Does Sony Vegas Suport Wma?

«Few of us» de Sharunas Bartas (1996)

Quelques plans d’une ville industrielle, là-bas à l’est. Une jeune femme qui contemple l’immensité des paysages sibériens à travers le hublot d’un hélicoptère. Puis la voilà larguée au milieu de nulle part. Que vient-elle chercher dans cette terre reculée? Peut-être retrouver ce sentiment de liberté pure, première, qui consiste simplement à mettre un pied devant l’autre, sans qu’aucun élément extérieur not come to impose a preferred direction ... This need is felt sometimes faced with a society in which life is directed arrow. But this is only personal suggestion because it is a film that explains nothing, it's "Few of us". The girl eventually reach a village where people live damned to which civilization has managed to bring the alcohol and weapons. A nation that is perhaps more a people endangered, as they say of an animal species. And the parallel is not insignificant: perhaps never life had been filmed, in its most instinctive, if not in the animal films. Bartas film dutifully gestures, faces, without comment, with a look somewhere between the poet, ethnologist and landscaping. A distant cousin of Derzou Ouzala smokes endlessly the same butt and shares his bread with the girl in a gesture to the natural and obviously that goes beyond words (which the film is also free), which brings us back to the origins sociality. An old woman asleep compulsively unveils a toothless mouth grimaces in the wake repetitive. It's hard ... Then the film changes pace a distant and primitive form of narration seems to be implemented. There's a party where they drink. Two men running around the girl (again we find a very animal behavior) is preparing a rape. Then a burst, a slap, a murder (or two?). We must flee. The young woman is followed by an Asian black look, which seems to protect it. He is stalked by a man who looks in the fog during a sequence that is reminiscent of the riders lost in the mist of the "Castle of the Spider." It was almost like watching a western tribal. The film ends with a shot. The girl now swollen face observed in the distance the helicopter comes to fetch her. The snow and cold invade the Sayan Mountains. End. It is superb. "Few of us" is a movie of this, a fascinating movie experience. [4 / 4]

Blueprint A Snowboard Box

«Cochon qui s’en dédit» de Jean-Louis Le Tacon (1979)

"which would forfeit Pig" is a film that is attached to the militant cinema, this film movement of the 60s and 70s forgotten by history " official "film. Yet it would be wise to consider now the influence that this gesture film had on modern cinema (Especially on film or documentary called social). Talking about cinematic gesture is quite suitable here since it is a reinvention (recapture) of how to make films, thanks to Super 8 cameras, lightweight and affordable, and make accessible film to a whole each: in an era of great political turmoil, with a critique of capitalism and consumerism increasingly radical and relevant, students took to the streets to film the demonstrations, workers strikes film their experiences and the film becomes a tool for advocacy and empowerment. So politicized cinema. But if "that would forfeit Pig" is a movie as strong and as effective in his description of this machine to crush the human productivism what is more for its purely artistic qualities, Le Tacon dotting its visions of horror film and dream sequences especially suggestive. "Pig would forfeit that describes the daily life of Maximus, a pig farmer in a pig above ground, a kind of pig Auschwitz (the parallel with the extermination camps was repeatedly stressed by Maxim himself). Filmed in the style of Jean Rouch (total immersion in work and la vie de Maxime qui commente après coup les images tournées), «Cochon qui s’en dédit» est construit autour de cercles dantesques, un peu à la manière du «Salo» de Pasolini, nous enfonçant toujours un peu plus dans l’horreur : celle vécue par les porcs, et celle subie par Maxime. Endetté, aliéné, Maxime est obsédé par la porcherie, est hanté par la maladie et la mort, est poursuivi par l’odeur de la merde. Il est possédé par son outil de travail, jusque dans ses rêves. Et Le Tacon ne se contente pas de le laisser parler et exprimer ses angoisses, il les met en images, comme cette puissante séquence onirique dans laquelle Maxime jette désespérément of dead piglets in the plot of the neighbor, dead due to it inevitably ... "which would forfeit Pig" is a challenging film, which can not come out unscathed (it had been years since I had not looked away from a movie screen, supporting what had hardly shown). A film that draws the riot, as the saying Leboutte essayist. But above all, a film that, while belonging to militant cinema (which is where the top), is first and foremost a work of staging a work of cinema, a work of art. [3 / 4]

