Bobby is a Golden Globe Award-nominated historical drama film written and directed by Emilio Estevez. The film features an ensemble cast and is a fictional account of the lives of several people present during the final hours in the life of the late Senator Robert F. Kennedy, candidate for President of the United States, on June 5, 1968.
It premiered at the Venice Film Festival, where it received a seven-minute-long standing ovation. It received mixed reviews from critics, but nevertheless was nominated for a Golden Globe for Best Picture.
Anthony Hopkins stars as the retired but ever-present doorman at The Ambassador Hotel. Harry Belafonte (whoa…what a surprise. I don’t know he is still alive) plays his retired friend, with whom he engages in games of chess. The director Emilio Estevez plays the husband of the Demi Moore character. Martin Sheen (Estevez's father in real life) acts as the husband of Helen Hunt character
A 2007 film based loosely on Robert Ludlum's novel of the same name. A sequel to The Bourne Supremacy and the third film of the Bourne Trilogy, it stars Matt Damon reprising his role as Ludlum's signature character, amnesiac CIA assassin Jason Bourne. The key cast members reprise their roles from the two previous Bourne movies. The film continues the saga of Jason Bourne after he survives the harrowing Bourne Supremacy car chase in Moscow, Russia, and follows the character as he travels to Paris, London, Madrid, Tangier and New York City to uncover his real identity, while the CIA continues to send assassins after him.
Paul Greengrass (the previous film was United 93) directed the film. By the end of August 2007, the film was said to be on track to exceed non-US box office takings of the first two films in the trilogy
The nude volunteers posed for us and renowned installation artist Spencer Tunick on the Aletsch Glacier.
Without clothes, the human body is vulnerable, exposed, its life or death at the whim of the elements. Global warming is stripping away our glaciers and leaving our entire planet vulnerable to extreme weather, floods, sea-level rise, global decreases in carrying capacity and agricultural production, fresh water shortages, disease and mass human dislocations.
If global warming continues at its current rate, most glaciers in Switzerland will completely disappear by 2080, leaving nothing but valleys and slopes strewn with rock debris. Over the last 150 years, alpine glaciers have reduced in size by approximately one third of their surface and half of their mass, and this melting is accelerating. The Aletsch Glacier retreated 115 meters (377 feet) in a single year from 2005 to 2006.
陳冠中繼《香港三部曲》和《我這一代香港人》後寫成《事後─本土文化誌》，寫的還是香港人、香港事。新作由牛津大學出版社出版，與《香港三部曲》和《我這一代香港人》成一系列。 作者說自己是在香港開蒙，想借此書追憶，到底是哪些人哪些事哪些書開蒙了他。對於作者來說，香港最生猛的，大約在七十年代，那是香港文化脫胎換骨的時期。文化既是個多義詞，文化創意產業更是神奇、混雜的一體多面，那就是陳冠中筆下的細藝：細藝無分廟堂江湖，各自修行、各顯精彩、各領風騷，卻共譜時代精神。電影、電視、電台、音樂、報紙、雜誌、圖書、漫畫、美術、工藝、時裝、設計、收藏、廣告、建築、攝影、戲劇、戲曲、舞蹈、小說、散文、詩歌、報導、評論、學術……在這裡，作者對自己長大的小地方這麼有感情，並且有勇氣大聲喊出來：Kowloon, Kowloon Hong Kong, we like Hong Kong, that's the place for you。香港是我們的城。 作者更希望拋磚引玉，引起興趣，讓大家也寫，一起記下香港非物質的文化遺產，我們的集體記憶。
An Academy Award-winning German film, marking the feature film debut of writer and director Florian Henckel von Donnersmarck.
For it, Donnersmarck won the 2007 Academy Award for Best Foreign Language Film. The film had earlier won seven Deutscher Filmpreis awards including best film, best director, best screenplay, best actor and best supporting actor, after having set a new record with 11 nominations. It was also nominated for Best Foreign Language Film at the 64th Golden Globe Awards.
The thriller/drama involves the monitoring of the cultural scene of East Berlin by secret agents of the Stasi, the GDR's(German Democratic Republic) secret police.
Reception from critics: American film critic and commentator John Podhoretz called the film "one of the greatest movies ever made, and certainly the best film of this decade." William F. Buckley Jr., wrote in his syndicated column that after the film was over, "I turned to my companion and said, 'I think that is the best movie I ever saw.'"
A review in Daily Variety by Derek Elley noted the "slightly stylized look" of the movie created by "playing up grays and dour greens, even when using actual locations like the Stasi's onetime HQ in Normannenstrasse."
A science fiction suspense film directed by Danny Boyle (hey...the director of Trainspotting). The film follows a spaceship crew in the year 2057, played by an ensemble cast of Rose Byrne, Cliff Curtis, Chris Evans, Troy Garity, Cillian Murphy, Hiroyuki Sanada(真田廣之), Benedict Wong and Michelle Yeoh(楊紫瓊), who are tasked with reigniting Earth's dying sun.
