Visiting the biggest film studios outside Hollywood in Chicago last month, the prime minister, Alexis Tsipras, said the money had been set aside to provide 25% in cash rebates for expenditure by foreign producers in Greece. With the largest unemployment rate in Europe, officials now see the ever-expanding entertainment sector as a valuable source of jobs. Under the weight of its economic crisis, the country has suffered an unprecedented brain drain of its brightest and best.
Blog
The Inside Story Of The Three Billboards In ‘Three Billboards Outside Ebbing, Missouri’
“If the signage in a movie has top billing over Frances McDormand … you can bet a whole lot of thought went into its conception and execution. … And everything about the [eponymous signboards] – from the design and classic construction, to the custom structures that display them – is authentic. For the complete billboard blow-by-blow, we spoke with Three Billboards‘ production designer Inbal Weinberg, the brains behind Mildred’s advertising war.”
The Best Exercise To Stave Off Decline? Study Says Dance
A new study, published in the open-access journal <a href=”https://www.frontiersin.org/articles/10.3389/fnhum.2017.00305/full“>Frontiers in Human Neuroscience</a>, shows that older people who routinely do physical exercise can reverse the signs of aging in the brain, and dancing as a form of exercise is the most effective.
France Struggles With How To Make Its Very Gendered Language Gender-Neutral
As anyone who’s studied French knows, there’s no neuter: every noun and adjective is either masculine or feminine, most words for occupations have different forms for men and women, and if there are both, “the masculine prevails over the feminine” (as the rule has it). Now a group of teachers and a publishing house grammar guide are arguing for an end to this rule and its corollaries. Naturally, the Académie Française is not having it.
‘Curatorial Activism’: A Manifesto
Maura Reilly: “[It] is a term I use to designate the practice of organizing art exhibitions with the principle aim of ensuring that certain constituencies of artists are no longer ghettoized or excluded from the master narratives of art. It is a practice that commits itself to counter-hegemonic initiatives that give voice to those who have been historically silenced or omitted altogether.”
Rolling Stone Was Inspired By A Leftist Catholic Journal
“Ramparts was by no means a hippie magazine, but its rebellious spirit, flair for publicity and professional design would all leave their mark on Wenner and Gleason’s fledgling magazine.”
Again, Why Is There So Much Rape And Violence Against Women In Ballet Lately?
Six months ago, critic Siobhan Burke raised the issue in The New York Times. Now, in Britain’s The Observer, Luke Jennings writes, “In the last few seasons the Royal Ballet stage has seen record numbers of female characters brutalised and killed. … Consider this body-count alongside the number of recent abstract works in which women are split, splayed and otherwise manhandled, and certain embedded attitudes reveal themselves. None of these works, in which female characters are defined by their passivity and victimhood, was created by a woman.”
Ford Foundation President Darren Walker On The Power Of Art, Inequality, And Detroit
Hrag Vartanian: “Our conversation took place soon after the organization announced plans to open an office in Detroit, a city it had left in 1953. We spoke about the public’s interest in scrutinizing institutional authority, Walker’s own love of art, and the renovations at the Foundation’s building, and also discussed Agnes Gund’s new Art for Justice fund, the role of the arts for marginalized communities, and the importance of public education.” (podcast)
Stage Director Frank Corsaro, 92
Though he came out of the theater – he attended Yale Drama and the Actors Studio and directed on Broadway – his greatest impact was in opera: he was renowned (and occasionally infamous) for his daring interpretations and the high level of acting he drew from singers, especially at New York City Opera during its glory years.
”Marnie’ Screams For Operatic Treatment,’ Writes Nico Muhly, Who Explains How He Gave It One
In this essay the composer talks about why he and librettist Nicholas Wright worked from Winston Graham’s novel rather than the Hitchcock film, how he set a psychiatrist’s session and a fox hunt for the stage, and how to deploy English National Opera’s chorus. (Favorite line, about “the Marnettes”: “The effect should be as if her inner monologue is actually a warped recording of the Tallis Scholars singing a single chord from an obscure Tudor motet.”)