OK: Found an XML parser.
OK: Support for GZIP encoding.
OK: Support for character munging.

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      ["title"]=>
      string(105) "Nature now incapable of surviving without man: the shocking investigation by journalist Elizabeth Kolbert"
      ["link"]=>
      string(143) "https://awardworld.net/pulitzer-prize/nature-now-incapable-of-surviving-without-man-the-shocking-investigation-by-journalist-elizabeth-kolbert/"
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      string(85) "Pulitzer PrizeElizabethincapableinvestigationjournalistKolbertnatureshockingSurviving"
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      string(793) "She received the prestigious Pulitzer Prize in 2015 for her best-selling book: The 6and extinction, dedicated to the biodiversity crisis. American journalist Elizabeth Kolbert published her latest book yesterday in France: fish in the desert published by Buchet-Chastel, or how man is now trying to repair nature after having seriously damaged it. Asian carp had ... Read more"
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She received the prestigious Pulitzer Prize in 2015 for her best-selling book: The 6and extinction, dedicated to the biodiversity crisis. American journalist Elizabeth Kolbert published her latest book yesterday in France: fish in the desert published by Buchet-Chastel, or how man is now trying to repair nature after having seriously damaged it.

Asian carp had to control the proliferation of aquatic weeds

This is the latest investigation by the journalist from New Yorker, which begins on the banks of the Chicago Canal. This sanitary and naval canal was inaugurated a century ago and built to reverse the course of the Chicago River, which then discharged the city’s wastewater into Lake Michigan. According to Elizabeth Kolbert “They connected two great hydrological systems, that of the Great Lakes and the Mississippi River which were not connected until then. Now there are many invasive species in both environments and they can go from one to the other..

Read also

The problem is that the United States imported for the first time in 1963, Asian carp. They were to control the proliferation of aquatic weeds. But they are the ones that will proliferate. They can weigh up to 40 kilos and wherever they are, they outcompete native fish. They are now in very large numbers in the Mississippi and threaten to rise in the Great Lakes. The US Army engineers had to find a solution to prevent them from passing: “what they imagined was to pass a lot of electricity through the water. And so when a living creature arrives, it takes an electric shock. The objective is for these carp to turn back and go the other way”.

A degraded, altered nature, which is no longer able to survive without the help of man

Elizabeth Kolbert’s investigation also takes her to the offices of researchers at Harvard, who are working on solar geoengineering. The objective is to diffuse particles of calcite for example, in the stratosphere to reflect the rays of the sun and thus reduce the quantity of sun which arrives on Earth. One downside is that the sky could turn white all over the place. Elizabeth Kolbert also travels to Australia to the world’s largest research aquarium. The researchers wait for nights to reproduce corals which they hope will become more resistant to the new climatic conditions: “The idea here is that if you bring together corals that could never have reproduced in the wild, you create hybrid corals that might be tougher than their parents. This is the heart of the super coral project” says Elizabeth Kolbert.

Read also

This is called assisted evolution and beyond corals, it is actually the idea of ​​an assisted nature that Elizabeth Kolbert disseminates in her book. A degraded, altered nature, which is often no longer able to survive without the help of man: “this idea that we have so disrupted the living world – we have succeeded in warming all the oceans for example – and that we must now intervene on the living to try to adapt it to the modifications that we have created, it struck me and it opens a new chapter in the long history of our relationship with nature”. Species pushed to the edge of the precipice and then brought back to us. This is the case, for example, of pupfish, these tiny fish that live in a cavity in the middle of the Nevada desert. They almost disappeared since promoters had pumped the aquifers around. They owe their salvation only to the intervention of biologists. fish in the desert is signed Elizabeth Kolbert published by Buchet-Chastel.

Baptiste Gaborit

Find 3 minutes for the planet

We would love to give thanks to the author of this write-up for this awesome material

Nature now incapable of surviving without man: the shocking investigation by journalist Elizabeth Kolbert

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(793) "She received the prestigious Pulitzer Prize in 2015 for her best-selling book: The 6and extinction, dedicated to the biodiversity crisis. American journalist Elizabeth Kolbert published her latest book yesterday in France: fish in the desert published by Buchet-Chastel, or how man is now trying to repair nature after having seriously damaged it. Asian carp had ... Read more" ["atom_content"]=> string(5493) "

She received the prestigious Pulitzer Prize in 2015 for her best-selling book: The 6and extinction, dedicated to the biodiversity crisis. American journalist Elizabeth Kolbert published her latest book yesterday in France: fish in the desert published by Buchet-Chastel, or how man is now trying to repair nature after having seriously damaged it.

Asian carp had to control the proliferation of aquatic weeds

This is the latest investigation by the journalist from New Yorker, which begins on the banks of the Chicago Canal. This sanitary and naval canal was inaugurated a century ago and built to reverse the course of the Chicago River, which then discharged the city’s wastewater into Lake Michigan. According to Elizabeth Kolbert “They connected two great hydrological systems, that of the Great Lakes and the Mississippi River which were not connected until then. Now there are many invasive species in both environments and they can go from one to the other..

Read also

The problem is that the United States imported for the first time in 1963, Asian carp. They were to control the proliferation of aquatic weeds. But they are the ones that will proliferate. They can weigh up to 40 kilos and wherever they are, they outcompete native fish. They are now in very large numbers in the Mississippi and threaten to rise in the Great Lakes. The US Army engineers had to find a solution to prevent them from passing: “what they imagined was to pass a lot of electricity through the water. And so when a living creature arrives, it takes an electric shock. The objective is for these carp to turn back and go the other way”.

A degraded, altered nature, which is no longer able to survive without the help of man

Elizabeth Kolbert’s investigation also takes her to the offices of researchers at Harvard, who are working on solar geoengineering. The objective is to diffuse particles of calcite for example, in the stratosphere to reflect the rays of the sun and thus reduce the quantity of sun which arrives on Earth. One downside is that the sky could turn white all over the place. Elizabeth Kolbert also travels to Australia to the world’s largest research aquarium. The researchers wait for nights to reproduce corals which they hope will become more resistant to the new climatic conditions: “The idea here is that if you bring together corals that could never have reproduced in the wild, you create hybrid corals that might be tougher than their parents. This is the heart of the super coral project” says Elizabeth Kolbert.

Read also

This is called assisted evolution and beyond corals, it is actually the idea of ​​an assisted nature that Elizabeth Kolbert disseminates in her book. A degraded, altered nature, which is often no longer able to survive without the help of man: “this idea that we have so disrupted the living world – we have succeeded in warming all the oceans for example – and that we must now intervene on the living to try to adapt it to the modifications that we have created, it struck me and it opens a new chapter in the long history of our relationship with nature”. Species pushed to the edge of the precipice and then brought back to us. This is the case, for example, of pupfish, these tiny fish that live in a cavity in the middle of the Nevada desert. They almost disappeared since promoters had pumped the aquifers around. They owe their salvation only to the intervention of biologists. fish in the desert is signed Elizabeth Kolbert published by Buchet-Chastel.

Baptiste Gaborit

Find 3 minutes for the planet

We would love to give thanks to the author of this write-up for this awesome material

Nature now incapable of surviving without man: the shocking investigation by journalist Elizabeth Kolbert

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642784823) } [1]=> array(11) { ["title"]=> string(51) "The Gabo family, friend and writer in a single book" ["link"]=> string(86) "https://awardworld.net/nobel-prize/the-gabo-family-friend-and-writer-in-a-single-book/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 15:58:17 +0000" ["category"]=> string(43) "Nobel PrizebookfamilyfriendGabosinglewriter" ["guid"]=> string(31) "https://awardworld.net/?p=13021" ["description"]=> string(595) "Unknown even to his biographers, the small photograph of Gabriel Garcia Marquez “Gabito” in which he appears dressed in a white robe, lying on a pillow and taken a few days after birth, is one of the findings contained in the book “Gabriel García Márquez. Life, magic and work of a global writer” written by ... Read more" ["content"]=> array(1) { ["encoded"]=> string(11432) "

Unknown even to his biographers, the small photograph of Gabriel Garcia Marquez “Gabito” in which he appears dressed in a white robe, lying on a pillow and taken a few days after birth, is one of the findings contained in the book “Gabriel García Márquez. Life, magic and work of a global writer” written by Alvaro Santana Acuna, a work where you can also see a Gabo in a bathing suit during a vacation on the Italian island of Pantelleria, or read the beginning of the first chapter 1 of the manuscript of “See you in August”, the novel that left unfinished the Nobel Prize for Literature or see passages such as “Visita al Papa” that correspond to the second volume, also unfinished, of his memoirs “Vivir para narrala”.

Unpublished or little-known images alternate with iconic photographs of Gabriel García Márquez, such as the one in which he corrects the galleys of “One Hundred Years of Solitude”, or that other portrait where he poses with the novel “One Hundred Years of Solitude” on his head, or that other very famous one where he smiles with a black eye after the blow he dealt him Mario Vargas Llosa. Between photographs, drawings, objects, book covers, correspondence, manuscripts, newspaper and magazine clippings, and a variety of documents that exceed 500 images, the life, work and miracles of the global writer who died on 17 April 2014, and whose illustrated biography is published for the first time, a book published by the Mexican publisher El Equilibrista in co-edition with the Foundation for Mexican Letters via House study One Hundred Years of Solitude.

The work whose cover was designed by Gonzalo Garcia Barcha, son of the Colombian writer, was conceived as a catalog for the exhibition “Gabriel García Márquez: The Making of a Global Writer” based on the documents in the Gabriel García Márquez personal archive kept by the Harry Ransom Center in Austin, U.S, but it soon surpassed the catalog project and today it is a unique book that in 331 pages covers the life of “Gabo” and his rise to literary glory with “One Hundred Years of Solitude”, his iconic novel.

Read also: A life told from the wardrobe of García Márquez and Mercedes Barcha

Photo of the Colombian a few weeks old and dedicated to “my cousins, Nicolás and Juancito. Gabito. 1927″. Unidentified author. Photo: Álvaro Santana Acuña.

“I really like to say that one can see García Márquez even in underclothes, you can see him in a swimsuit. We have obtained little-known materials such as the oldest known photo of García Márquez when they are barely a few months old, and then we also have the opportunity to show some facets that account for his family life, and see that he was a person very dedicated to his family, her friends, not only when she was famous, but even before she was, literary friends and artists who also helped create her works with ideas and stories”, Álvaro Santa Acuña assures.

In interview with THE UNIVERSAL, the historian and sociologist who works on the work of García Márquez, especially in “One Hundred Years of Solitude” and was the first to investigate the personal archive of the Colombian writer and is the curator of the exhibition that was exhibited in the United States and that will be inaugurated in the third week of June 2022, in the Museum of Modern Art from Mexico, assures that the biography allows you to see García Márquez when he was a young writer at the age of 27 and was about to publish his first novel, or to listen to him reading “One hundred years of solitude“, through the QR code that were added as an extension to sound and audiovisual documents.

“I recognize the quality of the works of Dasso Saldívar and Gerard Martín, but what we wanted to do was something different, we really wanted to bring García Márquez closer through all this photographic and documentary evidence that is in his own archive and that has also been staying in other archives and in other libraries. It was a long but very rewarding process,” says Santa Acuna, who celebrates that they achieved an edition that is a kind of choreography, where the text can be read and is complemented by the images in an integrated story.

Read also: Colombian journalist reveals that García Márquez has a Mexican daughter

“Gabriel Garcia Marquez. Life, magic and work of a global writer” is an autonomous biography of García Márquez in the sense that it reflects the ideas that guide the exhibition that will come to Mexico, which is biographical in nature, but also includes chapters on the multidimensional character, “we try to offer exactly that globality that García Márquez has, there is no longer a single García Márquez, rather multiple ways of approaching him”.

untitled_134016367.jpg
At the age of 36, García Márquez on the Paseo de la Reforma in Mexico City, in 1963. Photo: Hernán Díaz

Thus, the book and the exhibition go from his birth and educational training in Colombia, his departure and stay in Europe where he finished his training, his discovery of Latin America seen from Europe, his trips to Venezuela, Cuba and New York; of course his stay in Mexico, which occupies a very important place, and all the contacts he made; After which comes the entire chapter of “One Hundred Years of Solitude”, a novel that split his life in two, as he himself said, there was a before and after “One Hundred Years of Solitude”.

That was when, both in the exhibition and in the book, Santa Acuña decided to use a structure that was no longer strictly biographical, that is, while in the first part it is marked by the biographical path, starting with “One Hundred Years of Solitude” Gabriel García Márquez becomes many people and forms: there is of course a chapter to all the works he wrote later, including the last one that he did not finish: “See you in August”, but there are also his other facets.

Read also: Gabo’s children “always knew of the existence of their sister”: nephew

“There is the political or cultural figure, that is, the person who was a friend of Fidel Castro, from Carlos Salinas de Gortari and who also met Andres Manuel Lopez Obrador and presidents and leaders of other countries, there is the Gabo who visited the White House with bill clinton, and then there is also Gabo who, within all that political facet, also has a very strong cultural presence as someone who, for example, supported Shakira in his early years, someone who applauded the Nobel Prize he received Rigoberta Menchu, the one that created the Foundation for New Journalism, the Film School in Cuba, we have tried to reflect that in the book and also in the exhibition”, affirms Santana Acuña.

cult_gabriel_garcia_marquez_a_portrait_between_the_public_and_the._134016529.jpg
A draft of the first chapter of See you in August, a novel that the Nobel Prize left unfinished. Photo: Harry Ransom Center, Collection of Gabriel García Márquez

For the author of “Ascent to Glory: How One Hundred Years of Solitude Was Writenand Became a Global Classic” (New York, 2020) which will soon be published in Mexico under the title “Many Years Later: Biography of One Hundred Years of Solitude”, it was very important to show his last facet as a popular figure that is mentioned in the lyrics of the songs, that appears on the covers of gossip magazines and on the 50 thousand Colombian peso bill, that is mentioned in other works of art, in literary works, in magical realism films, but also that aspect of García Márquez as a global icon.

