Podcasts about What Maisie Knew

Linda speaks with Corinna Chong about her novel, Bad Land, published by Arsenal Pulp Press and long-listed for the Giller Prize. Chong, originally from Calgary, lives in Kelowna, B.C. where she teaches English and fine arts at Okanagan College. She published her first novel, Belinda's Rings, in 2013.In her opening remarks, Linda explains why she sees the protagonist and main narrator, Regina, as … well, kind of “brat.” She's a fascinating, messy, and lovable character who has buried her life--and the secrets around that life--in the home in which she and her brother, Ricky, were raised ... until he shows up with his daughter, Jez, with a new secret of their own. The tensions that are produced open wide the secrets by the novel's end, revealing both the beauty and violence that have haunted Regina for years. Other sources of discussion or references include:Henry James' What Maisie Knew (14.45)Aristotle (16:10)Nabokov, Lolita (18.30)Sinclair Ross, As For Me and My House (18.30; 19:30)Unreliable narrators (18:50)the geode (and archeology (25:25)And a final reminder! Please vote for us in the Women's Podcasting Awards! Only a few days left! Hosted on Acast. See acast.com/privacy for more information.

Brian Boyd is a Distinguished Professor in English and Drama at the University of Auckland. We talk mainly about Vladimir Nabokov: Brian wrote the defining biography on Nabokov (in addition to books on more specific aspects about Nabokov), so we discuss Nabokov's life & work, Brian's approachh to writing biographies, with some hints of the new biography Brian is writing about Karl Popper.BJKS Podcast is a podcast about neuroscience, psychology, and anything vaguely related, hosted by Benjamin James Kuper-Smith.Support the show: https://geni.us/bjks-patreonTimestamps0:00:00: Why this is a special episode for me0:07:02: Nabokov's family & childhood0:15:54: The Russian Revolution, starting in 19170:19:52: Nabokov's study years in Cambridge and emigre years in Berlin in the 1920s and 30s0:30:19: Nabokov's early American years: teaching and butterflies0:35:56: Nabokov's Russian vs English works, and the problem of translations0:41:48: Lolita0:50:13: Pale Fire1:02:46: Nabokov's writing process1:07:26: Nabokov's reception1:10:00: Writing Nabokov's biography: how it started, meeting Nabokov's family, researching and writing, and the responsibility of writing the defining work on someone1:28:26: Which Nabokov book should new readers read first?1:30:58: A book or paper more people should read1:35:03: Something Brian wishes he'd learnt sooner1:38:47: Advice for PhD students/postdocsPodcast linksWebsite: https://geni.us/bjks-podTwitter: https://geni.us/bjks-pod-twtBrian's linksWebsite: https://geni.us/boyd-webBen's linksWebsite: https://geni.us/bjks-webGoogle Scholar: https://geni.us/bjks-scholarTwitter: https://geni.us/bjks-twtReferences and linksThe estate Nabokov inherent and immediately lost in th revolution: https://en.wikipedia.org/wiki/Rozhdestveno_Memorial_EstateAda online, Brian's line-by-line annotations to Nabokov's Ada: https://www.ada.auckland.ac.nz/ Boyd (1985/2001). Nabokov's Ada: The Place of Consciousness. Boyd (1990). Vladimir Nabokov: The Russian Years. Boyd (1991). Vladimir Nabokov: The American Years.Boyd & Pyle (eds) (2000).  Nabokov's Butterflies .Boyd (2001). Nabokov's Pale Fire: The Magic of Artistic Discovery.Grass (1959). Die Blechtrommel.James (1897). What Maisie Knew. Machado de Assis (1882). The Posthumous Memoirs of Brás Cubas. [The 2 new translations are by Thomson-DeVeaux (Penguin Classics), and by Jull Costa & Patterson (Liveright)]Nabokov (1929). The (Luzhin) Defense. Nabokov (1936). Invitation to a Beheading. Nabokov (1947). Bend Sinister. Nabokov (1955). Lolita. Nabokov (1957). Pnin. Nabokov (1962). Pale Fire. Nabokov (1967). Speak, Memory. Nabokov (1969). Ada or Ardor.Tarnowsky (1908). Les femmes homicides. [Nabokov's great-aunt; see also:  Huff-Corzine & Toohy (2023). The life and scholarship of Pauline Tarnowsky: Criminology's mother. Journal of Criminal Justice]Vila, Bell, Macniven, Goldman-Huertas, Ree, Marshall, ... & Pierce (2011). Phylogeny and palaeoecology of Polyommatus blue butterflies show Beringia was a climate-regulated gateway to the New World. Proceedings of the Royal Society B: Biological Sciences.

