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Dope-Smoking Chimp Learns Sign Language; Suicidal Atheist: Film - Bloomberg

Indie Wire (blog)Dope-Smoking Chimp Learns Sign Language; Suicidal Atheist: FilmBloombergNim Chimpsky is the subject of the film "Project Nim." Source: Roadside Attractions via Bloomberg Liv Tyler and Charlie Hunnam in "The Ledge," about a...
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A touching and humorous rollercoaster ride through the European filmmaking world from the 60s to the 90s. The film tells the rise and fall of Pim de la Parra, a crazy, controversial and creative genius, and of his resurrection.
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Forgotify | From Film to Internet |
4 million songs on Spotify have never been played. Not even once. We’re changing that.
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Digital Storytelling: how to make an animated PPT movie

How-to video for creating digital storybooks using custom animations in PowerPoint. For more resources from Nancye Blair, visit

Via Baiba Svenca
Maria Persson's curator insight, July 18, 2013 5:48 PM

All part and parcel of having your 'digital' voice heard.  Great tool.  

Allison Kenney's curator insight, October 16, 8:46 AM

Not the same old PPT that we used to use.

Willem Kuypers's curator insight, October 20, 3:24 AM

Je suis de plus en plus convaincu qu'il faut raconter des histoires, même à des 'grands'.

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Jan Bergmans Stockholmspärlor

Jan Bergmans Stockholmspärlor | From Film to Internet |
Galleri Kontrast i Stockholm visar utställningen
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Kalender > Visa aktivitet
Jan Bergmans Stockholmspärlor2 oktober - 24 oktober
Plats: Galleri Kontrast, Stockholm



Galleri Kontrast i Stockholm visar utställningen 'Jan Bergmans Stockholmspärlor'. Stockholmspärlor är en fängslande resa i ett svunnet Stockholm, en stad där det gamla och nya finns sida vid sida.
Gator och torg, bilar och spårvagnar, männikor och händelser - stadens alla sidor skildras kärleksfullt och med stor skärpa. Alla bilder är från Scanpix Historical och spänner över nästan hundra år, från 1888 fram till 1976.

Vernissage lördagen den 2 oktober kl 12-16

Onsdag-torsdag kl 11-18
Fredag kl 12-17
Lördag-Söndag kl 12-16

Intresse - Arkitektur, Intresse - Gatufoto, Intresse - Landskap, Utställning, Vernissage
Tipsare: emtre


Visa på FS Google Eniro Hitta Nytt Visa på karta Oktober 2010 MTOTFLS    12345678910111213141516171819202122232425262728293031- Visa idagTipsa oss om evenemang!Kategorier
Evenemang / Festival Evenemang / Fotoresa Evenemang / Föreläsning Evenemang / Mässa Evenemang / Radio/Teve Evenemang / Tävling Evenemang / Utställning Evenemang / Vernissage Intresse - Action / Äventyr Intresse - Arkitektur Intresse - Barn Intresse - Bröllop Intresse - Digital efterbehandling Intresse - Gatufoto Intresse - Husdjur / Tamdjur Intresse - Konsertfoto Intresse - Konstfoto Intresse - Landskap Intresse - Macro Intresse - Mode Intresse - Mörkrum Intresse - Nattbild Intresse - Natur Intresse - Porträtt Intresse - Posering Intresse - Produkter Intresse - Reportage / Situation Intresse - Resefoto Intresse - Sport / Motorsport Intresse - Studio Intresse - Svart-vitt Intresse - Toycamera Intresse - Undervattensfotografi Intresse - Utrustning Intresse - Vilda djur Intresse - Växter, insekter, naturdetalj 

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For the Love of Elephants

For the Love of Elephants | From Film to Internet |
A feature length documentary to alleviate the pain and suffering of Kerala's captive elephants, and expose their abhorrent torture and exploitation for profit.
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Tippi - Le site officiel

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 My name is Tippi. I am African and I was born 10 years ago in Namibia. People who ask me “ Tippi ? Like an indian teepee ? ”, should open their dictionary : mine is spelt with a double P. My parents named me after the american actress Tippi Hendren. She used to play in “ the Birds ”, a frightening Alfred Hitchcock movie.My name is also Okanti, which means “ mongoose ” in the Ovambo language, one of the Namibian tribe. It can seem like a strange idea to call your daughter Mongoose, even if the word “ Okanti ” sounds nice. It is, nevertheless, the beginning of my story……Tippi, Furty‘s godmother : 
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Artkick Wants to Be the Spotify of Art

