Slow motion is an effect in film-making whereby time appears to be slowed down. It was invented by the Austrian priest August Musger in the early 20th century; this style is achieved when each film frame is captured at a rate much faster than it will be played back. When replayed at normal speed, time appears to be moving more slowly. A term for creating slow motion film is overcranking which refers to hand cranking an early camera at a faster rate than normal. Slow motion can be achieved by playing recorded footage at a slower speed; this technique is more applied to video subjected to instant replay than to film. A third technique, becoming common using current computer software post-processing is to fabricate digitally interpolated frames to smoothly transition between the frames that were shot. Motion can be slowed further by interpolating between overcranked frames; the traditional method for achieving super-slow motion is through high-speed photography, a more sophisticated technique that uses specialized equipment to record fast phenomena for scientific applications.
Slow motion is ubiquitous in modern filmmaking. It is used by a diverse range of directors to achieve diverse effects; some classic subjects of slow-motion include: Athletic activities of all kinds, to demonstrate skill and style. To recapture a key moment in an athletic game shown as a replay. Natural phenomena, such as a drop of water hitting a glass. Slow motion can be used for artistic effect, to create a romantic or suspenseful aura or to stress a moment in time. Vsevolod Pudovkin, for instance, used slow motion in a suicide scene in The Deserter, in which a man jumping into a river seems sucked down by the splashing waves. Another example is Face/Off, in which John Woo used the same technique in the movements of a flock of flying pigeons; the Matrix made a distinct success in applying the effect into action scenes through the use of multiple cameras, as well as mixing slow-motion with live action in other scenes. Japanese director Akira Kurosawa was a pioneer using this technique in his 1954 movie Seven Samurai.
American director Sam Peckinpah was another classic lover of the use of slow motion. The technique is associated with explosion effect shots and underwater footage; the opposite of slow motion is fast motion. Cinematographers refer to fast motion as undercranking since it was achieved by cranking a handcranked camera slower than normal, it is used for comic, or occasional stylistic effect. Extreme fast motion is known as time lapse photography; the concept of slow motion may have existed before the invention of the motion picture: the Japanese theatrical form Noh employs slow movements. There are two ways. Both involve a projector. A projector refers to a classical film projector in a movie theater, but the same basic rules apply to a television screen and any other device that displays consecutive images at a constant frame rate. For the purposes of making the above illustration readable a projection speed of 10 frames per second has been selected, in fact film is projected at 24 frame/s making the equivalent slow overcranking rare, but available on professional equipment.
The second type of slow motion is achieved during post production. This is known as digital slow motion; this type of slow motion is achieved by inserting new frames in between frames that have been photographed. The effect is similar to overcranking. Since the necessary frames were never photographed, new frames must be fabricated. Sometimes the new frames are repeats of the preceding frames but more they are created by interpolating between frames.. Many complicated algorithms exist that can track motion between frames and generate intermediate frames within that scene, it is similar to half-speed, is not true slow-motion, but longer display of each frame. Slow motion is used in action films for dramatic effect, as well as the famous bullet-dodging effect, popularized by The Matrix. Formally, this effect is referred to as speed ramping and is a process whereby the capture frame rate of the camera changes over time. For example, if in the course of 10 seconds of capture, the capture frame rate is adjusted from 60 frames per second to 24 frames per second, when played back at the standard film rate of 24 frames per second, a unique time-manipulation effect is achieved.
