollywood will come after you with buying their rights, but if you have a book that's not selling, honestly, the book doesn't even have to be good. It just has to be a bestseller because then it comes with the built-in market, and so is 50 Shades of Gray High Literature. I'm not sure, but I know a lot of people read it and loved it, and so they turned out into a movie. So it's about marketing. So these bestsellers have a built-in marketplace and look at a lot of these movies that are being made. They're adapted from movies. They're just hit books or hit books.Phil Hudson:And it can also be other things like The Martian, right? It was originally a blog post, a series of blog posts that we, on hisMichael Jamin:Website. Right? I know it was a self-published book. I didn't know it started from blog posts.Phil Hudson:I believe it was a blog. He would post blog posts. He would publish basically a new chapter as a blog post was bought, and then he would spin on from there.Michael Jamin:So there's a guy who wasn't asking for permission, he wasn't waiting to be discovered. He did it anyway. He built the mountain himselfPhil Hudson:At Twilight. Those were stories that she would tell her sister. And she brought that book and blew up. Yeah. Cultural phenomenon.Michael Jamin:Twilight was self-published. Did not know that.Phil Hudson:My understanding is that, yeah, I believe it was. And someone else, correct me if we're wrong, they'll definitely scream at me because it's such a big hit. That being said, I believe 50 Shades of Gray is a fan fiction of Twilight. That's at least what I've heard.Michael Jamin:I didn't know that. Okay.Phil Hudson:Awesome. I'm going to just offend half your audience who love those two franchises.Michael Jamin:That's okay.Phil Hudson:You're welcome, everybody. Rob, as I produced my own plays, staged comedy shows and web series for a while, great. Now is a way to break in. Is this a valid way of doing it? Does the industry care about any of this?Michael Jamin:Yes, of course. But the problem is you're doing all these great things, but maybe you're putting the work in, which is great, but maybe it's not good enough yet. It's okay. Keep doing it until you get good. Or maybe it's great, but it hasn't found an audience yet. So it does need to have an audience. The minute you have your web series gets discovered by a couple million people, Hollywood will find you because you are bringing more to the table than just your desire to cash a check. You are bringing an audience. But if you don't have that yet, then one or two things are happening. One is maybe your writing isn't good enough yet, or your show is not good enough yet, yet means you can keep working on yourself. Or maybe they haven't found you yet in that's the case. You still have to keep putting it out there just until you're found, until your audience finds you. Either way, you have to keep doing it. That's it.Phil Hudson:Andrew Spitzer, would you agree that ultimately you're selling yourself and your skills rather than a product? You gotMichael Jamin:To bring more to the table, and like I said, than just a script. And so what am I doing on here? I'm selling myself. I suppose I have a following on social media. It helps me get more opportunities. And so I still have a body of work and people know that I'm a good writer. But yeah, I come with this other end, this other, I bring more to the table than just me,Phil Hudson:Just my work brother. Sorry. Yeah, and I took this too. No, no. It's your podcast, man. I'm sorry. I stuck on your toes, Mr. Jamin. I did it again right there.Michael Jamin:No,Phil Hudson:I was going to say I took this as an, I think it's a bit of both, and I think the order is a little bit different, but my perspective of this, you have a product. That product is so valuable to someone that they want to buy it because you were able to craft that product. And because of that, now your skill sets are valuable and you are now selling your ability to continue to craft products like that one. So you have to have a sample that you've already checked the box. You can make these people money. If you can't do that, there is no evidence of your ability and your skillset. So there's nothing to sell.Michael Jamin:Okay.Phil Hudson:But I think it goes for your script. I think it goes for getting an agent. I think it goes for getting a manager. I think it goes for opening doors to meet people. You have to have something that is valuable to them. And it might be audience like you were just talking about. That might be enough, right? It might be your IP from the story you wrote and self-published.Michael Jamin:Sometimes it'll be approached by an actor, a big actor who has a terrible idea for a show or whatever, because you're going to be in it. And so you're a good actor. So that's bringing a lot to the table, their presence.Phil Hudson:Yeah. Sidebar here. Is there truth in the statement that there are certain actors who are not able to open a movie, who are not able to, that they