A 2007 live action film directed by Michael Bay and executive produced by Steven Spielberg, based on the Transformers franchise. Sam has the coordinates to the location of the Allspark, an object at the center of the war between the heroic Autobots and the evil Decepticons.
Though not a Transformers fan, Bay was convinced by Spielberg to direct, and he created an intricate design aesthetic for the computer-generated robots. General Motors and the United States military lent their support during filming, to keep the budget under $150 million. Armed with an enormous marketing campaign including comics, toys and tie-in deals, Transformers opened in the United States on July 2, 2007, and broke the box office record for the highest-grossing opening week for a non-sequel. Critics praised the special effects, but criticized the characterization.
Quote: "Freaks was a thing I photographed a lot. It was one of the first things I photographed and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them. I don't quite mean they're my best friends but they made me feel a mixture of shame and awe. There's a quality of legend about freaks. Lke a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they'll have a traumatifc experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats." - Diane Arbus
Fur: An Imaginary Portrait of Diane Arbus (also known simply as Fur) is a 2006 film starring Nicole Kidman as iconic American photographer Diane Arbus, who was known for her strange, disturbing images. She committed suicide in 1971.
For the film, director Steven Shainberg, best known for his kinky indie Secretary, reunited with its screenwriter, Erin Cressida Wilson, who used Patricia Bosworth's book Diane Arbus: A Biography as a source. As its name implies, the film is a fictional account rather than an accurate biography. The cinematic Arbus is torn between an affair with overly hirsute neighbor Lionel (Robert Downey, Jr.) and a more conventional life with doting, domestic husband Allan (Ty Burrell) as she tries to find her muse amidst the dregs of society.
Diane Arbus (March 14, 1923 – July 26, 1971) was an American photographer, noted for her portraits of people on the fringes of society. (Her first name is pronounced "dee-ANN.")
Early life:
Diane Nemerov was born in New York City into a wealthy Jewish family, in which she was overshadowed by her older brother, Howard Nemerov, who served as United States Poet Laureate on two separate occasions. She fell in love with future actor Allan Arbus at age 14, and married him soon after turning 18, despite her parents' objections. When Allan started training as a photographer for the US Army, he shared his lessons with Diane. As a husband-wife team, the Arbuses became successful in the fashion world: Allan was the photographer, Diane was the stylist. As Diane began to take her own photographs, she took formal lessons with Lisette Model at The New School in New York. Together the Arbuses had two daughters, photographer Amy Arbus and writer and art director Doon Arbus, but, by 1959, they had separated.
Later life and photography career:
After separating from her husband, Arbus studied with Alexey Brodovitch and Richard Avedon. Beginning in 1960, Arbus worked extensively as a photojournalist, her photos appearing in Esquire, The New York Times Magazine, Harper's Bazaar and Sunday Times magazines, among others. Her first public work was an assignment by Esquire editor and art director Robert Benton. Published under the title, "The Vertical Journey: Six Movements of a Moment Within the Heart of the City", it consisted of six portraits of an assortment of New Yorkers. Arbus would go on to collaborate with Hayes and Benton (and Benton's successors) for 31 photographs in 18 articles.
Arbus' Child with Toy Hand Grenade in Central Park, New York City (1962)Arbus' early work was created using 35mm cameras, but by the 1960s Arbus adopted the Rolleiflex medium format twin-lens reflex. This format provided a square aspect ratio, higher image resolution, and a waist-level viewfinder that allowed Arbus to connect with her subjects in ways that a standard eye-level viewfinder did not. Arbus also experimented with the use of flashes in daylight, allowing her to highlight and separate her subjects from the background.
In 1963, Arbus received a Guggenheim Fellowship grant, allowing her to focus on her art. Arbus received a second Guggenheim grant in 1966. The Museum of Modern Art, in 1967, staged Arbus' first museum show as the New Documents show which included the work of Garry Winogrand and Lee Friedlander. Arbus also taught photography at Parsons The New School for Design in New York and Hampshire College in Amherst, Massachusetts.
In July 1971, Arbus committed suicide in Greenwich Village at the age of 48 by ingesting a large quantity of barbiturates and then slashing her wrists. Rumors held that she photographed her suicide, but no photos were discovered by the police.
Legacy:
Aperture magazine was crucial in reviving Arbus' artistic reputation. MoMA curator John Szarkowski prepared to stage a retrospective in 1972, but the accompanying Diane Arbus catalogue proposal was turned down by all major publishing houses. Aperture's Michael E. Hoffman accepted the challenge, producing one of the most influential photography books. The Aperture monograph has since been reprinted 12 times, selling more than 100,000 copies. The MoMA retrospective traveled throughout North America attracting more than 7 million viewers. Also in 1972, Arbus became the first American photographer to be represented at the Venice Biennale. Arbus' photograph Identical Twins is tenth on the list of most expensive photographs having sold in 2004 for $478,400.