Nerve Damage After Brazilian Wax

«Un Condamné à Mort s'est Échappé» de Robert Bresson (1956)

    Un film fiévreux, acéré, sombre, puissamment poétique, tout en émotion contenue, comme tous les films de Robert Bresson d'ailleurs. «Un Condamné à Mort s'est Échappé» c'est bien évidemment un long métrage relatif à l'évasion d'un résistant français d'une prison tenue par les allemands durant la seconde guerre mondiale, donnant lieu à de fameuses scènes de suspense servies par une esthétique ascétique extraordinairement suggestive. Mais c'est avant tout la métaphore de la vie même, du combat qu'il faut mener face à l'oppresseur, face à ses camarades qui flanchent, face à son corps qui lentement dépéri, face à son esprit qui cesse de croire en l'impossible. «Un Condamné à Mort s'est Échappé» est un vibrant plaidoyer pour la liberté et le salut de l'homme, rendus possible à force de détermination, de courage, de ténacité. «Un Condamné à Mort s'est Échappé» c'est le triomphe de la volonté sur la matière et l'esprit : il n'y a qu'à voir comment les autres prisonniers vivent au rythme des tentatives d'évasion des uns et des autres, la fuite de l'un leur redonne espoir, l'échec d'un autre les désespère... Yet Fontaine is anything but a "superman" or a saint, he is profoundly human: he hesitates, mistakes sometimes and mostly has to kill to escape! Bresson knows therefore afford to share in his dark feature. For the rest his film is really admirable, but certainly visually just as a sound point of view: the sounds have rarely been so important, it should perhaps go back to Fritz Lang and the beginning of the talkies to find such a purity in their jobs! "A Man Escaped Sentenced to 'is perhaps the best gateway to the cinema of Bresson, if its control is not there yet (although it is considerable: Mozart is not used much here as Bresson's art is strong), it is one of his few films follow a narrative "Classic", namely the timing of an escape, the smaller preparations doubts or barriers to it. It therefore follows with great interest the mad adventure of Lieutenant Fontaine, but can be as much dwell on the reading levels of other feature, which makes a work that meets the expectations of all types spectators in my opinion. One of the first masterpieces of the master of French cinema. [4 / 4]

Calories In A Bowl Of White Rice

«Ruhr» de James Benning (2010)

A very nice documentary! In a deep well, which makes a kind of meditative work of the most significant. "Ruhr" is 7-level fixed sequences, and therefore 7 ideas for staging. It's little, but the relevance of framing of James Benning is such that it takes him no more to give to see a vivid picture even if the region fragmented German namesake. On the aesthetic point of view, "Ruhr" is a model of control of the plan: each element can be moved with a grace unparalleled, whether a falling leaf, smoke escaping from the chimney of a factory of men praying at the mosque, the ballet of machine tools ... The man is everywhere in this feature, not by a direct physical presence but by its production, his work, traces his life: each plane is crossed by one or more elements of the industrial age that is ours, and we can observe with curiosity interaction relatively near or far from the man and his environment (as often between man and nature is the tool). As the smoke from the factory in the background clouds, how the wind sweeps the plane trees, as the sound of human activity echoes in the vastness of the sky. It is striking that the only time we find ourselves really close to people just when they were praying in one clip so that more is in the middle of the film so that the man between "real" little by little in the feature film soon to vanish, in an echo back through the chimney of the factory and the night falls. Both the image than the sound, "Ruhr" is a film of great subtlety, driven by the ability to play Benning with the framework and time. In contrast the poetry of "Ruhr" is of course relative: it's contemplative film par excellence, the art of James Benning is precisely the erasure of the artist, besides Benning is perhaps more a filmmaker photographer (if such a statement is meaningful). I'm more reserved about the aspect of "art" of this film: it certainly makes us ponder the seventh art and man, and it is not the least of its merits, but I can 't stop to wonder how far can we go in the record of a pure and simple "objective" reality ... Anyway the meaning attached to Benning its framing and its installation, the choices he makes, the subjectivity of his eyes dissolve the slightest doubt about his contribution and his creation, but we can discuss its scope. And fortunately, he (m ') is difficult or impossible to decide! [2 / 4]

Aggressive Dog Jumping On Fence

AL

The Libertarian Alternative collective will of Aries on

market Arles

Saturday, January 8 (side farmer's market, after the bandstand).

