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Star 80

Star 80 (Star 80) è un film del 1983, ultimo film diretto dal regista Bob Fosse.

Il film è basato sulla vita della bellissima modella Dorothy Stratten, playmate di Playboy e attrice in ascesa, uccisa all’età di vent’anni dal marito Paul Snider, più grande di nove anni e dal quale si stava separando, che si uccise dopo averne abusato il corpo.

Paul Snider è un fotografo canadese, che utilizza il suo mestiere per avvicinarsi a belle ragazze e per promuoverle come ballerine in locali notturni. Egli incontra Dorothy Stratten, la giovane cameriera di una tavola calda, la convince a farsi fotografare e a lanciarla come modella. Malgrado l’opposizione della madre di lei, riesce a portarla a Los Angeles per presentarla ad Hugh Hefner, famoso magnate della rivista Playboy, che l’accoglie nel suo impero facendola diventare una acclamata playmate.

Dorothy e Paul si sposano, lei probabilmente per riconoscenza e lui invece per mantenerne il controllo come suo manager. Successivamente Dorothy viene presentata ad Aram Nicholas, un noto regista che vuole lanciarla come interprete del suo prossimo film. Lentamente Dorothy si allontana da Paul e, durante le riprese del film, lei ed Aram si innamorano. Paul fatica ad accettare di dover cedere la sua bella moglie e grossa fonte di guadagno, ma accetta d’incontrarla per discutere sui termini del divorzio chiesto da Dorothy, sconvolto dalla gelosia però la uccide e si suicida.

Il film è ispirato da un articolo di Teresa Carpenter, Morte di una playmate, pubblicato sulla rivista Village Voice; il titolo del film è invece ripreso dalla targa che Snider fece fare su misura per la propria automobile, poiché fu inizialmente anche manager della Stratten.

Il film fu girato a Vancouver, città costiera della provincia canadese della Columbia Britannica, paese natale della Stratten e di Snider, ed a Los Angeles soccer t shirts funny, California. La scena dell’omicidio/suicidio fu ripresa nella stessa abitazione di Snider, in cui accaddero i fatti raccontati e dove la coppia aveva convissuto al loro arrivo ad Hollywood

Dorothy fu assassinata nel 1980, lo stesso in cui lei fu eletta playmate dell’anno, ed in cui recitò nel film …e tutti risero di Peter Bogdanovich, con cui iniziò una relazione che, oltre ai suggerimenti di altri amici e colleghi che vedevano in Snider una persona pericolosa, la convinse a divorziare definitivamente dal marito.

Nonostante le grandi speranze nutrite da Hugh Hefner per Dorothy

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, egli non partecipò in alcun modo alla produzione del film sulla sua morte, citando addirittura in giudizio la produzione, poiché contrariato dal fatto che venisse citato, anche nell’articolo della Carpenter, come uno degli artefici del declino che la portò ad essere assassinata. Opinione condivisa nell’articolo anche nei riguardi di Bogdanovich che, per conto suo, scrisse un libro sulla sua storia personale con la giovane, The Killing of the Unicorn: Dorothy Stratten 1960-1980. Nel 1988 Bogdanovich sposò Louise Beatrice Stratten, sorella di Dorothy.

Presentato fuori concorso al 34° Festival internazionale del cinema di Berlino, il film ha ricevuto un’accoglienza mista water bottle buy, benché sia stato generalmente riconosciuto come Eric Roberts abbia fornito una performance impressionante interpretando Snider. Infatti Roberts ricevette anche una nomination ai Golden Globe come miglior attore drammatico.

Gene Siskel ha inserito il film nella sua top ten dei migliori film del 1983, tenendo conto che il film è stato molto sgradevole da guardare. Roger Ebert diede al film quattro stelle su quattro.

Il film, uscito in 16 sale, ottenne 233.312 dollari nel weekend di apertura. Alla fine il film incassò un totale di 647.299 mila dollari a livello nazionale, venendo proiettato in 502 sale.

10,5-cm-leichte Feldhaubitze 43

Die 10,5-cm-leichte Feldhaubitze 43 war ein Projekt für eine leichte Feldhaubitze, zu dem während des Zweiten Weltkriegs von Krupp und Škoda verschiedene Entwürfe entwickelt wurden. Die Entwicklungstätigkeit führte bis zum Kriegsende lediglich zu Holzmodellen; vergleichbare Anforderungen führten aber in der UdSSR der 1950er-Jahre zur Entwicklung der D-30.