Arbus is noted by critics and art historians for her photographs depicting outsiders, such as tranvestites, dwarves, giants, prostitutes, and ordinary citizens in poses and settings conveying a disturbing uncanniness.
Some critics claim that Arbus' voyeuristic approach demeaned her subjects, based around a major London retrospective of Arbus's works. Admirers of Arbus's work, such as filmmaker Todd Solondz were also interviewed by the BBC and passionately defended her work. In an effort to dispel this image of only photographing freaks, Arbus undertook a study of conventional people, including Gloria Vanderbilt's infant son, future CNN anchorman Anderson Cooper, for Harper's Bazaar.
Famous photographs:
Child with Toy Hand Grenade in Central Park, New York City (1962) — A scrawny boy, with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy grenade in his right hand and holding his left hand in a claw-like gesture, his facial expression is maniacal. Arbus captured this photograph by having the boy stand while moving around him, claiming she was trying to find the right angle. The boy became impatient and told her to "Take the picture already!" His tired, frustrated expression conveys his weariness with the whole endeavor.
This photo was also used, without permission, on the cover of Punk Band SNFU's first studio album; And No One Else Wanted to Play.
Identical Twins, Roselle, New Jersey, 1967 — Young twin sisters are seen standing side by side in corduroy dresses. One slightly smiles and the other slightly frowns. This photo is echoed in Stanley Kubrick's film The Shining, which features twins in an identical pose.
Jewish Giant at Home with His Parents in The Bronx, NY, (1970) — Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father.
Arbus quotes:
²"Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats"
²"A photograph is a secret about a secret. The more it tells you the less you know".
²"What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own".
²"I never have taken a picture I've intended. They're always better or worse".
²"My favorite thing is to go where I've never been".
²"Once I dreamed I was on a gorgeous ocean liner. All pale, gilded, encrusted with rococo - like a wedding cake. There was smoke in the air and people were drinking and gambling. I knew the ship was on fire and we were sinking slowly; they knew it, too, but they were very gay and dancing and singing and a little delerious. There was no hope. I was terribly elated. I could photograph anything I wanted."
Zodiac is a 2007 film directed by David Fincher based on Robert Graysmith's two non-fiction books about the Zodiac Killer (Zodiac and Zodiac Unmasked). A notorious serial killer known only as "the Zodiac" haunted the San Francisco Bay Area during the late 1960s. Leaving several victims in his wake and taunting police with his ciphers and letters written to the San Francisco Chronicle and other newspapers, the Zodiac was never caught. This film tells the story of the notorious killings, standing to this day as one of San Francisco's most infamous unsolved crimes and of the men whose lives and careers were built and destroyed around the hunt for the killer.
Fincher, screenwriter James Vanderbilt and producer Brad Fischer spent 18 months conducting their own investigation and research into the Zodiac murders. During filming, Fincher employed the digital Thomson Viper Filmstream camera to shoot the film. This was the first time this camera has been used to shoot an entire Hollywood feature film. Reviews for the film have been highly positive.
The Zodiac Killer was a serial killer who operated in Northern California for ten months in the late 1960s. His identity remains unknown.
The Zodiac coined his name in a series of taunting letters he sent to the press until 1974. His letters included four cryptograms (or ciphers), three of which have yet to be solved.
The Zodiac murdered five known victims in Benicia, Vallejo, Lake Berryessa, and San Francisco between December 1968 and October 1969. Four men and three women between the ages of 16 and 29 were targeted. Others have also been suspected to be Zodiac victims, but there has been thus far no conclusive evidence to link them to the killer.
In April 2004, the San Francisco Police Department marked the case "inactive", but reopened it some time before March 2007. The case remains open in other jurisdictions as well.
The victims:
Canonical- Although the Zodiac claimed in letters to newspapers that he murdered as many as 37 people, investigators agree on only seven canonical victims, two of whom survived. They are:
David Arthur Faraday, 17, and Betty Lou Jensen, 16: Shot and killed on December 20, 1968, on Lake Herman Road just within the city limits of Benicia.
Michael Renault Mageau, 19, and Darlene Elizabeth Ferrin, 22: Shot on July 4, 1969, at Blue Rock Springs Golf Course parking lot on the outskirts of Vallejo; Darlene was DOA at Kaiser Foundation Hospital, while Michael survived.
Bryan Calvin Hartnell, 20, and Cecelia Ann Shepard, 22: Stabbed on September 27, 1969, on what is today locally referred to as "Zodiac Island" at Lake Berryessa in Napa County; Hartnell survived six stab wounds to the back, but Shepard died of her injuries two days later.
Paul Lee Stine, 29: Shot and killed on October 11, 1969, in Presidio Heights in San Francisco.
