No matter how they sliced their claims that movies are different from books, which the novelist especially attempted to put forward, Brooklyn is a blatant throwback to bad old Hollywood and its incessant glorification of «the girl» at the expense of
the real women in the audience whose real world experiences of problems barred them from the easy bliss of the heroine.
Not exact matches
«Snapchat allows us to reach an important
audience in real time and join a conversation about how best to empower
women in emerging economies,» said Amanda Rubin, Goldman Sachs global co-head of brand and content strategy,
in a statement.
This is, of course, easier said than done, but marketers can start by focusing less on the nebulous objective of empowering
women and instead push themselves to identify a
real insight about the female
audience that can be tied back to the company or product
in a meaningful way.
Says the Widow, who won't reveal her
real name, «For the
women in the
audience, I'm the gringa who's going to steal their husbands while they're sitting home pregnant.»
A user - friendly sociological overview of the philosophy and practice of doulas
in the U.S., illuminated by
real - life stories, for a wide
audience ranging from current and aspiring birth professionals, reproductive scholars and students
in a variety of academic disciplines as well as a unique resource for pregnant
women contemplating childbirth.
It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT cinema
in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes
real demands of its
audience to keep up; it's a stirring narrative of
women escaping from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.
The combined success of the record - breaking, critical acclaim - nabbing and
audience - thrilling success of Marvel Studios» Black Panther, introducing a black superhero and boasting a largely black cast, and the recent record - breaking, critical acclaim - nabbing and
audience - thrilling successWonder
Woman, whixh gave female filmgoers a superhero
in their own image, should prove to Hollywood that inclusion sells
in cinema, but will it bring
real change
in the making of movies?
Brown has produced several critically acclaimed HBO Films and award - winning projects including, STRANGER INSIDE (directed by Cheryl Dunne, 2001, World Premiere at Sundance Film Festival),
REAL WOMEN HAVE CURVES (directed by Patricia Cardosa, 2002, winner of Sundance Film Festival's
Audience Award and Special Jury Prize for Ensemble Performance), EVERYDAY PEOPLE (2004, directed by Jim McKay),
IN THE CUT (directed by Jane Campion, 2003), and ROCKET SCIENCE (directed by Jeffrey Blitz, 2007, winner of the Grand Jury Prize for Directing at Sundance and recipient of three Independent Spirit Awards nominations).
I believed
audiences were ready to witness
real drama and
real tragedy, as it happens every day
in every land;
real love and
real hatred of
real men and
women who were proud of their passions.
The works include reenactments of Vito Acconci's Seedbed (1972),
in which the artist occupied the space under a false floor, masturbating and speaking through a microphone to visitors above; Valie Export's Action Pants: Genital Panic (1969)
in which Export walked through a movie theater
in crotchless pants, challenging the
audience to turn from the images of
women on the screen to a
real female body; and Abramovic's own Lips of Thomas (1975),
in which she ate a kilogram of honey and drank a liter of red wine before breaking her glass with her hand, incising a star
in her stomach with a razor blade, whipping herself until she «no longer felt pain,» then lying down on an ice cross while a space heater suspended above her caused her to bleed even more profusely.
REDD + has stimulated almost every dimension of forest activity:
real - time satellite tracking of global forest loss; local communities using handheld data devices; long - simmering disputes over forest ownership and use; methods for benefit sharing; nested accounting to meld project and national approaches; the role of
women in forest stewardship; the place for certification and reduced impact logging; enticements of billions from donors; open discussion of illegal timber trade and corruption; public platforms for indigenous groups to command large
audiences, and many more... the exponential interest
in REDD + has been tremendous.