Awaiting you there!

1981 Arctic Cat Spark

The general strike, what has aco '?

Following the public meeting on 14 December (see message du 21 décembre), nous nous interrogeons aujourd'hui sur la signification du concept de Grève générale .

Cela fait maintenant quelques années (1995, mais surtout 2003) que l'idée de grève générale est sur toutes les lèvres, dans toutes les têtes. Cette idée semble aujourd'hui presque naturelle : une grève générale serait l'expression d'un moment fort venant au bout d'un processus de luttes pour faire aboutir des revendications...

On a entendu parler de Grève générale récemment en Grèce, en Espagne, etc. Les média aiment bien utiliser le mot... pour l'étranger. Cela permet de le banaliser. Ce à quoi we have seen is nothing more than "action days" fashionable hexagonal, more massive, given the capital intensity of attacks against those countries.

And if the general strike was something else ... something larger ...

We must return to the genesis of the idea. And for that, talk about the history of the labor movement, a little forgotten. Who knows Emile Pouget, Fernand Pelloutier Victor Griffuelhes? Yet these are among the founders of the CGT ... and CGT was founded on the idea of General Strike.

(Obviously, the CGT was careful today to refer these ancestors then ... Yet to whom could she turn? Jouhaux? But it was he who created CGT-FO ... The CGT would she born with Benedict Frachon (forgotten too ...) The CGT would it been at all times a central union stalin ... er ... Communist? Well no, the revolutionary syndicalist CGT was born! Things were a little more complex, certainly, and reformist currents were important, but even the Reformers, the CGT was fighting "for the abolition of employer and worker" ... A whole era ... abolished in 2000 by a Congress of the CGT, erasing the Charter of Amiens in its statutes. This small cross-road lights just the positions of the CGT today ...)

The General Strike in the spirit of revolutionary syndicalists, was a continuation of the idea of the "strike of crossed arms" which runs from the Chartists English, in the fighting of 1831-32 Canuts Lyon, through the First International, ended in the first period CGT. They believe that workers should guard against two dangers: electoral politics (which is to entrust its class interests of the bourgeoisie), and partial strikes (local) which can only turn to the ultimate benefit of employers ( which will take sooner or later the accrued benefits). It seems strange today: CGT refuted the claims for increased purchasing power: it was just the carrot that is put in front of the donkey to move forward, carrot quickly eaten by the increase prices. Were they really wrong?

For the CGT, the General Strike was ... revolution. Not the palace revolution (or other winter season ...), but the Revolution in that the labor movement expropriated owners, and was organizing itself to work the machine produces its own use . The general strike, it was not something else that self-management! And self-management, is not another name for the revolution?

And how that would happen? These militants were not utopian. They did not think that the general strike could declare overnight, any more than Bakunin, earlier (unlike Engels sarcasm). For this he had to organize the productive forces, apart from the bourgeoisie, far from it, to be ready one day to spend with her. The CGT does not think like a "social partner", but as an opponent of both the bourgeoisie and its iron hand: the state. Hence a political union based on anti-parliamentarism, anti-statism (anti-patriotism, anti-militarism). You must read the texts of the union time to realize the violence of the propaganda on these topics there. For

Pelloutier, to reach the general strike, it was necessary for workers to acquire "the science of their distress," to be aware of their status in the economic process, to transform it. No general strike of workers without education, not education "intellectual", but practical, popular education. The Labour Exchanges were to have this feature : Putting in masses of workers ability to do the "big bang", not necessarily a "big night", but over time (although Pouget Pelloutier and others did not ignore the violence probably necessary at one time or another: the haves do not like being robbed!)

