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“The media is essential to our Republic, to our freedom,
to the cause of freedom abroad, and to our national security.
It is very much our friend.”

Mitt Romney

Piratage 2.0
Europe would be settling for being just one a
peripheral market of the last industrial revolution?

Piratage 2.0

In Piratage 2.0, actor Stanley Thompson plays Wallace, a writer who decides to partner with a "collaborative economy company" in order to earn money to promote his book and pay rent on a larger apartment.
Rather, the center of thought and culture in the West and by extension, in the world. Today, a simple peripheral market of the last industrial revolution. The film seems to alert to the end of the European dream?
The film may indeed represent the end of a European dream. But also the resumption, the resistance, the need to have our own personality, to cultivate the best that we have inherited from generations and not to fall into the temptation to assume once and for all the position of simple monkeys of the "way american life".
What was it like working with the director?
The director's different way of directing may be a counterpoint to authoritarian, personalistic filmmakers. This somewhat chaotic direction allows perhaps the best in the film, the exercise of creativity.
One of the strong scenes in the film is that of Wallace's attempt at success. How was it to record the scene that is capable of making Hitchock rise from the grave and applaud?
The director asked the entire team to leave the building where the scene would be recorded. He left only the camera armed and turned on. And he said to me: commit suicide. I asked: how? Where's the script, the technicians, the caméra man? He said: suicide is the most personal, lonely and isolated act of an individual. Knife. Don't ask me how. I thought: this director is crazy. But there alone, for a few minutes, I incorporated the character's fatigue, neurosis and despair. The ringing of the telephone was another character, which provoked and did not let this act be so solitary as well. I believe that after watching this scene, many people will change the ringtone of the cell phone.
How was your initiation in the art of acting?
I was a student at the Federal Technical School, destined to be a good technician in mining or surveying. But it had a beautiful and great theater. And the discovery of the art of acting was a huge shock in my life. I am one of the few actors who can say that they almost died for the theater.
Why ?
Our group was rehearsing a comedy about the cold war. The group's director said there was more light on the scene. I was charged with looking for a reflector. On the school grounds there was a large garden, with reflectors used to illuminate the plants. I went to remove one of them and when I forced to cut the electric wire, I received a shock and passed out. I ended up in the hospital. But weeks later the play was a success.
In the discussion between Wallace and his wife Elisa, homage is paid to Italian cinema, through an excerpt from "We loved so much" by Store Scola.
The camera swing was the cinematographer's idea and I believe that the way it was done is one of the highlights of the film, as it captures the whole atmosphere of a real couple discussion.
The film has references that go from the Lumière brothers, to Italian realism, passing through Hitchock, and even Fellini, in the final scene, besides the story being a tribute to Europe. Was this symbiosis intentional?
Who could talk better about this is the director. But as he does not give interviews, and from what I followed, it was not so purposeful, maybe it was a spiritual influence of the great masters of cinema.
Can it be said that European cinema is back in Piratage 2.0?
The film was made in France, with references ranging from Cervantes to Shakespeare, from Brecht to current philosophers. But the thematic, and the treatment, are universal and timeless.
What message did you get from that experience?
I started my acting in the film imbued with my petty bourgeois spirit, concerned with my hair loss and the years that pass. But at the end of the filming, I discovered that there are other people who are being used in this deadly laboratory of the economic machine that another European captured, which can also be felt in the film but which was not mentioned by you, and which made a work called « Modern times ". But this journey through consciousness was a very light, fun and productive experience, which I hope and believe will also be for everyone who watches the movie



"Art can iluminate politics"
S.T: Wilson


S. T. Wilson
Frankfurt  was capital of the world with great book fair: "Art can illuminate politics", told Nigerian author Chimamanda Ngozi Adichie, at the new Frankfurt Pavilion. Book professionals from around the world gather was in the German city for balance, exchange and prospects for a market that needs renewing
to continue to exist and grow.

 S. T. Wilson


Sasha, What is To Be Done?


 




Sasha, What Is To Be Done

 
Students from Oakland, California, protest against
racism and discrimination in the United States.




 

BILL DE BLASIO

Sasha, What Is To Be Done?

Sasha, What Is To Be Done?

 
 
 
 
 

 
 





 
This exhibition goes back over the media construction of our collective visual memory. It allows to follow the path of famous images such as the portrait made by Gilles Caron of Daniel Cohn-Bendit facing a member of the police riot (CRS) and the « Marianne de 68 » by Jean-Pierre Rey; to understand how and why the visual memory of May 68 was conveyed in black and white whereas the events were also covered in color by the press of the time; to discover that on the sidelines of periodicals, exhibitions and photographic screenings were organized and tried to be alternatives to representations disseminated by the major media; or eventually to understand why the first « Nuit des barricades » – that brought to the front page of periodicals the clashes of May 1968 – paradoxically gave place to no recurring image, no icon… This exhibition proposes several clues to understand the major role of media and publishing stakeholders in the construction of the representations of facts.
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