“The second part of the book, which is also like the second part of the exposition, try to capture that, how Gabo really becomes a multidimensional and global character”, says the doctor from Harvard University, and professor at Whitman College, who assures that after more than ten years of work on the play de García Márquez would like to close with a critical edition of “One Hundred Years of Solitude”, an academic edition, in great depth trying to study the text, from characteristics to misprints and different stages of creation, “what I would like to do with this edition criticism is to unravel all the threads that contribute to creating that great literary fabric that is ‘One Hundred Years of Solitude’”.

Read also: Rome will have a street dedicated to the Colombian writer Gabriel García Márquez

But first he will arrive in Mexico in June to mount the exhibition of Gabo’s personal archive at the Museum of Modern Art, an exhibition very similar to the one in the United States, “I think that 95% of the materials from the Ransom Center will travel to Mexico , we are talking about approximately 300 physical objects, between photographs and texts, even larger objects such as computers and typewriters” and points out that there will also be new materials that will be added from Mexican archives, libraries and museums.

The book

cult_ggm_life_magic_and_work_of_a_global_writer_134016256.jpg
Published by the publishing house El Equilibrista in co-edition with the Foundation for Mexican Letters, through Casa Estudio One Hundred Years of Solitude.

Sentence

“We try to offer that globality that García Márquez has, there is no longer a single García Márquez, rather multiple ways of approaching him”. Alvaro Santana Acuna. Writer.

We would love to give thanks to the author of this write-up for this outstanding content

The Gabo family, friend and writer in a single book

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(595) "Unknown even to his biographers, the small photograph of Gabriel Garcia Marquez “Gabito” in which he appears dressed in a white robe, lying on a pillow and taken a few days after birth, is one of the findings contained in the book “Gabriel García Márquez. Life, magic and work of a global writer” written by ... Read more" ["atom_content"]=> string(11432) "

Unknown even to his biographers, the small photograph of Gabriel Garcia Marquez “Gabito” in which he appears dressed in a white robe, lying on a pillow and taken a few days after birth, is one of the findings contained in the book “Gabriel García Márquez. Life, magic and work of a global writer” written by Alvaro Santana Acuna, a work where you can also see a Gabo in a bathing suit during a vacation on the Italian island of Pantelleria, or read the beginning of the first chapter 1 of the manuscript of “See you in August”, the novel that left unfinished the Nobel Prize for Literature or see passages such as “Visita al Papa” that correspond to the second volume, also unfinished, of his memoirs “Vivir para narrala”.

Unpublished or little-known images alternate with iconic photographs of Gabriel García Márquez, such as the one in which he corrects the galleys of “One Hundred Years of Solitude”, or that other portrait where he poses with the novel “One Hundred Years of Solitude” on his head, or that other very famous one where he smiles with a black eye after the blow he dealt him Mario Vargas Llosa. Between photographs, drawings, objects, book covers, correspondence, manuscripts, newspaper and magazine clippings, and a variety of documents that exceed 500 images, the life, work and miracles of the global writer who died on 17 April 2014, and whose illustrated biography is published for the first time, a book published by the Mexican publisher El Equilibrista in co-edition with the Foundation for Mexican Letters via House study One Hundred Years of Solitude.

The work whose cover was designed by Gonzalo Garcia Barcha, son of the Colombian writer, was conceived as a catalog for the exhibition “Gabriel García Márquez: The Making of a Global Writer” based on the documents in the Gabriel García Márquez personal archive kept by the Harry Ransom Center in Austin, U.S, but it soon surpassed the catalog project and today it is a unique book that in 331 pages covers the life of “Gabo” and his rise to literary glory with “One Hundred Years of Solitude”, his iconic novel.

Read also: A life told from the wardrobe of García Márquez and Mercedes Barcha

Photo of the Colombian a few weeks old and dedicated to “my cousins, Nicolás and Juancito. Gabito. 1927″. Unidentified author. Photo: Álvaro Santana Acuña.

“I really like to say that one can see García Márquez even in underclothes, you can see him in a swimsuit. We have obtained little-known materials such as the oldest known photo of García Márquez when they are barely a few months old, and then we also have the opportunity to show some facets that account for his family life, and see that he was a person very dedicated to his family, her friends, not only when she was famous, but even before she was, literary friends and artists who also helped create her works with ideas and stories”, Álvaro Santa Acuña assures.

In interview with THE UNIVERSAL, the historian and sociologist who works on the work of García Márquez, especially in “One Hundred Years of Solitude” and was the first to investigate the personal archive of the Colombian writer and is the curator of the exhibition that was exhibited in the United States and that will be inaugurated in the third week of June 2022, in the Museum of Modern Art from Mexico, assures that the biography allows you to see García Márquez when he was a young writer at the age of 27 and was about to publish his first novel, or to listen to him reading “One hundred years of solitude“, through the QR code that were added as an extension to sound and audiovisual documents.

“I recognize the quality of the works of Dasso Saldívar and Gerard Martín, but what we wanted to do was something different, we really wanted to bring García Márquez closer through all this photographic and documentary evidence that is in his own archive and that has also been staying in other archives and in other libraries. It was a long but very rewarding process,” says Santa Acuna, who celebrates that they achieved an edition that is a kind of choreography, where the text can be read and is complemented by the images in an integrated story.

Read also: Colombian journalist reveals that García Márquez has a Mexican daughter

“Gabriel Garcia Marquez. Life, magic and work of a global writer” is an autonomous biography of García Márquez in the sense that it reflects the ideas that guide the exhibition that will come to Mexico, which is biographical in nature, but also includes chapters on the multidimensional character, “we try to offer exactly that globality that García Márquez has, there is no longer a single García Márquez, rather multiple ways of approaching him”.

untitled_134016367.jpg
At the age of 36, García Márquez on the Paseo de la Reforma in Mexico City, in 1963. Photo: Hernán Díaz

Thus, the book and the exhibition go from his birth and educational training in Colombia, his departure and stay in Europe where he finished his training, his discovery of Latin America seen from Europe, his trips to Venezuela, Cuba and New York; of course his stay in Mexico, which occupies a very important place, and all the contacts he made; After which comes the entire chapter of “One Hundred Years of Solitude”, a novel that split his life in two, as he himself said, there was a before and after “One Hundred Years of Solitude”.

That was when, both in the exhibition and in the book, Santa Acuña decided to use a structure that was no longer strictly biographical, that is, while in the first part it is marked by the biographical path, starting with “One Hundred Years of Solitude” Gabriel García Márquez becomes many people and forms: there is of course a chapter to all the works he wrote later, including the last one that he did not finish: “See you in August”, but there are also his other facets.

Read also: Gabo’s children “always knew of the existence of their sister”: nephew

“There is the political or cultural figure, that is, the person who was a friend of Fidel Castro, from Carlos Salinas de Gortari and who also met Andres Manuel Lopez Obrador and presidents and leaders of other countries, there is the Gabo who visited the White House with bill clinton, and then there is also Gabo who, within all that political facet, also has a very strong cultural presence as someone who, for example, supported Shakira in his early years, someone who applauded the Nobel Prize he received Rigoberta Menchu, the one that created the Foundation for New Journalism, the Film School in Cuba, we have tried to reflect that in the book and also in the exhibition”, affirms Santana Acuña.

cult_gabriel_garcia_marquez_a_portrait_between_the_public_and_the._134016529.jpg
A draft of the first chapter of See you in August, a novel that the Nobel Prize left unfinished. Photo: Harry Ransom Center, Collection of Gabriel García Márquez

For the author of “Ascent to Glory: How One Hundred Years of Solitude Was Writenand Became a Global Classic” (New York, 2020) which will soon be published in Mexico under the title “Many Years Later: Biography of One Hundred Years of Solitude”, it was very important to show his last facet as a popular figure that is mentioned in the lyrics of the songs, that appears on the covers of gossip magazines and on the 50 thousand Colombian peso bill, that is mentioned in other works of art, in literary works, in magical realism films, but also that aspect of García Márquez as a global icon.

“The second part of the book, which is also like the second part of the exposition, try to capture that, how Gabo really becomes a multidimensional and global character”, says the doctor from Harvard University, and professor at Whitman College, who assures that after more than ten years of work on the play de García Márquez would like to close with a critical edition of “One Hundred Years of Solitude”, an academic edition, in great depth trying to study the text, from characteristics to misprints and different stages of creation, “what I would like to do with this edition criticism is to unravel all the threads that contribute to creating that great literary fabric that is ‘One Hundred Years of Solitude’”.

Read also: Rome will have a street dedicated to the Colombian writer Gabriel García Márquez

But first he will arrive in Mexico in June to mount the exhibition of Gabo’s personal archive at the Museum of Modern Art, an exhibition very similar to the one in the United States, “I think that 95% of the materials from the Ransom Center will travel to Mexico , we are talking about approximately 300 physical objects, between photographs and texts, even larger objects such as computers and typewriters” and points out that there will also be new materials that will be added from Mexican archives, libraries and museums.

The book

cult_ggm_life_magic_and_work_of_a_global_writer_134016256.jpg
Published by the publishing house El Equilibrista in co-edition with the Foundation for Mexican Letters, through Casa Estudio One Hundred Years of Solitude.

Sentence

“We try to offer that globality that García Márquez has, there is no longer a single García Márquez, rather multiple ways of approaching him”. Alvaro Santana Acuna. Writer.

We would love to give thanks to the author of this write-up for this outstanding content

The Gabo family, friend and writer in a single book

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642780697) } [2]=> array(11) { ["title"]=> string(30) "Nicolas Cage, against all odds" ["link"]=> string(63) "https://awardworld.net/palme-dor/nicolas-cage-against-all-odds/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 15:57:05 +0000" ["category"]=> string(27) "Palme D’orCageNicolasodds" ["guid"]=> string(31) "https://awardworld.net/?p=13018" ["description"]=> string(524) "Fri, January 21, 2022 A little red book of 150 pages, part biography, part novel and part creed written by Lelo Jimmy Batista, author and screenwriter who declares his love for Hollywood’s most bizarre actor: this is what Nicolas Cage against all odds. Nicolas Cage has played in films that have marked the history of ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5677) "

Fri, January 21, 2022

A little red book of 150 pages, part biography, part novel and part creed written by Lelo Jimmy Batista, author and screenwriter who declares his love for Hollywood’s most bizarre actor: this is what Nicolas Cage against all odds. Nicolas Cage has played in films that have marked the history of cinema: Sailor & Lula by David Lynch (Palme d’Or in 1990), Leaving Las Vegas (for which he won the Best Actor Oscar in 1996), filmed with the greatest directors (John Woo, Brian De Palma, Martin Scorsese, Oliver Stone, Werner Herzog, the Coen brothers), starred in blockbusters or blockbuster movies (The Wings of Hell, Rock, The City of Angels) and also chained third-rate films, nanars which come out directly on VOD and failed projects. For all these reasons and for a hundred more told in this book, Nicolas Cage has become one of the most popular memes of the 2010s and an emblem of internet culture. Members of the Reddit forum have even created a parody religion, cagisme, which considers Nicolas Cage as “the only true God”…

The book is built like its subject: in form and content, it sticks to the personality of Nicolas Cage in 11 chapters, which are 11 moments in his career and all bear the name of an animal, as if the actor had totems that allow him to incarnate: horse, whale, crab, dragon, pony, cockroach, snake, hyena, beetle, beast and crow. The first pages open with a recurring nightmare of little Nicolas when he was a child in California, with collapsing buildings, a clown, a giant cockroach and his mother. The tone is set: this portrait will be a mix of quotes, real facts and imagined scenes. Like the actor, the book is crossed, hallucinated, but also very precise and marked by a lot of work. Lelo Jimmy Batista relies on solid documentation (archives, interviews, biographies) to describe the significant episodes in the life of the phenomenon. From birth, his father said of Nicolas Cage that he “looks like an alien” and very quickly the child is caught up in the rivalry between his parent and his uncle, Francis Ford Coppola, who knows success with The Godfather in 1973. While his mother was in the psychiatric hospital, he developed a passion for comics, including Superman, and we saw his debut as galley slaves in the film industry, then the small roles he obtained thanks to his uncle. But the name Coppola becoming too heavy to carry, Nicolas decides to adopt the nickname “Cage”, a double homage to the superhero Luke Cage and to the experimental musician John Cage.

Why this excessive fascination for Nicolas Cage? Because his career, marked by escapades and surprising choices, is a metaphor for life! This is essentially what his father told him when he let go: “Tom Cruise sells perfection, you sell imperfection”. The journey into the actor’s psyche is also a journey through time and space: we follow his friendship with Sean Penn and the story follows normal moments in Nicolas Cage’s life: Johnny Depp squatting on his sofa, a strip club, car breakdowns, a clairvoyant, a python skin jacket, a pub crawl in Ireland, the Oscars, the bar counter in Los Angeles, impossible tests to pass to have the right to marry Patricia Arquette, his marriage to Elvis Presley’s daughter during a voodoo ceremony, mystical autographs, a domestic crow anecdotes on the sets, like this shoot where he plays a character who sinks into madness and where he insists on eating a real cockroach despite it being his ultimate phobia.

Lelo Jimmy Batista has a very beautiful pen, a colorful, funny and demanding, but accessible writing, which makes this book a literary object apart. Whether it is to describe fantasized scenes, to inject emotions at the end of chapters, to project the actor’s imagination or to tell the Hollywood context, we are 200% immersed in what Nicolas Cage feels, who immersed himself 200% in all of his characters. We come out of this book with the certainty that Nicolas Cage is a hero of modern times. The guy that people take for an idiot at first meeting (including his wife) but who in the end turns out to be the most human of all, because he is an artist misunderstood by the crowd, imbued with the value of work, inhabited by his roles, who transgresses the rules, who experiments, who misses, and who “expresses a truth”. Anyway, how can you not love an actor who says “One day I would like to play a flower in a film” ?