For example, someone pushing a door open and walking out into the street would appear to start off in slow motion, but in a few seconds within the same shot the person would appear to walk in "realtime". The opposite speed-ramping is done in The Matrix when Neo re-enters the Matrix for the first time to see the Oracle; as he comes out of the warehouse "load-point", the camera zooms into Neo at normal speed but as it gets closer to Neo's face, time seems to slow down visually accentuating Neo pausing and reflecting a moment, alluding to future manipulation of time itself within the Matrix on in the movie. Slow-motion is used in sport broadcasting and its origins in this domain extend right back to the earliest days of television, one example being the European Heavyweight Title in 1939 where Max Schmeling knocked out Adolf Heuser in 71 sec
Beauty and the Beast (1946 film)
Beauty and the Beast is a 1946 French romantic fantasy film directed by French poet and filmmaker Jean Cocteau. Starring Josette Day as Belle and Jean Marais as the Beast, it is an adaptation of the 1757 story Beauty and the Beast, written by Jeanne-Marie Leprince de Beaumont and published as part of a fairy tale anthology; the plot of Cocteau's film revolves around Belle's father, sentenced to death for picking a rose from Beast's garden. Belle offers to go back to the Beast in her father's place. Beast proposes marriage on a nightly basis which she refuses. Belle becomes more drawn to Beast, who tests her by letting her return home to her family and telling her that if she doesn't return to him within a week, he will die of grief. Beauty and the Beast is now recognized as a classic of French cinema. While scrubbing the floor at home, Belle is interrupted by her brother's friend Avenant who tells her she deserves better and suggests they get married. Belle rejects Avenant, as she wishes to stay home and take care of her father, who has suffered much since his ships were lost at sea and the family fortune along with them.
Belle's father arrives home announcing he has come into a great fortune that he will pick up the next day, along with gifts for his daughters, Belle's shrewish sisters Adelaide and Felicie. Belle's roguish brother Ludovic signs a contract from a moneylender allowing him the ability to sue Ludovic's father if he can't pay. Belle's father finds on his arrival that his fortune has been seized to clear his debts and he is forced to return home through a forest at night. Belle's father gets lost in the forest and finds himself at a large castle whose gates and doors magically open themselves. On entering the castle, he is guided by an enchanted candelabra that leads him to a laden dinner table where he falls asleep. Awakened by a loud roar, he wanders the castle's grounds. Remembering that Belle asked for a rose, he plucks; the Beast threatens to kill him for theft but suggests that one of his daughters can take his place. The Beast offers his horse Magnificent to guide him through the forest home.
Belle's father explains the situation to Avenant. Belle agrees to take her father's place, she rides Magnificent to the castle. Belle is carried to her room in the castle. Belle awakens to find a magic mirror; the Beast invites Belle to dinner, where he tells her that she's in equal command to him and that she will be asked every day to marry him. Days pass as Belle grows more accustomed to and fond of the Beast, but she continues to refuse marriage. Using the magic mirror, Belle finds her father deathly ill; the Beast grants her permission to leave for a week. He gives Belle two magical items: a glove that can transport her wherever she wishes and a golden key that unlocks Diana's Pavilion, the source of the Beast's true riches. Belle uses the glove to appear in her bedridden father's room, where her visit restores him to health. Belle finds her family living in poverty, having never recovered from Ludovic's deal with the moneylender. Jealous of Belle's rich life at the castle and Felicie steal her golden key and devise a plan to turn Ludovic and Avenant against the Beast.
Avenant and Ludovic devise a plan of their own to kill the Beast, agree to aid Belle's sisters. To stall Belle, her sisters trick her into staying past her seven-day limit by pretending to love her. Belle reluctantly agrees to stay; the Beast sends Magnificent with the magic mirror to retrieve Belle but Ludovic and Avenant find Magnificent first, ride him to the castle. Belle finds the mirror which reveals the Beast's sorrowful face in its reflection. Belle realizes. Distraught, Belle returns to the castle using the magic glove and finds the Beast in the courtyard, near death from a broken heart. Meanwhile and Ludovic stumble upon Diana's Pavilion. Thinking that their stolen key may trigger a trap, they scale the wall of the Pavilion; as the Beast dies in Belle's arms, Avenant breaks into the Pavilion through its glass roof and is shot with an arrow by an animated statue of the Roman goddess Diana and is himself turned into a Beast. As this happens, arising from where the Beast lay dead, is Prince Ardent, cured of being the Beast.
