La Boca is a neighborhood, or barrio of the Argentine capital, Buenos Aires. It retains a strong Italian flavour, with many of its early settlers being from the city of Genoa; as one of Buenos Aires's 48 barrios, La Boca is located in the city's south-east near its old port. The barrio of Barracas is to the west; the neighborhood may derive its name from its location at'La Boca' of the Riachuelo, as the Mantanza River is called. In 1882, after a lengthy general strike, La Boca seceded from Argentina, the rebels raised the Genoese flag, torn down by President Julio Argentino Roca. Among sports fans, Boca is best known for being the home of world-renowned football club Boca Juniors; the club plays their home matches in the Estadio Alberto J. Armando, popularly known as La Bombonera. La Boca is a popular destination for tourists visiting Argentina, with its colourful houses and pedestrian street, the Caminito, where tango artists perform and tango-related memorabilia is sold. Other attractions include many tango clubs and Italian taverns.
The actual area visited by tourists is only a few blocks long and has been built up for tourism actively over the last few years. Outside this tourist area, it is a poor neighborhood that has had many regular occurrences of petty crimes reported, it has been a centre for radical politics, having elected the first socialist member of the Argentine Congress and was home to many demonstrations during the crisis of 2001. As of 2016, the health of over 1,000 La Boca citizens is threatened by the pollution of the Matanza-Riachuelo River. A Flags of the World article about flags used in La Boca Caminito Street at La Boca neighbourhood A Brief Look into the History of La Boca
Patagonia is a sparsely populated region at the southern end of South America, shared by Chile and Argentina. The region comprises the southern section of the Andes mountains and the deserts and grasslands to the east. Patagonia is one of the few regions with coasts on three oceans, with the Pacific Ocean to the west, the Atlantic Ocean to the east, the Southern Ocean to the south; the Colorado and Barrancas rivers, which run from the Andes to the Atlantic, are considered the northern limit of Argentine Patagonia. The archipelago of Tierra del Fuego is sometimes included as part of Patagonia. Most geographers and historians locate the northern limit of Chilean Patagonia at Huincul Fault, in Araucanía Region; the name Patagonia comes from the word patagón, used by Magellan in 1520 to describe the native tribes of the region, whom his expedition thought to be giants. It is now believed that the people he called the Patagons were Tehuelches, who tended to be taller than Europeans of the time; the Argentine researcher Miguel Doura observed that the name Patagonia derives from the ancient Greek region of modern Turkey called Paphlagonia, possible home of the patagon personage in the chivalric romances Primaleon printed in 1512, ten years before Magellan arrived in these southern lands.
The hypothesis was published in a 2011 New Review of Spanish Philology report. Argentine Patagonia is for the most part a region of steppelike plains, rising in a succession of 13 abrupt terraces about 100 metres at a time, covered with an enormous bed of shingle bare of vegetation. In the hollows of the plains are ponds or lakes of fresh and brackish water. Towards Chilean territory the shingle gives place to porphyry and basalt lavas, animal life becomes more abundant and vegetation more luxuriant, consisting principally of southern beech and conifers; the high rainfall against the western Andes and the low sea surface temperatures offshore give rise to cold and humid air masses, contributing to the ice-fields and glaciers, the largest ice-fields in the Southern hemisphere outside of Antarctica. Among the depressions by which the plateau is intersected transversely, the principal ones are the Gualichu, south of the Río Negro, the Maquinchao and Valcheta, the Senguerr, the Deseado River. Besides these transverse depressions, there are others which were occupied by more or less extensive lakes, such as the Yagagtoo and Colhue Huapi, others situated to the south of Puerto Deseado, in the centre of the country.
In the central region volcanic eruptions, which have taken part in the formation of the plateau during the Cenozoic, cover a large part of the land with basaltic lava-caps. There, caused principally by the sudden melting and retreat of ice aided by tectonic changes, has scooped out a deep longitudinal depression, best in evidence where in contact with folded Cretaceous rocks which are uplifted by the Cenozoic granite, it separates the plateau from the first lofty hills, whose ridges are called the pre-Cordillera. To the west of these, a similar longitudinal depression extends all along the foot of the snowy Andean Cordillera; this latter depression contains the richest and most fertile land of Patagonia. Lake basins along the Cordillera were excavated by ice-streams, including Lake Argentino and Lake Fagnano, as well as coastal bays such as Bahía Inútil; the geological limit of Patagonia has been proposed to be Huincul Fault which forms a major discontinuity. The fault truncates various structures including the Pampean orogen found further north.