Artkick Wants to Be the Spotify of Art | From Film to Internet |
A startup called Artkick has secured 50,000 digital representations of paintings and photographs from 2,000 museums around the world. It places them on Internet-connected televisions and computer screens.
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Pandora and Spotify are businesses that sort through digital music and figure out your likes. Netflix does the same for movies. There’s even Yelp, doing something like that for food. Meantime, fine art just hangs there on the wall.

Not for much longer, perhaps. A start-up called Artkick has secured 50,000 digital representations of paintings and photographs from 2,000 museums around the world. It places them, via an iOS or Android app, on Internet-connected televisions and computer screens.

The pictures can be switched as often as every minute or as seldom as never. Users can rate what they like, and rotate what’s on the screens based on things like other works by the artist, other paintings from the period or genre, or other offerings from the museum.

“Why not stream images?” said Sheldon Laube, the chief executive of Artkick. “Clothes, music, foods – we change around all sorts of things that give us pleasure. Art has been constrained by being physical.”

These are of course digital representations, not the real thing, but his point that art on your wall not changing is true for the art posters and reproductions in most living rooms. With the ubiquity of digital screens, why shouldn’t they serve a more decorative function?

If nothing else, Artkick illustrates (ahem) a couple of interesting social and business points: For one, we still tend to think TVs should be off when not in use, and computer screens should either be in “sleep” mode, or have a screen saver of some sort. Both of those ideas have to do with extending the lifespan of cathode ray tubes, and today’s digital screens now last longer and use far less energy.”

“It costs about $35 to keep a TV on for a year,” said Mr. Laube, flipping his iPad from Grant Wood’s “American Gothic” to Audobon’s “Birds of America.” A decade ago, he says, “it used to be 10 times that much.”

The other is the plunging costs of devices to make all this work. When, in the 1990s, Bill Gates set to filling his house with digital screens showing art on a rotating basis, the equipment cost more than $100,000, and the art had to be specially photographed.

Now a 32-inch Internet-connected digital TV can be about $350, or what you might pay for the custom framing of an artwork that big. Museums around the world have digitized their collections, and increasingly offer them online. Last year, Amsterdam’s Rijksmuseum began offering what is says will eventually be 150,000 images available for people to download and build their own collections. Printing is also allowed.

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1960s Popular Culture: Capucine: Snow Angel

1960s Popular Culture: Capucine: Snow Angel | From Film to Internet |
Capucine: Snow Angel 

‘Capucine’. One word, an icy brand distilled from the warmer ‘Germaine Hélène Irène Lefebvre’. But then her elegance didn’t permit intimacy. And that was her appeal. A snow angel with dazzling detachment.

Who would believe such a thing?

Born 1928. A Parisian model at 17, then into films. She was surprisingly adept at comedy, a genre strangely receptive to manic depressives. Without darkness we can’t know light?

She was saved from suicide more than once, but who would believe such a thing? The cheekbones, the plush lips, swept-back mane, the porcelain skin, who would believe it?

It’s 1952 and she lands a 2-week modeling gig aboard a French cruise ship and shares a cabin with Brigitte Bardot, 17, a chorus dancer. O pillow talk. Who would believe it?

With Peter Sellers

“Men look at me,” she opined, “like I'm a suspicious-looking trunk, and they're customs agents.” There’s a difference between beautiful and pretty — and in the face of beauty men grow wary, weakened by exposure to the spiritual, anxious to resume a cosmetic, manufactured appreciation.

She also said, “"Every time I get in front of a camera, I think of it as an attractive man I am meeting for the first time...” All the best faces know — instinctively it seems — the camera is a mirror in which you

Poor Snow Angel

slowly, with great art and artifice, seduce yourself, make love to the flesh and fear and forget-me-nots that are you. But therein lays disease and finally, after injecting one too many color chemical emulsions at 1/60th of a second — a kind of walking madness. Narcissus didn’t drown. He couldn’t tolerate the terrible pain of perfection — even his own.