He explains that because his parents did not believe in spirits, in revenge the spirits turned him into the Beast. Prince Ardent and Belle embrace fly away to his kingdom where she will be his Queen, where her father will stay with them and Belle's sisters will carry the train of her gown. Jean Marais as La Bête / The Prince / Avenant Josette Day as Belle Marcel André as Belle's Father Mila Parély as Félicie Nane Germon as Adélaïde Michel Auclair as Ludovic Raoul Marco as The Usurer After the opening credits, Cocteau breaks the fourth wall with a written preamble: The set designs and cinematography were intended to evoke the illustrations and engravings of Gustave Doré and, in the farmhouse scenes, the paintings of Jan Vermeer; the cinematography was performed by Henri Alekan. Christian Bérard and Lucien Carré covered production design; as mentioned in the DVD extras the exteriors were shot in the Château de la Roche Courbon. The score was composed by Georges Auric. Upon the film's December 1947 New York City release, critic Bosley Crowther called the film a "priceless fabric of subtle images...a fabric of gorgeous visual metaphors, of undulating movements and rhythmic pace, of hypnotic sounds a
International Standard Serial Number
An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication, such as a magazine. The ISSN is helpful in distinguishing between serials with the same title. ISSN are used in ordering, interlibrary loans, other practices in connection with serial literature; the ISSN system was first drafted as an International Organization for Standardization international standard in 1971 and published as ISO 3297 in 1975. ISO subcommittee TC 46/SC 9 is responsible for maintaining the standard; when a serial with the same content is published in more than one media type, a different ISSN is assigned to each media type. For example, many serials are published both in electronic media; the ISSN system refers to these types as electronic ISSN, respectively. Conversely, as defined in ISO 3297:2007, every serial in the ISSN system is assigned a linking ISSN the same as the ISSN assigned to the serial in its first published medium, which links together all ISSNs assigned to the serial in every medium.
The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers. As an integer number, it can be represented by the first seven digits; the last code digit, which may be 0-9 or an X, is a check digit. Formally, the general form of the ISSN code can be expressed as follows: NNNN-NNNC where N is in the set, a digit character, C is in; the ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, C=5. To calculate the check digit, the following algorithm may be used: Calculate the sum of the first seven digits of the ISSN multiplied by its position in the number, counting from the right—that is, 8, 7, 6, 5, 4, 3, 2, respectively: 0 ⋅ 8 + 3 ⋅ 7 + 7 ⋅ 6 + 8 ⋅ 5 + 5 ⋅ 4 + 9 ⋅ 3 + 5 ⋅ 2 = 0 + 21 + 42 + 40 + 20 + 27 + 10 = 160 The modulus 11 of this sum is calculated. For calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, counting from the right.
The modulus 11 of the sum must be 0. There is an online ISSN checker. ISSN codes are assigned by a network of ISSN National Centres located at national libraries and coordinated by the ISSN International Centre based in Paris; the International Centre is an intergovernmental organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, the ISDS Register otherwise known as the ISSN Register. At the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept. An ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an anonymous identifier associated with a serial title, containing no information as to the publisher or its location. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change. Since the ISSN applies to an entire serial a new identifier, the Serial Item and Contribution Identifier, was built on top of it to allow references to specific volumes, articles, or other identifiable components.