What emerges from this book is that no one is more human than Nicolas Cage, a guy who people take for an idiot on first meeting (even his wife), but who in the end turns out to be the most human. of all, because he is an artist misunderstood by the crowd, attached to the value of work, inhabited by his roles, who transgresses the rules, who experiments, who fails, and who “expresses a truth”. How not to like an actor who says “one day I would like to play a flower in a film”?

We want to thank the author of this post for this outstanding content

Nicolas Cage, against all odds

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(524) "Fri, January 21, 2022 A little red book of 150 pages, part biography, part novel and part creed written by Lelo Jimmy Batista, author and screenwriter who declares his love for Hollywood’s most bizarre actor: this is what Nicolas Cage against all odds. Nicolas Cage has played in films that have marked the history of ... Read more" ["atom_content"]=> string(5677) "

Fri, January 21, 2022

A little red book of 150 pages, part biography, part novel and part creed written by Lelo Jimmy Batista, author and screenwriter who declares his love for Hollywood’s most bizarre actor: this is what Nicolas Cage against all odds. Nicolas Cage has played in films that have marked the history of cinema: Sailor & Lula by David Lynch (Palme d’Or in 1990), Leaving Las Vegas (for which he won the Best Actor Oscar in 1996), filmed with the greatest directors (John Woo, Brian De Palma, Martin Scorsese, Oliver Stone, Werner Herzog, the Coen brothers), starred in blockbusters or blockbuster movies (The Wings of Hell, Rock, The City of Angels) and also chained third-rate films, nanars which come out directly on VOD and failed projects. For all these reasons and for a hundred more told in this book, Nicolas Cage has become one of the most popular memes of the 2010s and an emblem of internet culture. Members of the Reddit forum have even created a parody religion, cagisme, which considers Nicolas Cage as “the only true God”…

The book is built like its subject: in form and content, it sticks to the personality of Nicolas Cage in 11 chapters, which are 11 moments in his career and all bear the name of an animal, as if the actor had totems that allow him to incarnate: horse, whale, crab, dragon, pony, cockroach, snake, hyena, beetle, beast and crow. The first pages open with a recurring nightmare of little Nicolas when he was a child in California, with collapsing buildings, a clown, a giant cockroach and his mother. The tone is set: this portrait will be a mix of quotes, real facts and imagined scenes. Like the actor, the book is crossed, hallucinated, but also very precise and marked by a lot of work. Lelo Jimmy Batista relies on solid documentation (archives, interviews, biographies) to describe the significant episodes in the life of the phenomenon. From birth, his father said of Nicolas Cage that he “looks like an alien” and very quickly the child is caught up in the rivalry between his parent and his uncle, Francis Ford Coppola, who knows success with The Godfather in 1973. While his mother was in the psychiatric hospital, he developed a passion for comics, including Superman, and we saw his debut as galley slaves in the film industry, then the small roles he obtained thanks to his uncle. But the name Coppola becoming too heavy to carry, Nicolas decides to adopt the nickname “Cage”, a double homage to the superhero Luke Cage and to the experimental musician John Cage.

Why this excessive fascination for Nicolas Cage? Because his career, marked by escapades and surprising choices, is a metaphor for life! This is essentially what his father told him when he let go: “Tom Cruise sells perfection, you sell imperfection”. The journey into the actor’s psyche is also a journey through time and space: we follow his friendship with Sean Penn and the story follows normal moments in Nicolas Cage’s life: Johnny Depp squatting on his sofa, a strip club, car breakdowns, a clairvoyant, a python skin jacket, a pub crawl in Ireland, the Oscars, the bar counter in Los Angeles, impossible tests to pass to have the right to marry Patricia Arquette, his marriage to Elvis Presley’s daughter during a voodoo ceremony, mystical autographs, a domestic crow anecdotes on the sets, like this shoot where he plays a character who sinks into madness and where he insists on eating a real cockroach despite it being his ultimate phobia.

Lelo Jimmy Batista has a very beautiful pen, a colorful, funny and demanding, but accessible writing, which makes this book a literary object apart. Whether it is to describe fantasized scenes, to inject emotions at the end of chapters, to project the actor’s imagination or to tell the Hollywood context, we are 200% immersed in what Nicolas Cage feels, who immersed himself 200% in all of his characters. We come out of this book with the certainty that Nicolas Cage is a hero of modern times. The guy that people take for an idiot at first meeting (including his wife) but who in the end turns out to be the most human of all, because he is an artist misunderstood by the crowd, imbued with the value of work, inhabited by his roles, who transgresses the rules, who experiments, who misses, and who “expresses a truth”. Anyway, how can you not love an actor who says “One day I would like to play a flower in a film” ?

What emerges from this book is that no one is more human than Nicolas Cage, a guy who people take for an idiot on first meeting (even his wife), but who in the end turns out to be the most human. of all, because he is an artist misunderstood by the crowd, attached to the value of work, inhabited by his roles, who transgresses the rules, who experiments, who fails, and who “expresses a truth”. How not to like an actor who says “one day I would like to play a flower in a film”?

We want to thank the author of this post for this outstanding content

Nicolas Cage, against all odds

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642780625) } [3]=> array(11) { ["title"]=> string(86) "Movie theater. “Where are the Jews?” Controversy at the Oscars Museum, Hollywood" ["link"]=> string(114) "https://awardworld.net/academy-awards/movie-theater-where-are-the-jews-controversy-at-the-oscars-museum-hollywood/" ["dc"]=> array(1) { ["creator"]=> string(10) "Lisa White" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 15:23:09 +0000" ["category"]=> string(62) "Academy AwardscontroversyHollywoodJewsMoviemuseumOscarstheater" ["guid"]=> string(31) "https://awardworld.net/?p=13015" ["description"]=> string(737) "Opened in September 2021, the Academy Museum is one of the most visited places in Los Angeles. But a controversy covers within the institution, accused of obscuring the part of European Jewish immigrants in the creation of Hollywood. “Can you imagine a museum dedicated to Renaissance painting without the Italians?” comments Thomas Doherty, a historian ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5845) "

Opened in September 2021, the Academy Museum is one of the most visited places in Los Angeles. But a controversy covers within the institution, accused of obscuring the part of European Jewish immigrants in the creation of Hollywood.

“Can you imagine a museum dedicated to Renaissance painting without the Italians?” comments Thomas Doherty, a historian specializing in Hollywood, professor at Brandeis University (Massachusetts). According to the American magazine RollingStone, he would not be the only one to be indignant. The cause of this anger? The brand new Academy Museum of Motion Pictures, created by the Academy of Oscars, in Los Angeles. The role played by European Jewish immigrants in the creation of the Hollywood industry would simply be overlooked.

The controversy would have started to simmer even before the inauguration gala of the museum (whose building was designed by the “starchitect” Renzo Piano), on September 25, 2021. “Donors and influential members of the Academy Awards, many of whom had visited the venue for a preview, were outraged that the origin story of Hollywood – and therefore of this group of immigrant, Jewish for the most part, who had fled persecution in their home countries and created what would become a billion-dollar American empire — was conspicuous by its absence,” writing RollingStone.

The Jewish pioneers, conspicuously absent

No mention, or almost, of Sam Goldwyn, Marcus Loew, Carl Laemmle or even Jack Warner, the magnates who laid the foundations of the Hollywood myth. As pointed out RollingStone:

Jewish film pioneers are barely mentioned, with the exception of the director of ‘Sunset Boulevard’, Billy Wilder. He is entitled to a small cartouche next to one of the six Oscars he won, where one can read that he fled Nazi Germany because of his religion.

“Where are the Jews?” admits to having wondered Jonathan Greenblatt, the director of the Anti-Defamation League (ADL), the leading organization fighting anti-Semitism in the United States, when he first visited the museum.

Miyazaki rather than Disney

“Why does the museum display such a polemical bias? The question remains a source of debate and astonishment, notice RollingStone. According to some sources, a small number of members of the academy lobbied for non-white cinema to be given prominence, to the detriment of contributions made by white people, which were deliberately minimized. This would explain, according to some people interviewed by the magazine, that Japanese animated film director Hayao Miyazaki had the honor of a temporary exhibition, rather than Walt Disney. Or that the Ethiopian filmmaker Hailé Gerima is highlighted, while a Francis Ford Coppola (descendant of Italian immigrants and raised in the Catholic faith) is absent subscribers.

“If identity was a priority in programming, Jewish identity was apparently not”, thinks he can sum up RollingStone.

Soon a permanent exhibition

However, Bill Kramer, the president of the museum, announces himself ready to “to correct the shot”. He announces for next year an exhibition on the founding fathers of Hollywood. Initially programmed to be temporary, this will be “the first and only permanent exhibition” proposed by the institution, specifies the publication.

Will that be enough to put an end to the controversy? RollingStone seems willing to believe it. In conclusion of its article, the magazine gives the floor to producer Sid Ganis, very involved in the creation of the museum. “It’s a museum that covers more than a hundred years of film history. Admittedly, we did not choose to open on the origin story, but we chose to highlight what was relevant to the audience we were addressing and which needed to be included”. he declares. Before adding:

I have friends who told me: ‘Where are the Jews?’ It’s all about perception. They are here, and we will see more of them very soon. We can’t miss them.”

Source

Established in 1967, RollingStone was the crucible of the new American journalism. From these columns came great feathers like Tom Wolfe or Hunter S. Thomson, the priest of the gonzo journalism. This rocker’s bible publishes

[…]

Read more

We want to say thanks to the writer of this short article for this outstanding content

Movie theater. “Where are the Jews?” Controversy at the Oscars Museum, Hollywood

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(737) "Opened in September 2021, the Academy Museum is one of the most visited places in Los Angeles. But a controversy covers within the institution, accused of obscuring the part of European Jewish immigrants in the creation of Hollywood. “Can you imagine a museum dedicated to Renaissance painting without the Italians?” comments Thomas Doherty, a historian ... Read more" ["atom_content"]=> string(5845) "

Opened in September 2021, the Academy Museum is one of the most visited places in Los Angeles. But a controversy covers within the institution, accused of obscuring the part of European Jewish immigrants in the creation of Hollywood.

“Can you imagine a museum dedicated to Renaissance painting without the Italians?” comments Thomas Doherty, a historian specializing in Hollywood, professor at Brandeis University (Massachusetts). According to the American magazine RollingStone, he would not be the only one to be indignant. The cause of this anger? The brand new Academy Museum of Motion Pictures, created by the Academy of Oscars, in Los Angeles. The role played by European Jewish immigrants in the creation of the Hollywood industry would simply be overlooked.

The controversy would have started to simmer even before the inauguration gala of the museum (whose building was designed by the “starchitect” Renzo Piano), on September 25, 2021. “Donors and influential members of the Academy Awards, many of whom had visited the venue for a preview, were outraged that the origin story of Hollywood – and therefore of this group of immigrant, Jewish for the most part, who had fled persecution in their home countries and created what would become a billion-dollar American empire — was conspicuous by its absence,” writing RollingStone.

The Jewish pioneers, conspicuously absent

No mention, or almost, of Sam Goldwyn, Marcus Loew, Carl Laemmle or even Jack Warner, the magnates who laid the foundations of the Hollywood myth. As pointed out RollingStone:

Jewish film pioneers are barely mentioned, with the exception of the director of ‘Sunset Boulevard’, Billy Wilder. He is entitled to a small cartouche next to one of the six Oscars he won, where one can read that he fled Nazi Germany because of his religion.

“Where are the Jews?” admits to having wondered Jonathan Greenblatt, the director of the Anti-Defamation League (ADL), the leading organization fighting anti-Semitism in the United States, when he first visited the museum.

Miyazaki rather than Disney

“Why does the museum display such a polemical bias? The question remains a source of debate and astonishment, notice RollingStone. According to some sources, a small number of members of the academy lobbied for non-white cinema to be given prominence, to the detriment of contributions made by white people, which were deliberately minimized. This would explain, according to some people interviewed by the magazine, that Japanese animated film director Hayao Miyazaki had the honor of a temporary exhibition, rather than Walt Disney. Or that the Ethiopian filmmaker Hailé Gerima is highlighted, while a Francis Ford Coppola (descendant of Italian immigrants and raised in the Catholic faith) is absent subscribers.

“If identity was a priority in programming, Jewish identity was apparently not”, thinks he can sum up RollingStone.

Soon a permanent exhibition

However, Bill Kramer, the president of the museum, announces himself ready to “to correct the shot”. He announces for next year an exhibition on the founding fathers of Hollywood. Initially programmed to be temporary, this will be “the first and only permanent exhibition” proposed by the institution, specifies the publication.

Will that be enough to put an end to the controversy? RollingStone seems willing to believe it. In conclusion of its article, the magazine gives the floor to producer Sid Ganis, very involved in the creation of the museum. “It’s a museum that covers more than a hundred years of film history. Admittedly, we did not choose to open on the origin story, but we chose to highlight what was relevant to the audience we were addressing and which needed to be included”. he declares. Before adding:

I have friends who told me: ‘Where are the Jews?’ It’s all about perception. They are here, and we will see more of them very soon. We can’t miss them.”