So in 1990, she ended herself. A bi-polar decision lending a polar patina of white frost spangled like sapphires trailing the gorgeous curve of her neck.

The word 'Capucine' is French and refers to flowers. But poor snow angels, they never live to see spring.

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Musica Mundi - Summer School, master classes, chamber music festival

Musica Mundi - Summer School, master classes, chamber music festival | From Film to Internet |
Chamber music courses and festival in Belgium for young talented musicians, violin, viola, cello and piano. International guest artists, Maisky, Vengerov Badura-Skoda
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MUSICA MUNDI is an International chamber music course and Festival for young talents aged 10-18. Now in it's 15th year, it was created in order to help young talents develop their own unique personalities, and to enable them to meet musicians at the top of their profession.

Among those Artists who have participated in the  Musica Mundi International chamber music course and Festival, are Maxim Vengerov, Mischa Maisky ,Gidon Kremer, Ivry Gitlis, Katia & Marielle Labèque, Heinrich Schiff, Leif Ove Andsnes, Paul Badura-Skoda, Itamar Golan, King’s Singers, Petersen string quartet, Talich string quartet, St.Petersburg string quartet, to name a few.

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Canada might force cable providers to unbundle TV channels

Canada might force cable providers to unbundle TV channels | From Film to Internet |
Sick of buying 100 channels to get the one you want? Solution: Be Canadian.
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Canada's government may soon require cable and satellite providers to unbundle TV packages, letting customers choose each channel they want individually.

"We don't think it's right for Canadians to have to pay for bundled television channels that they don't watch. We want to unbundle television channels and allow Canadians to pick and pay the specific television channels that they want," Canada Industry Minister James Moore said in a TV appearance, according to Reuters.

Moore is a member of Canada's Parliament and was appointed Minister of Industry in July of this year. In the next parliamentary session, he said the government will consider additional pro-consumer moves such as preventing airline overbooking and lowering the roaming rates charged by cellular providers.

Reuters noted that "[s]ome Canadian cable and satellite television providers have already begun to offer so-called 'a la carte' pricing."

Channel unbundling would be welcome in the US, too, of course. US Sen. John McCain (R-AZ) has been advocating this for years, most recently with the proposed Television Consumer Freedom Act. The bill would not require unbundling, but it would provide incentives that encourage providers to offer channels individually. For now, bundling is what's available to US consumers because it's the system that is most lucrative for TV providers.


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Hoofdthema NFF 2013: Naakt - kwetsbaar of schaamteloos | Nederlands Film Festival

Hoofdthema NFF 2013: Naakt - kwetsbaar of schaamteloos | Nederlands Film Festival | From Film to Internet |
Met een knipoog naar een van de meest hardnekkige clichés die over de Nederlandse film bestaat, presenteert het NFF het hoofdprogramma Naakt.
Jan Bergmans's insight:
Met een knipoog naar een van de meest hardnekkige clichés die over de Nederlandse film bestaat, presenteert het Nederlands Film Festival (NFF) het hoofdprogramma Naakt. Van de bevrijdende seksgolf in de jaren zeventig tot de schoonheid en kwetsbaarheid van kunstzinnig naakt. Maar ook de blootgelegde ziel en opgeofferde privacy worden belicht, in woord, inbeeld en in spannende ontmoetingen en evenementen.

Het NFF vertoont vijftien films waar blootgeven in al zijn facetten centraal staat: BEGRIJP JE NU WAAROM IK HUIL? (Louis van Gasteren, 1969), HET DRIELANDENPUNT (Frans Bromet, 1974), SPETTERS (Paul Verhoeven, 1980), VAN DE KOELE MEREN DES DOODS (Nouchka van Brakel, 1982), ROMEO (Rita Horst, 1991), INTERVIEW (Theo van Gogh, 2003), IK EN MIJN OUDERS – MIJN OUDERS EN IK (Gerrit van Elst, 2004), PAPA IS WEG EN IK WILDE NOG WAT VRAGEN (Marijn Frank, 2007), KAN DOOR HUID HEEN (Esther Rots,2009), CONGO BUSINESS CASE (Hans Bouma, 2013), PARTS OF A FAMILY (Diego Gutierrez, 2013), BLOOT (Paul Cohen, 2013), NIEUWE TIETEN (Sascha Polak, 2013)en DEAD BODY WELCOME (Kees Brienen, 2013).