come and they might have a name you'd recognize, and they might have some idea of a following, but they're not necessarily someone a studio would bank on?Michael Jamin:For sure, but I can speak more to this from the TV side, but for sure, I know even John Travolta, Quentin Tarantino wanted to cast Travolta in Pulp Fiction. And I think there was some pushback from the studios. He was a, has been. He was a washout, even though super talented guy. And Tarantino saw him and thought, dude, this guy is still a huge star. He can't walk down the street without people yelling. Vinny Bobino, people love him. And so he pushed, he fought for him, even though the studio didn't believe he could open a movie, and he did open a movie.Phil Hudson:He did. Did he ever?Michael Jamin:And then think of all the other opportunities that came because of that. But sure, the studios, at the end of the day, they're not so concerned with, is this actor a good actor? They want to know, can this actor put asses in seats? Will they sell tickets? And that's why some actors were not particularly good actors or great actors, but they can put asses in seats. That's what counts.Phil Hudson:Yep. Awesome. That's what I thought. I just wanted to get some confirmation there. This is a Phil Hudson q and a. Are everybody I can ask my questions too. Awesome. Lappe two TV or Lippe tv, whatever. If a short film is being optioned to pitch as a series, is it better to keep the short hidden while it's being shopped around, or is it okay to post it online?Michael Jamin:Well, it'sPhil Hudson:A bit of a one percenter for you, right?Michael Jamin:This isPhil Hudson:A one off question.Michael Jamin:Yeah. If you put your short on YouTube or whatever, and it gets a million views, it's a lot easier to sell. It's a lot easier to sell.Phil Hudson:Yeah. What I got from this question is, I made a short, somebody has optioned that short. Is it a mistake to now put that on YouTube? Does that advice still apply there?Michael Jamin:You'd have to talk to the person who optioned it, because now it's theirs. They have the rights to go to talk to them.Phil Hudson:Cool. Len Lawson, should I ask a potential producer to sign an N D A before reading my script?Michael Jamin:I wouldn't. But it depends who, I've never done that. But also, don't show it to the producer who's got a handlebar mustache. Who are you showing it to? Make sure what have they done? Look 'em up on I mdb. Are they legit or are they just someone who's claiming to be a producer? In which case, you better build a rapport with them. You better know whether you can trust this person or not. But I wouldn't. I would never ask. And I've told my scripts to tons of people. I don't ask for an N D A.Phil Hudson:I wouldn't either. It's just friction. I think about this in terms of friction, and we talk about adopting habits or influencing people to take action. There's this whole nuance of digital marketing called conversion rate optimization, which is, how do I get more people to take the action I want them to on my website, whether it's the headline or it's the colors or it's pattern interrupts, or if it's offers or bullet points, all that stuff. And to me, you want to reduce friction. How do I remove obstacles? And in sales, the best way to overcome an objection is to kill the objection before it becomes one. And that's a massive objection.Michael Jamin:Were to, I'm not a producer. I'm not an agent. I don't want to read anybody's script. I'd say right up front, I'm not. But if someone were to ask me for the favor, say, Hey, will you read my script? And then for some reason I was feeling magnanimous that day as opposed to every other day of the year, then I would say, all right, I'll read your script. And then they asked to ask me to sign an nda, a I'd like, forget it. The deal's off.Phil Hudson:We're done.Michael Jamin:We're done.Phil Hudson:And that's what you're doing.Michael Jamin:ButPhil Hudson:I think it also speaks to the psychology of people who are breaking in, who are so concerned. Someone's going to steal their idea. And that's one of the most prominent questions we get. This is that question asked a different way.Michael Jamin:Everyone is so convinced that they have an idea that's worth stealing. That's the funny part. Everyone thinks their script is gold, and most of 'em are not.Phil Hudson:By most, we mean a lot of them. A 99.99. And that's a hard thing for me to admit too, guys. I thought I was going to win an Oscar with my first script. I thought I was that prodigy. I've talked about Prodigy syndrome before on the podcast. I thought that was me, and it's not. And letting go of that's been so freeing for my creativity and my enjoyment of the process. So just look at it this way, if you think this is all you got, that's a problem. And that's why you're freaking out. My opinion is steal my idea. Awesome. Go for it. Why? Because that validates the fact that I got something and I got a lot more of that. Right?Michael Jamin:Right.Phil Hudson:But