Source

Established in 1967, RollingStone was the crucible of the new American journalism. From these columns came great feathers like Tom Wolfe or Hunter S. Thomson, the priest of the gonzo journalism. This rocker’s bible publishes

[…]

Read more

We want to say thanks to the writer of this short article for this outstanding content

Movie theater. “Where are the Jews?” Controversy at the Oscars Museum, Hollywood

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642778589) } [4]=> array(11) { ["title"]=> string(58) "International box office of French films – December 2021" ["link"]=> string(88) "https://awardworld.net/palme-dor/international-box-office-of-french-films-december-2021/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 14:56:30 +0000" ["category"]=> string(53) "Palme D’orboxDecemberfilmsFrenchinternationaloffice" ["guid"]=> string(31) "https://awardworld.net/?p=13012" ["description"]=> string(618) "The Tuches 4 and The Wolf and the Lion each attract more than 100,000 foreign spectators. # Title Starters Revenue (€) Copies Numbercountry Accumulationentries Accumulationreceipts 1 The Tuches 4 113,480 1,051,205 56 2 113,480 1,051,205 2 The Wolf and the Lion 112,653 508 720 417 10 521 261 2,653,697 3 Around the world in 80 ... Read more" ["content"]=> array(1) { ["encoded"]=> string(18100) "
The Tuches 4 and The Wolf and the Lion each attract more than 100,000 foreign spectators.
# Title Starters Revenue (€) Copies Number
country
Accumulation
entries
Accumulation
receipts
1 The Tuches 4 113,480 1,051,205 56 2 113,480 1,051,205
2 The Wolf and the Lion 112,653 508 720 417 10 521 261 2,653,697
3 Around the world in 80 days 83,061 387,005 347 7 706 698 3,340,235
4 Titanium 75,347 447,630 391 18 413 353 2,994,394
5 give me wings 74,891 221 471 178 2 449,941 2,253,375
6 Benedetta 73,664 556 602 586 17 201 071 1,566,659
7 Delicious 71,338 688 163 228 8 181,447 1,415,702
8 Aline 59,595 470,785 391 11 157,587 1,259,834
9 eiffel 50,446 298,385 363 13 312 165 2,241,739
10 Annette 40,572 281,775 323 22 321 091 1,974,683
11 pile 18,264 52,952 43 4 94,035 311,072
12 The Fine Flower 17,480 112,269 116 6 164 270 1,278,434
13 Spoiled rotten 16,957 72,436 186 2 44,750 347,976
14 Little mom 16,842 132 272 138 8 119,333 866 014
15 lost illusions 15,784 106,292 71 2 33 113 296,510
16 The fabulous destiny of Amelie Poulain 14,813 101,940 84 4 22,420,085 133 707 687
17 My very dear children 14,625 142,840 31 2 14,625 142,840
18 The meaning of family 14,527 64,835 27 2 197 407 1,174,030
19 The Snow Panther 14,212 187 173 14 2 14,212 187 173
20 What have we (still) done to God? 13,692 47,022 81 3 3,766,852 28,428,447

As the global box office and movie releases have been slowly but steadily increasing since September, the appearance of the Omicron variant of Covid-19 and its rapid spread across the world has dealt another blow to the movie industry. Once again, the momentum of a recovery is disrupted and uncertainty returns. Unlike other waves, this time the closure of cinemas was not an obvious choice. de facto : if cinemas are effectively shut down in December 2021 (in Canada, Denmark, the Netherlands and Slovakia among others), the majority of States have chosen to keep them open, but have tightened the conditions for access (vaccination pass, FFP2 mask, sale of prohibited confectionery or even reintroduction of gauges). Inevitably, attendance slowed and viewers turned to a handful of films, including the latest episode of Spiderman (Sony), further widening the box office gap between the titles on offer. Consequently, also taking into account the fact that the epidemic peak has not been reached, many releases, mainly of films with high potential, are postponed. The new year therefore opens with a feeling of déjà vu.

Despite the difficulties just mentioned, French cinema retains its place on foreign screens in December 2021 and displays values ​​in line with those of November. If the leader of the month, The Tuches 4attracted 113,000 spectators (326,000 for #1 the previous month, The Wolf and the Lion), a greater number of titles mobilize more than 50,000 (9 vs. 4). In addition, 6 are operated in more than 10 territories (against 5).

The Wolf and the Lion

Europe captures 3 out of 4 French cinema admissions in December, the share of the western part amounting to nearly 50%. All the other geographical areas are below 100,000 admissions (North America just misses this symbolic threshold) and 10% market share. Poland is the first foreign market in number of spectators for French films in December 2021, driven by 229,000 tickets, i.e. nearly 1 admission in 5 of the total for the period. The other territory to exceed 100,000 spectators is Belgium & Luxembourg (13.3% market share). 3 of the 4 films bringing together more than 50,000 moviegoers on a market achieve this feat in Poland, while the other achieves it in Belgium & Luxembourg.

 The starts of Tuche 4, Délicieux and Aline bring comedy/drama back to center stage : 1 out of 3 foreign viewers of French cinema saw a film of this genre in December 2021. The adventure follows with more than 222,000 admissions, half of which go to wolf and lionWithout forgetting give me wings. Drama and biopic/war/history have a market share above 10%: Benedetta and eiffel exceeded 50,000 admissions, while no drama reached it this month.

French initiative films generate 90% of admissions recorded during the month of December, up on the previous month, led by two titles exceeding 100,000 tickets (The Tuches 4 and The Wolf and the Lion), then six others the 50,000. No minority production brings together more than 50,000 moviegoers: the film that stands out this month is Julie (in 12 chapters), chosen by 46,000 foreign spectators. The aforementioned title as well as The Wolf and the Lion provide foreign language productions with a share of 20.6%, reduced by more than half in one month. French-language films are gaining ground and account for almost 80% of the monthly result.

 The saga being highly appreciated by the public, it goes without saying that The Tuches 4 was eagerly awaited in the neighboring French-speaking markets, mainly in Belgium. The closure of cinemas across the country for a few days certainly impacted the film’s box office, but the public was back as soon as they reopened. 100,000 Belgians have already discovered it (Alternative Films), which makes it the second best French result on this market in 2021 after Kaamelott – First part (Belga Films – 122,000). The Wolf and the Lion continued its good momentum and exceeded half a million tickets internationally, including 202,000 in Poland (Kino Swiat). Monolith Films launches give me wings and Around the world in 80 days on the screens of the country and they shine within the local top 5: a few weeks of exploitation allowed them to become respectively the second and third most viewed French films of 2021 in this Eastern country. Thanks to Titanium (Altitude Film), majority French-language productions are back in the UK & Irish top 10 15 months later Wretched (Altitude Film – £178,000, 25,500 admissions). The Palme d’or achieved its best European start in this market (£167,000, 24,000 admissions). In Oceania, Palace Film perpetuates the tradition by offering a French production for Boxing Day (December 26). In 2021, the ambassador is Delicious which has already accounted for AU$741,000, previews and festival appearances included, which corresponds to around 52,000 admissions (NZ$262,000 and 10,000 admissions in New Zealand).

–> This analysis can be downloaded in PDF format below
(French version only).


This analysis is written on the basis of the results listed on 12 January 2022. The figures being constantly consolidated, the graph created automatically by the site will differ from the table present in this news item.

Author : Andrea Sponchiado

Last update : January 21, 2022 at 14:50 CET

We would like to give thanks to the author of this article for this amazing material

International box office of French films – December 2021

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(618) "The Tuches 4 and The Wolf and the Lion each attract more than 100,000 foreign spectators. # Title Starters Revenue (€) Copies Numbercountry Accumulationentries Accumulationreceipts 1 The Tuches 4 113,480 1,051,205 56 2 113,480 1,051,205 2 The Wolf and the Lion 112,653 508 720 417 10 521 261 2,653,697 3 Around the world in 80 ... Read more" ["atom_content"]=> string(18100) "
The Tuches 4 and The Wolf and the Lion each attract more than 100,000 foreign spectators.
# Title Starters Revenue (€) Copies Number
country
Accumulation
entries
Accumulation
receipts
1 The Tuches 4 113,480 1,051,205 56 2 113,480 1,051,205
2 The Wolf and the Lion 112,653 508 720 417 10 521 261 2,653,697
3 Around the world in 80 days 83,061 387,005 347 7 706 698 3,340,235
4 Titanium 75,347 447,630 391 18 413 353 2,994,394
5 give me wings 74,891 221 471 178 2 449,941 2,253,375
6 Benedetta 73,664 556 602 586 17 201 071 1,566,659
7 Delicious 71,338 688 163 228 8 181,447 1,415,702
8 Aline 59,595 470,785 391 11 157,587 1,259,834
9 eiffel 50,446 298,385 363 13 312 165 2,241,739
10 Annette 40,572 281,775 323 22 321 091 1,974,683
11 pile 18,264 52,952 43 4 94,035 311,072
12 The Fine Flower 17,480 112,269 116 6 164 270 1,278,434
13 Spoiled rotten 16,957 72,436 186 2 44,750 347,976
14 Little mom 16,842 132 272 138 8 119,333 866 014
15 lost illusions 15,784 106,292 71 2 33 113 296,510
16 The fabulous destiny of Amelie Poulain 14,813 101,940 84 4 22,420,085 133 707 687
17 My very dear children 14,625 142,840 31 2 14,625 142,840
18 The meaning of family 14,527 64,835 27 2 197 407 1,174,030
19 The Snow Panther 14,212 187 173 14 2 14,212 187 173
20 What have we (still) done to God? 13,692 47,022 81 3 3,766,852 28,428,447

As the global box office and movie releases have been slowly but steadily increasing since September, the appearance of the Omicron variant of Covid-19 and its rapid spread across the world has dealt another blow to the movie industry. Once again, the momentum of a recovery is disrupted and uncertainty returns. Unlike other waves, this time the closure of cinemas was not an obvious choice. de facto : if cinemas are effectively shut down in December 2021 (in Canada, Denmark, the Netherlands and Slovakia among others), the majority of States have chosen to keep them open, but have tightened the conditions for access (vaccination pass, FFP2 mask, sale of prohibited confectionery or even reintroduction of gauges). Inevitably, attendance slowed and viewers turned to a handful of films, including the latest episode of Spiderman (Sony), further widening the box office gap between the titles on offer. Consequently, also taking into account the fact that the epidemic peak has not been reached, many releases, mainly of films with high potential, are postponed. The new year therefore opens with a feeling of déjà vu.

Despite the difficulties just mentioned, French cinema retains its place on foreign screens in December 2021 and displays values ​​in line with those of November. If the leader of the month, The Tuches 4attracted 113,000 spectators (326,000 for #1 the previous month, The Wolf and the Lion), a greater number of titles mobilize more than 50,000 (9 vs. 4). In addition, 6 are operated in more than 10 territories (against 5).

The Wolf and the Lion

Europe captures 3 out of 4 French cinema admissions in December, the share of the western part amounting to nearly 50%. All the other geographical areas are below 100,000 admissions (North America just misses this symbolic threshold) and 10% market share. Poland is the first foreign market in number of spectators for French films in December 2021, driven by 229,000 tickets, i.e. nearly 1 admission in 5 of the total for the period. The other territory to exceed 100,000 spectators is Belgium & Luxembourg (13.3% market share). 3 of the 4 films bringing together more than 50,000 moviegoers on a market achieve this feat in Poland, while the other achieves it in Belgium & Luxembourg.

 The starts of Tuche 4, Délicieux and Aline bring comedy/drama back to center stage : 1 out of 3 foreign viewers of French cinema saw a film of this genre in December 2021. The adventure follows with more than 222,000 admissions, half of which go to wolf and lionWithout forgetting give me wings. Drama and biopic/war/history have a market share above 10%: Benedetta and eiffel exceeded 50,000 admissions, while no drama reached it this month.

French initiative films generate 90% of admissions recorded during the month of December, up on the previous month, led by two titles exceeding 100,000 tickets (The Tuches 4 and The Wolf and the Lion), then six others the 50,000. No minority production brings together more than 50,000 moviegoers: the film that stands out this month is Julie (in 12 chapters), chosen by 46,000 foreign spectators. The aforementioned title as well as The Wolf and the Lion provide foreign language productions with a share of 20.6%, reduced by more than half in one month. French-language films are gaining ground and account for almost 80% of the monthly result.

 The saga being highly appreciated by the public, it goes without saying that The Tuches 4 was eagerly awaited in the neighboring French-speaking markets, mainly in Belgium. The closure of cinemas across the country for a few days certainly impacted the film’s box office, but the public was back as soon as they reopened. 100,000 Belgians have already discovered it (Alternative Films), which makes it the second best French result on this market in 2021 after Kaamelott – First part (Belga Films – 122,000). The Wolf and the Lion continued its good momentum and exceeded half a million tickets internationally, including 202,000 in Poland (Kino Swiat). Monolith Films launches give me wings and Around the world in 80 days on the screens of the country and they shine within the local top 5: a few weeks of exploitation allowed them to become respectively the second and third most viewed French films of 2021 in this Eastern country. Thanks to Titanium (Altitude Film), majority French-language productions are back in the UK & Irish top 10 15 months later Wretched (Altitude Film – £178,000, 25,500 admissions). The Palme d’or achieved its best European start in this market (£167,000, 24,000 admissions). In Oceania, Palace Film perpetuates the tradition by offering a French production for Boxing Day (December 26). In 2021, the ambassador is Delicious which has already accounted for AU$741,000, previews and festival appearances included, which corresponds to around 52,000 admissions (NZ$262,000 and 10,000 admissions in New Zealand).

–> This analysis can be downloaded in PDF format below
(French version only).


This analysis is written on the basis of the results listed on 12 January 2022. The figures being constantly consolidated, the graph created automatically by the site will differ from the table present in this news item.

Author : Andrea Sponchiado

Last update : January 21, 2022 at 14:50 CET

We would like to give thanks to the author of this article for this amazing material

International box office of French films – December 2021

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642776990) } [5]=> array(11) { ["title"]=> string(90) "¿Chau viento de cola?: más economistas prevén caída de la actividad económica en 2022" ["link"]=> string(118) "https://awardworld.net/nobel-prize/chau-viento-de-cola-mas-economistas-preven-caida-de-la-actividad-economica-en-2022/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 12:55:13 +0000" ["category"]=> string(72) "Nobel PrizeactividadcaídaChaucolaeconómicaeconomistasmásprevénViento" ["guid"]=> string(31) "https://awardworld.net/?p=13009" ["description"]=> string(723) "La actividad económica cerró en 2021 con un crecimiento “en torno al 10%”, según estimó el ministro de Economía, Martín Guzmán, lo que implica recuperar la caída de 9,9% que registró el Producto Bruto Interno en 2020 por el impacto de la pandemia. Para el mentor del ministro y premio Nobel de Economía, Joseph Stiglitz, ... Read more" ["content"]=> array(1) { ["encoded"]=> string(15971) "

La actividad económica cerró en 2021 con un crecimiento “en torno al 10%”, según estimó el ministro de Economía, Martín Guzmán, lo que implica recuperar la caída de 9,9% que registró el Producto Bruto Interno en 2020 por el impacto de la pandemia.

