This video is the Dutch documentary film De platte jungle (The flat jungle), by director Johan van de Keuken, from 1974. This year, it was uploaded to YouTube.
From daily The Independent in Britain:
This is not a joke – Facebook users riot over an image of the director on the set of Jurassic Park
Friday 11 July 2014
The image was posted on the Facebook page of Jay Branscomb as a joke, alongside the caption:
“Disgraceful photo of recreational hunter happily posing next to a Triceratops he just slaughtered. Please share so the world can name and shame this despicable man.”
Incredibly, a fair few members of the public didn’t grasp that the picture was taken from the Jurassic Park set, believing that Spielberg had actually poached a dinosaur; dinosaurs, a breed of animals that became extinct 66 million years ago.
The image has been shared over 33,000 times attracting thousands of comments, initially from misinformed users (apparently unaware that dinosaurs are no longer) and also those lamenting their stupidity.
Tyrell Patrick branded Spielberg “a worthless son of a b****!”, while Scoomp Pi called it a “sad, disgusting scene”.
Becky Daigle said: “One day we realise that we are killing all animals on this planet and we need them to survive. But, when we realise it will be too late.”
“I did not know that Steven Spielberg is a dinosaur hunter,” said Andrea O’Donnell Koran. “I am not only outraged, but disgusted!!”
“This is no sport!!” cried Omega McCracken, as Sondre Jorstad questioned: “Why did he kill such a rare animal?”
It is hoped that some were sarcastic, but some were so detailed it’s difficult to believe they weren’t sincere.
“He’s a disgusting inhumane p***k,” said Penelope Rayzor Buchand. “I’d love to see these hunters be stopped. I think zoos are the best way to keep these innocent animals safe… assholes like this piece of s**t are going into these beautiful animals’ homes… and killing them. It’s no different to someone coming into your home and murdering you… I’m not watching any of your movies again ANIMAL KILLER.”
Branscomb shared the picture in the wake of Facebook’s decision to delete the photos of Texan cheerleader Kendall Jones, which showed her standing next to animals that she had killed, including a leopard and a lion.
See also here.
This video is ‘The Exorcist‘, trailer of the 1973 movie.
Well, that was Hollywood fiction.
Now, to 2014 reality.
From breakingNEWS.ie in Ireland:
Exorcist group wins Vatican backing
02/07/2014 – 17:42:20
Exorcists now have a legal weapon at their disposal after the Vatican formally recognised a group of 250 priests in 30 countries who liberate the faithful from demons.
The Vatican’s Congregation for Clergy has approved the statutes of the International Association of Exorcists and recognised the group under canon law, the Vatican newspaper L’Osservatore Romano reported.
More than his predecessors, Pope Francis speaks frequently about the devil, and last year was seen placing his hands on the head of a man purportedly possessed by four demons in what exorcists said was a prayer of liberation from Satan.
The head of the association, the Rev. Francesco Bamonte, said the Vatican approval was cause for joy.
“Exorcism is a form of charity that benefits those who suffer,” he told the paper.
If new Pope Francis I really wants to fight sexual abuse, bank fraud, and other Vatican scandals, then this not the right way. In an atmosphere where ‘magical’ superstition is promoted, fighting the abuses becomes more difficult.
This video from the USA says about itself:
24 May 2014
My first year film at CalArts in the Experimental Animation program – A short stop motion film exploring the writings and adventures of naturalist, author, and father of the National Parks, John Muir.
For more about John Muir: here.
Film by Ian Timothy
Voice of John Muir: Brad Wills
Music: Marianna Filippi
Puppet Costume: Lucia Tello
By Maren Hunsberger in the USA:
Green Life: Claymation Sensation: Artist Animates John Muir
Ian Timothy’s John Muir creation is only eight and half inches tall, with a posable wire skeleton, liquid latex skin, adorable tiny hand-sewn clothes, and a thick Scottish brogue. In Timothy’s latest gorgeous stop-motion video, the mini Muir recites some of his famous reflections on the beauty of nature while walking through forests made from old water bottles and papier mâché. This film comes on the heels of his Beaver Creek series, raising awareness about beavers as a keystone species, and Raptor Blues, which centers around the dangerous effects of rodent poison on raptors.
