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The average smartphone screen has been found to be more than three times dirtier than a toilet seat.
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The stars of Crazy Rich Asians are opening up about the importance of the film in society today.
Constance Wu, Henry Golding and Gemma Chan recently sat down with E! News to talk about…
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Apple is developing production plans for its next iPhones that stress cheaper liquid-crystal displays, in a sign of consumers’ sensitivity to the price of smartphones.
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Apple’s efforts to line up a second supplier for its high-end smartphone screens have hit a hurdle because LG Display is struggling to make them, according to people familiar with the matter.
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Ant McPartlin has returned to television screens following his stint in rehab – with I’m a Celebrity co-host Declan Donnelly joking he had been replaced.
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Beijing’s internet censors are now targeting foreign movies and TV shows that are popular with young Chinese as it tries reinsert Communist ideology into public life.
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NFL draft deception: Stories of smoke screens and subterfuge
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MILAN — Fondazione Prada in Milan is holding a film festival called “Flesh, Mind and Spirit,” a selection of 15 movies chosen by director Alejandro González Iñárritu and film critic Elvis Mitchell, running through Feb.1. Each film is assigned to a category distinguished by a keyword. Flesh features in “Fists in the Pocket, and “Aguirre, the Wrath of God,” while mind is seen in “I am Cuba,” “Last Year at Marienbad” and “You, the Living.” Spirit movies include “Mother and Son” and “Silent Night.”
“Despite this extremely eclectic selection, there is a common factor: these films are all experiences full of emotion,” said Iñárritu, who was just nominated for an Academy Award as best director for “The Revenant.” “All of them provoked in me appetites that I never knew I had.”
The selection will be screened free of charge at Fondazione Prada’s Cinema every day, expect Tuesdays. Advance booking is required.
By Nicholas F. Benton
The Best of Enemies, an Oscar-worthy documentary on a handful of screens across America now but guaranteed to be a first-rate resource when it hits the Internet for many a moon to come, chronicles the 10 extraordinary, unscripted, live head-to-head TV throw-downs in the Summer of 1968 pitting two of the nation’s premiere intellectuals, William F. Buckley Jr. and Gore Vidal, against each other.
Aimed at spicing up ABC’s coverage of the Republican and Democratic national conventions that summer, the debates were a nationwide sensation because of how the sparks flew between these two men whose faces came within inches of each other and who genuinely hated each other. Not like the canned, insufferably boring exchanges between nominal adversaries swimming in the same big punchbowl of national politics and the major media these days, those exchanges in 1968 were raw, savage and produced, unexpected results, to say the least.
But as commendable as the Morgan Neville and Robert Gordon excellent and timely documentary is, the seminal importance of the Buckley-Vidal encounters (they were more encounters than debates) was missed in their presentation and in almost every review of the film to date.
The encounters represented an historical singularity, a single inflection point that tipped the national consciousness during that hot and intemperate August between the GOP conclave in Miami at the beginning of the month and the anti-war riots and police riot-filled Democratic one in Chicago at the end of the month.
First of all, they were not composed of equals, Buckley on the right and Vidal on the left. Buckley had behind him the full power of the nation’s entire military and industrial establishment, the scions prosecuting the Vietnam War who, as instinctively if not actually most Americans sensed were responsible for the assassinations of Martin Luther King Jr. and Robert Kennedy just months earlier, and for that matter, before that, of John F. Kennedy and Malcolm X.
Vidal was a fitting adversary, but Buckley agreed to him because he thought he could eat him alive by his usual sophistic debating tactics that made watching his “Firing Line” TV show like watching fish being shot in a barrel.
Vidal was vulnerable in Buckley’s eyes because he was a semi-closeted gay man, intellectually talented but, so Buckley thought, no match for the kind of erudite stabs and cuts that Buckley’s superior mental and verbal rapier skills would bring into play.
Vidal, in my view one of the most under-appreciated figures in U.S. history, presented himself on the set with the eyes and body language of a lonely but brave and happy warrior, with really no one willing to back him up, a Gary Cooper in High Noon-ish type of figure.
This was no debate of equals, this was David versus Goliath if ever there was one.
Appreciating this makes what then happened so much more delightful and important, because Gore Vidal almost literally “tore Bill Buckley a new one.”
Vidal was relentless in taking the fight to his enemy, catching Buckley in contradictions by having researched and quoting from his works, and with highly-charged verbal assaults. Buckley was on the defensive but fought back with his legendary skills of repartee.
But then it got to the ninth encounter, on the eve of the final day of the Democratic convention in Chicago, on Aug. 28, as outside police were smashing anti-war demonstrator heads with billy clubs.
Vidal scored his coup de grace by calling Buckley a “crypto-Nazi.” The close-up of Buckley’s contorted, enraged face at that moment, as he leaned toward Vidal, was like a nasty close-up of the Alien in one of those movies. He snarled, “Now you listen, you queer, stop calling me a crypto-Nazi or I’ll sock you in your goddamn face and you’ll stay plastered.”
That was it. Vidal sank back in his chair with a slight smile. He’d won. Such filthy language was never spoken on TV in that era. Buckley was exposed and crushed.
Millions of Americans attracted to the high-brow nature of this fight subsequently felt permitted to come out against the Vietnam War, generating new waves of mainstream activism that eventually sealed its fate.
‘Best of Enemies:’ How
Vidal Bashed Buckley
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This book is an interdisciplinary empirical investigation of how people interact with public screens in their daily lives. In more and more surprising locations, screens of various kinds appear within the sightlines of passers-by in contemporary cities. Outdoor advertisers target audiences which are increasingly mobile, public art uses screens to interrogate urban change, while postmodern architecture finds electronic imagery a suitable tool of expression. Traditionally, urban sociology research has assumed that people seek to filter urban stimuli, but recent accounts of public screens suggest producers design and position display interfaces site-specifically, so as to engage with those moving past. This study offers insight both into the dynamics of actual encounters and into the long-term process of how people learn to live with repeated invitations to consume media in public spaces. The book includes four cases: street advertising, underground transport advertising, and installation art in London (UK) and media facade architecture in Zadar (Croatia). Krajina shows that maintaining familiarity with everyday surroundings in media cities that change beyond citizens’ control is a temporary achievement–and a recursive struggle.
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