Para el mentor del ministro y premio Nobel de Economía, Joseph Stiglitz, se trata de “una sorprendente”, según expresó en una columna publicada hace unos días atrás en Project Syndicate.

En ese artículo, Stiglitz juzgó que “dado el lío que heredó el gobierno del presidente argentino Alberto Fernández a fines de 2019 parece haber logrado un milagro económico”.

Al respecto, la consulora EconViews retrucó: “La recuperación fue ciertamente más fuerte de lo que esperábamos los economistas privados y el propio gobierno, pero sólo un provocador puede pensar que el 10% de crecimiento del PBI estimado para 2021 es un milagro”.

El análisis subrayó que “la mayoría de los países recuperó las pérdidas del COVID en este año” por lo que “no hay nada milagroso en ello, desde Estados Unidos hasta Chile, que incluso pasó por un proceso electoral cargado de incertidumbre y en plena reforma constitucional, mostraron un fuerte rebote”.

“Celebramos que se haya recuperado el empleo, la industria y las exportaciones, pero eso no es milagroso, ni tampoco alcanza. El milagro sería que la Argentina pueda seguir creciendo con esta inflación, este riesgo país, esta brecha cambiaria, este cepo importador y, sobre todo, esta escasa credibilidad tanto de propios como extraños”, replicó.

Guzmán proyectó para este año en el rechazado proyecto de ley de Presupuesto 2022 que el Producto Bruto Interno (PBI) un crecimiento de 4%, aunque los analistas pronostican un repunte más magro por un contexto internacional menos favorable que el de 2021 donde se registró un boom en el precio de las commodities que empujó el valor de la soja y le dio un alivio al Banco Central en materia de ingreso de divisas.

Pero el 2022 no arrancó bien y trajo condimentos extras. Un informe de la Bolsa de Comercio de Rosario encendió la luz amarilla al alertar que la sequía “ya hizo caer la proyección de cosecha de soja y maíz en 9 y 8 millones de toneladas, respectivamente” por lo que calculó que “el impacto sobre la economía argentina será de u$s 4.800 millones o un 1% del PBI.

Por el efecto negativo sobre la actividad y la oferta de dólares que causa la ola de calor y la sequía, algunas consultoras ya recortaron sus proyecciones de PBI para 2022, otras lo están evaluando, en tanto que para algunas aún es “prematuro” para recalcular.

Por la sequía que afecta a la soja, algunas consultoras recortaron su estimación de PBI para 2022

Peor escenario por sequía

La consultora Eco Go es una de las primeras en revisar a la baja sus números.

“Estimamos que la caída adicional en el agro y su impacto sobre la oferta de dólares genera una retracción adicional a la teníamos contemplada en nuestras proyecciones. En ese contexto, aún con un acuerdo con el FMI contra las cuerdas que evite entremos en atrasos en marzo/abril, nuestra previsión de crecimiento del PBI para 2022 pasa de una suba de 0,5% a un retroceso de 0,7%“, planteó

Esa corrección a la baja es “por el impacto de la sequía y los efectos de segunda ronda sobre las importaciones”, explicó a iProfesional el director de Eco Go Sebastián Menescaldi.

“Este año tenes complicada la cuenta de dólares, y no tenes reservas. Si tenes un dólar menos de exportación, el único lugar de donde lo vas a poder sacar es de las importaciones a diferencia de lo que pasó en otras sequía, y eso va a restringir también la actividad”, fundamentó el economista.

Menescaldi aclaró que la caída de 0,7% del PBI para este año es una “cifra provisoria, va a a depender de cómo evolucione la cosecha, ahora está lloviendo, hay que ver que salvaste y que no, en principio estamos esperando eso, pero puede ser peor”.

En este marco, el economista recordó que durante la fuerte sequía registrada en 2018 “el PBI agrícola en el segundo trimestre -estacionalmente es el de mayor ingreso de divisas por la cosecha gruesa- había registrado una retracción del 32% interanual, y en el año había caído 15,6%”.

“En esta oportunidad estamos calculando una caída de 9% en el año del PBI agrícola”, puntualizó. Eso significaría a su vez menor comercialización y menor transporte de mercaderías.

Es que el informe de Eco Go prevé que si se confirman las caídas en la producción estimadas por la Bolsa de Comercio de Rosario, “ello implicaría un retroceso de la oferta en el ciclo 2021/22 cercana al 5% en los principales granos”,

“Este ajuste en las cantidades por sí sólo explica un deterioro de las exportaciones proyectadas de u$s4.000 millones”, detalló.

No obstante, la consultora señaló que a esta retracción “debe adicionarse el deterioro de los precios medios esperados, producto de una normalización de la demanda y un cambio en el contexto monetario, con una suba prevista de tasas y apreciación del dólar que tiran a la baja los precios de las materias primas”.

De acuerdo a sus estimaciones, la suma de la sequía y de la baja de los precios internacionales esperados causarían “un descenso de las exportaciones de u$s6.700 millones a lo largo del año

En este contexto, la consultora explicó que esta situación “afecta las expectativas de la economía por una doble vía: por un lado, reduce la oferta de divisas y determina la necesidad de reducir las importaciones (ya sea restringiendo cantidades o elevando su precio) y por otro reduce la actividad económica por las menores cantidades exportadas, transportadas y comercializadas”.

Según el análisis, la caída de la oferta de divisas, sosteniendo sin cambios la acumulación de reservas (la meta pautada por Guzmán para este año de un crecimiento de entre u$s3.000 y u$s4.000 millones) “iimplicaría que debería reducirse la demanda para importaciones en tal cuantía; así, los pagos de las compras externas deberían retroceder por encima del 10% en el año, sí sólo se afectaría ese ítem y no se consiguieran fuentes adicionales de divisas”.

“La contracara del menor volumen de la cosecha y de la mayor restricción sobre las importaciones será que no se va a poder sostener el nivel de actividad de diciembre (que es el que dejaría el arrastre de 2,5% para 2022)”, argumentó.

La consultora aseguró que “el mayor impacto viene por la dificultad para financiar las importaciones en un contexto de escasez de dólares”.

De esta manera, Eco Go proyectó que “con la nueva valorización de la cosecha, las importaciones deberían caer 12% respecto a 2021 y 17% respecto al nivel de diciembre

“Sin dólares, la promesa de que el ajuste se hace vía crecimiento, o el argumento de que hay que evitar que el FMI ahogue el ‘milagro económico’ que menciona Stiglitz y aplauden los gobernadores y parte de los sectores favorecidos por la brecha, nos mete en una discusión esotérica que a esta altura sólo pareciera poder ordenarse tras una mayor presión sobre la brecha coordinada por la caída adicional en los precios de los activos financieros”, evaluó.

También el economista Fernando Marull, que dirige la consultora FMyA indicó a iProfesional que redujo 0,5 puntos porcentuales su previsión de crecimiento económico para este año por el efecto de la sequía, al recortar de la suba proyectada originalmente en 3% a un 2,5%.

“Se materializó un riesgo que veníamos comentando. El Departamento de Agricultura de Estados Unidos (USDA) y la Bolsa de Rosario recortaron la cosecha de soja y maíz, por la sequía. Si asumimos precios actuales y niveles de 40 millones de toneladas de soja y 48 millones en maíz, las exportaciones para 2022 serían u$s34.000 millones, casi u$s5.000 millones menos que antes de la sequía. Seguirá siendo alta (por precios altos) pero puede empeorar si no llueve lo necesario en próximos meses”, previno.

El último informe FMyA también resaltó que el avance de la variante Omicron en el país, arriba de los 100.000 casos diarios y con una positividad sobre el 60% provocó una ola de aislados, “por lo que la movilidad (según Google Mobility) volvió a niveles de hace 6 meses y empezó a generar problemas serios de ausentismo laboral, que pone en riesgo la actividad”.

Por su parte, en EconViews precisaron que “el sector “A” de las cuentas nacionales compuesto por la agricultura,ganadería y forestación pesa alrededor del 8.06% en la economía argentina, la Agricultura es aproximadamente el 5.37%, es decir, una baja de producción de digamos 8% (probablemente sea menos) quitaría algo más de 0.4% del PBI argentino”.

“El problema es el efecto multiplicador. Menos granos son menos camiones, menos peajes, menos actividad en el puerto o más necesidad de importar para mantener el nivel de actividad de la molienda o en su defecto reducir el crushing. Es decir que una mala cosecha, pero no pésima como fue la de 2018, podría llevar a una caída de la actividad del 1% considerando efectos en toda la cadena de valor”, pronosticó.

Por su parte, la economista de LCG, Melisa Sala comentó a iProfesional que “todavía no corregimos nada, estamos viendo, por ahora nuestra estimación es crecimiento de 2,5%”.

Por su parte, el director de Analytica, Claudio Caprarulo, manifestó que “todavia no recortamos, seguimos con 4% de crecimiento para este año, entre otras razones, porque muchas veces las proyecciones de sequía, y cosecha se van modificando con el devenir de lo que va pasando con el clima”.

“Muchas veces se recorta, y después se termina revirtiendo al alza. Entonces todavía no consideramos que es momento de modificar la proyección de crecimiento en base a eso”, añadió.

En sintonía, el director de Análisis Macroeconómico de Equilibra, Lorenzo Sigaut Gravina, dijo que aún no hicieron revisiones “porque hay que esperar las lluvias de esta semana para saber cuánto y dónde llovió, lo que es clave para estimar pérdidas de maiz y soja”.

El economista sostuvo que el rebote de 2021 deja para este año “un arrastre estadístico alto de 2%”, pero “2022 luce muy desafiante” por lo que estimó que habrá un “crecimiento chato de 1%”.

Menor oferta de divisas podría derivar en mayor cepo a importaciones

Menor oferta de divisas podría derivar en mayor cepo a importaciones

Falta de dólares: límite al crecimiento

Ante el riesgo de un mayor cepo a las compras internas que vaticinan algunos economistas ante la escasez de reservas netas que se agotarían antes de marzo cuando hay que enfrentar un abultado vencimiento de deuda con el FMI, desde la Cámara Argentina de Importaciones de la República Argentina (CIRA) hicieron hincapié en que para que “la economía argentina crezca en cantidades y en calidad, deben preverse importaciones mayores”.

“El comercio exterior argentino ha exhibido en 2021 resultados más favorables que los esperados a inicios del ejercicio, números más altos que en la última década. Pero aún se encuentra por debajo de los niveles récord de hace algunos años”, aseguró un informe de la entidad.

En este sentido, prevé que “las exportaciones habrán alcanzado, cuando contemos con los números finales anuales (aún faltan los de diciembre), cifras que superarán los u$s 76.000 millones de dólares, mientras que las importaciones llegarán a algo más de u$s 62.000 millones” lo que representaría un crecimiento de “casi 50% contra 2020” pero “ocurre” que ese año por la pandemia “había arrojado cifras inusitadamente bajas”

“Las importaciones argentinas fueron más altas que las de 2021 en seis de los diez años anteriores. Por lo tanto, no estamos ante un alza extraordinaria sino ante una recuperación natural”, razonó.

En este contexto, CIRA aseveró que “las importaciones aún no llegan a niveles necesarios para sostener una economía que logre niveles de actividad consistentes con un crecimiento genuino”.

La entidad subrayó que, según el último informe de la CEPAL, “las importaciones de toda Latinoamérica son, en 2021, de u$s 1.142.328 millones de dólares” y estimó que “Argentina, si llegara a unos u$s 62.000 millones habrá generado el 5,4% de las importaciones regionales”

“Los montos de importaciones argentinas de 2021, aun con el crecimiento, son obviamente muy menores que las de las economías mayores en la región como México (u$s492.376 millones) y Brasil (u$s241.622 millones) sino que también lo son -aun en 2021- menores que las de una economía más pequeña en PBI como es Chile, que importa -según CEPAL- en 2021, la suma de u$s77.163 millones de dólares”, concluyó..

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¿Chau viento de cola?: más economistas prevén caída de la actividad económica en 2022

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(723) "La actividad económica cerró en 2021 con un crecimiento “en torno al 10%”, según estimó el ministro de Economía, Martín Guzmán, lo que implica recuperar la caída de 9,9% que registró el Producto Bruto Interno en 2020 por el impacto de la pandemia. Para el mentor del ministro y premio Nobel de Economía, Joseph Stiglitz, ... Read more" ["atom_content"]=> string(15971) "

La actividad económica cerró en 2021 con un crecimiento “en torno al 10%”, según estimó el ministro de Economía, Martín Guzmán, lo que implica recuperar la caída de 9,9% que registró el Producto Bruto Interno en 2020 por el impacto de la pandemia.

Para el mentor del ministro y premio Nobel de Economía, Joseph Stiglitz, se trata de “una sorprendente”, según expresó en una columna publicada hace unos días atrás en Project Syndicate.

En ese artículo, Stiglitz juzgó que “dado el lío que heredó el gobierno del presidente argentino Alberto Fernández a fines de 2019 parece haber logrado un milagro económico”.

Al respecto, la consulora EconViews retrucó: “La recuperación fue ciertamente más fuerte de lo que esperábamos los economistas privados y el propio gobierno, pero sólo un provocador puede pensar que el 10% de crecimiento del PBI estimado para 2021 es un milagro”.

El análisis subrayó que “la mayoría de los países recuperó las pérdidas del COVID en este año” por lo que “no hay nada milagroso en ello, desde Estados Unidos hasta Chile, que incluso pasó por un proceso electoral cargado de incertidumbre y en plena reforma constitucional, mostraron un fuerte rebote”.

“Celebramos que se haya recuperado el empleo, la industria y las exportaciones, pero eso no es milagroso, ni tampoco alcanza. El milagro sería que la Argentina pueda seguir creciendo con esta inflación, este riesgo país, esta brecha cambiaria, este cepo importador y, sobre todo, esta escasa credibilidad tanto de propios como extraños”, replicó.