This video from New York City in the USA says about itself:
10 June 2014
Filmmaker Richard Ledes decided to find out what the Greeks of New York City thought about the extraordinary rise of the party. Placing Golden Dawn in the context of the price America has paid previously for complacency in the face of the rise of Nazism in Europe, Ledes starts by conducting interviews at the Greek Independence Day Parade on Fifth Avenue. The film combines man-on-the-street interviews at the parade with conversations with religious leaders, activists, heads of national organizations, the judiciary, intellectuals and members of the media.
Join us for further discussion on the official Facebook page.
This video says about itself:
18 June 2014
A scientific research project is being implemented in the Tambopata-Candamo region of the southeastern Peruvian Amazon. Thanks to the voluntary work of researchers, we already have a repository of suitable full-HD footage that would require professional editing to produce the desired documentary. Such editing, or post-production, of the footage would include all activities carried out after filming such as editing, sound mixing, recording voiceovers and creating subtitles.
To make this project we have 2 main collaborators:
- Rainforest Expeditions (www.perunature.com) is a Peruvian eco-tourism company that operates 3 award-winning lodges in our research area.
- Filmjungle.eu Society (www.filmjungle.eu) is an NGO funded in 1996 by independent filmmakers. By now the Budapest-based Filmjungle.eu had become the most productive production unit for wildlife films and conservation documentaries in Hungary. Its award winning list of films include titles as Wolfwatching, Invisible Wildlife Photographer, Sharks in my Viewfinder and Budapest Wild.
Nowadays most scientific research [is] only available for a very narrow academic audience by publishing in scientific journals. Often the reality of the field-based research, which underpins these journal articles, is most interesting part and is worth to be communicated to a much broader audience by this kind of documentary. Public awareness is an important goal of any conservation research, and documentary films are great tools to accomplish this — not only by conveying our conservation message to many people around the world, but more crucially revealing truths based on scientific evidence.
You can find more detailed information about the research project at this site.
Read more here.
This underwater video is called GoPro Surprise Wildlife Encounter, by Mike Gil. It is #10 in the Wildlife Extra Top 10.
From Wildlife Extra:
Top 10 GoPro wildlife films
Our round up of the best hand-held mini-wildlife documentaries
One of the major advances in amateur wildlife film-making has been the arrival of the portable GoPro camera, allowing wildlife enthusiasts without the big budgets to make their own hand-held mini wildlife documentaries. Here is our selection of some of the best we’ve managed to track down…
1. Wildlife of the Masai Mara, by James Muir
2. Project New Zealand, by Robert M. Lehmann & Dr Ingrid N. Visser
4. Giraffe kick, by Chris Barnard
5. Diving with ocean hounds, by Sam Stewart and Kelly Smith
6. Lost in jellyfish lake, by Nana Trongratanawong
7. Seal belly rub, by Jason Neilus
8. Leopard meets GoPro, by Kruger Sightings
9. Crystal manatees, by William Drumm
This video from the USA is called Ruby Dee on Malcolm X Assassination: ‘My Blood Runs Cold Just to Talk About It’.
From CBS News in the USA:
June 12, 2014, 1:13 PM
Ruby Dee, actress and activist, dead at 91
Ruby Dee, an acclaimed actor and civil rights activist whose versatile career spanned stage, radio television and film, her agent confirmed to CBS News. She was 91.
Her daughter Nora Davis Day told The Associated Press on Thursday that Dee died at home in New Rochelle, N.Y., on Wednesday night.
Dee, who frequently acted alongside her husband of 56 years, Ossie Davis, was surrounded by family and friends, she added.
Like her husband (who died in 2005), Dee was active in civil rights issues and efforts to promote the cause of blacks in the entertainment industry. As young performers, they found themselves caught up the growing debate over social and racial justice in the United States. The couple’s push for social justice was lifelong: In 1999, they was arrested while protesting the shooting death of Amadou Diallo, an unarmed African immigrant, by New York City police.
They were friends with baseball star Jackie Robinson and his wife, Rachel – Dee played her, opposite Robinson himself, in the 1950 movie, “The Jackie Robinson Story” – and with the Rev. Martin Luther King Jr. and Malcom X. Dee and Davis served as masters of ceremonies for the historic 1963 March on Washington and she spoke at both the funerals for King and Malcom X.