Ode aan Sylvia Kristel
Binnen het hoofdthema brengt het NFF een speciaal programma rond het vorig jaar overleden icoon Sylvia Kristel. Uiteraard met de softerotische klassieker EMMANUELLE, maar ook Wim Verstappens PASTORALE 1943 en Pim de la Parra’s FRANK& EVA; LIVING APART TOGETHER ontbreken niet, evenals beeldende kunst van haar eigen hand. Ook Michiel van Erps documentaire SYLVIA KRISTEL: NU wordt vertoond. Het programma is samengesteld met medewerking van Hans Heesen, Jan Doense, Henriëtte Hoogenboezem en Lex Veerkamp. 

Veel van de spraakmakende taboedoorbrekers van vroeger hebben nu een behoorlijke cultfactor. Hoe controversieel zijn ze nog, in het tijdperk van VIJFTIG TINTEN GRIJS en hitsige hiphopclips? Voor, tijdens en na de double bill vertoning van Pim de la Parra’s MIJN NACHTEN MET SUSAN, OLGA, ALBERT, JULIE, PIET & SANDRA (1975) en Cyrus Frisch’ VERGEEF ME (2001) laten experts en ervaringsdeskundigen er – samen met het publiek – hun licht over schijnen. 

Davy’s Erotheek is de allerlaatste seksbioscoop van Utrecht en al decennialang een begrip bij de liefhebbers van erotische hoogstandjes. De erotheek opent speciaal voor het NFF de deuren en vertoont voor de gelegenheid niet de gebruikelijke pornofilms,maar een speciaal samengesteld compilatieprogramma waarin de schoonheid en kwetsbaarheid van het naakte lichaam centraal staan. 

Chin Up, Head Down
Theatermaker, kostuumontwerper en fotograaf Miek Uittenhout liet twintig Nederlandse acteurs en actrices voor haar camera plaatsnemen. Het leverde twintig dubbelportretten op waarin onder anderen Gouden Kalf-winnaars Sylvia Hoeks, Barry Atsma en Martijn Lakemeier zich van hun sterkste én zwakste kant laten zien. De foto’s worden geëxposeerd tijdens het NFF in galerie KuuB.

Ook een expo van Rob’s Propshop, gespecialiseerd in make-up effects, creature effects, animatronics en special props in het Festivalpaviljoen en het Grote Doen-Alsof-Feest met o.a. de vertoning van THEO EN THEA EN DE ONTMASKERING VAN HET TENENKAASIMPERIUM vallen onder het hoofdthema Naakt.

Lees meer over het hoofdthema in het NFF Magazine. 
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Who leads the way for the modern, adventurous and intelligent female characters?

Who leads the way for the modern, adventurous and intelligent female characters? | From Film to Internet |
This year's BAF sees women in animation and gaming as a central theme. We delved into the research to find out if expectations had changed for modern female characters.
Jan Bergmans's insight:
Who leads the way for the modern, adventurous and intelligent female characters?

To kick off this year’s Bradford Animation Festival (17 – 22 November) we asked more than 2,000 people what they thought about female animated characters, as women in animation and gaming is a central theme of this year’s event.

The results revealed that audiences believe female characters in modern animation are more independent, adventurous and intelligent than female characters in the past, whose defining characteristics they described as pretty and romantic.

The top answers for the traditional view of female lead animated characters were: ‘Pretty’ (38%), ‘Romantic’(37%) and ‘Independent’ (33%). The modern view of female characters saw ‘Independent’ top the list (43%), with ‘Adventurous’ (39%) and ‘Intelligent’ (39%) equally matched in second place.

Princess Fiona from Shrek was named as the most popular female character (with 14% of the vote).

The Adventures of Prince Achmed, by Lotte Reiniger

However it came as a surprise to nearly 80% respondents that the oldest-surviving animated feature (The Adventures of Prince Achmed, 1926) was made by a woman, Lotte Reiniger. At this year’s BAF we’re celebrating the creative excellence of Lotte and other female pioneers, such as Joy Batchelor, one of Britain’s foremost female animators and driving force, along with her partner John Hallas, in the creation of Britain’s first animated feature film Animal Farm.