also, please don't steal my stuff.Michael Jamin:Yeah, don't steal the stuff that's for me to do.Phil Hudson:Yeah. Everything Jamin writes, I actually write, I'm his ghost writer. I've been a ghost writer for 26 years.Michael Jamin:Yep.Phil Hudson:I submitted a pilot, Nolan. See, I submitted a pilot to the Awesome Film Festival. Is this a good move? Is it bad timing with the strike I submitted before I knew there was going to be a strike.Michael Jamin:There's no bad timing. I mean, you're not going to take, if you become a hit at, if you win some prize, great. When the strike is over, you can capitalize on it. I don't think there's bad timing.Phil Hudson:No. I think there's specific advice on this from the W G A that I've seen, and it basically says that if you win anything that was done before the strike, it's whatever. But it's what you do with that after. So let's say that you submitted to a strike that was funded by a studio in the A M T P, and then you win. And part of that prize is to have a meeting with a producer that is in breach, because that is happening after the fact selling. Even having a meeting with them is a breach. It's crossing a picket line.Michael Jamin:So just to first say, Hey, thank you. I'm so excited. I can't wait to have this meeting with you in a month or two. When this R is over,Phil Hudson:You don't want to take that meeting to ruin your potential for a career because you can't get in the W G A and when the strike's over, they can only hire people who are in the W G A and they will not hire you becauseMichael Jamin:They won't give a crap about you. I mean, if you think you're going to build a friendship with them, they're going to be gone.Phil Hudson:Nope. They're going to make their payday and move on. And then when the Writers Guild qualified writers can come back, they will get their high quality scripts back from the people who write 'em. And you'll be sitting there just wasted opportunity with the Austin Film Festival. However, I believe it is technically, and I could be wrong, but I believe it's in, and I did submit this year, by the way, to everybody. I'm in the same situation. I'm not concerned if I win, awesome. I'm not planning on winning. It's just a benchmark, a litmus task for me to say, did I qualify? Am I good enough? Where am I at in what I consider to be a respected film festival? And you take what you get out of it, you accept the accolades, and then you move on and just avoid anything that crosses the picket line. Don't take this as an opportunity to scab.Michael Jamin:Yeah.Phil Hudson:Yeah. Cool. Four questions. Michael, you think we can do it?Michael Jamin:Let's blow through. Let's do it.Phil Hudson:Shauna Ibarra, miscellaneous. How do you find mentors or people who can give you feedback?Michael Jamin:You got to earn it. You got to earn it. You got to get a job or an internship or something at a studio, at a production company and work your butt off. And then after six months say, Hey, can I show you my script? But it's not like mentors are just lining up to help you. Or maybe they are. Maybe they're retired people, I don't know. But that's the connections part. That's the work you have to do. This is your job is to make connections, and it's to give first. And that's what I would do.Phil Hudson:I was given advice from a production supervisor and a producer that at a certain point you get an ask and you should take your askMichael Jamin:That time. You have to earn that ask first. Right?Phil Hudson:Yeah. And there are many people I've personally worked with in Hollywood where I probably have that ask, and I'm not taking that ask because I don't want to waste their time.Michael Jamin:You're saving itPhil Hudson:For when it's time. Yeah. Erica little since screenwriting is not audience facing, like acting. Is it an ageist industry? Since it is generally Hollywood based.Michael Jamin:Ageism is the last accepted in Hollywood that said, there are plenty of examples of people who are older who are still breaking in. So it's not like it's impossible, but they're still favoring the youth. But it's not impossible, especially if you do it yourself. I am always yelling at you, do it yourself so no one can stop you as you're older, you have wisdom, you have more life experiences to draw upon, and you might have a couple of bucks in your pocket so you can invest in yourself.Phil Hudson:Yeah, good point. Aaron Kami, what is your advice on how to make writing and screenwriting a less lonely pursuit? Especially when writing is a hobby. How do I meet and learn from others or get feedback, et cetera?Michael Jamin:Well, that's kind of one of the pluses of our course that Phil and I have is that there's a private Facebook group just for students. And it's a community. They trade scripts, they have table reads, they have a contest coming up. That's the community. That's their graduating class. That's their cohort. That's one way to do it.Phil Hudson:Yeah. Any other thoughts? Are youMichael Jamin:No, it's like I said, I