She won a National Medal of the Arts in 1995 and a Lifetime Achievement Award from the Screen Actors Guild in 2000. In 2004, she and Davis received Kennedy Center Honors. Another honor came in 2007, after Davis’ death, when the recording of their memoir won a Grammy for best spoken word album, a category that includes audio books.
Among her best-known films was “A Raisin in the Sun,” in 1961, the classic play that explored racial discrimination and black frustration. On television, she was a leading cast member on the soap operas such in the 1950s and ’60s, a rare sight for a black actress in the 1950s and 60s.
As she aged, her career did not ebb. Dee was the voice of wisdom and reason as Mother Sister in Spike Lee’s 1989 film, “Do the Right Thing,” alongside her husband. She won an Emmy as supporting actress in a miniseries or special for 1990′s “Decoration Day.”
Her long career brought her an Oscar nomination at age 83 for best supporting actress for her role in the 2007 film “American Gangster,” in which she played the mother of Denzel Washington’s character. She also won an Emmy and was nominated for several others.
Born Ruby Ann Wallace in Cleveland to parents who soon split, Dee moved to Harlem as an infant with a brother and two sisters, living with relatives and neighbors. She graduated from highly competitive Hunter High School in 1939 and enrolled at Hunter College. “I wanted to be an actor but the chances for success did not look promising,” she wrote in their joint autobiography.
But in 1940 she got a part in a Harlem production of a new play, “On Strivers Row,” which she later called “one giant step” to becoming a person and a performer.
In 1965, she became the first black woman to play lead roles at the American Shakespeare Festival. She won an Obie Award for the title role in Athol Fugard‘s “Boesman and Lena” and a Drama Desk Award for her role in “Wedding Band.”
Most recently, Dee performed her one-woman stage show, “My One Good Nerve: A Visit With Ruby Dee,” in theaters across the country. The show was a compilation of some of the short stories, humor and poetry in her book of the same title.
She is survived by three children: Nora, Hasna and Guy, and seven grandchildren.
The illustrious African American stage and screen actress, writer and social activist Ruby Dee died Wednesday at her home in New Rochelle, a suburb of New York City, at the age of 91. Dee, married to fellow actor Ossie Davis for more than half a century, is still perhaps best known for stage performances in Lorraine Hansberry’s A Raisin in the Sun (1959), about a working class family in Chicago, and Davis’ Purlie Victorious (1961), as well as the screen version of the former released in 1961: here.
This video says about itself:
5 March 2014
In one of the world’s most densely populated countries a nature reserve has been developed: The Oostvaardersplassen. Here the nature determines the rhythm. The film teams followed for two years a number of foxes, geese, kingfishers, deer and the largest herd of wild horses in Europe.
Translated from NOS TV in the Netherlands today:
The wildlife film The New Wilderness has been proclaimed by the Dutch public to be the best Dutch film of last year. The film about the Oostvaardersplassen [nature reserve] received the most votes in the Rembrandt Awards. …
There were at the ceremony in Amsterdam also prizes for foreign films. The Dutch public thought The Hunger Games: Catching Fire was the best film and leading actor Jennifer Lawrence from the same film was the best actress.
This video says about itself:
Fears for future arts funding
9 August 2010
Australian Chamber Orchestra’s artistic director Richard Tognetti says he fears for the future of the arts because of potential government cuts.
Australian Prime Minister Tony Abbott does not only hate Australia’s national parks and their wildlife, but art as well.
By Richard Phillips in Australia:
Arts funding slashed in Australian budget
29 May 2014
Australia’s Liberal-National coalition government has cut $110 million from arts funding together with a $120 million reduction to state-funded broadcasters, the ABC and SBS, in its May 13 budget. Arts Minister and Attorney-General George Brandis told the media on May 15, three days after the budget was announced, that the government measures were “generous” and “a remarkable outcome” for the arts sector.
These claims are absurd. In line with the social austerity measures unleashed against youth, aged-pensioners and other sections of the working class, the budget hits thousands of creative workers and technicians. These workers are generally associated with smaller artistic ventures and production companies and live a hand-to-mouth existence.
Over the next four years, $28 million will be slashed from the Australia Council, the official government arts funding body, $33.8 million from the Ministry of Arts, and $25.1 million from Screen Australia.
