This feature documentary is a candid journey into the world of 4 young Canadian women who work as well-paid hostesses in exclusive Japanese nightclubs. Lured by adventure and easy money, these modern-day geisha find themselves caught up in the mizu shobai – the complex “floating water world” of Tokyo clubs and bars.
Drawn by fast money, some women become consumed by the lavish lifestyle and forget why they came. One hostess calls it “losing the plot.” With a pulsating visual style, Tokyo Girls captures the raw energy of urban Japan and its fascination with the new. Read the rest of this entry »
It’s a very windy day, and the pedestrians passing by the Flatiron Building are having considerable difficulty in keeping their hats from flying off.
Directed by A.E. Weed
[VIDEO] ‘Can We Take a Joke?’ Official Trailer HD, Featuring Adam Carolla, Lisa Lampanelli, Gilbert Gottfried, Penn JillettePosted: June 7, 2016
In the age of social media, nearly every day brings a new eruption of outrage. While people have always found something to be offended by, their ability to organize a groundswell of opposition to—and public censure of—their offender has never been more powerful. Today we’re all one clumsy joke away from public ruin. Can We Take A Joke? offers a thought-provoking and wry exploration of outrage culture through the lens of stand-up comedy, with notables like Gilbert Gottfried, Penn Jillette, Lisa Lampanelli, and Adam Carolla detailing its stifling impact on comedy and the exchange of ideas. What will future will be like if we can’t learn how to take a joke?
[VIDEO] ‘Seen By My Eyes’ Time Lapse Documentary by Hong Kong Independent Photographer Francis So 我所看見的美麗香港Posted: May 13, 2015
This time-lapse documentary caapturing scenes around Hong Kong, at Kowloon Peak, Yuen Long, Sai Kung, Tai Mo Shan, Po Toi, has swept four awards at a photography contest in Portugal, including top prize in the mountain view.
I suspect that few are aware of the accomplishments of Baldwin Lee, who, photographing in the South 30 years ago, produced a body of work that is among the most remarkable in American photography of the past half century.
In the early 1970s, Lee studied photography with Minor White at MIT and then with Walker Evans at Yale. He became Evans’ printer, and afterwards began to teach photography at the Massachusetts College of Art and then at Yale. Lee took a cross-country photo trip with former classmate Philip Lorca-DiCorcia in 1981 and a year later joined the faculty of the University of Tennessee. He retired last year.
When Baldwin Lee first arrived in the south, he did not know what he would photograph. He took a 2,000-mile exploratory trip on the back roads photographing anything that interested him with his 4 x 5-inch view camera. “My subjects included landscapes, cityscapes…
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Greg Gutfeld writes: I never get around to seeing movies because I rarely get around to doing anything. This is an important point–as a man with no hobbies and a knack for leaving things unfinished–it’s a big deal for me to finally catch Penn & Teller‘s documentary, Tim’s Vermeer.
It’s an action film in which the only action is painting. And that action beats most other action films, as it’s actually designed to prove a point: to set out on an absurd experiment (in terms of workload) and see it to its ridiculous but satisfying completion. The movie is about a job.
“Jenison embarks on a decade-long experiment in which he tries to paint a Vermeer, using theories he believed Vermeer might have employed. Over these years, he builds an exact set replica of one of Vermeer’s more complicated paintings…”
But it is also really about Penn Jillette‘s old friend, Tim Jenison, an inventor out of Texas who’s congenially obsessed with solving one beguiling question: how did the guy who painted “Girl with a Pearl Earring” paint “Girl with a Pearl Earring?”
Johannes Vermeer was a 17th century Dutch artist who painted works of art so realistically that they’re about as close as you can get to photographs without demanding a nose-picking brat to “say cheese.”
Some in the art world believe Vermeer achieved his mesmerizing work with technology available at the time–a device called a camera obscura–and a mix of lenses and mirrors. In a sense he was photographing with paint.