Joining us to talk about What Maisie Knew (2012) is the film's producer, Daniela Taplin Lundberg (whose feature credits include The Kids Are All Right, Beasts of No Nation, and Honey Boy)! We talk about the challenges making independent feature films, the film's portrayal of divorce and new beginnings, and how it captures the feeling of a memory. After you listen, you should check out Daniela's podcast, Hollywood Gold, a series of interviews with Hollywood producers about the stories we know and love.

What Maisie Knew by Henry James audiobook. When Beale and Ida Farange are divorced, the court decrees that their only child, the very young Maisie, will shuttle back and forth between them, spending six months of the year with each. The parents are immoral and frivolous, and they use Maisie to intensify their hatred of each other. Learn more about your ad choices. Visit megaphone.fm/adchoices

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Henry James, (born April 15, 1843, New York, N.Y., U.S.—died Feb. 28, 1916, London, Eng.), was a U.S.-British novelist. Born to a distinguished family, the brother of William James, he was privately educated. He traveled frequently to Europe from childhood on; after 1876 he lived primarily in England. His fundamental theme was to be the innocence and exuberance of the New World in conflict with the corruption and wisdom of the Old. Daisy Miller (1879) won him international renown; it was followed by The Europeans (1879), Washington Square(1880), and The Portrait of a Lady (1881). In The Bostonians (1886) and The Princess Casamassima (1886), his subjects were social reformers and revolutionaries. In The Spoils of Poynton (1897), What Maisie Knew(1897), and The Turn of the Screw (1898), he made use of complex moral and psychological ambiguity. The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904) were his great final novels. His intense concern with the novel as an art form is reflected in the essay “The Art of Fiction” (1884), his prefaces to the volumes of his collected works, and his many literary essays. Perhaps his chief technical innovation was his strong focus on the individual consciousness of his central characters, which reflected his sense of the decline of public and collective values in his time.From https://www.britannica.com/summary/Henry-James-American-writer. For more information about Henry James:The Aspern Papers: https://www.barnesandnoble.com/w/the-aspern-papers-henry-james/1116755591“A Discussion of Henry James's The Aspern Papers”: https://lareviewofbooks.org/entitled-opinions/another-look-dci-event-discussion-henry-james-aspern-papers/“Henry James”: https://www.poetryfoundation.org/poets/henry-james“Henry James and the American Idea”: https://www.neh.gov/humanities/2011/julyaugust/feature/henry-james-and-the-american-idea

Tonight's bedtime story is What Maisie Knew by Henry James. Published in 1897, it is the story of the effect of a bitter divorce on a young child.Interested in more sleepy content or just want to support the show? Join Just Sleep Premium here: https://justsleeppodcast.com/supportAs a Just Sleep Premium member you will receive:Ad-free and Intro-free episodesThe entire audiobook of the Wizard of OzA collection of short fairy tales including Rapunzel and the Frog PrinceAn additional 2 episodes every monthThe chance to vote on the next story that you hearThe chance to win readings just for youThe entire back catalogue of the podcast, ad and intro-free (coming soon!)Thanks for your support!Sweet Dreams...Intro Music by the Psychedelic Squirrel Hosted on Acast. See acast.com/privacy for more information.