Suspected- Many others have been identified as potential Zodiac victims, although evidence is inconclusive and none are universally accepted as Zodiac victims. The more well-known suspected victims are:
Robert Domingos, 18, and Linda Edwards, 17: Shot and killed on June 4, 1963, at a beach near Lompoc. Edwards and Domingos were named as possible Zodiac victims due to the specific similarities between their attack and the Zodiac's attack at Lake Berryessa.
Cheri Jo Bates, 18: Stabbed to death and nearly decapitated on October 30, 1966, at Riverside Community College in Riverside. Bates' possible connection to the Zodiac only came to light four years after her murder when San Francisco Chronicle reporter Paul Avery received a tip regarding similarities between the Zodiac killings and the circumstances surrounding Bates' death.
Kathleen Johns, 22: Abducted on March 22, 1970, on Highway 132 by I-580, west of Modesto. Johns escaped from the car of a man who drove her and her infant daughter around on the backroads between Stockton and Patterson for some three hours. After escaping to the police station in Patterson, she saw the Zodiac's wanted poster and identified him as her kidnapper.
Donna Lass, 25: Last seen September 26, 1970, in South Lake Tahoe. A postcard with an ad from Forest Pines condominiums (near Incline Village at Lake Tahoe) pasted on the back was received at the Chronicle on March 22, 1971, and has been interpreted by some as the Zodiac claiming Lass' disappearance as a victim. The postcard has not been conclusively linked to the Zodiac nor has Lass' body been found.
The Zodiac letters begin: On August 1, 1969, three letters prepared by Zodiac were received at the Vallejo Times-Herald, the San Francisco Chronicle, and the San Francisco Examiner. The nearly identical letters took credit for the shootings at Lake Herman Road and Blue Rock Springs. Each letter also included one-third of a 408-symbol cryptogram which the killer claimed contained his identity. Zodiac demanded they be printed on each paper's front page or he would "cruse [sic] around all weekend killing lone people in the night then move on to kill again, until I end up with a dozen people over the weekend." The Chronicle published its third of the cryptogram on page four of the next day's edition. An article printed alongside the code quoted Vallejo Police Chief Jack E. Stiltz as saying "We're not satisfied that the letter was written by the murderer" and a request to the writer to send a second letter with more facts to prove his identity. The threatened murders did not happen, and all three parts were eventually published.
On August 7, 1969, another letter was received at the San Francisco Examiner with the salutation, "Dear Editor This is the Zodiac speaking". It was the first time the killer had referred to himself with this name. The letter was in response to Chief Stiltz asking him to provide more details to prove he killed Faraday, Jensen and Ferrin. In it, the Zodiac included details about the murders which had not been released to the public as well as a message to the police that when they cracked his code "they will have me."
On August 8, 1969, Donald and Bettye Harden of Salinas, California, cracked the 408-symbol cryptogram, which did not contain Zodiac's name. The message, including misspellings, read:
“ I LIKE KILLING PEOPLE BECAUSE IT IS SO MUCH FUN IT IS MORE FUN THAN KILLING WILD GAME IN THE FORREST BECAUSE MAN IS THE MOST DANGEROUE ANAMAL OF ALL TO KILL SOMETHING GIVES ME THE MOST THRILLING EXPERENCE IT IS EVEN BETTER THAN GETTING YOUR ROCKS OFF WITH A GIRL THE BEST PART OF IT IS THAE WHEN I DIE I WILL BE REBORN IN PARADICE AND THEI HAVE KILLED WILL BECOME MY SLAVES I WILL NOT GIVE YOU MY NAME BECAUSE YOU WILL TRY TO SLOI DOWN OR ATOP MY COLLECTIOG OF SLAVES FOR MY AFTERLIFE EBEORIETEMETHHPITI ”
The meaning of the final eighteen letters has not been determined.
Lake Berryessa: On September 27, 1969, Bryan Hartnell and Cecelia Shepard were picnicking at Lake Berryessa on a small island connected by a sand spit to Twin Oak Ridge. A man approached them wearing a black executioner's-type hood with clip-on sunglasses over the eye-holes and a bib-like device on his chest that had a white 3"x3" cross-circle symbol on it. He approached them with a gun Hartnell believed to be a .45. The hooded man claimed to be an escaped convict from Deer Lodge, Montana, where he killed a guard and stole a car, and explained that he needed their car and money to go to Mexico. He had brought precut lengths of plastic clothesline and told Shepard to tie up Hartnell, before tying her up himself. The Zodiac checked and tightened Hartnell's bonds after discovering she bound him loosely. Hartnell initially believed it to be a weird robbery, but the man drew a knife and stabbed them both. He then hiked 500 yards back up to Knoxville Road, drew the cross-circle symbol on Hartnell's car door with a black felt-tip pen, and wrote beneath it: Vallejo/12-20-68/7-4-69/Sept 27-69-6:30/by knife.