Guzmán proyectó para este año en el rechazado proyecto de ley de Presupuesto 2022 que el Producto Bruto Interno (PBI) un crecimiento de 4%, aunque los analistas pronostican un repunte más magro por un contexto internacional menos favorable que el de 2021 donde se registró un boom en el precio de las commodities que empujó el valor de la soja y le dio un alivio al Banco Central en materia de ingreso de divisas.

Pero el 2022 no arrancó bien y trajo condimentos extras. Un informe de la Bolsa de Comercio de Rosario encendió la luz amarilla al alertar que la sequía “ya hizo caer la proyección de cosecha de soja y maíz en 9 y 8 millones de toneladas, respectivamente” por lo que calculó que “el impacto sobre la economía argentina será de u$s 4.800 millones o un 1% del PBI.

Por el efecto negativo sobre la actividad y la oferta de dólares que causa la ola de calor y la sequía, algunas consultoras ya recortaron sus proyecciones de PBI para 2022, otras lo están evaluando, en tanto que para algunas aún es “prematuro” para recalcular.

Por la sequía que afecta a la soja, algunas consultoras recortaron su estimación de PBI para 2022

Peor escenario por sequía

La consultora Eco Go es una de las primeras en revisar a la baja sus números.

“Estimamos que la caída adicional en el agro y su impacto sobre la oferta de dólares genera una retracción adicional a la teníamos contemplada en nuestras proyecciones. En ese contexto, aún con un acuerdo con el FMI contra las cuerdas que evite entremos en atrasos en marzo/abril, nuestra previsión de crecimiento del PBI para 2022 pasa de una suba de 0,5% a un retroceso de 0,7%“, planteó

Esa corrección a la baja es “por el impacto de la sequía y los efectos de segunda ronda sobre las importaciones”, explicó a iProfesional el director de Eco Go Sebastián Menescaldi.

“Este año tenes complicada la cuenta de dólares, y no tenes reservas. Si tenes un dólar menos de exportación, el único lugar de donde lo vas a poder sacar es de las importaciones a diferencia de lo que pasó en otras sequía, y eso va a restringir también la actividad”, fundamentó el economista.

Menescaldi aclaró que la caída de 0,7% del PBI para este año es una “cifra provisoria, va a a depender de cómo evolucione la cosecha, ahora está lloviendo, hay que ver que salvaste y que no, en principio estamos esperando eso, pero puede ser peor”.

En este marco, el economista recordó que durante la fuerte sequía registrada en 2018 “el PBI agrícola en el segundo trimestre -estacionalmente es el de mayor ingreso de divisas por la cosecha gruesa- había registrado una retracción del 32% interanual, y en el año había caído 15,6%”.

“En esta oportunidad estamos calculando una caída de 9% en el año del PBI agrícola”, puntualizó. Eso significaría a su vez menor comercialización y menor transporte de mercaderías.

Es que el informe de Eco Go prevé que si se confirman las caídas en la producción estimadas por la Bolsa de Comercio de Rosario, “ello implicaría un retroceso de la oferta en el ciclo 2021/22 cercana al 5% en los principales granos”,

“Este ajuste en las cantidades por sí sólo explica un deterioro de las exportaciones proyectadas de u$s4.000 millones”, detalló.

No obstante, la consultora señaló que a esta retracción “debe adicionarse el deterioro de los precios medios esperados, producto de una normalización de la demanda y un cambio en el contexto monetario, con una suba prevista de tasas y apreciación del dólar que tiran a la baja los precios de las materias primas”.

De acuerdo a sus estimaciones, la suma de la sequía y de la baja de los precios internacionales esperados causarían “un descenso de las exportaciones de u$s6.700 millones a lo largo del año

En este contexto, la consultora explicó que esta situación “afecta las expectativas de la economía por una doble vía: por un lado, reduce la oferta de divisas y determina la necesidad de reducir las importaciones (ya sea restringiendo cantidades o elevando su precio) y por otro reduce la actividad económica por las menores cantidades exportadas, transportadas y comercializadas”.

Según el análisis, la caída de la oferta de divisas, sosteniendo sin cambios la acumulación de reservas (la meta pautada por Guzmán para este año de un crecimiento de entre u$s3.000 y u$s4.000 millones) “iimplicaría que debería reducirse la demanda para importaciones en tal cuantía; así, los pagos de las compras externas deberían retroceder por encima del 10% en el año, sí sólo se afectaría ese ítem y no se consiguieran fuentes adicionales de divisas”.

“La contracara del menor volumen de la cosecha y de la mayor restricción sobre las importaciones será que no se va a poder sostener el nivel de actividad de diciembre (que es el que dejaría el arrastre de 2,5% para 2022)”, argumentó.

La consultora aseguró que “el mayor impacto viene por la dificultad para financiar las importaciones en un contexto de escasez de dólares”.

De esta manera, Eco Go proyectó que “con la nueva valorización de la cosecha, las importaciones deberían caer 12% respecto a 2021 y 17% respecto al nivel de diciembre

“Sin dólares, la promesa de que el ajuste se hace vía crecimiento, o el argumento de que hay que evitar que el FMI ahogue el ‘milagro económico’ que menciona Stiglitz y aplauden los gobernadores y parte de los sectores favorecidos por la brecha, nos mete en una discusión esotérica que a esta altura sólo pareciera poder ordenarse tras una mayor presión sobre la brecha coordinada por la caída adicional en los precios de los activos financieros”, evaluó.

También el economista Fernando Marull, que dirige la consultora FMyA indicó a iProfesional que redujo 0,5 puntos porcentuales su previsión de crecimiento económico para este año por el efecto de la sequía, al recortar de la suba proyectada originalmente en 3% a un 2,5%.

“Se materializó un riesgo que veníamos comentando. El Departamento de Agricultura de Estados Unidos (USDA) y la Bolsa de Rosario recortaron la cosecha de soja y maíz, por la sequía. Si asumimos precios actuales y niveles de 40 millones de toneladas de soja y 48 millones en maíz, las exportaciones para 2022 serían u$s34.000 millones, casi u$s5.000 millones menos que antes de la sequía. Seguirá siendo alta (por precios altos) pero puede empeorar si no llueve lo necesario en próximos meses”, previno.

El último informe FMyA también resaltó que el avance de la variante Omicron en el país, arriba de los 100.000 casos diarios y con una positividad sobre el 60% provocó una ola de aislados, “por lo que la movilidad (según Google Mobility) volvió a niveles de hace 6 meses y empezó a generar problemas serios de ausentismo laboral, que pone en riesgo la actividad”.

Por su parte, en EconViews precisaron que “el sector “A” de las cuentas nacionales compuesto por la agricultura,ganadería y forestación pesa alrededor del 8.06% en la economía argentina, la Agricultura es aproximadamente el 5.37%, es decir, una baja de producción de digamos 8% (probablemente sea menos) quitaría algo más de 0.4% del PBI argentino”.

“El problema es el efecto multiplicador. Menos granos son menos camiones, menos peajes, menos actividad en el puerto o más necesidad de importar para mantener el nivel de actividad de la molienda o en su defecto reducir el crushing. Es decir que una mala cosecha, pero no pésima como fue la de 2018, podría llevar a una caída de la actividad del 1% considerando efectos en toda la cadena de valor”, pronosticó.

Por su parte, la economista de LCG, Melisa Sala comentó a iProfesional que “todavía no corregimos nada, estamos viendo, por ahora nuestra estimación es crecimiento de 2,5%”.

Por su parte, el director de Analytica, Claudio Caprarulo, manifestó que “todavia no recortamos, seguimos con 4% de crecimiento para este año, entre otras razones, porque muchas veces las proyecciones de sequía, y cosecha se van modificando con el devenir de lo que va pasando con el clima”.

“Muchas veces se recorta, y después se termina revirtiendo al alza. Entonces todavía no consideramos que es momento de modificar la proyección de crecimiento en base a eso”, añadió.

En sintonía, el director de Análisis Macroeconómico de Equilibra, Lorenzo Sigaut Gravina, dijo que aún no hicieron revisiones “porque hay que esperar las lluvias de esta semana para saber cuánto y dónde llovió, lo que es clave para estimar pérdidas de maiz y soja”.

El economista sostuvo que el rebote de 2021 deja para este año “un arrastre estadístico alto de 2%”, pero “2022 luce muy desafiante” por lo que estimó que habrá un “crecimiento chato de 1%”.

Menor oferta de divisas podría derivar en mayor cepo a importaciones

Menor oferta de divisas podría derivar en mayor cepo a importaciones

Falta de dólares: límite al crecimiento

Ante el riesgo de un mayor cepo a las compras internas que vaticinan algunos economistas ante la escasez de reservas netas que se agotarían antes de marzo cuando hay que enfrentar un abultado vencimiento de deuda con el FMI, desde la Cámara Argentina de Importaciones de la República Argentina (CIRA) hicieron hincapié en que para que “la economía argentina crezca en cantidades y en calidad, deben preverse importaciones mayores”.

“El comercio exterior argentino ha exhibido en 2021 resultados más favorables que los esperados a inicios del ejercicio, números más altos que en la última década. Pero aún se encuentra por debajo de los niveles récord de hace algunos años”, aseguró un informe de la entidad.

En este sentido, prevé que “las exportaciones habrán alcanzado, cuando contemos con los números finales anuales (aún faltan los de diciembre), cifras que superarán los u$s 76.000 millones de dólares, mientras que las importaciones llegarán a algo más de u$s 62.000 millones” lo que representaría un crecimiento de “casi 50% contra 2020” pero “ocurre” que ese año por la pandemia “había arrojado cifras inusitadamente bajas”

“Las importaciones argentinas fueron más altas que las de 2021 en seis de los diez años anteriores. Por lo tanto, no estamos ante un alza extraordinaria sino ante una recuperación natural”, razonó.

En este contexto, CIRA aseveró que “las importaciones aún no llegan a niveles necesarios para sostener una economía que logre niveles de actividad consistentes con un crecimiento genuino”.

La entidad subrayó que, según el último informe de la CEPAL, “las importaciones de toda Latinoamérica son, en 2021, de u$s 1.142.328 millones de dólares” y estimó que “Argentina, si llegara a unos u$s 62.000 millones habrá generado el 5,4% de las importaciones regionales”

“Los montos de importaciones argentinas de 2021, aun con el crecimiento, son obviamente muy menores que las de las economías mayores en la región como México (u$s492.376 millones) y Brasil (u$s241.622 millones) sino que también lo son -aun en 2021- menores que las de una economía más pequeña en PBI como es Chile, que importa -según CEPAL- en 2021, la suma de u$s77.163 millones de dólares”, concluyó..

We wish to say thanks to the writer of this post for this outstanding content

¿Chau viento de cola?: más economistas prevén caída de la actividad económica en 2022

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642769713) } [6]=> array(11) { ["title"]=> string(73) "MIDPOINT Shorts and MIDPOINT Cold Open take the road to the WEMW festival" ["link"]=> string(107) "https://awardworld.net/palme-dor/midpoint-shorts-and-midpoint-cold-open-take-the-road-to-the-wemw-festival/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 12:54:04 +0000" ["category"]=> string(46) "Palme D’orcoldFestivalMIDPOINTRoadshortsWEMW" ["guid"]=> string(31) "https://awardworld.net/?p=13006" ["description"]=> string(703) "01/21/2022 – Five short film projects will be presented to film professionals during this meeting; Cold Open will engage accredited guests to explore the ever-changing landscape of TV This article is available in English. The second MIDPOINT Shorts workshop is already under way, and the participants, clutching their five short-film projects, are being prepared for ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6737) "

– Five short film projects will be presented to film professionals during this meeting; Cold Open will engage accredited guests to explore the ever-changing landscape of TV

This article is available in English.

The second MIDPOINT Shorts workshop is already under way, and the participants, clutching their five short-film projects, are being prepared for their showcase, which will happen on Monday 24 January at 15:30 CET, within the hybrid When East Meets West (WEMW) co-production forum unspooling in Trieste, Italy, and online. Accredited industry guests can attend it both physically and virtually.

(The article continues below – Commercial information)

This year’s edition of the MIDPOINT Shorts program offers intensive training to the teams behind four short-film projects in development and one in the post-production phase (Rites), which was selected in collaboration with the Cannes Short Film Corner. The creators have been working under the guidance of acclaimed director and script consultant Pavel Marek and the MIDPOINT Shorts head of studies, producer and tutor Marija Razgute, while pitching tutor Stefano Tealdi has joined alongside other guest tutors.

As a reminder, the development journey started in September with a preparatory kick-off session, followed by the first workshop focused mainly on creative development and dramaturgy, production strategies and project packaging (see the news). The second and final workshop offers industry insights, pitching training and a lecture by Wouter Jansen focusing on festival strategies for short films. Also on the agenda is a master class by Sameh Alaa, about his short film I Am Afraid to Forget Your Face, which was awarded the Palme d’Or at the 2020 Cannes Film Festival.

The selected 2021-2022 MIDPOINT Shorts projects are as follows:

The Annunciation (Ukraine)
Writer, director: Nadia Parfan
Producer: Aleksandra Kostina

April 1989 (Slovakia)
Writer, director: Maxmilian Turek
Producer: Marek Urban

night-shift (Cyprus)
Directors, producers, writers: Alasdair Bayne and Talat Gokdemir

Rites (Czech Republic)
Writer, director: Damian Vondrasek
Writer: Lukas Csicsely
Producer: Martina Netikova

Wedding, Berlin (Czech Republic)
Writer, director, producer: Farah Abu Kharroub
Producer: Patrik Svehelka

Furthermore, nine producers from around the globe have been selected for the third edition of MIDPOINT Cold Open, the program targeting independent feature-film producers who want to move into high-end series. The program will be held entirely online from 23-28 January as part of the WEMW Inspirational Labs (see the news).

tutors Marike Muselaers (Lumiere Group) and Gabor Krigler (Joyrider) will familiarize the participants with the overall landscape and priorities of the industry, and provide hands-on skills in the financing and distribution of scripted series content.