think, I don't remember if we mentioned this or the last podcast, but it's a really good group of people where it's not, yeah,Phil Hudson:I was on top of this one.Michael Jamin:Oh, okay. So I've already mentioned it. So yeah, it's really high quality people in this group,Phil Hudson:Solid feedback. And even playing field, they're telling you things based off of what matters, not things that they've heard or read in a book. It's like, this is how a writer's room is going to give you notes. Here's a document, here's a workbook. Michael prepared with the types of notes that matter. That's the feedback he get.Michael Jamin:Yeah.Phil Hudson:Okay. Last question, Scott. Koski wants to know, Michael, would you consider your book art or Craft?Michael Jamin:Oh, good question. When I'm writing for tv, I consider that craft. I consider it. I know it is. I'm getting notes. I'm getting feedback. It's very collaborative. I don't think art at its core, and this is open for debate, but I think art, its core is not about compromising. And when you work with a bunch of people or when you're collaborating, you are going to compromise it. Compromises have to be made. And so it's everyone's work. And that's why I feel like it's craft. But I was thinking about this last night, and then I was like, well, what about Michelangelo? Sistine Chapel? He took notes on the Sistine Chapel. He was working for the Pope. He had to put some angels in there that he didn't want to put in. He had to compromise his vision. But you certainly wouldn't say the Sistine Chapel is not art.It certainly is. So I'm a little confused as to what my definition is. Even I'm other words, I, I'm contradicting myself. I do think art is about taking something inside of you and expressing it in a way that helps you understand yourself and helps you understand the world around you. And in that way, people can see it or watch it and enjoy it, and help them understand themselves. I think there's that greater good. I don't think craft necessarily does that. I think craft can sometimes be, the studio will give me a note and I'll say, okay, I can do that. That's what you want. I can do that. I don't think it's necessarily playing for the greater good. It's what they want and they're paying me. I also don't think design is necessarily art design. Sometimes a can be about selling something. So the design of the Apple boxes that they sell their phones and really beautiful, well done. But the design has an intention, and that is to sell this image of apple, of this blank slate, this pure white open for possibility, creative, blank slate. So is that art? No, I don't think so. I think it's design. I also, so there's art, craft, and design, but you can have your own opinion, feelings. And this debate has been raging for centuries.Phil Hudson:Yeah. I apologize. You might've answered this for you. Your book, is it art or is it craft? Oh,Michael Jamin:For me, the intention was only art. I was drawing upon my craft to make art. Whereas I don't usually draw upon my craft to make art. I usually do it to make a TV show. And so the book is called a Paper Orchestra. And when I wrote it, I was very, very, I was struggling with this. I've read similar books that were written by television writers. And to me, they felt like they had, I could tell they were written by sitcom writers. That's not to say that it was goofy. It just felt like it wasn't deep enough and it felt like they had taken the network note. Often we get notes from the network with the networks, can you round the edges off? And when you're writing on a network TV show, we'll often anticipate these notes and we'll do the notes in advance. But for this book, I was very insecure about it. I was kept on arguing with my wife, does this feel like it was written by Sid Car Rider? And sometimes she'd say, yeah, and sometimes she'd say, no, no, no. And so I was always pushing myself. I wanted to be seen as an author, not as a sitcom writer who wrote a book that feels like a sitcom. And so whether or not I achieved that, that's up for the individual to decide. But that was my intention. And I think intention's important. Think it counts for something.Phil Hudson:Absolutely. And it sounds to me like you took the craft that you've been working on for years and years and utilize it as a litmus test for your art.Michael Jamin:And if anyone wants to sign up when it drops or when I start touring, it's michael jamin.com/upcoming. But it's interesting because when people have enjoyed it and performed it as I performed, or when they've read,Phil Hudson:It's fantastic.Michael Jamin:Thank you. It's very visual. So I think when I write these scenes, I think, oh, what are we watching in our mind's eye as this scene goes? So there's that. I do write as if I'm a screenwriter. I don't know if I'll ever be able to get rid of that. And I do write, it's not high literature. I understand that. I don't know if I ever could write high literature, and I don't think, it was never my intention.Phil