Did someone build the Moon? | Redux

click on the image for a better view… 

Canon EOS 6D Mark II 300mm f/11 @ 1/200s All rights reserved © 2018 Leo F. Brady

 

Hope you’re all well!

I always been fascinated by the moon. If you perform just minor research of the moon, you’ll find many verified anomalies. For example – Only one side of the moon faces the Earth, throughout its rotation; The orbital distance of the moon from the Earth and Sun and its effects on eclipses; The Moon’s effects on Earth tides and the creation of life, just to name a few.

If you’re interested, there are many theories in books and posted on the Internet. I’ve listed a few that you could start with below. But be careful, there is alot of lunacy out there ! lol

The Moon is Not a Natural Planet by Alan Butler

Inexplicable Moon Anomalies Show There is Much Deception About Outer Space

The Moon – Nasa website

If you’re interested in reading the book, the link is below. It’s a very interesting and thought provoking read.

Who Built the Moon? by Christopher Knight and Alan Butler

Le Voyage Dans la Lun (A Trip to the Moon) by Georges Méliès (1902)

Orphée (1950) – Aut. Jean Cocteau

from BFI

This magical retelling of the Orpheus myth turns the lyre-playing singer of Greek legend into a famous left-bank poet in postwar Paris. Fallen out of favour and lost for poetic inspiration, Orphée becomes obsessed with a mysterious black-clad princess who first claims the life of a rival poet, and then Eurydice, his wife. With its unforgettable imagery — the dissolving mirror through which characters pass into the next world, the leather-clad, death-dealing motorcyclists, and Cocteau’s magical special effects, Orphée is a work of haunting beauty that follows the poetic logic of a dream.

Irish Film & TV Research Online | Trinity College Dublin

Irish Film & TV Research Online is a website designed to bring together the wide diversity of research material relating to Irish-made cinema and television as well as to Irish-themed audio-visual representations produced outside of Ireland. It incorporates three searchable databases: Irish Film & Television Index; Irish Film & Television Biographies; and Irish Film & Television Bibliography; and the Irish Postgraduate Film Research Seminar, an annual conference of film studies’ postgraduate students based in Ireland or engaged in researching Irish material elsewhere. The project is based in the School of Drama, Film and Music, Trinity College Dublin.

The impetus for the Irish Film & Television Index was Kevin Rockett’s The Irish Filmography: Fiction Films 1896 – 1996 (1996), which documented all fiction films made in Ireland and about Ireland and the Irish produced worldwide since the beginnings of cinema. Under the Irish Research Council for the Humanities and Social Sciences’ Major Grant Scheme, 2003-05, funding was awarded to update the original filmography and to document, with the same worldwide remit, all major non-fiction films, including newsreels, and animation, made for cinema and television. In addition to the IRCHSS, the other sponsors of the project are Trinity College Dublin; the Higher Education Authority’s North South Programme for Collaborative Research, 2003-06; and Bord Scannán na héireann/Irish Film Board, 2006.

Since 2003, filmographer and archivist Eugene Finn has been expanding the database which, incorporating the original Irish Filmography, has drawn on the archival and paper records of many of the world’s leading film archives and specialist libraries, including ones in Ireland, Britain, the USA, and Australia. We are especially grateful for the on-going support we receive from the Irish Film Institute’s archive and library. At present the Irish Film & Television Index has almost 40,000 titles, while new entries will be added in an on-going way.

The two complementary databases covering biographies and bibliography which are still in the early stages of development will be expanded over time. In addition, the ambition is to use the website as a publishing outlet for new research, as well as for out-of-print publications and archival documents, including, it is hoped, the extensive records of Ireland’s film censors.

While the website will need on-going editorial maintenance and development, its value for researchers, whether academic, from within the film industry, or the general public, is in its easy packaging of information concerning Irish-made or Irish-themed audio-visual material. In many cases, such information may have been gathered from numerous sources both within Ireland and elsewhere. Using the searchable fields, a researcher can almost instantly find a particular film, its cast list or production personnel, read a synopsis of its content, establish where a copy of it might be held, what has been written about it, identify a list of complementary titles through a keyword search, or, using the biographical database, access further information on cast and crew.

As a living archive, we would encourage feedback and invite online visitors to contribute to the development of the project by sending us information, additions and amendments.

More…Irish Film & TV Research Online – Trinity College Dublin.

He’s ok, we just can’t find him… | Missing 411 | David Paulides | redux

Commentary: For quite some time now, strange disappearances have been occurring within the National Parks of these United States and throughout the world. People, including small children, are becoming lost or are being abducted, some returned alive, some dead and many never returned. Where do these missing go?

Whatever the final outcome of these investigations be, it’s clear that the National Park System needs to create and maintain a centralized registry or database of persons who have gone missing in our national parks and forests or on Bureau of Land Management lands.

