Lerner

冬天,蒂妲絲雲頓拜訪落腳於法國小山村四十餘年的挚友約翰伯格,兩人散步於靄靄白雪的村莊!或深或淺地,在小屋中聊起童年記憶與歷史承接。春天,透過凝視動物,經歷一場人類與動物關係的思辨。炎天,於山村中跟三兩藝術家漫談當代政治,佐以舊時影片!音樂,摸索藝術怎样述說政治。秋日,蒂妲再度帶著孩子拜訪約翰以及約翰之子,在視野遼闊的山村生涯中,發現傳承的意念存在於所觀看的每一片風景。四部短片象徵四序的更迭,而山村的風景!動物!生涯則是年復一年的循環,體現約翰口中[無窮延长的此時现在]。他的思惟及人生觀與陈旧的農舍!青葱的綠地!放牧的牛群相呼相應,說著這個天下方圆人物风物的故事,阿爾卑斯山裡的小村莊,則是最诱人的舞台。（以上來自2016台北金馬影展）The Seasons in Quincy is a feature-length documentary film in four parts by the Derek Jarman Lab at Birkbeck, in collaboration with Til da Swinton, Christopher Roth and Colin MacCabe. Together, the parts constitute a film portrait of John Berger, the British writer and thinker.In 1973 - Berger abandoned the metropolis to live in the tiny Alpine village of Quincy. He realized that subsistence peasant farming, which had sustained humanity for millennia, was drawing to an historical close. He determined to spend the rest of his life bearing witness to this vanishing existence, not least by participating in it. Berger’s trilogy Into their Labours chronicles the peasant life of this Alpine village and its surrounding countryside. Our portrait places Berger in the rhythm of the seasons in Quincy.The four parts of the film each address different strands of Berger's life and work. The first, Ways of Listening, directed by Colin MacCabe, deals with fathers and friendship. Spring, directed by Christopher Roth, considers Berger's writing on our relationship with animals in juxtaposition with the animals that surround him in the Haute Savoie. A Song for Politics, directed by Colin MacCabe and Bartek Dziadosz, reflects on politics through a conversation between Berger, Colin MacCabe, Ben Lerner, Akshi Singh and Christopher Roth. The last part, Harvest, directed by Tilda Swinton, revisits Quincy to meditate on belonging and continuity with John and his son Yves.來自http://www.jarmanlab.org/the-seasons-in-quincy-four-portraits-of-john-berger.html

冬天,蒂妲絲雲頓拜訪落腳於法國小山村四十餘年的挚友約翰伯格,兩人散步於靄靄白雪的村莊!或深或淺地,在小屋中聊起童年記憶與歷史承接。春天,透過凝視動物,經歷一場人類與動物關係的思辨。炎天,於山村中跟三兩藝術家漫談當代政治,佐以舊時影片!音樂,摸索藝術怎样述說政治。秋日,蒂妲再度帶著孩子拜訪約翰以及約翰之子,在視野遼闊的山村生涯中,發現傳承的意念存在於所觀看的每一片風景。四部短片象徵四序的更迭,而山村的風景!動物!生涯則是年復一年的循環,體現約翰口中[無窮延长的此時现在]。他的思惟及人生觀與陈旧的農舍!青葱的綠地!放牧的牛群相呼相應,說著這個天下方圆人物风物的故事,阿爾卑斯山裡的小村莊,則是最诱人的舞台。（以上來自2016台北金馬影展）The Seasons in Quincy is a feature-length documentary film in four parts by the Derek Jarman Lab at Birkbeck, in collaboration with Til da Swinton, Christopher Roth and Colin MacCabe. Together, the parts constitute a film portrait of John Berger, the British writer and thinker.In 1973 - Berger abandoned the metropolis to live in the tiny Alpine village of Quincy. He realized that subsistence peasant farming, which had sustained humanity for millennia, was drawing to an historical close. He determined to spend the rest of his life bearing witness to this vanishing existence, not least by participating in it. Berger’s trilogy Into their Labours chronicles the peasant life of this Alpine village and its surrounding countryside. Our portrait places Berger in the rhythm of the seasons in Quincy.The four parts of the film each address different strands of Berger's life and work. The first, Ways of Listening, directed by Colin MacCabe, deals with fathers and friendship. Spring, directed by Christopher Roth, considers Berger's writing on our relationship with animals in juxtaposition with the animals that surround him in the Haute Savoie. A Song for Politics, directed by Colin MacCabe and Bartek Dziadosz, reflects on politics through a conversation between Berger, Colin MacCabe, Ben Lerner, Akshi Singh and Christopher Roth. The last part, Harvest, directed by Tilda Swinton, revisits Quincy to meditate on belonging and continuity with John and his son Yves.來自http://www.jarmanlab.org/the-seasons-in-quincy-four-portraits-of-john-berger.html

HomeBeforeDarkisanewAppleOriginalaboutanine-year-oldjournalistwhohelpssolveamurder.Amysteryinspiredbythereportingofarealnine-year-oldjournalist.Whenayounggirlandherfamilymovebacktothesmalltownherfatherleftbehind,herpursuitofthetruthleadstotheunearthingofalong-buriedcoldcase.TheseriesiscreatedandexecutiveproducedbyJonM.ChuandshowrunnersDanaFox&DaraResnik;writtenandexecutiveproducedbyRusselFriend&GarrettLerner;andexecutiveproducedbySteveGolinforAnonymousContent,JoyGormanWettels,RosemaryRodriguezandSharleneMartin.

12岁的DJ（米切尔•莫索 Mitchel Musso 饰）是个爱理想的家伙。他终日认为劈面街的老头子的那座旷废的老屋阴沉怪气,四周的一些物体常常不知去处。经由具体视察,DJ发明本来掉落的物品都被老屋吃了,那么老头子掉落的老伴应当都是被吃了,DJ心想。不外大人们乃至搭档们都认为DJ在胡思乱想。 万圣节前的一天,DJ跟搭档乔德（山姆•勒纳 Sam Lerner 饰）不当心将篮球扔到了老屋门前,他们眼睁睁的看着一股奥秘气力将篮球吸进了屋内,就连新搬来的搭档珍妮（史宾塞•洛克 Spencer Locke 饰）也差点成了老屋的甘旨。搭档们这下信任了DJ的说法,不外大人们却仍然认为他们在扯蛋。为了阻拦老屋继承吃人作歹,搭档们决议联袂与它作战究竟。

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.