Hudson:I think it just speaks to the value of art. And you said it's to the greater good. And I think sometimes the greater good is what do I want to write? What is best for my soul?Michael Jamin:Yes.Phil Hudson:That's the intention. And that is the greater good. And that's the difference between canon fodder is the term that comes to mind. I don't know if that's appropriate, but it's just the BSS that can be mass produced, the AI generated content that can be mass produced versus the singular thing that only Michael Jamin could do because it spoke to his soul and came out of him based off of what he needed to express at this moment and what was going on in his life, reflecting on all of the experiences he's had.Michael Jamin:And that's interesting because how I protect myself from ai, because people say, what are you doing about ai? AI cannot write my stories because it hasn't lived my life. And these are very personal stories, so it just can't, AI might be able to do other things, but it can't do what I'm doing. Yeah.Phil Hudson:Yep. Beautiful stuff, man. I love when we end on these great little notes like that because I think it's incredibly valuable to people who are struggling with this. I know a lot of writers think they're artists and they want to be artists, and you are. You're doing something pure. And with the right intention, regardless of the quality that you can do now compared to everybody else, it's the best you can do with what you have right now. That isMichael Jamin:Art. And that's the advantage that an amateur or non-professional screenwriter or writer has over what we do. I'm a professional writer. It means I get paid. People are paying me to put out stuff that maybe I don't necessarily want to do, but I'm taking the money so I have to do it. But when you're writing for yourself as an amateur or you get to write whatever you want and you don't have to compromise and you don't have to worry about the money, you already have a job on the side, what you're doing, not you, but what those people are doing is more pure in that sense. You are writing because you just want to write, it's closer. It probably has a closer chance of being art than what I do when I take the paycheck.Phil Hudson:But it's probably also the thing that is going to get you into the machine to become the professional paid writer who does the craft?Michael Jamin:If you don't, right? If you stop thinking about, can I sell this and start thinking about how beautiful is this thing I'm making? And we were just talking to him a minute ago about Wolf of Wall Street, how I'm only a quarter way through, but every scene is so interesting. The writing is so great in every scene. Not lazy, nothing lazy about it, man. Yeah,Phil Hudson:Yeah. Well, it kind of leads to the end of the podcast. And so before we jump the gun, what do we say? Keep writing. That's Keep writing DoMichael Jamin:Phil. Great. Another great talk. Alright, everyone, keep watching. We have great stuff for you on the website. We like to always like to plug that. If you go to michaeljamin.com, what you can get is a free lesson on how to write. You can get on my newsletter, which I'll send you the three tips that I think you need to watch every week. Three lessons for you to pick up free. Also on my website, you can sign up for my book for when it drops a P Orchestra. You can sign up for my webinar, which we do every three weeks, and you could sign up for my screenwriting course. That's going to cost you. You can get a free writing sample that I've written all this stuff. Go get it. Yeah, it's all there@michaeljamon.comPhil Hudson:And there's other valuable things you have on there too. You can get the webinar rebroadcast. This was the pep talking screener writer and he's here. You can go get that. There's also the VIP Q and a, so these are the questions we couldn't answer in the main one. There's a VIP q and a. You can go sign up @michaeljamin.com/VIP for the next event and just have a chance on Zoom in a small group to ask questions directly to you. AndMichael Jamin:Let me clarify so the webinars, because I'm glad you brought that up. So the webinars are free if you attend live, they're free. If you miss it, we send you a free replay for 24 hours. But if you want to catch the old ones because you're like, Hey, those are really good, those are available on my website for a small fee,Phil Hudson:But they're lifetime access, so you buy it once. It doesn't have a take clock. It's like jurors, you have access. It's in there with the course. If you buy the course, you get access to all of them and the webinar, when you attend, you give away a free access to the course. So somebody will win that. And a pretty nice discount as well.Michael Jamin:Yes. Alright, Philly, we did it. Thank you everyone. Until next week, as Phil likes to say, keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJamin,writer. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Green Music, by Ken Joseph. Until next time, keep writing.