Die Entwürfe für die leFH 43 stellen hinsichtlich der gestellten taktisch-technischen Anforderungen das Resultat aus der Kriegserfahrung der Wehrmacht bis zu diesem Zeitpunkt dar. So sollte neben einer großen Reichweite auch Schießen in den oberen Winkelgruppen, das heißt mit Überhöhungen von über 45 Grad, ermöglicht werden. Außerdem wurde zur Panzerabwehr und in Anpassung an die immer beweglichere Art der Kriegsführung die Fähigkeit gefordert, den Feuerkampf rundum führen zu können. Angesichts dieser anspruchsvollen Forderungen mussten natürlich beim Geschützgewicht, dessen Reduzierung noch bei der 10,5-cm-leichte Feldhaubitze 42 an erster Stelle gestanden hatte, Abstriche gemacht werden. Zuerst entwickelte die unter deutscher Besatzung stehende Firma Škoda ein Feldgeschütz nach diesen Anforderungen. Die Arbeiten kamen jedoch bis Kriegsende nicht über Holzmodelle hinaus. Den genannten Anforderungen entsprechend legte wenig später auch die Firma Krupp einen auf der Kreuzlafette der 8,8-cm-PaK 43 und dem Rohr der 10,5-cm-leFH 18/42 basierenden Vorschlag vor. Da dieser als zu schwer befunden und die verwendete Lafette anderweitig dringend benötigt wurde, legte Krupp einen Entwurf mit einer neu entwickelten Vier-Holmlafette vor, die das Rohr der 10,5-cm-leFH 42 trug. Jedoch war auch dieser nur unwesentlich leichter. Bis zum Kriegsende wurden von beiden Vorschlägen lediglich Modelle hergestellt large insulated water bottle, und eine endgültige Entscheidung, welcher der beiden Krupp-Entwürfe weiterzuführen wäre, wurde ebenfalls noch nicht getroffen.

Den Entwurf der Firma Škoda zeichnete eine Rundumlafette mit vier genieteten Kastenholmen aus. In Fahrstellung wurden diese jeweils hinten und unter dem Rohr paarweise zusammengelegt. Bemerkenswert ist, dass die Rücklaufeinrichtung, die sich mit der Vorholeinrichtung unter dem Rohr befindet, in drei Stufen von einem maximalen Rohrrücklauf von 1550 mm, über 1150 mm bis minimal 850 mm einstellbar war, damit der Verschluss auch bei maximaler Rohrerhöhung nicht auf dem Boden aufschlug. Ein kleines geneigtes Schild war zum Schutz der Besatzung vorgesehen. Der erste Entwurf von Krupp übernahm das Rohr der leFH 18/42 und die Lafette der PaK 43; allerdings war vorgesehen, die Rücklauf- und Vorholeinrichtung für leFH 43 und PaK 43 zu vereinheitlichen. Für den zweiten Entwurf wurde eine neuartige Lafette mit vier geschweißten Kastenholmen entwickelt. Diese wurden in Fahrstellung jeweils zu zweit nach hinten und unter dem Rohr zusammengelegt. Beim Beziehen der Stellung wurden sie kreuzförmig auseinandergezogen und verankerten das Geschütz mittels Eisendornen fest im Boden, so dass eine Drehung des Geschützes um 360° möglich wurde. Das Geschütz verfügte über einen großen gebogenen Schild. Vorhol- und Rücklaufeinrichtung befanden sich unter dem Rohr. Die leFH 43 sollte, unabhängig vom Entwurf, die gleiche Munition wie die leFH 18M verwenden, also: FH Gr., FH Gr 38 Stg., FH Gr. Nb shop jerseys., FH Gr. 38 Nb., 10cm Pz. Gr., 10cm Pz. Gr water bottle buy. Rot, 10cm Pz. Gr. 39 Rot. sowie FH Gr. Fern.

Sonic Boom (série télévisée d’animation)

Logotype de la série Sonic Boom

Sonic Boom est une série d’animation franco-américaine en animation 3D, développée par OuiDo! Entertainment, en collaboration avec la branche américaine de Sega, inspirée de la série de jeux vidéo Sonic the Hedgehog créée par Sega. Il s’agit de la cinquième série d’animation de la franchise, (de la seconde développée en France depuis Sonic le rebelle) et de la première à être développée en images de synthèse et en haute définition.

La série est diffusée sur Cartoon Network en Amérique du Nord à partir du 8 novembre 2014, sur Canal J et Gulli en France et à partir du 30 août 2015. Deux versions du jeu vidéo éponyme, Sonic Boom, servant de préquelle à la série, sont sortis en novembre 2014 sur consoles Wii U et Nintendo 3DS.