"What's your favourite speech?" We're back for a second series! And kicking us off is the sublimely talented Joanna Vanderham (Emmy Award winning The Runaway, BBC's The Control Room and Paradise, What Maisie Knew, The Boy with the Topknot). Joanna discusses Penelope Skinner's translation of Alexei Arbuzov's 'The Promise'. What made her audition for the play so unique, why does she appreciate her time at Royal Welsh College so much and how does it feel when a writer creates a brand new monologue especially for you? Hosted by Lucy Eaton, theatre producer and West End & screen actress best known for her role as Lucy in hit comedy ‘Staged'. Other episodes include Goodness Gracious Me's Sanjeev Bhaskar, Olivier award winning director Sir Richard Eyre and Blackadder's Tim McInnerny. Follow us on Instagram and Twitter at @PodHearMeOut, and watch visual clips from the show on our Youtube channel: https://bit.ly/3l7vRht ** Join the family by becoming a Hear Me Out Patreon! www.patreon.com/podhearmeout ** Now in the Top 10 theatre podcasts on Feedspot: https://blog.feedspot.com/theatre_podcasts/ A Lucy Eaton Productions podcast.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters' aesthetic experimentation, mirroring the conceit framed by Henry James's depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin's prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin's Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin's understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Dylan Moore’s cool, smooth narration carries listeners through this story of deception, betrayal, and the cost of guilt. Host Jo Reed and AudioFile’s Emily Connelly discuss Emily St. John Mandel’s newest audiobook centered around a fictional Ponzi scheme and the impact of its inevitable collapse. This is a novel that drifts from one point of view to another, and Moore’s narration guides listeners through subtle shifts in tone and accent. It’s a quiet ghost story and a carefully crafted mystery. Published by Random House Audio. Find more audiobook recommendations at audiofilemagazine.com Support for Behind the Mic for AudioFile Magazine comes from Naxos AudioBooks. Naxos AudioBooks says, Observe the birth of Henry James with a winner of AudioFile's Earphones Award, What Maisie Knew, performed by Juliet Stevenson. Learn more about your ad choices. Visit megaphone.fm/adchoices

We continue our conversation with lauded Cinematographer Giles Nuttgens in the second part of our discussion. Ranging from the technical aspects of Anthropomorphic both historically and currently, his partnership with David Mackenzie and last year's Oscar Nominated success Hell or High Water, to the "challenge of his career" filming Semih Kaplanoğlu's black and white film epic Grain, and some recommendations of great cinematographers to study. Bio Giles Nuttgens recently completed photography on director Wash Westmoreland’s period drama Colette, starring Keira Knightley as a struggling French novelist. Previously, he lensed David Mackenzie’s Hell or High Water, which premiered in Un Certain Regard at 2016’s Cannes Film Festival to critical acclaim. Starring Jeff Bridges, Chris Pine and Ben Foster, Nuttgens earned a 2017 BAFTA Film Award nomination for Best Cinematography for his work. In 2016 Nuttgens also worked on The Fundamentals of Caring, which first screened at Sundance.The film follows Craig Roberts, Paul Rudd and Selena Gomez as a trio who connect on a life changing crosscountry journey. The last film to ever be shot on black-and-white Kodak 35mm film, Nuttgens shot Grain in Istanbul. Ironically, the movie tells the story of a seed geneticist attempting to save the last batch of genetically unmodified wheat. Nuttgens’ other feature credits also include: Young Ones and God Help the Girl, which both premiered at the 2014 Sundance Film Festival; and The D Train (starring Jack Black and James Marsden) and What Maisie Knew (starring Julianne Moore and Alexander Skarsgard) – both shot with his long-time collaborators, the directing team Scott McGehee and David Siegel. With director Deepa Mehta, Nuttgens lensed Midnight’s Children, based on the bestselling Salman Rushdie novel. Nuttgens’ also shot Mehta’s elemental trilogy Fire, Earth and Water. Water received a 2007 Oscar nomination for Best Foreign Language Film and earned Nuttgens the 2006 GENIE Award for Best Cinematography. In 2007, Nuttgens’ “sigh-inducingly evocative” (the Telegraph) cinematography for Mister Foe earned Best Cinematography awards at the Copenhagen Film Festival and British Film Festival in Dinard, as well as a Best Cinematography nomination at the 2008 Evening Standard Awards. Nuttgens first worked with McGehee and Siegel on The Deep End, a film which earned Nuttgens the 2001 Sundance Film Festival Award for Best Cinematography and a nomination in the same category at the 2002 Independent Spirit Awards. BBC trained, Nuttgens was one of the youngest cameramen ever to be appointed to the BBC and worked on a variety of dramas, documentaries and news program. Nuttgens remembers an exceptional experience in his early career spending four months in the Brazilian jungle sleeping on the sandbanks on the side of the Araguaia River. There, he ate dried manioc flour and the red-bellied Amazonian piranha that he fished for every day. Giles is represented by DDA. CinematographyfilmdirectorThe OscarsGiles NuttgensDavid MackenzieChris PineBen FosterJeff BridgesAnthromorphicBlack and WhiteHell or High WaterGrainSarejevo Film FestivalReference FIlmsTurn OverPaul RuddFundamaSelena Gomez      