Tribu... Ya has visto el título y a quien tenemos compartiendo micrófono en este episodio. Decir que estoy emocionada y encantada se queda corto. Antes de nada decirte que el podcast es en inglés pero lo tienes con subtítulos en español en mi canal de YouTube, por favor, que el idioma no sea una barrera para aprender todo lo que comparte @charles_eisenstein es una perla tras otra. Hablamos de varios temas (y ya te adelanto que habrá segunda parte!) tales como alimentación (sí, Charles tiene MUCHO que decir al respecto, de hecho tiene un libro y un curso!), búsqueda de la aprobación social, ciencia, cambios, co-creación, inteligencia artificial, el miedo. Charles pone palabras a situaciones que hemos vivido y/o estamos viviendo y eso hace que lo entendamos mejor, podamos hablar de ello con mayor propiedad y, por consecuencia, trae consciencia y paz interior. De verdad amiga que cuando empezamos este "Viaja a la Nueva Historia", empezamos un sendero apasionante y esta entrevista es un hito logrado gracias a tu apoyo escuchando y compartiendo cada episodio. En este episodio aprenderemos: ✔️ Cuerpo dispone de información valiosa y es vital re-aprender a escucharla ✔️ Porqué nos es tan fácil identificamos con etiquetas ✔️ Como dejar de aplicar la Fuerza para conseguir cambios ✔️ Qué papel juega la Ciencia convencional y los estudios científicos en nuestras vidas ✔️ Perderle el miedo a la IA Y mucho más! DALE AL PLAY! Recuerda que dentro de mi blog, además de escuchar/ver el episodio, puedes leer toda la información sobre el invitado. Deja que esta vez sea Charles el que te de la mano.

Es un santo y uno de los grandes héroes de Rusia. Se forjó en el yunque de la guerra, logrando vencer a la implacable cruzada de los caballeros Teutónicos en 1242. Una película de Eisenstein lo inmortalizó. El gran Pako Gradaille, diseñador de juegos de mesa, vuelve a este programa para contarnos la historia de este hombre: Alexander Nevski. Imagen: Alexander Nevsky (1935) Sergei Eisenstein. Fuentes 1) Life of Alexander Nevsky, manuscrito de alrededor de 1280 https://en.wikipedia.org/wiki/Life_of_Alexander_Nevsky 2) Life of Alexander Nevsky, manuscrito iluminado de entre 1560 y 1570 https://en.wikipedia.org/wiki/Life_of_Alexander_Nevsky_(illuminated_manuscript) 3) The Chronicle of Novgorod, 1016-1471, traducción de Michell, Robert; Shakhmaton, A.A; Forbes, Nevill, 1883-1929; Beazley, C. Raymond (Charles Raymond), 1868-1955 https://archive.org/details/chronicleofnovgo00michrich 4) The Crisis of Medieval Russia 1200-1304, de John Fennell https://www.amazon.es/Crisis-Medieval-1200-1304-Longman-History/dp/0582481503 5) Wikipedia 6) Background Book del juego Nevsky, Teutons and Rus in Collission 1240-1242 de Volko Ruhnke publicado por GMT Games https://gmtwebsiteassets.s3-us-west-2.amazonaws.com/Nevsky/Nevsky_PLAYBOOK-FINAL.pdf Fuentes / Sitios web - Wikipedia Música: La música es de Oleg Zobachev, versionando a Duke Ellington, del Gran Quelonio y de Dunne. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Charles Eisenstein shares his vision for a more beautiful world that our hearts know is possible. He explains why all the crises we experience today, are rooted in the single origin of separation, and how by healing this wound within ourselves, we can heal the world.  Charles dives deep on the importance of energetic intention within any revolution for change, the limitations of labeling things as 'good' and 'bad', and how to alchemize anger into a collective awakening. In this era of change, everyone plays a role. And each person's role is just as valuable, no matter how big or small it may seem. Charles shares the vision of a harmonious collective consciousness, and how you alone can contribute to it. ___________ Timecodes: 0:00 Intro 2:37 The Peril of Separation in Our Society 11:31 Why Energetic Intention is Essential for Change 16:35 Transforming Our Anger into Awakening  22:04 Why 'Good' and 'Bad' Labels are a Limitation 26:11 The More Beautiful World That is Possible: A State of Interbeing 29:50 Charles' Personal Experiences & Working with Robert F Kennedy 33:38 How our Purpose is Unveiled to Us 39:57 The Power of a Harmonious Collective Consciousness  43:34 How You Alone Can Make a Difference 46:17 Creating Spaces & Communities to Experience Our New Reality  49:31 Will Things Get Worse Before They Get Better?  