Separate ISSNs are needed for serials in different media. Thus, the print and electronic media versions of a serial need separate ISSNs. A CD-ROM version and a web version of a serial require different ISSNs since two different media are involved. However, the same ISSN can be used for different file formats of the same online serial; this "media-oriented identification" of serials made sense in the 1970s. In the 1990s and onward, with personal computers, better screens, the Web, it makes sense to consider only content, independent of media; this "content-oriented identification" of serials was a repressed demand during a decade, but no ISSN update or initiative occurred. A natural extension for ISSN, the unique-identification of the articles in the serials, was the main demand application. An alternative serials' contents model arrived with the indecs Content Model and its application, the digital object identifier, as ISSN-independent initiative, consolidated in the 2000s. Only in 2007, ISSN-L was defined in the
Jean Maurice Eugène Clément Cocteau was a French poet, designer, playwright and filmmaker. Cocteau is best known for his novel Les Enfants Terribles, the films The Blood of a Poet, Les Parents Terribles and the Beast and Orpheus, he was described as "one of avant-garde's most influential filmmakers" by AllMovie. Cocteau was born in Maisons-Laffitte, Yvelines, a town near Paris, to Georges Cocteau and his wife, Eugénie Lecomte, his father was a lawyer and amateur painter. From 1900–1904, Cocteau attended the Lycée Condorcet where he met and began a physical relationship with schoolmate Pierre Dargelos who would reappear throughout Cocteau's oeuvre, he left home at fifteen. He published his first volume of Aladdin's Lamp, at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, the title of a volume he published at twenty-two. Edith Wharton described him as a man "to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City..."
In his early twenties, Cocteau became associated with the writers Marcel Proust, André Gide, Maurice Barrès. In 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes. During World War I Cocteau served in the Red Cross as an ambulance driver; this was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amedeo Modigliani, numerous other writers and artists with whom he collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade in 1917, it was produced by Diaghilev, with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie. The piece was expanded into a full opera, with music by Satie, Francis Poulenc and Maurice Ravel. "If it had not been for Apollinaire in uniform," wrote Cocteau, "with his skull shaved, the scar on his temple and the bandage around his head, women would have gouged our eyes out with hairpins." He denied being in any way attached to the movement.
Cocteau wrote the libretto for Igor Stravinsky's opera-oratorio Oedipus rex, which had its original performance in the Théâtre Sarah Bernhardt in Paris on 30 May 1927. An important exponent of avant-garde art, Cocteau had great influence on the work of others, including a group of composers known as Les six. In the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking; the popularity was due in no small measure to the presence of his friends. In 1918 he met the French poet Raymond Radiguet, they collaborated extensively and undertook many journeys and vacations together. Cocteau got Radiguet exempted from military service. Admiring of Radiguet's great literary talent, Cocteau promoted his friend's works in his artistic circle and arranged for the publication by Grasset of Le Diable au corps, exerting his influence to have the novel awarded the "Nouveau Monde" literary prize; some contemporaries and commentators thought there might have been a romantic component to their friendship.
Cocteau himself was aware of this perception, worked earnestly to dispel the notion that their relationship was sexual in nature. There is disagreement over Cocteau's reaction to Radiguet's sudden death in 1923, with some claiming that it left him stunned and prey to opium addiction. Opponents of that interpretation point out that he did not attend the funeral and left Paris with Diaghilev for a performance of Les noces by the Ballets Russes at Monte Carlo. Cocteau himself much characterised his reaction as one of "stupor and disgust." His opium addiction at the time, Cocteau said, was only coincidental, due to a chance meeting with Louis Laloy, the administrator of the Monte Carlo Opera. Cocteau's opium use and his efforts to stop profoundly changed his literary style, his most notable book, Les Enfants Terribles, was written in a week during a strenuous opium weaning. In Opium: Journal of drug rehabilitation, he recounts the experience of his recovery from opium addiction in 1929, his account, which includes vivid pen-and-ink illustrations, alternates between his moment-to-moment experiences of drug withdrawal and his current thoughts about people and events in his world.