Joy Batchelor, along with partner John Hallas, created the UK’s first animated feature Animal Farm

We’re also looking to the present and future with our lifetime achievement award winner, producer Claire Jennings who has worked on titles such as Coraline and Wallace & Gromit: The Curse of the Were-Rabbit.  Elsewhere festival regular Joanna Quinn, acclaimed animator and founder of Beryl Productions, is making a welcome return, and British animator Jo Lawrence has created the animated festival banner.

Claire Jennings (producer of Coraline & Wallace and Gromint: Curse of the Were- Rabbit, among others). BAF 2014 Lifetime Achievement award.

The survey also revealed something we’ve secretly suspected all along, as 80% of those questioned believe that animation is for everyone, not just for children (or bigger kids!). Our programme reflects this entirely, delving into all genres of animation, with documentaries, shorts, music videos, commercials, narrative films and more.

And just to show how popular animation is, from 2,006 people who stated they watch animation, a majority of 46% named animation as their favourite film and television genre, with 46% also watching an animated film or TV programme at least once a week.

Finally, in honour of  Academy Award-winning Aardman Animations founder Peter Lord’s visit, and the recent online revival of his creation Morph, we asked which other TV animation the public would like to see make a comeback.

Morph & Chas, who made a comeback this year. Aardman Animations

42% said The Flintstones, 35% would like to see The Wacky Races, and 33% said The Magic Roundabout. We’d love to see them all.

The Bradford Animation Festival is on until Saturday 22 November.

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Sublime FM 90.4

Sublime FM 90.4 | From Film to Internet |
Sublime FM - 90.4 FM Hilversum - listen online, schedule, location, contact, song playlist and broadcast information
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STATION INFORMATIONLocation Hilversum, NetherlandsGenres Jazz, Funk, LoungeLanguage DutchContact PO Box 116 Den Haag
2501 CC+31 30 303 5444
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My 80's TV!

My 80's TV! | From Film to Internet |
Totally tune in to the lost decade with this nostalgic TV simulator. Why? Because it's a moral imperative. Also, it's your kids, Marty.
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Aesop's Fables - Wikipedia, the free encyclopedia

Aesop's Fables

Aesop's Fables or the Aesopica is a collection of fables credited to Aesop, a slave and story-teller believed to have lived in ancient Greece between 620 and 560 BCE. Of diverse origins, the stories associated with Aesop's name have descended to modern times through a number of sources.

Jan Bergmans's insight:
Fable as a genre

Apollonius of Tyana, a 1st-century CE philosopher, is recorded as having said about Aesop:

... like those who dine well off the plainest dishes, he made use of humble incidents to teach great truths, and after serving up a story he adds to it the advice to do a thing or not to do it. Then, too, he was really more attached to truth than the poets are; for the latter do violence to their own stories in order to make them probable; but he by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events.

—Philostratus, Life of Apollonius of Tyana, Book V:14

The Greek historian Herodotus mentioned in passing that "Aesop the fable writer" was a slave who lived in Ancient Greece during the 5th century BCE.[1] Among references in other writers, Aristophanes, in his comedy The Wasps, represented the protagonist Philocleon as having learnt the "absurdities" of Aesop from conversation at banquets; Plato wrote in Phaedo that Socrates whiled away his jail time turning some of Aesop's fables "which he knew" into verses. Nonetheless, for two main reasons[2] – because numerous morals within Aesop's attributed fables contradict each other, and because ancient accounts of Aesop's life contradict each other – the modern view is that Aesop did not solely compose all those fables attributed to him, if he even existed at all.[2] Instead, any fable tended to be ascribed to the name of Aesop if there was no known alternative literary source.[3]

In Classical times there were various theorists who tried to differentiate these fables from other kinds of narration. They had to be short and unaffected;[4] in addition, they are fictitious, useful to life and true to nature.[5] In them could be found talking animals and plants, although humans interacting only with humans figure in a few. Typically they might begin with a contextual introduction, followed by the story, often with the moral underlined at the end. Setting the context was often necessary as a guide to the story's interpretation, as in the case of the political meaning of The Frogs Who Desired a King and The Frogs and the Sun.