Also, on 24 January, an open lecture and talk is being organized for all WEMW-accredited guests, under the title “Where to Start When Financing a TV Series?”. Marike Muselaers and guest tutor Petri Kemppinen will discuss the current business models and share their own experience when it comes to TV series production and financing in this fast-changing market. What’s more, the conversation will touch on all stages of financing, from finding the initial development money and funding, to getting commissioned and engaging co-producers and private investors.

The selected producers for MIDPOINT Cold Open 2022 are as follows:

Serena AlfieriVIVO FILM (Italy)
Anaelle Beglet – art and essay (Canada)
Nino Chichua1991 Productions (Georgia)
Maya FischerGreen Productions (Israel)
Kalin KalinovInvictus Ltd (Bulgaria)
Zala OparaVertigo (Slovenia)
Gabor OsvathFilmfabriq (hungary)
Ziad Touma – Couzin Films (Canada)
Angelo Troiano – Mediterraneo Cinematografica srl ​​(Italy)

(The article continues below – Commercial information)

We would love to say thanks to the writer of this write-up for this incredible material

MIDPOINT Shorts and MIDPOINT Cold Open take the road to the WEMW festival

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(703) "01/21/2022 – Five short film projects will be presented to film professionals during this meeting; Cold Open will engage accredited guests to explore the ever-changing landscape of TV This article is available in English. The second MIDPOINT Shorts workshop is already under way, and the participants, clutching their five short-film projects, are being prepared for ... Read more" ["atom_content"]=> string(6737) "

– Five short film projects will be presented to film professionals during this meeting; Cold Open will engage accredited guests to explore the ever-changing landscape of TV

This article is available in English.

The second MIDPOINT Shorts workshop is already under way, and the participants, clutching their five short-film projects, are being prepared for their showcase, which will happen on Monday 24 January at 15:30 CET, within the hybrid When East Meets West (WEMW) co-production forum unspooling in Trieste, Italy, and online. Accredited industry guests can attend it both physically and virtually.

(The article continues below – Commercial information)

This year’s edition of the MIDPOINT Shorts program offers intensive training to the teams behind four short-film projects in development and one in the post-production phase (Rites), which was selected in collaboration with the Cannes Short Film Corner. The creators have been working under the guidance of acclaimed director and script consultant Pavel Marek and the MIDPOINT Shorts head of studies, producer and tutor Marija Razgute, while pitching tutor Stefano Tealdi has joined alongside other guest tutors.

As a reminder, the development journey started in September with a preparatory kick-off session, followed by the first workshop focused mainly on creative development and dramaturgy, production strategies and project packaging (see the news). The second and final workshop offers industry insights, pitching training and a lecture by Wouter Jansen focusing on festival strategies for short films. Also on the agenda is a master class by Sameh Alaa, about his short film I Am Afraid to Forget Your Face, which was awarded the Palme d’Or at the 2020 Cannes Film Festival.

The selected 2021-2022 MIDPOINT Shorts projects are as follows:

The Annunciation (Ukraine)
Writer, director: Nadia Parfan
Producer: Aleksandra Kostina

April 1989 (Slovakia)
Writer, director: Maxmilian Turek
Producer: Marek Urban

night-shift (Cyprus)
Directors, producers, writers: Alasdair Bayne and Talat Gokdemir

Rites (Czech Republic)
Writer, director: Damian Vondrasek
Writer: Lukas Csicsely
Producer: Martina Netikova

Wedding, Berlin (Czech Republic)
Writer, director, producer: Farah Abu Kharroub
Producer: Patrik Svehelka

Furthermore, nine producers from around the globe have been selected for the third edition of MIDPOINT Cold Open, the program targeting independent feature-film producers who want to move into high-end series. The program will be held entirely online from 23-28 January as part of the WEMW Inspirational Labs (see the news).

tutors Marike Muselaers (Lumiere Group) and Gabor Krigler (Joyrider) will familiarize the participants with the overall landscape and priorities of the industry, and provide hands-on skills in the financing and distribution of scripted series content.

Also, on 24 January, an open lecture and talk is being organized for all WEMW-accredited guests, under the title “Where to Start When Financing a TV Series?”. Marike Muselaers and guest tutor Petri Kemppinen will discuss the current business models and share their own experience when it comes to TV series production and financing in this fast-changing market. What’s more, the conversation will touch on all stages of financing, from finding the initial development money and funding, to getting commissioned and engaging co-producers and private investors.

The selected producers for MIDPOINT Cold Open 2022 are as follows:

Serena AlfieriVIVO FILM (Italy)
Anaelle Beglet – art and essay (Canada)
Nino Chichua1991 Productions (Georgia)
Maya FischerGreen Productions (Israel)
Kalin KalinovInvictus Ltd (Bulgaria)
Zala OparaVertigo (Slovenia)
Gabor OsvathFilmfabriq (hungary)
Ziad Touma – Couzin Films (Canada)
Angelo Troiano – Mediterraneo Cinematografica srl ​​(Italy)

(The article continues below – Commercial information)

We would love to say thanks to the writer of this write-up for this incredible material

MIDPOINT Shorts and MIDPOINT Cold Open take the road to the WEMW festival

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642769644) } [7]=> array(11) { ["title"]=> string(75) "Ces stars internationales parlent aussi bien français que Molière et vous" ["link"]=> string(107) "https://awardworld.net/palme-dor/ces-stars-internationales-parlent-aussi-bien-francais-que-moliere-et-vous/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 10:52:09 +0000" ["category"]=> string(72) "Palme D’oraussibienCesfrançaisinternationalesMolièreparlentstarsvous" ["guid"]=> string(31) "https://awardworld.net/?p=13003" ["description"]=> string(703) "La rédaction marie france vendredi 21 janvier 2022 mis à jour le vendredi 21 janvier 2022 Jodie Foster Jodie Foster, l’actrice américaine primée et talentueuse, mais aussi réalisatrice, surtout connue pour ses performances magistrales dans « Taxi Driver » et l’iconique film « Le Silence Des Agneaux », est également douée pour les langues. Parfaitement ... Read more" ["content"]=> array(1) { ["encoded"]=> string(25413) "



vendredi 21 janvier 2022


mis à jour le vendredi 21 janvier 2022

Si la plupart des célébrités savent simplement dire « baguette » et « voulez-vous coucher avec moi », d’autres sont totalement bilingues, et voici pourquoi.

Saviez-vous par exemple que de nombreuses stars américaines étaient bilingues, trilingues voire même plus ? N’ignorant pas que maîtriser une nouvelle langue étrangère constituait toujours une richesse capitale et une véritable ouverture sur le monde.

Ces polyglottes de renom ont choisi d’être de véritables francophiles, puisqu’ils ont appris à parler le français couramment. Qu’ils soient acteurs, hommes politiques ou sportifs étrangers, ils ont tous un lien privilégié avec la France. S’ils ont sélectionné la langue française, c’est tout simplement parce qu’elle est largement considérée comme l’une des plus belles langues du monde, et aussi parce que l’influence de la culture française dans les arts et la littérature a rendu la langue très populaire dans le monde entier.

Pourquoi ces stars parlent aussi bien français ?

Que ce soit pour leur amour pour la France, leurs études, les besoins d’un rôle, ou bien un conjoint français, ces personnalités parlent dans un français impeccable et se débrouillent parfaitement, ils sont les meilleurs ambassadeurs de la Francophonie dans le monde.

Découvrez donc ces 20 célébrités internationales qui maîtrisent parfaitement la langue de Molière. Un petit tour d’horizon linguistique, avec ou sans accent, s’il vous plaît !

A lire également :




Marie France, magazine féminin

We wish to say thanks to the writer of this post for this awesome web content

Ces stars internationales parlent aussi bien français que Molière et vous

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(703) "La rédaction marie france vendredi 21 janvier 2022 mis à jour le vendredi 21 janvier 2022 Jodie Foster Jodie Foster, l’actrice américaine primée et talentueuse, mais aussi réalisatrice, surtout connue pour ses performances magistrales dans « Taxi Driver » et l’iconique film « Le Silence Des Agneaux », est également douée pour les langues. Parfaitement ... Read more" ["atom_content"]=> string(25413) "



vendredi 21 janvier 2022


mis à jour le vendredi 21 janvier 2022

Si la plupart des célébrités savent simplement dire « baguette » et « voulez-vous coucher avec moi », d’autres sont totalement bilingues, et voici pourquoi.

Saviez-vous par exemple que de nombreuses stars américaines étaient bilingues, trilingues voire même plus ? N’ignorant pas que maîtriser une nouvelle langue étrangère constituait toujours une richesse capitale et une véritable ouverture sur le monde.

Ces polyglottes de renom ont choisi d’être de véritables francophiles, puisqu’ils ont appris à parler le français couramment. Qu’ils soient acteurs, hommes politiques ou sportifs étrangers, ils ont tous un lien privilégié avec la France. S’ils ont sélectionné la langue française, c’est tout simplement parce qu’elle est largement considérée comme l’une des plus belles langues du monde, et aussi parce que l’influence de la culture française dans les arts et la littérature a rendu la langue très populaire dans le monde entier.

Pourquoi ces stars parlent aussi bien français ?

Que ce soit pour leur amour pour la France, leurs études, les besoins d’un rôle, ou bien un conjoint français, ces personnalités parlent dans un français impeccable et se débrouillent parfaitement, ils sont les meilleurs ambassadeurs de la Francophonie dans le monde.

Découvrez donc ces 20 célébrités internationales qui maîtrisent parfaitement la langue de Molière. Un petit tour d’horizon linguistique, avec ou sans accent, s’il vous plaît !

A lire également :




Marie France, magazine féminin

We wish to say thanks to the writer of this post for this awesome web content

Ces stars internationales parlent aussi bien français que Molière et vous

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642762329) } [8]=> array(11) { ["title"]=> string(69) "‘Three Billboards, The Revenge Billboards’ Wins Five Bafta Awards" ["link"]=> string(99) "https://awardworld.net/bafta-awards/three-billboards-the-revenge-billboards-wins-five-bafta-awards/" ["dc"]=> array(1) { ["creator"]=> string(16) "Leonard Florence" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 10:04:08 +0000" ["category"]=> string(44) "Bafta AwardsAwardsBaftaBillboardsrevengewins" ["guid"]=> string(31) "https://awardworld.net/?p=13000" ["description"]=> string(689) "The film “Three Billboards, the panels of revenge” by Martin McDonagh triumphed Sunday evening in London at the Bafta ceremony, the awards for British cinema, winning five prizes, including those for best film, best screenplay, and the best actress. While the cinema industry has been shaken by several sexual abuse scandals in recent months, the ... Read more" ["content"]=> array(1) { ["encoded"]=> string(7110) "

The film “Three Billboards, the panels of revenge” by Martin McDonagh triumphed Sunday evening in London at the Bafta ceremony, the awards for British cinema, winning five prizes, including those for best film, best screenplay, and the best actress.

While the cinema industry has been shaken by several sexual abuse scandals in recent months, the mobilization movements were widely welcomed during the evening.

As a symbol, it is the American actress Frances McDormand, a mother who fights for justice in “Three Billboards, the panels of revenge”, who was crowned best actress.

“As Martin (McDonagh, the British director, editor’s note) said, I have a little trouble with deference,” she said after receiving her award. “I stand in solidarity with my sisters in struggle,” she added, referring to the #MeToo and “Time’s Up” campaigns.

“This film is both full of hope and anger,” said Martin McDonagh. “As we’ve seen lately, anger is sometimes the only way to speak up and get change.”

The fantastic film “The Shape of Water”, nominated twelve times, left with three distinctions, including that of the best director for the Mexican Guillermo del Toro. He paid tribute to “English culture”, a “source of inspiration”, and in particular to Charlie Chaplin and Stan Laurel, “who could do so much with so little”, as well as to the author Mary Shelley, mentioning his novel “Frankenstein or the Modern Prometheus”.

Already awarded at the Golden Globes of the foreign press in Hollywood, Gary Oldman received for the first time in his career the Bafta for best actor, for his epic incarnation of Winston Churchill in “The Dark Hours“. He saluted the British statesman in his acceptance speech. “In 1940, he knew how to uphold the values ​​of honor, integrity and freedom for this nation and the world”, he said. he throws.

The film also won the prize for best make-up, a tribute to the physical transformation operated on Gary Oldman, which required no less than four hours of daily work.

British director Ridley Scott received the highest distinction from the British Academy of Cinema, rewarding his entire career.

https://www.youtube.com/watch?v=hk0SflTt3VA

The issue of sexual harassment, which has shaken the film industry in recent months, starting with the Weinstein affair, was addressed from the first minutes of the evening.

“Our industry has had a difficult year. Courageous revelations of sexual harassment and abuse have followed one another,” acknowledged Jane Lush, the Academy’s director, in her opening address. She hoped that the current mobilization, and the recent publication of a charter, would be a “catalyst for lasting change”.

The master of ceremonies, actress Joanna Lumley, made the connection between the fight led by suffragettes a century ago to obtain the right to vote and the “Time’s Up” campaign, seeing in it the same “determination to eradicate abuses against women”.

Many stars, including Angelina Jolie, Salma Hayek or Margot Robbie, appeared dressed in black, responding to the call launched as part of the Time’s Up campaign against sexual violence.

During the day, nearly 200 women, including Keira Knightley, Naomie Harris or Jodie Whittaker, had published a forum and launched a fund aimed at financing information campaigns and supporting legal actions against harassment.

“In the recent past, we lived in a world where sexual harassment was … an unavoidable and distressing aspect of a woman’s life,” they write. “We couldn’t talk about it. But in 2018, we are waking up to a world ready for change.”

The American Producer Harvey Weinstein, director Woody Allen or even the comedian Kevin Spacey have been the subject of numerous accusations of sexual abuse in recent months.