Cocteau was supported throughout his recovery by his friend and correspondent, Catholic philosopher Jacques Maritain. Under Maritain's influence Cocteau made a temporary return to the sacraments of the Catholic Church, he again returned to the Church in life and undertook a number of religious art projects. Cocteau's experiments with the human voice peaked with his play La Voix humaine; the story involves one woman on stage speaking on the telephone with her departing lover, leaving her to marry another woman. The telephone proved to be the perfect prop for Cocteau to explore his ideas, "algebra" concerning human needs and realities in communication. Cocteau acknowledged in the introduction to the script that the play was motivated, in part, by complaints from his actresses that his works were too writer/director-dominated and gave the players little opportunity to show off their full range of talents. La Voix humaine was written, as an extravagant aria for Madame Berthe Bovy. Before came Orphée turned into one of hi
Senlis is a commune in the northern French department of Oise. The monarchs of the early French dynasties lived in Senlis, attracted by the proximity of the Chantilly forest, it is known for other historical monuments. Its inhabitants are called "Senlisiens" and "Senlisiennes". Senlis is situated on the river Nonette, between the forests of Chantilly and d'Ermenonville in the South and d'Halatte on the North, it is located 40 kilometers from 44 km from Beauvais and 79 km from Amiens. The highest point of the town lies at the heart of the forest Halatte and the lowest point is located on the banks of the Nonette, west of the city. Geologically, the area is occupied by a vast limestone plateau of the Lutetian covered in silt. Senlis was known in early Roman imperial times as Augustomagus and as Civitas Silvanectium. During the 3rd century, a seven-meter high defensive wall, about half of which still exists, was erected around the settlement in response to Frankish incursions; the wall remained in use into the 13th century.
The town featured a Roman amphitheatre, the remains of which are still visible, about 500 m west of the walled town. The amphitheatre seated as many as 10,000 people and was used for public meetings, gladiatorial combats, animal hunts; the monarchs of the early French dynasties lived here, attracted by the proximity of the Chantilly Forest and its venison, built a castle on the foundations of the Roman settlement. In 987 Alberon, the archbishop of Reims, called together an assembly, asked them to choose Hugh Capet as king of France. However, the monarchs of France soon abandoned the city, preferring Fontainebleau. New life was given to the city in the 12th century, ramparts were built; the popularity of the city fell, it slipped into decline. Today it remains an attraction for tourists for its long history and its links to the French monarchy. Senlis fell under the ownership of Hugh Capet in 981, he was elected king by his barons in 987 before being crowned at Noyon. Under the Capetian rule, Senlis became a royal city and remained so until the reign of Charles X.
A castle was built during this period. The city reached its apogee in the 12th and 13th centuries as trade in wool and leather increased, while vineyards began to grow. With an increasing population, the city expanded and needed new ramparts: a second chamber was erected under Phillip II, larger and higher than the ramparts of the Gallo-Romans. A municipal charter was granted to the town in 1173 by King Louis VII; the bishop of Senlis and the Chancellor Guérin became close advisors to the King, strengthening Senlis' ties to the French royalty. In 1265, the Bailiwick of Senlis was created with a vast territory covering the Beauvais and the French Vexin. In 1319, the town, crippled by debt, passed into the control of royalty. Senlis was devastated by the Hundred Years' War, but managed to escape destruction despite being besieged by the Armagnacs. Senlis' economy suffered and would have to wait until the 15th century for another boom, during which many buildings were built or restored. In 1493, King Charles VII of France, son of Louis XI, signed the Treaty of Senlis with the Duke of Burgundy, Maximilian I of Austria.
The Senlis Cathedral is a French national monument. The Cathedral was the ancient seat of the Bishopric of Senlis, abolished by the Concordat of 1801, when its territory was passed to the Roman Catholic Diocese of Beauvais; the southern portal of the 16th century, the work of Martin Chambiges, marked the evolution of Gothic art. The cathedral was built between 1153 and 1519, its transepts were rebuilt between 1530 and 1556 after being destroyed by a fire, while the side portals and shallow east chapels date from about the same period. The Ancient Royal Castle- priory Saint Maurice; the site has been occupied since the Roman era. In the course of the 4th century, the site was visited by the Carolingian kings; the current castle was built under Louis VII of France. Hôtel de Ville Senlis has a plaque attached to honor the loyalty of Henry IV of France; the former St. Vincent Abbey was founded in 1065 by Queen Anne of Kiev and entrusted to the canons regular of the Abbey of St Genevieve in Paris, known as Génovéfains.