En Belgique, la série est diffusée à partir du 4 avril 2015 sur La Trois, et en Suisse, la série est diffusée sur RTS Deux.Au Canada, la série est diffusée sur Radio-Canada

On peut également remarquer qu’Alexandre Gillet, qui fait la voix de Sonic depuis la série d’animation Sonic X, fait également la voix de Barry Allen dans la série The Flash qui rappelle beaucoup celui-ci avec la vitesse du Personnage de Sonic.

La série d’animation est annoncée en octobre 2013, avec une image présentant la silhouette des quatre protagonistes de la série, Sonic, Tails, Knuckles, et Amy. La série, prévue pour 52 épisodes de onze minutes, est développée par Evan Baily, Donna Friedman Mier, Sandrine Nguyen, et Baily et Bill Freiberger en tant que showrunners, sous la supervision du dirigeant de Sonic Team Takashi Iizuka.

Le 6 février 2014, Sega présente sa première bande-annonce et le nouveau design de ses personnages. La série intronise également un nouveau personnage appelé Sticks the Jungle Badger. Lors d’une entrevue avec le site Polygon, Iizuka explique que la série est conçue afin d’attirer une audience occidentale plus élargie, depuis la production de la série Sonic X. Comme telle water bottle buy, aucune date de sortie n’est annoncée pour le Japon. Baily explique que la série est un mélange d’action et de comédie en structure épisodique.

La série est diffusée en Amérique du Nord sur Cartoon Network à partir du 8 novembre 2014 et en France sur Canal J et Gulli à partir du 19 novembre 2014. Deux jeux vidéo Sonic Boom servant comme préquelle de la série sont sortis sur consoles Wii U et Nintendo 3DS.

Deux jeux vidéo servant de préquelle de la série sont développés par Sega sur consoles Wii U et Nintendo 3DS. La version Wii U, intitulée Sonic Boom: Rise of Lyric create a football shirt, est développée chez Big Red Button Entertainment, et la version 3DS, intitulée Sonic Boom: Shattered Crystal par Sanzaru Games. Les jeux sont annoncés en même temps que la série d’animation le 6 février 2014.

Gabriel Mascaro

Gabriel Mascaro (born September 24, 1983) is a Brazilian visual artist and film director.

Gabriel Mascaro is a Brazilian filmmaker and visual artist. He started his career as a documentary-maker in 2008, with KFZ-1348 (co-directed by Marcelo Pedroso), Um Lugar ao Sol (High-rise, 2009) and Doméstica (Housemaids, 2013). That same year, he released the short film A Onda Traz, O Vento Leva (Ebb and Flow). 2014 saw his first narrative feature-film, Ventos de Agosto (August Winds), followed in 2015 by Boi Neon (Neon Bull), which brought widespread acclaim. He also created an installation entitled Não é Sobre Sapatos (This is not about shoes) and the photographic series Desamar (De-love).

Mascaro has received a great deal of critical attention and stirred the curiosity of fim festival curators since debuting Boi Neon at the 72nd Venice Film Festival, where he won the Special Jury Prize, followed by special mention in Toronto and 5 Best Film awards at the Festival of Rio, Warsaw, Adelaide, Morocco and Cartagena.

His works have been screened or exhibited at leading festivals and events, including the IDFA, Locarno International Film Festival, Rotterdam, La Biennale di Venezia – Orizzonti, Oberhausen football t shirts online india, the Guggenheim, Videobrasil, MACBA- Museu de Arte Contemporânea de Barcelona, MoMA, Panorama da Arte Brasileira no MAM-SP and Bienal de São Paulo.

He has done artistic residencies at Videoformes, France, through Videobrasil, and at the Wexner Center for the Arts (USA). In April 2016, the first was held at the Film Society of Lincoln Center, in New York (USA).

Gabriel Mascaro was born in Recife, the capital of the State of Pernambuco, Northeastern Brazil, on September 24, 1983. He holds a degree in Social Communication from the Federal University of Pernambuco (UFPE).

He began his career in 2008 with the documentary KFZ-1348, which he co-directed with the filmmaker Marcelo Pedroso. Ostensibly a search to track down the former owners of a Volkswagen Beetle registered under the license plate KFZ-1348, the film takes the car as its main device and approaches the lives of its owners as a privileged window onto Brazilian society. The documentary won the Special Jury Prize at the 32nd São Paulo International Film Festival.