Lauded cinematographer Giles Nuttgens recently completed photography on director Wash Westmoreland’s period drama Colette, starring Keira Knightley as a struggling French novelist. Previously, he lensed David Mackenzie’s Hell or High Water, which premiered in Un Certain Regard at 2016’s Cannes Film Festival to critical acclaim. Starring Jeff Bridges, Chris Pine and Ben Foster, Nuttgens earned a 2017 BAFTA Film Award nomination for Best Cinematography for his work. In 2016 Nuttgens also worked on The Fundamentals of Caring, which first screened at Sundance.The film follows Craig Roberts, Paul Rudd and Selena Gomez as a trio who connect on a life changing crosscountry journey. The last film to ever be shot on black-and-white Kodak 35mm film, Nuttgens shot Grain in Istanbul. Ironically, the movie tells the story of a seed geneticist attempting to save the last batch of genetically unmodified wheat. Nuttgens’ other feature credits also include: Young Ones and God Help the Girl, which both premiered at the 2014 Sundance Film Festival; and The D Train (starring Jack Black and James Marsden) and What Maisie Knew (starring Julianne Moore and Alexander Skarsgard) – both shot with his long-time collaborators, the directing team Scott McGehee and David Siegel. With director Deepa Mehta, Nuttgens lensed Midnight’s Children, based on the bestselling Salman Rushdie novel. Nuttgens’ also shot Mehta’s elemental trilogy Fire, Earth and Water. Water received a 2007 Oscar nomination for Best Foreign Language Film and earned Nuttgens the 2006 GENIE Award for Best Cinematography. In 2007, Nuttgens’ “sigh-inducingly evocative” (the Telegraph) cinematography for Mister Foe earned Best Cinematography awards at the Copenhagen Film Festival and British Film Festival in Dinard, as well as a Best Cinematography nomination at the 2008 Evening Standard Awards. Nuttgens first worked with McGehee and Siegel on The Deep End, a film which earned Nuttgens the 2001 Sundance Film Festival Award for Best Cinematography and a nomination in the same category at the 2002 Independent Spirit Awards. BBC trained, Nuttgens was one of the youngest cameramen ever to be appointed to the BBC and worked on a variety of dramas, documentaries and news program. Nuttgens remembers an exceptional experience in his early career spending four months in the Brazilian jungle sleeping on the sandbanks on the side of the Araguaia River. There, he ate dried manioc flour and the red-bellied Amazonian piranha that he fished for every day. Giles Nuttgens is represented by DDA.