The complex was transformed into a boys boarding school by the Marist Fathers in the 19th century and still exists today. The Museum of Art and Archeology contains notably rings found in a Roman- Gaul temple in the forest of d'Halatte, it is closed for renovation. The Museum of the Hunts The Museum of the Spahis In 1972, the September meetings were created as cultural manifestation making Senlis a pedestrian town for a weekend in September; the event allows the public to discover the gardens and hotel particuliers hidden behind gateways. The last gathering took place in 2007; the Garden Lounge takes place around April, along with the Christmas march that take place around the Church of Saint Peter. The town was captured by the Germans at the beginning of World War 1. Several citizens were executed by firing squads in early September, including the mayor, Eugène Odent, charged with orchestrating “terrorist” civilian resistance — shuttering buildings for the convenience of snipers, failing to demand orderly submission from his neighbors, inconveniencing German troops..
In, 1931, the main street of Senlis was named after Odent. In A Writer at War 14-18, Édouard Coeurdevey describes the German destruction that he witnesses when visiting Senlis o
Michel Jean Legrand was a French musical composer, arranger and jazz pianist. Legrand was a prolific composer, having written over 200 film and television scores, in addition to many songs, his scores for the films of French New Wave director Jacques Demy, The Umbrellas of Cherbourg and The Young Girls of Rochefort, earned Legrand his first Academy Award nominations. Legrand won his first Oscar for the song "The Windmills of Your Mind" from The Thomas Crown Affair. Legrand, of Armenian descent, was born in Paris to his father, Raymond Legrand, himself a conductor and composer, his mother, Marcelle Ter-Mikaëlian, the sister of conductor Jacques Hélian. Raymond and Marcelle were married in 1929. Legrand composed more than two hundred television scores, he won five Grammys. He studied music at the Conservatoire de Paris from age 11, working with, among others, Nadia Boulanger and graduated with top honors as both a composer and a pianist, he burst upon the international music scene at 22. He established his name in the United States by working with such jazz stars as Miles Davis and Stan Getz.
His sister Christiane Legrand was a member of the Swingle Singers and his niece Victoria Legrand is a member of the indie rock duo Beach House. Legrand composed music for Jacques Demy's films The Umbrellas of Cherbourg and The Young Girls of Rochefort, appeared and performed in Agnès Varda's Cléo from 5 to 7, he composed music for The Thomas Crown Affair, The Lady in the Car with Glasses and a Gun, The Go-Between, Summer of'42, Orson Welles's last-completed film F for Fake and would compose the score for Welles's posthumously-released movie The Other Side of the Wind. He composed the score for Yentl, as well as the film score for Louis Malle's film Atlantic City, his instrumental version of the theme from Brian's Song charted 56th in 1972 on the Billboard's pop chart. Legrand died of sepsis, during the night of 25 to 26 January 2019, at the American Hospital of Paris in Neuilly-sur-Seine, where he had been hospitalized for two weeks for a pulmonary infection, his funeral was held in Paris at the Alexander Nevsky Cathedral on 1 February 2019.
He was interred at the Père Lachaise Cemetery. He had concerts scheduled to take place in the spring. In 1997, Legrand composed the score for the musical "Le Passe-Muraille", with a book by Didier van Cauwelaert, it premiered on Broadway in 2002 as Amour and was translated into English by Jeremy Sams and was directed by James Lapine. This musical was his Broadway debut and he was nominated for a Tony Award in 2003 for Best Score, he recorded Legrand Affair with Melissa Errico, a 100-piece symphony orchestra that included songs with lyrics by Alan and Marilyn Bergman. The world premiere of the new musical Marguerite from Alain Boublil and Claude-Michel Schönberg, the creators of Les Misérables and Miss Saigon, included music by Michel Legrand and lyrics by Herbert Kretzmer. Marguerite is set during World War II in occupied Paris, was inspired by the romantic novel La Dame aux Camélias by Alexandre Dumas fils, it premiered in May 2008 at the Haymarket Theatre and was directed by Jonathan Kent. Legrand has won three Oscars, five Grammys, was nominated for an Emmy.