Sometimes the titles given later to the fables have become proverbial, as in the case of 'killing the Goose that Laid the Golden Eggs or the Town Mouse and the Country Mouse. In fact some fables, such as The Young Man and the Swallow, appear to have been invented as illustrations of already existing proverbs. One theorist, indeed, went so far as to define fables as extended proverbs.[6] In this they have an aetiological function, the explaining of origins such as, in another context, why the ant is a mean, thieving creature. Other fables, also verging on this function, are outright jokes, as in the case of The Old Woman and the Doctor, aimed at greedy practitioners of medicine.


The contradictions between fables already mentioned and alternative versions of much the same fable - as in the case of The Woodcutter and the Trees, are best explained by the ascription to Aesop of all examples of the genre. Some are demonstrably of West Asian origin, others have analogues even further to the East. Modern scholarship reveals fables and proverbs of Aesopic form existing in both ancient Sumer and Akkad, as early as the third millennium BCE.[7] Aesop's fables and the Indian tradition, as represented by the Buddhist Jataka Tales and the Hindu Panchatantra, share about a dozen tales in common although often widely differing in detail. There is therefore some debate over whether the Greeks learned these fables from Indian storytellers or the other way, or if the influences were mutual. Loeb editor Ben E. Perry took the extreme position in his book Babrius and Phaedrus that

In the entire Greek tradition there is not, so far as I can see, a single fable that can be said to come either directly or indirectly from an Indian source; but many fables or fable-motifs that first appear in Greek or Near Eastern literature are found later in the Panchatantra and other Indian story-books, including the Buddhist Jatakas.[8]

Although Aesop and the Buddha were near contemporaries, the stories of neither were recorded in writing until some centuries after their death and few disinterested scholars would now be prepared to make so absolute a stand about their origin in view of the conflicting and still emerging evidence.[9][10]

Translation and transmissionGreek versionsA Greek manuscript of the fables of Babrius

When and how the fables arrived in and travelled from ancient Greece remains uncertain. Some cannot be dated any earlier than Babrius and Phaedrus, several centuries after Aesop, and yet others even later. The earliest mentioned collection was by Demetrius of Phalerum, an Athenian orator and statesman of the 4th century BCE, who compiled the fables into a set of ten books for the use of orators. A follower of Aristotle, he simply catalogued all the fables that earlier Greek writers had used in isolation as exempla, putting them into prose. At least it was evidence of what was attributed to Aesop by others; but this may have included any ascription to him from the oral tradition in the way of animal fables, fictitious anecdotes, etiological or satirical myths, possibly even any proverb or joke, that these writers transmitted. It is more a proof of the power of Aesop's name to attract such stories to it than evidence of his actual authorship. In any case, although the work of Demetrius was mentioned frequently for the next twelve centuries, and was considered the official Aesop, no copy now survives.

Present day collections evolved from the later Greek version of Babrius, of which there now exists an incomplete manuscript of some 160 fables in choliambic verse. Current opinion is that he lived in the 1st century CE. In the 11th century appear the fables of 'Syntipas', now thought to be the work of the Greek scholar Michael Andreopulos. These are translations of a Syriac version, itself translated from a much earlier Greek collection, and contain some fables unrecorded before. The version of 55 fables in choliambic tetrameters by the 9th century CE Ignatius the Deacon is also worth mentioning for its early inclusion of stories from Oriental sources.[11]

Some light is thrown on the entry of stories from Oriental sources into the Aesopic canon by their appearance in Jewish commentaries on the Talmud and in Midrashic literature from the 1st century CE. Some 30 fables appear there,[12] of which twelve resemble those that are common to both Greek and Indian sources, six are parallel to those only in Indian sources, and six others in Greek only. Where similar fables exist in Greece, India, and in the Talmud, the Talmudic form approaches more nearly the Indian. Thus, the fable "The Wolf and the Crane" is told in India of a lion and another bird. When Joshua ben Hananiah told that fable to the Jews, to prevent their rebelling against Rome and once more putting their heads into the lion's jaws (Gen. R. lxiv.), he shows familiarity with some form derived from India.