The ages of base arocks change abruptly across the fault. There have been discrepancies among geologists on the origin of the Patagonian landmass. Víctor Ramos has proposed that the Patagonian landmass originated as an allochthonous terrane that separated from Antarctica and docked in South America 250 to 270 Ma in the Permian era. A 2014 study by R. J. Pankhurst and coworkers rejects any idea of a far-travelled Patagonia claiming it is of parautochtonous origin; the Mesozoic and Cenozoic deposits have revealed a most interesting vertebrate fauna. This, together with the discovery of the perfect cranium of a chelonian of the genus Niolamia, identical with Ninjemys oweni of the Pleistocene age in Queensland, forms an evident proof of the connection between the Australian and South American continents; the Patagonian Niolamia belongs to the Sarmienti Formation. Fossils of the mid-Cretaceous Argentinosaurus, which may be the largest of all dinosaurs, have been found in Patagonia, a model of the mid-Jurassic Piatnitzkysaurus graces the concourse of the Trelew airport.
Of more than paleontological interest, the middle Jurassic Los Molles Formation and the still richer late Jurassic and early Cretaceous Vaca Muerta formation above it in the Neuquén basin are reported to contain huge hydrocarbon reserves accessible through hydraulic fracturing. Other specimens of the interesting fauna of Patagonia, belonging to the Middle Cenozoic, are the gigantic wingless birds, exceeding in size any hitherto known, the singular mammal Pyrotherium of large dimensions. In
Roger Joseph Ebert was an American film critic, journalist and author. He was a film critic for the Chicago Sun-Times from 1967 until his death in 2013. In 1975, Ebert became the first film critic to win the Pulitzer Prize for Criticism. Ebert and Chicago Tribune critic Gene Siskel helped popularize nationally televised film reviewing when they co-hosted the PBS show Sneak Previews, followed by several variously named At the Movies programs; the two verbally traded humorous barbs while discussing films. They created and trademarked the phrase "Two Thumbs Up", used when both hosts gave the same film a positive review. After Siskel died in 1999, Ebert continued hosting the show with various co-hosts and starting in 2000, with Richard Roeper. Neil Steinberg of the Chicago Sun-Times said Ebert "was without question the nation's most prominent and influential film critic", Tom Van Riper of Forbes described him as "the most powerful pundit in America", Kenneth Turan of the Los Angeles Times called him "the best-known film critic in America".
Ebert lived with cancer of the thyroid and salivary glands beginning in 2002. In 2006, he required treatment necessitating the removal of his lower jaw, leaving him disfigured and costing him the ability to speak or eat normally, his ability to write remained unimpaired and he continued to publish both online and in print until his death on April 4, 2013. Roger Joseph Ebert was born in Urbana, the only child of Annabel, a bookkeeper, Walter Harry Ebert, an electrician, he was raised Roman Catholic, attending St. Mary's elementary school and serving as an altar boy in Urbana, his paternal grandparents were German his maternal ancestry was Irish and Dutch. Ebert's interest in journalism began when he was a student at Urbana High School, where he was a sports writer for The News-Gazette in Champaign, Illinois. In his senior year, he was class president and editor-in-chief of his high school newspaper, The Echo. In 1958, he won the Illinois High School Association state speech championship in "radio speaking", an event that simulates radio newscasts.
Regarding his early influences in film criticism, Ebert wrote in the 1998 parody collection Mad About the Movies: Ebert began taking classes at the University of Illinois at Urbana–Champaign as an early-entrance student, completing his high school courses while taking his first university class. After graduating from Urbana High School in 1960, Ebert attended and received his undergraduate degree in 1964. While at the University of Illinois, Ebert worked as a reporter for The Daily Illini and served as its editor during his senior year while continuing to work as a reporter for the News-Gazette of Champaign-Urbana, Illinois; as an undergraduate, he was a member of the Phi Delta Theta fraternity and president of the U. S. Student Press Association. One of the first movie reviews he wrote was a review of La Dolce Vita, published in The Daily Illini in October 1961. Ebert spent a semester as a master's student in the department of English there before attending the University of Cape Town on a Rotary fellowship for a year.