His first Academy Award win was in 1969 for the song "The Windmills of Your Mind", followed with the Academy Award for his music for Summer of ’42 in 1972 and for Yentl in 1984. Following are a selection of the awards and nominations with which Legrand's works have been honored: Source: All Movie Best Original Score, Substantially Original Score: The Umbrellas of Cherbourg - nomination Best Original Score for a Motion Picture: The Thomas Crown Affair - nomination Best Original Song Score and Its Adaptation or Best Adaptation Score: The Young Girls of Rochefort - nomination Best Original Dramatic Score: Summer of'42 Best Original Song Score and Its Adaptation or Best Adaptation Score: Yentl Best Original Song: "I Will Wait for You" from The Umbrellas of Cherbourg - nomination "The Windmills of Your Mind" from The Thomas Crown Affair - win "What Are You Doing the Rest of Your Life?" from The Happy Ending "Pieces of Dreams" from Pieces of Dreams "How Do You Keep the Music Playing?" from Best Friends "Papa, Can You Hear Me?" and "The Way He Makes Me Feel" both from Yentl Source: All Movie Original Score: The Thomas Crown Affair The Happy Ending Wuthering Heights Le Mans Summer of'42 Lady Sings the Blues Breezy Yentl Original Song: "The Windmills of Your Mind" from The Thomas Crown Affair "What are You Doing the Rest of Your Life?" from The Happy Ending "Pieces of Dreams" from Pieces of Dreams "Breezy's Song" from Breezy "Yesterday's Dreams" from Falling in Love Again "The Way He Makes Me Feel" from Yentl Source: Grammy.com Best Instrumental Composition: "Theme From Summer Of'42" - win Best Instrumental Arrangement: "Theme From Summer Of'42" - nomination Best Pop Instrumental Performance: "Theme From Summer Of'42" - nominationBest arrangement accompanying vocalist: What Are You Doing the Rest of Your Life? - win Song of the year: "The Summer Knows" from Summer of'42 - nomination Best Arrangement Accompanying Vocalist: "The Summer Knows" -
Château du Plessis-Bourré
Château du Plessis-Bourré is a château in the Loire Valley in France, situated in the commune of Écuillé in the Maine-et-Loire department. Built in less than 5 years from 1468 to 1472 by Finance Minister Jean Bourré, the principal advisor to King Louis XI; the château has not been modified externally since its construction and still has a working drawbridge. It was classified as a Monument historique in 1931; the château was purchased in 1911 by Henry Vaïsse who, when he died in 1956, bequeathed it to his nephew, François Reille-Soult, Duke of Dalmatie, descendant of the marshals of the French empire Soult and Masséna. In 1978, Antoinette de Ferrières de Sauvebœuf, born de Croix, granddaughter of the Duke of Dalmatie, her spouse Bruno de Ferrières de Sauvebœuf took the responsibility of heading the renovation and maintenance of the château until 2009, they lived there with their three children, Victor and Jean-Baptiste, for 31 years, the longest stay of a single family since 1473. Since 2010, it has been inhabited by descendants of François Reille-Soult of Dalmatie and managed by Aymeric d'Anthenaise and Jean-François Reille-Soult de Dalmatie.
The Château du Plessis-Bourré has been the location for numerous films, including: Peau d'Âne by Jacques Demy Louis XI by J. C. Lubtchansky Jeanne d'Arc by Pierre Badel Le Bossu by Philippe de Broca Fanfan la Tulipe by Gérard Krawczyk La Reine et le Cardinal The Princess of Montpensier by Bertrand Tavernier Louis XI, Le Pouvoir Fracassé by Henri Helman with Jacques Perrin Château du Plessis-Bourré - official site