The general strike was therefore a horizon more than a slogan on time. Georges Sorel was what called a "founding myth" of the labor movement, ie a fund "cultural", without which the proletarian movement could not exist as such. In this he was opposed to the deterministic view of Marx : The working class was not, in itself, and inevitably, the gravedigger of capitalism. It was not enough to wait for the final crisis, he was working there.

It is understandable that all forces allied to the bourgeoisie, or wishing to replace the user to turn their domination over the workers, did not see the idea of a general strike in the better eye. The reformist socialists, communists authoritarian, to mention only those self-proclaimed "representatives" of the working class, had no words strong enough to defuse the myth that ultimately only listed this beautiful Expression of the First International : "L'Émancipation des travailleurs sera l'œuvre des travailleurs eux-mêmes."

On trouva le moyen — trouble — d'éliminer cette équipe fondatrice de la CGT : Pelloutier était mort en 1901 ; Griffuelhes démissionna sur des calomnies, Pouget, écœuré, fit de même. Nous étions en 1909. La CGT des origines, syndicaliste révolutionnaire, avait vécu. Léon Jouhaux prit les rênes de la CGT, la vendit à la bourgeoisie, et, malgré le combat acharné des Merrheim, des Pierre Monatte, envoya la classe ouvrière, sous prétexte d'Union sacrée, se faire étriper dans les tranchées en 1914.

Et bien, aujourd'hui to hear about General strike indiscriminately, it begs the question: What is meant by that?

For us, it is clear: we fit the line of Pouget, of Griffuelhes, the Pelloutier. The general strike is the self-management is expropriating the Revolution.

It is prepared when?

And how?

-----
To go further:

* General Confederation of Labour (Commission of propaganda of the general strike), "The revolutionary general strike", journal Agone, 33
* Emile Pouget

The genesis of the idea of a general strike
http://www.pelloutier.net/dossiers/dossiers.php?id_dossier=111&idparent=43
* anarchie23:
The General Strike
http://anarchie23.centerblog.net/6582848-La-Greve-Generale

Scotch Green Bottle, Starts With L

«Nathalie Granger» de Marguerite Duras (1972)

What a great movie! And what a wonderful beginning! It only takes a few minutes for it suggests Marguerite Duras and recreates the world of childhood: an enigmatic house, a few piano notes played by a trembling hand, a doll abandoned ... Damage que le reste du film ne conserve cette intensité poétique admirable... Heureusement il soutient tout de même quelque peu la comparaison, et si «Nathalie Granger» ne relève pas de la pure perfection c'est indéniablement une grande réussite! L'influence de Bresson se fait ressentir, surtout par cet art de la retenue et la vive émotion qu'il évoque subtilement, mais Marguerite Duras parvient à transcrire son intériorité par ses propres moyens : les gestes ont une grande importance par exemple, non pas pour eux-mêmes comme ce pourrait être le cas chez n'importe quel vulgaire formaliste cinématographique à la mode, mais en ce qu'ils révèlent de l'être qui se meut, de ses feelings, his attention to another of his love ... So with a great economy of means Marguerite Duras manages to give life to the most moving moments. It also takes risks, as with this sequence stretched beyond reason when you discover a Gerard Depardieu unrecognizable as it fills the screen. Gosh I've never seen so good! It delivers a performance on the razor's edge, is expected every second that elapses when he stumble, where his game will ring true ... but the moment never comes. Alas the author has failed to leave the state this pure moment of grace (already extremely fragile) by underlining it later in the film with words that explain too much and a return Depardieu awkward ... Shame because these little problems that dot the feature as we advance tarnish those moments of bravery and this strange atmosphere out of time. For the rest of this French artist gives us unforgettable portraits of mother and daughter, she has skillfully evoke the essence of motherhood as may represent the child, combining mystery, fear and desperate quest love, collusion or otherwise misunderstanding and physical distance as sentimental. A work so rich and successful, to do without hesitate! [3 / 4]