At 7:40 p.m., the man called the Napa County Sheriff's office from a pay telephone to report his crime. The phone was found still off the hook minutes later at the Napa Car Wash on Main Street in Napa by KVON radio reporter Pat Stanley, only a few blocks from the sheriff's office and 27 miles from the crime scene. Detectives were able to lift a still-wet palm print from the telephone but were never able to match it to a suspect.
A man and his son who were fishing in a nearby cove had discovered the victims after hearing their screams for help and summoned help by contacting park rangers. Napa County Sheriff Deputies Dave Collins and Ray Land were the first law enforcement officers to arrive at the scene of the assault. Cecelia Shepard was conscious when Collins arrived and gave him a detailed description of the attacker. Hartnell and Shepard were taken to Queen of the Valley Hospital in Napa by ambulance. Shepard lapsed into a coma during transport to the hospital and never regained consciousness. She died two days later, but Hartnell survived to recount his tale to the press. Napa County Sheriff Detective Ken Narlow, who was assigned to the case from the outset, worked on solving the crime until his retirement from the department in 1987.
Presidio Heights: On October 11, 1969, a man entered Paul Stine's cab at the intersection of Mason and Geary Streets in San Francisco and requested to be taken to Washington and Maple Streets in Presidio Heights. For reasons unknown, Stine drove one block further to Cherry Street; the man shot him once in the head with a 9mm, then took his wallet and car keys and tore off his shirt tail. He was observed by three teenagers across the street at 9:55 pm, who called the police as the crime was in progress. They observed the man wiping the cab down, and then walking away towards the Presidio, one block to the north. The police arrived minutes later, and the teen witnesses explained that the killer was still nearby.
Two blocks from the crime scene, officer Don Fouke, also responding to the call, observed a white man walking along the sidewalk then stepping onto a stairway leading up to the front yard of one of the homes on the north side of the street; the encounter lasted only five to ten seconds. His partner, Eric Zelms, did not see the man. The radio dispatch had alerted them to look for a black and not a white suspect, so they had no reason to talk to the man and drove past him without stopping; the mix up in descriptions remains unexplained to this day. When they reached Cherry, Fouke was informed that they were in fact looking for a white suspect; Fouke realized they must have passed the killer. Fouke concluded that the Zodiac had resumed his original route and escaped into the Presidio, so they entered the base to look for him but the killer had vanished. A search ensued, but nothing was found. The three teen witnesses worked with a police artist to prepare a composite of Stine's killer, and a few days later returned to produce a second composite. The Zodiac was estimated to be 35-45 years of age. Detectives Bill Armstrong and Dave Toschi were assigned to the case. The San Francisco Police Department eventually investigated an estimated 2,500 suspects over a period of years.
More letters and codes: On October 14, 1969, the Chronicle received yet another letter from the Zodiac, this time containing a swatch of Paul Stine's shirt tail as proof he was the killer; it also included a threat about shooting school children. It was only then that the police knew who they were looking for a few nights before in Presidio Heights.
At 2:00 am on October 22, 1969, someone claiming to be the Zodiac called Oakland PD demanding that one of two prominent lawyers, F. Lee Bailey or Melvin Belli, appear on Jim Dunbar's television talk show in the morning. Bailey was not available, but Belli appeared on the show. Dunbar appealed to the viewers to keep the lines open, and eventually, someone claiming to be the Zodiac called several times and said his name was Sam. Belli agreed to meet with him in Daly City, but the suspect never showed up. Police officers who had heard the Zodiac listened to "Sam's" voice and agreed that he was not the Zodiac. Subsequent calls the suspect made to Belli were traced to the Napa State Hospital, where it was learned that "Sam" was a mental patient.
On November 8, 1969, the Zodiac mailed a card with another cryptogram consisting of 340 characters. On November 9, 1969, he mailed a seven-page letter in which he claimed that two policemen stopped and actually spoke with him three minutes after he shot Stine. Excerpts from the letter were published in the Chronicle on November 12, including the Zodiac's claim; that same day, Don Fouke wrote a memo explaining what had happened that night. The 340 character cipher has never been decoded.[19] Many possible "solutions" have been suggested, but cannot be accepted since they do away with codemaking conventions.
On December 20, 1969, the Zodiac mailed a letter to Belli and included yet another swatch of Stine's shirt; the Zodiac claimed he wanted Belli to help him.
Modesto On the night of March 22, 1970, Kathleen Johns was driving from San Bernardino to Petaluma to visit her mother. She was seven months pregnant and had her 10-month-old daughter beside her. While heading west on Highway 132 near Modesto, a car behind her began honking and flashing its lights. She pulled off the road and stopped. The man in the car parked behind her, stated her right rear tire was wobbling, and offered to tighten the lugs. After finishing his work, the man drove off, and when Johns pulled forward the wheel came off the car. The man stopped, backed up, and offered to drive her to the nearest gas station for help. She and her daughter climbed into his car. They drove past several service stations but the man did not stop. For some three hours he drove them up and down the backroads around Tracy, and when she asked why he was not stopping, he would change the subject.