The Australia Council cutbacks are directed against so-called “uncommitted funding” and will hit small performance companies and lesser known artists—i.e., those least able to absorb any loss of funding. The Council, for example, offers grants to musicians for touring, recording and promotion and recently provided over $400,000 for several independent record labels and new releases. These small-scale operations are not expected to survive.
Australia Council officials have said that the impact on the country’s 28 major performance companies—ballet, opera and drama—would be minimal because they are locked into annual or triennial contracts. But no details have been released.
Screen Australia is yet to provide any information about the impact on movie production but the budget measures, including the cuts to the ABC and SBS networks are expected to result in the loss of hundreds of jobs in the film industry. Film production contributes about $3 billion annually to the Australian economy. A number of planned feature films and documentaries could end up being shelved over the next four years.
Other government cutbacks include, $3 million from the Australian Film, Television and Radio School, $1.8 million from South Australia’s Asia Pacific Centre for Arts, which sponsors arts exchanges with Asia, $10 million from Australian interactive games fund and the $6.4 million from Get Reading!, which involves speaking tours by selected Australian authors and other techniques to encourage reading. The interactive games fund and Get Reading! programs are being axed.
The government claims that $2.4 million will be saved through the merger of so-called “back office” administration at the National Portrait Gallery, National Gallery of Australia, National Library of Australia, Old Parliament House, Film and Sound Archive, National Museum of Australia, National Archives and National Library. This will seriously impact on the jobs and operations of these vital Canberra-based national collection agencies.
By contrast, the Abbott government awarded $6.3 million, including $5.4 million for continued “operational funding” of Creative Partnerships Australia, to boost corporate arts sponsorship and support. Philanthropy Australia hailed the announcement and declared that it, “welcomed the government’s desire to foster a culture of philanthropy in Australia.” The increased funding is in line government plans to further privatise arts funding, which will impose additional commercial pressures on creative workers, undermine their artistic and political independence and prepare the way for future arts funding cuts.
Labor’s arts spokesman Mark Dreyfus declared the arts cuts to be “devastating” while claiming that Labor had boosted spending on the sector during its term in office. But according to ArtsHub, there has been virtually no difference in arts spending by Labor and Liberal federal governments, since 2002. Each spent just over $4 billion on arts when in office, a figure that constitutes a real cut, when adjusted for inflation.
Michael Lynch, former head of the Australia Council and the Sydney Opera House, denounced the Abbott government’s arts funding cuts as “cultural vandalism.” This was echoed by National Association of Visual Arts chief Tamara Winikoff, who said the budget “shields the rich [arts companies] and impacts most adversely on those who can least afford it. The Australian community is the loser because new talent will be squashed.”
Australian writers issued an Open Letter last week opposing the health, education and welfare spending cuts. It explained that the arts sector employed over half a million people and warned that the cuts “would devastate smaller organisations.”
The budget, it said, would “rob Australia of a whole generation of artists, writers, publishers, editors, theatre makers, actors, dancers and thinkers … We fear the prospect of a world of culture and art that is unaffordable to the majority of Australians.”
Reacting to these concerns Prime Minister Tony Abbott told the Australian Book Industry Awards last Friday that his government was “committed” to supporting the arts and claimed that Attorney-General Brandis had “substantially protected arts funding.” These claims are false. More ominously they indicate that even more severe arts cuts being prepared for future budgets.
The recently released National Commission of Audit indicates what is being considered. It called for a merger of the Australia Council, the corporate sponsorship body Creative Partnerships Australia, and Screen Australia, with a dramatic 50 percent funding cut to the latter organisation.
At the same time, the government is also using funding as a means of disciplining the arts community. Three months ago Attorney-General Brandis demanded the Australia Council develop new protocols to punish any organisation that rejected corporate sponsorship on political grounds.
This explicit act of political censorship was in response to a boycott protest by 40 artists over Transfield Holding’s sponsorship of the Sydney Biennale. Transfield had just been awarded a $1.22 billion contract to provide “garrison and welfare” services to the Australian refugee detention camps on Nauru and Papua New Guinea’s Manus Island. (See: “Australian government threatens arts funding following Sydney Biennale protest over refugees”)
See also here.