He returned from Cape Town to his graduate studies at Illinois for two more semesters and after being accepted as a PhD candidate at the University of Chicago, he prepared to move to Chicago. He needed a job to support himself while he worked on his doctorate and so applied to the Chicago Daily News, hoping that, as he had sold freelance pieces to the Daily News, including an article on the death of writer Brendan Behan, he would be hired by editor Herman Kogan. Instead Kogan referred Ebert to the city editor at the Chicago Sun-Times, Jim Hoge, who hired Ebert as a reporter and feature writer at the Sun-Times in 1966, he attended doctoral classes at the University of Chicago while working as a general reporter at the Sun-Times for a year. After movie critic Eleanor Keane left the Sun-Times in April 1967, editor Robert Zonka gave the job to Ebert; the load of graduate school and being a film critic proved too much, so Ebert left the University of Chicago to focus his energies on film criticism.
Ebert began his career as a film critic in 1967. That same year, he met film critic Pauline Kael for the first time at the New York Film Festival. After he sent her some of his columns, she told him they were "the best film criticism being done in American newspapers today"; that same year, Ebert's first book, a history of the University of Illinois titled Illini Century: One Hundred Years of Campus Life, was published by the University's press. In 1969, his review of Night of the Living Dead was published in Reader's Digest. Ebert co-wrote the screenplay for the 1970 Russ Meyer film Beyond the Valley of the Dolls and sometimes joked about being responsible for the film, poorly received on its release yet has become a cult classic. Ebert and Meyer made Beneath the Valley of the Ultra-Vixens, Up!, other films, were involved in the ill-fated Sex Pistols movie Who Killed Bambi? Starting in 1968, Ebert worked for the University of Chicago as an adjunct lecturer, teaching a night class on film at the Graham School of Continuing Liberal and Professional Studies.
In 1975, Ebert received the Pulitzer Prize for Criticism. As of 2007, his reviews were syndicated to more than 200 newspapers in the United States and abroad. Ebert publish
Film noir is a cinematic term used to describe stylish Hollywood crime dramas those that emphasize cynical attitudes and sexual motivations. Hollywood's classical film noir period is regarded as extending from the early 1920s to the late 1950s. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression; the term film noir, French for "black film" or "dark film", was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era. Cinema historians and critics defined the category retrospectively. Before the notion was adopted in the 1970s, many of the classic film noir were referred to as "melodramas". Whether film noir qualifies as a distinct genre is a matter of ongoing debate among scholars.
Film noir encompasses a range of plots: the central figure may be a private investigator, a plainclothes policeman, an aging boxer, a hapless grifter, a law-abiding citizen lured into a life of crime, or a victim of circumstance. Although film noir was associated with American productions, the term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with film noirs of the classical period, treat its conventions self-referentially; some refer to such latter-day works as neo-noir. The clichés of film noir have inspired parody since the mid-1940s; the questions of what defines film noir, what sort of category it is, provoke continuing debate. "We'd be oversimplifying things in calling film noir oneiric, erotic and cruel..."—this set of attributes constitutes the first of many attempts to define film noir made by French critics Raymond Borde and Étienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953, the original and seminal extended treatment of the subject.
They emphasize that not every film noir embodies all five attributes in equal measure—one might be more dreamlike. The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship: in the more than five decades since, there have been innumerable further attempts at definition, yet in the words of cinema historian Mark Bould, film noir remains an "elusive phenomenon... always just out of reach". Though film noir is identified with a visual style, unconventional within a Hollywood context, that emphasizes low-key lighting and unbalanced compositions, films identified as noir evidence a variety of visual approaches, including ones that fit comfortably within the Hollywood mainstream. Film noir embraces a variety of genres, from the gangster film to the police procedural to the gothic romance to the social problem picture—any example of which from the 1940s and 1950s, now seen as noir's classical era, was to be described as a melodrama at the time.
While many critics refer to film noir as a genre itself, others argue. Foster Hirsch defines a genre as determined by "conventions of narrative structure, characterization and visual design". Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in abundance". Hirsch notes that there are unifying features of tone, visual style and narrative sufficient to classify noir as a distinct genre. Others argue. Film noir is associated with an urban setting, but many classic noirs take place in small towns, rural areas, or on the open road. While the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither. Nor does film noir rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical. An analogous case is that of the screwball comedy accepted by film historians as constituting a "genre": the screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some—but and never all—of which are found in each of the genre's films.