To find out more about the issue.
To listen to the author regarding this issue.

Three Point Lighting

Below is a short, introductory tutorial for the documentarian / filmmaker / photographer on three point lighting. Lighting a subject, is often an after thought by many inexperienced media makers but it is an essential element of any production that strives for professional look. It can also be effectively used to elicit a certain style or mood.

I’ve found the setup of studio lighting the most challenging element of media production. And there is a multitude of lighting hardware to choose from, even before you begin. That said with a bit of research, patience and practice, success will be yours.

Try practicing your setup, at home or if you have control of your filming environment, setup and adjust there, beforehand.

Another great source of ideas for lighting along with other media production topics is The Filmmaker’s Handbook: A Comprehensive Guide for the Digital Age by Steven Ascher, Edward Pincus

Female Film Festival: Monday March 19th – Toronto

FEEDBACK Female Film Festival

The FEEDBACK Monthly Film Festival is back for 2018.. Our home is The Carlton Cinemas, located in the heart of downtown Toronto at 20 Carlton Street. The event runs from 7pm to 9:10pm.

Continuing to showcase the best of short films from around the world, while maintaining our audience feedback format moderated by Kierston Drier. Showcasing a festival twice a month in Toronto in 2018!

Tickets for 2018 are PAY WHAT YOU LIKE. Purchase your tickets online via Paypal or Credit Card. Tickets are first come first serve. 

If you like to obtain seats in advance and pick them up on the day of the event (come for FREE, or make a donation), please email us atfestivalevent@wildsoundfestival.com and we’ll reserve seats for you.

You can pick up the tickets on the day of the event at the cinema. Tickets are first come, first…

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In the Shadow of Suribachi: Sammy’s Story | Produced and Directed by Joe Conforti

Joe was a classmate of mine at Emerson. Checkout his new documentary if you’re in the Boston area.

In the Shadow of Suribachi: Sammy’s Story story synopsis

by Joseph A. Conforti

Samuel Bernstein grew up in New London, Connecticut; and like most young men of his era, his horizons were limited. He lived within the idyllic illusion of America: a time of peaceful hometowns; high school homecomings; and a long, bountiful life. But that peaceful illusion was destroyed in a profound and obscene way. Like millions of others throughout the world, Sammy’s life was unalterably changed. Fate would soon propel Sammy from boy to man on a tiny volcanic island located in a chain called the Bonnin’s. Iwo Jima was a desolate, stinking, sulfurous scab of land jutting out of the Western Pacific Ocean, an island born of violence whose name would forever be remembered with men dying in the same violence.

Sammy Bernstein, an enlisted United States Marine, was one of the seventy-thousand men who stormed ashore Iwo’s volcanic ash. Over sixty-eight hundred of those young men would be killed; and over nineteen thousand would be wounded. The island would become a tomb for almost all of the twenty-two thousand Japanese defending it. If surviving thirty-six days of hell can be considered lucky, then Sammy was one of the lucky ones. He came home.

Sammy’s Story is a coming-of-age story—from his surprise enlistment in the Marine Corps as a naive, young boy to his transition into a battle-ready Marine on the black sands of Iwo Jima. There he served as a Pioneer in the 5th Marine Division, enduring relentless days of vicious hand-to-hand combat, each side giving no quarter. And there he witnessed the tragic deaths of so many of his young comrades, including his best friend who was killed by a saber-wielding Japanese officer during the final Banzai charge. Sadly, it occurred just hours before the men were scheduled to depart the island.

But it is more than a war story; it’s a story of two battles Sammy had to face during World War II. Besides fighting fanatical Japanese soldiers, each of whom had vowed to their commander to kill ten Marines before dying for the Emperor, Sammy had to fight the personal battle of being a Jew in the World War II military in general, and the Marine Corps in particular. Involved in several anti-Semitic incidents during his service, Sammy was to learn the hard way that those with hostile intentions towards him did not always wear a different uniform. In the beginning, it was the single act of a bigoted Marine who “trashed” his seabag of all its contents, leaving a note: “Hitler didn’t get you, I will.” Later, and more significantly, it was the collective action of a small group of misguided Christian chaplains who prevented the Marine Corps’ first Jewish chaplain, Roland Gittelsohn, from delivering his address to the mostly Christian troops at the 5th Marine Division Cemetery dedication service during the battle.

Sammy’s Story is the journey of one boy from one small town in America, a journey to hell and back. It is the story of friendship and loyalty, of bigotry and hatred, and of courage and survival. Finally, it is the story of hope—with Sammy emerging with his fellow Marines from the crucible of Iwo Jima to forge unbreakable, lifelong bonds that transcended hateful prejudice and made a mockery of it.