54:29 Robert F Kennedy as a Presidential Candidate  58:31 Life is a Gift  1:01:39 Conclusion  ___________ Charles Eisenstein is a teacher, speaker, and writer focusing on themes of civilization, consciousness, money, and human cultural evolution. His writings on the web magazine Reality Sandwich have generated a vast online following; he speaks frequently at conferences and other events, and gives numerous interviews on radio and podcasts. Writing in Ode magazine's "25 Intelligent Optimists" issue, David Korten (author of When Corporations Rule the World) called Eisenstein "one of the up-and-coming great minds of our time." Eisenstein graduated from Yale University in 1989 with a degree in Mathematics and Philosophy, and spent the next ten years as a Chinese-English translator.  Website: https://charleseisenstein.org Books: https://charleseisenstein.org/books/ ___________ Know Thyself Instagram: https://www.instagram.com/knowthyself/ Website: https://www.knowthyself.one Clips Channel: https://www.youtube.com/channel/UCJ4wglCWTJeWQC0exBalgKg Listen to all episodes on Audio:  Spotify: https://open.spotify.com/show/4FSiemtvZrWesGtO2MqTZ4?si=d389c8dee8fa4026 Apple: https://podcasts.apple.com/us/podcast/know-thyself/id1633725927 André Duqum Instagram: https://www.instagram.com/andreduqum/ Meraki Media https://merakimedia.com https://www.instagram.com/merakimedia/

Charles Eisenstein shares his vision for a more beautiful world that our hearts know is possible. He explains why all the crises we experience today, are rooted in the single origin of separation, and how by healing this wound within ourselves, we can heal the world. Charles dives deep on the importance of energetic intention within any revolution for change, the limitations of labeling things as 'good' and 'bad', and how to alchemize anger into a collective awakening. In this era of change, everyone plays a role. And each person's role is just as valuable, no matter how big or small it may seem. Charles shares the vision of a harmonious collective consciousness, and how you alone can contribute to it.   ___________ Timecodes: 0:00 Intro 2:37 The Peril of Separation in Our Society 11:31 Why Energetic Intention is Essential for Change 16:35 Transforming Our Anger into Awakening 22:04 Why 'Good' and 'Bad' Labels are a Limitation 26:11 The More Beautiful World That is Possible: A State of Interbeing 29:50 Charles' Personal Experiences & Working with Robert F Kennedy 33:38 How our Purpose is Unveiled to Us 39:57 The Power of a Harmonious Collective Consciousness 43:34 How You Alone Can Make a Difference 46:17 Creating Spaces & Communities to Experience Our New Reality 49:31 Will Things Get Worse Before They Get Better? 54:29 Robert F Kennedy as a Presidential Candidate 58:31 Life is a Gift 1:01:39 Conclusion   ___________   Charles Eisenstein is a teacher, speaker, and writer focusing on themes of civilization, consciousness, money, and human cultural evolution. His writings on the web magazine Reality Sandwich have generated a vast online following; he speaks frequently at conferences and other events, and gives numerous interviews on radio and podcasts. Writing in Ode magazine's "25 Intelligent Optimists" issue, David Korten (author of When Corporations Rule the World) called Eisenstein "one of the up-and-coming great minds of our time." Eisenstein graduated from Yale University in 1989 with a degree in Mathematics and Philosophy, and spent the next ten years as a Chinese-English translator.   Website: https://charleseisenstein.org Books: https://charleseisenstein.org/books/   ___________   Know Thyself Instagram: https://www.instagram.com/knowthyself/ Website: https://www.knowthyself.one Clips Channel: https://www.youtube.com/channel/UCJ4wglCWTJeWQC0exBalgKg   Listen to all episodes on Audio: Spotify: https://open.spotify.com/show/4FSiemtvZrWesGtO2MqTZ4?si=d389c8dee8fa4026 Apple: https://podcasts.apple.com/us/podcast/know-thyself/id1633725927     André Duqum Instagram: https://www.instagram.com/andreduqum/   Meraki Media https://merakimedia.com https://www.instagram.com/merakimedia/