We would like to say thanks to the writer of this short article for this amazing web content

‘Three Billboards, The Revenge Billboards’ Wins Five Bafta Awards

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(689) "The film “Three Billboards, the panels of revenge” by Martin McDonagh triumphed Sunday evening in London at the Bafta ceremony, the awards for British cinema, winning five prizes, including those for best film, best screenplay, and the best actress. While the cinema industry has been shaken by several sexual abuse scandals in recent months, the ... Read more" ["atom_content"]=> string(7110) "

The film “Three Billboards, the panels of revenge” by Martin McDonagh triumphed Sunday evening in London at the Bafta ceremony, the awards for British cinema, winning five prizes, including those for best film, best screenplay, and the best actress.

While the cinema industry has been shaken by several sexual abuse scandals in recent months, the mobilization movements were widely welcomed during the evening.

As a symbol, it is the American actress Frances McDormand, a mother who fights for justice in “Three Billboards, the panels of revenge”, who was crowned best actress.

“As Martin (McDonagh, the British director, editor’s note) said, I have a little trouble with deference,” she said after receiving her award. “I stand in solidarity with my sisters in struggle,” she added, referring to the #MeToo and “Time’s Up” campaigns.

“This film is both full of hope and anger,” said Martin McDonagh. “As we’ve seen lately, anger is sometimes the only way to speak up and get change.”

The fantastic film “The Shape of Water”, nominated twelve times, left with three distinctions, including that of the best director for the Mexican Guillermo del Toro. He paid tribute to “English culture”, a “source of inspiration”, and in particular to Charlie Chaplin and Stan Laurel, “who could do so much with so little”, as well as to the author Mary Shelley, mentioning his novel “Frankenstein or the Modern Prometheus”.

Already awarded at the Golden Globes of the foreign press in Hollywood, Gary Oldman received for the first time in his career the Bafta for best actor, for his epic incarnation of Winston Churchill in “The Dark Hours“. He saluted the British statesman in his acceptance speech. “In 1940, he knew how to uphold the values ​​of honor, integrity and freedom for this nation and the world”, he said. he throws.

The film also won the prize for best make-up, a tribute to the physical transformation operated on Gary Oldman, which required no less than four hours of daily work.

British director Ridley Scott received the highest distinction from the British Academy of Cinema, rewarding his entire career.

https://www.youtube.com/watch?v=hk0SflTt3VA

The issue of sexual harassment, which has shaken the film industry in recent months, starting with the Weinstein affair, was addressed from the first minutes of the evening.

“Our industry has had a difficult year. Courageous revelations of sexual harassment and abuse have followed one another,” acknowledged Jane Lush, the Academy’s director, in her opening address. She hoped that the current mobilization, and the recent publication of a charter, would be a “catalyst for lasting change”.

The master of ceremonies, actress Joanna Lumley, made the connection between the fight led by suffragettes a century ago to obtain the right to vote and the “Time’s Up” campaign, seeing in it the same “determination to eradicate abuses against women”.

Many stars, including Angelina Jolie, Salma Hayek or Margot Robbie, appeared dressed in black, responding to the call launched as part of the Time’s Up campaign against sexual violence.

During the day, nearly 200 women, including Keira Knightley, Naomie Harris or Jodie Whittaker, had published a forum and launched a fund aimed at financing information campaigns and supporting legal actions against harassment.

“In the recent past, we lived in a world where sexual harassment was … an unavoidable and distressing aspect of a woman’s life,” they write. “We couldn’t talk about it. But in 2018, we are waking up to a world ready for change.”

The American Producer Harvey Weinstein, director Woody Allen or even the comedian Kevin Spacey have been the subject of numerous accusations of sexual abuse in recent months.

We would like to say thanks to the writer of this short article for this amazing web content

‘Three Billboards, The Revenge Billboards’ Wins Five Bafta Awards

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642759448) } [9]=> array(11) { ["title"]=> string(30) "How much does my shadow weigh?" ["link"]=> string(65) "https://awardworld.net/nobel-prize/how-much-does-my-shadow-weigh/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Fri, 21 Jan 2022 09:52:09 +0000" ["category"]=> string(22) "Nobel Prizeshadowweigh" ["guid"]=> string(31) "https://awardworld.net/?p=12997" ["description"]=> string(511) "In the world of the ephemeral, there are few elements that accompany us wherever we go, every day of our lives, in almost any circumstance. Something that we hardly notice is our shadow. The shadow is nothing more than the absence of a light that was expected, but that does not reach its destination because ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8218) "

In the world of the ephemeral, there are few elements that accompany us wherever we go, every day of our lives, in almost any circumstance. Something that we hardly notice is our shadow.

The shadow is nothing more than the absence of a light that was expected, but that does not reach its destination because it was blocked by an object. Explaining what light is is not so easy.

In a simplified way we can say that it is made up of photons, elementary particles without mass but with energy and with “momentum”. This “momentum” is the ability of physical objects to push each other. When the photons that make up a ray of light shine on an object, they push on it, exerting a slight pressure on it that we call “radiation pressure.” When we put ourselves in the sun, our body feels this pressure, while the area that we shade, which the photons do not reach, does not feel it.

We can quantify this pressure difference with weight, which is the force we exert on the ground, or on a scale. When we are illuminated we exert a greater force than when we are in the dark, since the moment transferred by the photons that collide with us must be added to the force of our body.

Thus, we can say that an object weighs more when it is illuminated than when it is not.

In the same way, the region where our shadow lies feels less radiation pressure than it would if we weren’t there, blocking out the light. In other words, the excess weight we feel when illuminated corresponds to a defect in the weight of our shadow.

In the case of an adult person of average height, located under the sun at the latitude of Madrid, and assuming that the dimensions of his shadow are the same as those of his body, this weight defect in the shadow will be equivalent to that which would be exerted by a mass of about 0.00000004 kilograms.

(Here is the detailed calculation of the weight of the shade as well as the check of the values ​​that can be found in other similar articles).

Beyond white light and mirrors

This is not all: photons of light of different colors have different moments, so their energy and the pressure they exert will be different. This means that if we illuminate ourselves with red light we will weigh less than if we do it with the same number of photons of blue light.

On the other hand, just because we don’t see something doesn’t mean it doesn’t exist. When it comes to light, most of it is invisible to human eyes. This is the case of ultraviolet photons, such as those from the Sun, which, in addition to tanning us, are more energetic than visible ones and, therefore, subject our bodies to a greater push.

In this way, the difference in weight with respect to the illuminated object is greater for the shadow that we do not see than for the one that we do. Curious, right?

Do all objects respond the same to radiation pressure, regardless of their properties? Of course not.

An object’s ability to absorb, transmit, or reflect photons will also affect its shadow: if it’s perfectly transparent, then it will let photons through and therefore won’t feel too heavy.

On the other hand, a reflective object, a mirror, will feel twice as much thrust as an object that totally absorbs radiation (black body), by reflecting the photons that reach it.

From the scale to the Nobel (and into space)

Our calculations about the weight of shadow and light are fun, but are they of any use? The difference in weight between an illuminated object and one that is not illuminated is tiny: one hundredth of the weight of a single grain of sugar. As a miracle diet it seems poor.

However, these considerations were the reason for the 2018 Nobel Prize in Physics that went to Arthur Ashkin, Gérard Moureau and Donna Strickland, for the development of “optical tweezers”, a method to catch and manipulate tiny objects using the radiation pressure of a laser.

A laser light source, in which photons move coherently, as if coordinated, can be used to move objects with great precision.

The first experiments were done in the 1960s by Ashkin’s team at Bell Labs. The researchers shone tiny, partially transparent spheres with a laser to move and levitate them, counteracting their weight with radiation pressure.

In addition, by focusing the beam with a lens at one point, they were able to trap particles, thus creating the first optical tweezers. Over the following decades they were perfected and made it possible to observe, rotate, cut and push the investigated objects without touching or modifying them. Therefore, they are ideal for studying biological processes.

Isn’t that enough? There is another field in which radiation pressure is also used, but on a large scale: space exploration.

As the push of the photons depends on the size of the surface they hit, it can become relevant when we consider a sufficiently large region.

This is how “solar sails” were designed: a revolutionary way of propelling aircraft in space, consisting only of a large surface that reflects sunlight.

Like the sails of a ship when the wind blows, these solar sails take advantage of the radiation pressure of the photons that collide with them to make the aircraft move.

One of the great advantages of this propulsion system is the high speeds that the ships that use it can reach. In addition, since they do not have to store fuel to move, they are lighter and can travel for longer periods of time. Therefore, they are one of the few technologies that could be used for interstellar travel.

Although these ideas may sound like science fiction, the first aircraft to use sunlight to change its orbit around the Earth was launched in June 2019 as part of an aerospace project called LightSail.

NASA also plans to experiment with these new propulsion technologies in space with the 2022 launch of ACS3, a toaster-sized spacecraft that will use these sails for orbit changes.

Whether for futuristic applications or fundamental issues, what is clear is that if Peter Pan had been aware of his relevance, he would have been much more careful before losing his shadow. Fortunately, we still can’t get rid of it.

This article has been published in The Conversation

We wish to give thanks to the writer of this write-up for this remarkable web content

How much does my shadow weigh?

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(511) "In the world of the ephemeral, there are few elements that accompany us wherever we go, every day of our lives, in almost any circumstance. Something that we hardly notice is our shadow. The shadow is nothing more than the absence of a light that was expected, but that does not reach its destination because ... Read more" ["atom_content"]=> string(8218) "

In the world of the ephemeral, there are few elements that accompany us wherever we go, every day of our lives, in almost any circumstance. Something that we hardly notice is our shadow.

The shadow is nothing more than the absence of a light that was expected, but that does not reach its destination because it was blocked by an object. Explaining what light is is not so easy.

In a simplified way we can say that it is made up of photons, elementary particles without mass but with energy and with “momentum”. This “momentum” is the ability of physical objects to push each other. When the photons that make up a ray of light shine on an object, they push on it, exerting a slight pressure on it that we call “radiation pressure.” When we put ourselves in the sun, our body feels this pressure, while the area that we shade, which the photons do not reach, does not feel it.

We can quantify this pressure difference with weight, which is the force we exert on the ground, or on a scale. When we are illuminated we exert a greater force than when we are in the dark, since the moment transferred by the photons that collide with us must be added to the force of our body.

Thus, we can say that an object weighs more when it is illuminated than when it is not.

In the same way, the region where our shadow lies feels less radiation pressure than it would if we weren’t there, blocking out the light. In other words, the excess weight we feel when illuminated corresponds to a defect in the weight of our shadow.

In the case of an adult person of average height, located under the sun at the latitude of Madrid, and assuming that the dimensions of his shadow are the same as those of his body, this weight defect in the shadow will be equivalent to that which would be exerted by a mass of about 0.00000004 kilograms.

(Here is the detailed calculation of the weight of the shade as well as the check of the values ​​that can be found in other similar articles).

Beyond white light and mirrors

This is not all: photons of light of different colors have different moments, so their energy and the pressure they exert will be different. This means that if we illuminate ourselves with red light we will weigh less than if we do it with the same number of photons of blue light.

On the other hand, just because we don’t see something doesn’t mean it doesn’t exist. When it comes to light, most of it is invisible to human eyes. This is the case of ultraviolet photons, such as those from the Sun, which, in addition to tanning us, are more energetic than visible ones and, therefore, subject our bodies to a greater push.

In this way, the difference in weight with respect to the illuminated object is greater for the shadow that we do not see than for the one that we do. Curious, right?

Do all objects respond the same to radiation pressure, regardless of their properties? Of course not.

An object’s ability to absorb, transmit, or reflect photons will also affect its shadow: if it’s perfectly transparent, then it will let photons through and therefore won’t feel too heavy.

On the other hand, a reflective object, a mirror, will feel twice as much thrust as an object that totally absorbs radiation (black body), by reflecting the photons that reach it.

From the scale to the Nobel (and into space)

Our calculations about the weight of shadow and light are fun, but are they of any use? The difference in weight between an illuminated object and one that is not illuminated is tiny: one hundredth of the weight of a single grain of sugar. As a miracle diet it seems poor.

However, these considerations were the reason for the 2018 Nobel Prize in Physics that went to Arthur Ashkin, Gérard Moureau and Donna Strickland, for the development of “optical tweezers”, a method to catch and manipulate tiny objects using the radiation pressure of a laser.

A laser light source, in which photons move coherently, as if coordinated, can be used to move objects with great precision.

The first experiments were done in the 1960s by Ashkin’s team at Bell Labs. The researchers shone tiny, partially transparent spheres with a laser to move and levitate them, counteracting their weight with radiation pressure.

In addition, by focusing the beam with a lens at one point, they were able to trap particles, thus creating the first optical tweezers. Over the following decades they were perfected and made it possible to observe, rotate, cut and push the investigated objects without touching or modifying them. Therefore, they are ideal for studying biological processes.

Isn’t that enough? There is another field in which radiation pressure is also used, but on a large scale: space exploration.

As the push of the photons depends on the size of the surface they hit, it can become relevant when we consider a sufficiently large region.

This is how “solar sails” were designed: a revolutionary way of propelling aircraft in space, consisting only of a large surface that reflects sunlight.

Like the sails of a ship when the wind blows, these solar sails take advantage of the radiation pressure of the photons that collide with them to make the aircraft move.

One of the great advantages of this propulsion system is the high speeds that the ships that use it can reach. In addition, since they do not have to store fuel to move, they are lighter and can travel for longer periods of time. Therefore, they are one of the few technologies that could be used for interstellar travel.

Although these ideas may sound like science fiction, the first aircraft to use sunlight to change its orbit around the Earth was launched in June 2019 as part of an aerospace project called LightSail.

NASA also plans to experiment with these new propulsion technologies in space with the 2022 launch of ACS3, a toaster-sized spacecraft that will use these sails for orbit changes.

Whether for futuristic applications or fundamental issues, what is clear is that if Peter Pan had been aware of his relevance, he would have been much more careful before losing his shadow. Fortunately, we still can’t get rid of it.

This article has been published in The Conversation

We wish to give thanks to the writer of this write-up for this remarkable web content

How much does my shadow weigh?

Other links: https://awardworld.net/resources/
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