Matthew Sweet with film music on the pleasures and pains of parenthood in the week of Derek Cianfrance's new film "The Light Between Oceans" with music by Alexandre Desplat. The programme also features music from "East of Eden", "Big Fish", "Bicycle Thieves", "Two Women", "Room", "The Royal Tenenbaums", "The Parent Trap", "What Maisie Knew", "Kramer vs. Kramer", "Mrs Doubtfire", "Losing Isaiah" and "Solomon and Sheba".

Vi åbner stingene på den amerikanske neo-noir SUTURE fra 1993, inden turen går til Hong Kong med Milkyway Image´s bud på en dyster neo-noir; THE LONGEST NITE! Se THE LONGEST NITE her: http://goo.gl/S1rNMe Film også nævnt i denne episode: TALLADEGA NIGHTS-THE BALLAD OF RICKY BOBBY, SHATTERED, UNCERTAINTY, WHAT MAISIE KNEW, THE DEEP END og mange flere!

Just in time for Oscar night, it's the first part of Cinema Fix's look back at the best and worst movies of 2013! In this part, Andrew and Monica count down their Top 10 films of the year, plus some honorable mentions. What made 2013 such a good year for movies? What gems have people overlooked? And is Blue is the Warmest Color really all that great? Tune in to find out. SHOW NOTES: 0:22 - Intro 3:04 - Honorable Mentions 7:10 - Top 10 of 2013 54:38 - Show close DON'T FORGET: You can contact the show by emailing cinemafix@filmgeekradio.com or leaving a voicemail at 336-793-2509. Thanks for listening!

Dernier numéro de 2013 pour le meilleur podcast de toute la podcasterie podcastière. Avec, au menu: *Le film What Maisie Knew, où Julianne Moore et Steve Coogan jouent les parents indignes. *Le disque Cupid Deluxe de Blood orange, la sensation R&B de cette fin d'année. *La série Under The Dome, d'après Stephen King, qui cartonne aux USA. *Le roman Vilaines Filles de Megan Abbott, où les pom-pom girls sont perverses et lubriques. Encore un coup du magazine Focus Vif, qui a dépêché pour l'occasion ses meilleurs éléments autour de Myriam Leroy: Laurent Raphaël, Olivier Van Vaerenbergh et Philippe Cornet.

The new Woody Allen film Blue Jasmine, What Maisie Knew, White House Down and François Ozon’s In the House. Plus, a clip from our special Q&A with the women behind Gardening with Soul.

It's September so we're talking teachers. We also have a ton of reviews including The Way Way Back, Elysium, The Conjuring, What Maisie Knew, Only God Forgives, Upstream Colour, The Heat and The Lone Ranger.

With Mark Lawson. Mark meets Vince Gilligan, the creator of hit American TV series Breaking Bad, about a chemistry teacher who becomes a drugs overload after being diagnosed with cancer. Meg Rosoff reviews the film What Maisie Knew. Based on the 1897 novel by Henry James, the film is set in modern day New York and stars Julianne Moore and Steve Coogan as parents going through an acrimonious custody battle, in which their young daughter Maisie has become a pawn. Nadifa Mohamed, the award winning author of Black Mamba Boy, discusses her second novel The Orchard of Lost Souls. Set in her birthplace of Somalia, the novel tells the stories of two women and a young girl who are living through the destruction of the 1988 civil war. Mohamed talks about the difficulties of writing the book, her relationship with Somalia and the experience of moving to London. A London theatre has had to cancel some performances of one of its productions as a cast member is indisposed and there are no understudies. Actor Michael Simkins discusses the balancing act between cancelling a performance, carrying on with the show despite illness or injury and calling in an understudy at the last minute. Producer: Olivia Skinner.

Weekly JourneywithJesus.net postings, read by Daniel B. Clendenin. Essay: *Imitating Abraham: Strangers in a Strange Land* for Sunday, 11 August 2013; book review: *The Open Door: 100 Poems, 100 Years of Poetry Magazine* by Don Share and Christian Wiman (2012); film review: *What Maisie Knew* (2013); poem review: *The Guiding Light of Eternity* (Celtic prayer).