When the driver stopped at an intersection, Johns jumped out with her daughter and hid in a field. He came out to look for her, but when a truck driver spotted the scene, Johns' abductor drove off. Johns hitched a ride to the police station in Patterson. As she gave her statement to the sergeant on duty, she noticed the police composite of Paul Stine's killer and recognized him as the man who abducted her and her child. Fearing the Zodiac might come back and kill them all, the sergeant had Johns wait in nearby Mil's Restaurant in the dark. Her car was eventually found torched and gutted.
There are many conflicting accounts of the Johns abduction. Most claim he threatened to kill her and her daughter while driving them around, but at least one police report disputes that. Johns' account to Paul Avery of the Chronicle indicates her abductor left his car and searched for her in the dark with a flashlight; however, in the two reports she made to the police, she stated he did not leave the vehicle. Some accounts state Johns' vehicle was moved then torched, while others contend it was located where she'd left it.[21] The various discrepancies among Johns' accounts over the years have led many researchers to question if she was an actual Zodiac victim.
Further communications The Zodiac continued to communicate with authorities for the remainder of 1970 via letters and greeting cards to the press. In a letter postmarked April 20, 1970, the Zodiac wrote, "My name is [blank]," followed by a 13-character cipher. The Zodiac went on to state that he was not responsible for the recent bombing of a police station in San Francisco (referring to the February 18, 1970, death of Sgt. Brian McDonnell at Park Station in Golden Gate Park) but added "there is more glory to killing a cop than a cid because a cop can shoot back." The letter included a diagram of a bomb the Zodiac claimed he would use to blow up a school bus. At the bottom of the diagram, he had written: " = 10, SFPD = 0".
Zodiac sent a greeting card postmarked April 28, 1970, to the Chronicle. Written on the card was, "I hope you enjoy yourselves when I have my BLAST," followed by the Zodiac's cross circle signature. On the back of the card, the Zodiac threatened to use his bus bomb soon unless the newspaper published the full details he wrote. He also wanted to start seeing people wearing "some nice Zodiac butons"
In a letter postmarked June 26, 1970, the Zodiac stated he was upset he did not see people wearing Zodiac buttons. He wrote, "I shot a man sitting in a parked car with a .38." It has been proposed the Zodiac was referring to the murder of Sgt Richard Radetich a week earlier, on June 19. At 5:25 AM, Radetich was writing a parking ticket in his squad car when an assailant shot him in the head with a .38-caliber pistol. Radetich died 15 hours later. SFPD denies the Zodiac was involved in this murder; it remains unsolved.
Included with the letter was a Phillips 66 map of the San Francisco Bay Area. On the image of Mount Diablo, the Zodiac had drawn a crossed-circle similar to that he had included in previous correspondence. At the top of the crossed circle, he placed a zero, and then a three, six, and a nine, so the annotation resembled a clock face. The accompanying instructions stated that the zero was “to be set to Mag. N." The letter also included a 32-letter cipher that the killer claimed would, in conjunction with the code, lead to the location of a bomb he had buried and set to go off in the autumn. The bomb was never located. The killer had signed the note with " = 12, SFPD = 0".
In a letter to the Chronicle postmarked July 24, 1970, the Zodiac took credit for Kathleen Johns' abduction, four months after the incident.
In his July 26, 1970 letter, the Zodiac paraphrased a song from The Mikado, adding his own lyrics about making a "little list" of the ways he planned to torture his "slaves" in "paradice." The letter was signed with a large, exaggerated cross circle symbol and a new score: " = 13, SFPD = 0".A final note at the bottom of the letter stated, "P.S. The Mt. Diablo code concerns Radians + # inches along the radians." In 1981, a close examination of the radian hint by Zodiac researcher Gareth Penn led to the discovery that a radian angle, when placed over the map per Zodiac's instructions, pointed to the locations of two Zodiac attacks.
On 7 October 1970, the Chronicle received a three-by-five inch card signed by the Zodiac with the drawn with blood. The card's message was formed by pasting words and letters from an edition of the Chronicle and thirteen holes were punched across the card. Inspectors Armstrong and Toschi agreed it was "highly probable" the card came from the Zodiac.
Current status The last SFPD investigators of the case were Homicide Detail Inspectors Michael N. Maloney and Kelly Carroll. They were the first to submit DNA evidence from Zodiac's letters for analysis, which resulted in a partial genetic profile. DNA testing seems to have conclusively ruled out their lead suspect, Arthur Leigh Allen, and later Mike Rodelli's suspect, a prominent San Francisco businessman who lived near Paul Stine's murder scene.
The SFPD marked the case "inactive" in April 2004, citing caseload pressure and resource demands.They reopened the case some time before March 2007 and returned evidence to Vallejo police for additional DNA testing. The case also remains open in other jurisdictions.