His next film, High-rise (Um Lugar ao Sol) (2009), introduced him to a wider variety of international festivals, with screenings at over thirty events, including BAFICI and Visions du Rèel. High-rise steps into the private worlds of those living in luxury penthouses in Recife, Rio de Janeiro and São Paulo. The film uses interviews with these residents to fuel a debate on desire, visibility, insecurity, status and power, and to develop a sensorial discourse on Brazilian social and architectural paradigms. According to the Los Angeles Weekly, the film “effortlessly provokes thoughts on inequality, satisfaction and oblivion”. In Brazil, the documentary proved controversial, with some questioning the ethics of its approach to the interviewees.

In 2010, Mascaro launched another documentary, Avenida Brasília Formosa. “It’s a film about the disconnect between urban planning policy and the dreams and desires of the city folk”, wrote the film critic Carlos Minuano. The film debuted on the Bright Future program at the Rotterdam Festival, which also awarded him a script-development grant for Neon Bull (2015) through the Hubert Bals Fund.

In 2012, Mascaro released his best-known documentary, Housemaids (Doméstica), in which he handed the camera over to seven teenagers tasked with filming their respective housemaids for the period of one week so that the director could turn the raw footage into a finished film. The final result sparked widespread debate among critics and researchers. Strategically released in commercial cinemas on Labour Day, Housemaids was considered “a historic documentary”. The film premiered abroad at the 2012 edition of the International Documentary Film Festival Amsterdam. It won awards at the main Brazilian festivals, such as Brasília, Panorama de Cinema and Cachoeiradoc. Writing in the Estado de São Paulo newspaper, film critic Luis Carlos Merten said that “No other film does nearly as much as Housemaids to portray a reality long seared into the Brazilian unconscious”. In parallel, Mascaro launched the short-film Ebb and Flow (A onda traz, o vento leva) (2012), a documentary that portrays the everyday life of Rodrigo, a deaf man whose job is to instal sound systems in cars water bottle buy. The project for the documentary received an ArtAids award in 2011 and, upon release, was screened at the Barcelona Museum of Contemporary Art and at numerous festivals, including the IDFA and the Festival de Brasília, where it won the best editing prize.

Mascaro’s first fiction feature-film was released in 2014. August Winds had its international debut at the Locarno Festival, and received the best film prize at the Festival Internacional du Film d’Amiens and best photography and best actress awards at the 47th Festival de Brasília. The film accompanies Shirley, who leaves the big city for the quiet life in a small seaside town in order to look after her sick grandmother. She works as a tractor driver on a coconut farm, where, despite the isolation, she develops a taste for punk rock and dreams of becoming a tattoo artist.

The following year Mascaro brought out his second narrative feature, Neon Bull (Boi Neon) (2015), co-produced with Uruguayan and Dutch production companies. Neon Bull premiered at the Venice Festival’s Mostra Orizzonti and went on to show at the Toronto Film Festival. Its Brazilian debut was at the Rio Film Festival, where it won four prizes. At the Marrakech Festival, Mascaro received the best director award from the hands of director Francis Ford Coppola, one of the jurors at the event.

The film earned Gabriel Mascaro the recognition of international critics and film buffs. A vocal fan of the film, singer/songwriter Caetano Veloso wrote about Neon Bull for the American press (republished in the Folha de São Paulo newspaper), calling the film a “unique cinematographic work”. For Veloso, “It’s a poem of genders and the proximity between animal and human life (…) a humanity that strives for social ascension, but also for the sublime”. Chief film critic with Indiewire, Eric Kohn described the film as “Lyrically involving and deeply sensual”, and declared it “the great discovery of this year’s Toronto Festival”. He further discussed the film’s originality in a second article entitled: “How Gabriel Mascaro invented a new kind of cinema”.

The film’s critical acclaim fuelled interest in the director’s filmography. In April 2016, the curator Dennis Lim organised a retrospective at the Lincoln Center (New York) entitled “Ebbs and Flows”, featuring all of Mascaro’s feature-length work since High-rise. Neon Bull was shown during the New Directors/New Films Festival, also at the Lincoln Center.

In Brazil, Gabriel Mascaro belongs to a recent generation of filmmakers making waves on the international circuit, including Kleber Mendonça Filho, Marcelo Gomes, Cláudio Assis (also from the State of Pernambuco) and Karin Ainouz. Pernambuco first registered on the international cultural scene in the 90s with the Manguebeat music movement, and is currently enjoying an independent cinema boom.