Latin versions

The first extensive translation of Aesop into Latin iambic trimeters was performed by Phaedrus, a freedman of Augustus in the 1st century CE, although at least one fable had already been translated by the poet Ennius two centuries before, and others are referred to in the work of Horace. The rhetorician Aphthonius of Antioch wrote a technical treatise on, and converted into Latin prose, some forty of these fables in 315. It is notable as illustrating contemporary and later usage of fables in rhetorical practice. Teachers of philosophy and rhetoric often set the fables of Aesop as an exercise for their scholars, inviting them not only to discuss the moral of the tale, but also to practise style and the rules of grammar by making new versions of their own. A little later the poet Ausonius handed down some of these fables in verse, which the writer Julianus Titianus translated into prose, and in the early 5th century Avianus put 42 of these fables into Latin elegiacs.

12th century pillar, cloister of the Collegiata di Sant'Orso, Aosta: the Fox and the Stork

The largest, oldest known and most influential of the prose versions of Phaedrus bears the name of an otherwise unknown fabulist named Romulus. It contains 83 fables, dates from the 10th century and seems to have been based on an earlier prose version which, under the name of "Aesop" and addressed to one Rufus, may have been written in the Carolingian period or even earlier. The collection became the source from which, during the second half of the Middle Ages, almost all the collections of Latin fables in prose and verse were wholly or partially drawn. A version of the first three books of Romulus in elegiac verse, possibly made around the 12th century, was one of the most highly influential texts in medieval Europe. Referred to variously (among other titles) as the verse Romulus or elegiac Romulus, it was a common Latin teaching text and was popular well into the Renaissance. Another version of Romulus in Latin elegiacs was made by Alexander Neckam, born at St Albans in 1157.

Interpretive "translations" of the elegiac Romulus were very common in Europe in the Middle Ages. Among the earliest was one in the 11th century by Ademar of Chabannes, which includes some new material. This was followed by a prose collection of parables by the Cistercian preacher Odo of Cheriton around 1200 where the fables (many of which are not Aesopic) are given a strong medieval and clerical tinge. This interpretive tendency, and the inclusion of yet more non-Aesopic material, was to grow as versions in the various European vernaculars began to appear in the following centuries.

With the revival of literary Latin during the Renaissance, authors began compiling collections of fables in which those traditionally by Aesop and those from other sources appeared side by side. One of the earliest was by Lorenzo Bevilaqua, also known as Laurentius Abstemius, who wrote 197 fables,[13] the first hundred of which were published as Hecatomythium in 1495. Little by Aesop was included. At the most, some traditional fables are adapted and reinterpreted: The Lion and the Mouse is continued and given a new ending (fable 52); The Oak and the Reed becomes "The Elm and the Willow" (53); The Ant and the Grasshopper is adapted as "The Gnat and the Bee" (94) with the difference that the gnat offers to teach music to the bee's children. There are also Mediaeval tales such as The Mice in Council (195) and stories created to support popular proverbs such as 'Still Waters Run Deep' (5) and 'A woman, an ass and a walnut tree' (65), where the latter refers back to Aesop's fable of The Walnut Tree. Most of the fables in Hecatomythium were later translated in the second half of Roger L'Estrange's Fables of Aesop and other eminent mythologists (1692);[14] some also appeared among the 102 in H. Clarke's Latin reader, Select fables of Aesop: with an English translation (1787), of which there were both English and American editions.[15]

There were later three notable collections of fables in verse, among which the most influential was Gabriele Faerno's Centum Fabulae (1564). The majority of the hundred fables there are Aesop's but there are also humorous tales such as The drowned woman and her husband (41) and The miller, his son and the donkey (100). In the same year that Faerno was published in Italy, Hieronymus Osius brought out a collection of 294 fables titled Fabulae Aesopi carmine elegiaco redditae in Germany.[16] This too contained some from elsewhere, such as The Dog in the Manger (67). Then in 1604 the Austrian Pantaleon Weiss, known as Pantaleon Candidus, published Centum et Quinquaginta Fabulae.[17] The 152 poems there were grouped by subject, with sometimes more than one devoted to the same fable, although presenting alternative versions of it, as in the case of The Hawk and the Nightingale (133-5). It also includes the earliest instance of The Lion, the Bear and the Fox (60) in a language other than Greek.

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The Top 100 Tools to Capture, Edit, Publish and Distribute Video Online

The Top 100 Tools to Capture, Edit, Publish and Distribute Video Online | From Film to Internet |
The best tools and services to capture, edit, publish and distribute video online.

Via Robin Good
Jeff Domansky's curator insight, August 16, 9:20 PM

What an excellent list of video tools and resources from Robin Good. highly recommended 9.5/10.