Arthur Leigh Allen:
Though many people have been suspected of being Zodiac through the years, only one, Arthur Leigh Allen (December 18, 1933 - August 26, 1992), was seriously investigated. In July 1971, a friend of Allen's reported his suspicions about him to the Manhattan Beach Police Department, and the report was forwarded to the SFPD. When questioned later, Allen claimed without prompting that the bloody knives he had in his car the day of the Lake Berryessa attack had been used to kill chickens. When asked if he had read The Most Dangerous Game, Allen replied that he had and said it had made an impression on him. This interested the police, as the 408-character cipher appears to reference that short story.
Allen was the only suspect in the case whom police had enough evidence against to execute not just one, but three search warrants: on September 14, 1972; February 14, 1991; and August 28, 1992, two days after he died. Allen denied his guilt in interviews, but there was much circumstantial evidence against him.
Police found no physical evidence to prove that Allen was the Zodiac Killer, and the Vallejo Police Department chose not to press charges against Allen, even though he was a convicted sex offender and weapons and explosive components were found in his home following the 1991 search. Ultimately, Allen's handwriting did not match the Zodiac's, his fingerprints did not match those suspected to be Zodiac's, no concrete evidence linking him to the Zodiac killings was ever found, and recent DNA testing on suspected Zodiac letters in 2002 did not provide a match. However, neither Vallejo nor SFPD ruled Allen out after the test results.
Agnes b.將舊影藝改成展覧廳 “Bande à part” presents a cross view of 11 photographers on the New York underground scene from the late 60’s to the mid80’s, featuring those who originated the creative effervescence which shook the artistic, musical and literary scene during the 2 decades that separate Counter Culture from No-Wave. Through the 180 photographs presented, the 11 photographers deliver from the inside the rare and precious testimony of the actors and agitators, be they famous or anonymous, of the New York underground which still influences today’s bands and artists. By extension, they offer a privileged point of view on the icons and myths which have founded our actual pop culture, that keeps quoting and recycling itself infinitely. “Bande à part” is at the same time pop and punk, hippie and disco, punk-rock and glam-rock, it’s an exhibition about excess, about attitude, about sex, drugs and Rock’n Roll, and finally -and maybe mostly- about New York City.
Bande à part New York Underground 60’s, 70’s, 80’s Photo exhibition 10 aug - 11 nov 07 Agnes b.'s librairie galerie Sun Hung Kai Centre 30 Harbour Road
Back in 1969, filmmaker Ralph Arlyck made a small splash on the film festival circuit with his film Sean, a documentation of a four year-old living on San Francisco's Haight Street among the hippies, roaming free and smoking pot. Years later Arlyck tracks down the grown-up Sean Farrell and attempts to find out what happened to him. Following Sean is like a less clinical, more personal 42 Up (1999), in which the filmmaker acknowledges his own part in his subject's life. Through his narration, Arlyck keeps us up to date on his own feelings and thoughts and how he thinks they are affecting his film. But the more he opens up, the more reclusive Sean becomes. Sean has a way with the camera, and he comes across as uncommonly intelligent and even somewhat funny, without ever giving away anything truly painful or revealing. Yet, he's surprisingly effective; you want to keep spending time with him. Because of its emotional wanderings and immense chronological scope, Following Sean is an almost shapeless film. But it's clever enough to know that its multiple reflections eventually reveal something profound.
Written and directed by Craig Brewer (of Hustle & Flow fame), was filmed in and around Memphis, Tennessee, and stars Samuel L. Jackson, and Christina Ricci. The title of the film derives from the 1927 Blind Lemon Jefferson song, while the plot is loosely based on George Eliot's 1861 novel Silas Marner, which also features a religious social outcast recovering from romantic betrayal. In Silas Marner, Eppie is tied to Silas's house with a length of cloth for purposes similar to the iconic chain in Black Snake Moan.
Pan's Labyrinth is an Academy Award-winning Spanish-language fantasy film written and directed by Mexican film-maker Guillermo del Toro.
Pan's Labyrinth, set in post-Civil War Spain, tells the story of a girl named Ofelia who is given three tasks by a mysterious faun. Meanwhile, her stepfather, the fascist Captain Vidal, viciously hunts for rebels in the region, and her pregnant mother grows ill. Heavily influenced by fairy tales and considered a spiritual sequel to Devil's Backbone, the film employed make-up, puppetry, and CGI effects to create its fantasy creatures.
The film, which garnered several Golden Globes and three Academy Awards, had its première in the 2006 Cannes Film Festival. Pan's Labyrinth has also won numerous international awards.
Apocalypto is an Academy Award nominated 2006 epic film directed by Mel Gibson. Set in Mexico's Yucatán Peninsula just before Spanish contact, it depicts one man's experience during the decline of the ancient Maya civilization.
"When the end comes, not everyone is ready to go." "A great civilization is not conquered from without until it is destroyed from within."
"The Mayans were far more interesting to us. You can choose a civilization that is bloodthirsty, or you can show the Mayan civilization that was so sophisticated with an immense knowledge of medicine, science, archaeology and engineering ... but also be able to illuminate the brutal undercurrent and ritual savagery that they practiced. It was a far more interesting world to explore why and what happened to them."
Themes
Maya civilization in the Central Area reached its full glory in the early eighth century, but it must have contained the seeds of its own destruction, for in the century and a half that followed all its magnificent cities had fallen into decline and ultimately suffered abandonment. This was surely one of the most profound social and demographic catastrophes of all human history.
As Coe puts it, the precursors to the fall of the Mayan civilization, the "seeds of its own destruction," are similar to those found in other past civilizations. Yet Mel Gibson takes this comparison a step forward and claims these same "forces" are "occurring in our society now." Apocalypto is partially intended as a political allegory about civilizations in decline. The movie is an attempt to illustrate the parallels between a great fallen empire of the past and the great empires of today. Gibson states, "People think that modern man is so enlightened, but we're susceptible to the same forces – and we are also capable of the same heroism and transcendence."
The filmmakers researched exactly what was the cause behind the Mayan collapse. The problems "faced by the Maya are extraordinarily similar to those faced today by our own civilization" co-writer Safinia stated during production, "especially when it comes to widespread environmental degradation, excessive consumption and political corruption." The peek through time at this culture of the past serves as a looking glass onto our own lives today. The film serves as a cultural critique – in Dr. Hansen's words, a "social statement" – sending the message that it is never a mistake to question our own assumptions about morality.
The corrosive forces of corruption are illustrated in specific scenes throughout the movie. Excessive consumption can be seen in the extravagant lifestyle of the upper-class Maya, their vast wealth contrasted with the sickly, the extremely poor, and the enslaved. Environmental degradation is portrayed both in the exploitation of natural resources such as the over-mining and farming of the land, but also through the treatment of people, families and entire tribes as resources to be harvested and sold to slavery. Political corruption is seen in the leaders' manipulation, the human sacrifice on a large scale, and the mass slave trade. These themes are prevalent through out the movie and often overlap and blend together, creating an overall sense of sadness, devastation and destruction.
The Greek verb ἀποκαλύπτω apokaluptō means "to uncover, disclose, or reveal." Gibson commented about the movie's title: "[It] just expresses so well that I want to convey. I think it's just a universal word. In order for something to begin, something has to end. All of those elements are involved. But it's not a big doomsday picture or anything like that."
和 伊 斯 蘭 
， 印 度 的 回 
重 人 事 平 衡 ， 都 起 用 兩 大 宗 
Diane Arbus 
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前 的 1980 年 被 炒 ， 後 竟 然 做 起 民 歌 雜 誌 ； 形 象 勁 Punk 的 Marcia Resnick 則 是 音 樂 文 化 的 )
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喇 叭 。 $190/ 對)
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人 ， 其 實 是 一 種 聲 音 ， 聽 番 常 會 好 失 落 ， 原 來 好 多 
都 過 
， 你 睇 大 野 洋 子 變 了 名 媛 都 夠 膽 死 ， 一 切 已 成 過 去 ！ 」 上 次 睇 傳 統 柳 子 戲 撞 正 邁 克 ， 原 來 New York Underground 亦 是 他 愛 流 連 之 地 。 在 眾 多 當 年 歌 手 中 盧 巧 音 最 愛 Patti Astor ， 她 的 聲 線 Candy 會 唱 ， 但 她 的 狂 野 則 無 從 說 起 ！ 充 滿 期 待 而 來 的 PixelToy ， 見 到 Debbie Harry 實 在 驚 為 天 人 ， 原 來 勁 Rock 勁 狂 野 也 還 有 甜 美 可 愛 一 面 ！ 著 名 攝 影 師 Roy 在 Leee Black Childers 身 上 找 到 無 限 認 同 ， 人 生 經 驗 才 是 按 下 快 門 的 根 本 ！ 黃 志 淙 的 話 充 滿 感 嘆 ： 「 如 像 繼 續 革 命 ， 但 已 好 難 再 搵 番 那 個 年 代 了 ， 這 才 傳 奇 、 才 經 典 ， 像 一 個 凝 結 了 的 永 
！ 」 而 從 台 灣 專 誠 而 來 的 陶 喆 ， 看 到 喝 醉 的 ， 服 過 藥 的 ， 無 化 妝 被 拍 下 的 真 實 ， 說 這 才 是 大 時 代 ， 正 是 這 個 年 代 最 缺 乏 的 真 我 。)
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造 事 實 」 、 「 製 造 假 新 聞 」 ， 投 進 監 獄 ！ 三 十 多 年 來 ， 中 國 進 步 了 嗎 ？ 