Alison Rostetter's curator insight, August 19, 10:49 AM

Thanks to the collector, Robin Good, of this great list.  I'm sure many people will be interested to learn about all these sites

Julia Echeverría's curator insight, August 30, 1:49 PM

Excelente recopilación

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My Favorite Brunette : Daniel Dare : Free Download & Streaming : Internet Archive

My Favorite Brunette : Daniel Dare : Free Download & Streaming : Internet Archive | From Film to Internet |
Bob Hope comedy with Dorothy Lamour. | You can find more information regarding this film on its IMDb page.
Jan Bergmans's insight:

Bob Hope comedy with Dorothy Lamour. |
You can find more information regarding this film on its IMDb page.

This movie is part of the collection: Comedy Films

Director: Elliott Nugent
Producer: Daniel Dare
Production Company: Hope Enterprises, Paramount Pictures
Audio/Visual: sound, color
Keywords: Comedy; pdmovies

Creative Commons license: Public Domain

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Artkick | EXPLORE DISCOVER SHARE | From Film to Internet |
Artkick transforms internet connected TVs into interactive art frames you control with your smartphone or tablet. Works with Roku and other devices.
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▶ Daria- Sick sad World Season 1 - YouTube

All the Sick Sad World episodes from Season 1 of Daria No copyright claimed For all your Daria needs: For all your Sick Sad World needs...

Via Troy Mccomas (troy48)
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Pink Panther Ultimate Cartoon Collection

Over 6 Hours of The Pink Panther and Pals. Pink Stink - 0:00:01 Reel Pink - 0:08:01 A Pink in Time - 0:15:34 Astro Pink - 0:23:06 Note-ably Pink - 0:30:38 Pi...

Via Troy Mccomas (troy48)
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23 Great Sources For Free Educational Videos Online

23 Great Sources For Free Educational Videos Online | From Film to Internet |
Students love to watch and learn. Why not showcase some of the best free educational videos and their repositories then?

Via Ana Cristina Pratas
María Dolores Díaz Noguera's curator insight, November 28, 2013 7:26 AM

Very nice sharing. Thanks

Scott Anderson (Daymap)'s curator insight, December 1, 2013 7:53 PM

Here are some fantastic and free links teachers can use!

Maggie McGuirk Veres's curator insight, September 3, 1:48 PM

It's worth a look.


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BNLY Girl | From Film to Internet |
I am Loud I am loud, Demanding attention. I know when I am being charming Because I try. I put on my impressing face And do my impressing hair And speak my impressing words. I tell you my embarrass...
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I am Loud

I am loud,
Demanding attention.
I know when I am being charming
Because I try.
I put on my impressing face
And do my impressing hair
And speak my impressing words.
I tell you my embarrassing drinking stories
And everything else about me
That you probably shouldn’t know.

I am not good at being quiet
Because that’s not who I am.
I am not the sweet girl
Who will leave you with a smile
And a touch
And a glance
Or a single word.
There is nothing of this fashion of romance
About me.

I am the girl who will point out your flaws,
And take you outside to see the stars,
And remind you how human you are,
And what a wonderful thing that is.

I am the girl who will talk about science,
And music and theology and history,
And point out constellations, laughing,
When you don’t know the big dipper’s name.

I am the girl who will make witty references,
To classic literature and science fiction,
And will tell you stories of how I once,
Made a gingerbread replica of a lighthouse.

I am the girl who will stand on a table,
And sing at the top of my lungs on the highway,
And act like a chicken or quail or velociraptor,
Or muzzle your face like a lion to make a point.

I am the girl who takes too many shots
And then hoaxes you to bed on a Russian liver,
And knows all the right places to bite, and tease,
And follows with exceptionally coherent pillow-talk.

I am not a thin silk scarf on the wind.
I am not a thing hard to capture.
You would not spend a perilous journey
Through a wild, perfumed jungle,
Searching for my slender garments
Hung beside a pool
As I wail to the breeze.

Rather, I am the bird who flies overhead
Making too much noise
Distracting from the trail ahead.
A bird whose plumage proves
What an interesting life it must be…
What a colorful life for me…
Perpetually strange
The lone comic relief.

I am many things.
But I am not quiet.
Of this I am sure.

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