Because of the diversity of noir, certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style". Alain Silver, the most published American critic specializing in film noir studies, refers to film noir as a "cycle" and a "phenomenon" as he argues that it has—like certain genres—a consistent set of visual and thematic codes. Other critics treat film noir as a "mood", characterize it as a "series", or address a chosen set of films they regard as belonging to the noir "canon". There is no consensus on the matter; the aesthetics of film noir are influenced by German Expressionism, an artistic movement of the 1910s and 1920s that involved theater, painting and architecture, as well as cinema. The opportunities offered by the booming Hollywood film industry and the threat of Nazism, led to the emigration of many film artists working in Germany, involved in the Expressionist movement or studied wit
A cameo role or cameo appearance is a brief appearance or voice part of a known person in a work of the performing arts. These roles are small, many of them non-speaking ones, are either appearances in a work in which they hold some special significance or renowned people making uncredited appearances. Short appearances by celebrities, film directors, athletes or musicians are common. A crew member of the movie or show playing a minor role can be referred to as a cameo as well, such as Alfred Hitchcock's performed cameos. "cameo role" meant "a small character part that stands out from the other minor parts". The Oxford English Dictionary connects this with the meaning "a short literary sketch or portrait", based on the literal meaning of "cameo", a miniature carving on a gemstone. More "cameo" has come to refer to any short appearances, as a character, such as the examples below. Cameos are not credited because of their brevity, or a perceived mismatch between the celebrity's stature and the film or television series in which they are appearing.
Many are publicity stunts. Others are acknowledgments of an actor's contribution to an earlier work, as in the case of many film adaptations of television series, or of remakes of earlier films. Others honour celebrities known for work in a particular field; the best-known series of cameos was by Alfred Hitchcock, who made brief appearances in most of his films. Cameos occur in novels and other literary works. "Literary cameos" involve an established character from another work who makes a brief appearance to establish a shared universe setting, to make a point, or to offer homage. Balzac employed this practice, as in his Comédie humaine. Sometimes a cameo features a historical person who "drops in" on fictional characters in a historical novel, as when Benjamin Franklin shares a beer with Phillipe Charboneau in The Bastard by John Jakes. A cameo appearance can be made by the author of a work to put a sort of personal "signature" on a story. Vladimir Nabokov put himself in his novels, for instance as the minor character Vivian Darkbloom in Lolita.
Quentin Tarantino provides small roles in at least 10 of his movies. Peter Jackson has made brief cameos in all of his movies, except for his first feature-length film Bad Taste in which he plays a main character, as well as The Battle of the Five Armies, though a portrait of him appears in the film. For example, he plays a peasant eating a carrot in The Fellowship of the Ring and The Desolation of Smaug. All four were non-speaking "blink and you miss him" appearances, although in the Extended Release of The Return of the King, his character was given more screen time and his reprise of the carrot eating peasant in The Desolation of Smaug was featured in the foreground in reference to The Fellowship of the Ring - last seen twelve years earlier. Director Martin Scorsese appears in the background of his films as a bystander or an unseen character. In Who's That Knocking at My Door, he appears as one of the gangsters, he opens up his film The Color of Money with a monologue on the art of playing pool.
In addition, he appears with his wife and daughter as wealthy New Yorkers in Gangs of New York, he appears as a theatre-goer and is heard as a movie projectionist in The Aviator. In a same way, Roman Polanski appears as a hired hoodlum in his film Chinatown, slitting Jack Nicholson's nose with the blade of his clasp knife. Directors sometimes cast well-known lead actors with whom they have worked in the past in other films. Mike Todd's film Around the World in 80 Days was filled with cameo roles: John Gielgud as an English butler, Frank Sinatra playing piano in a saloon, others; the stars in cameo roles were pictured in oval insets in posters for the film, gave the term wide circulation outside the theatrical profession. It's a Mad, Mad, Mad World, an "epic comedy" features cameos from nearly every popular American comedian alive at the time, including The Three Stooges, Jerry Lewis, a silent appearance by Buster Keaton and a voice-only cameo by Selma Diamond. Aaron Sorkin had cameos in some works he wrote: as a bar customer speaking about law in his debut film screenplay A Few Good Men, as an advertising executive in The Social Network and as a guest at the inauguration of President Matt Santos in the final episode of The West Wing.
Franco Nero, the actor who portrayed the Django character in the original 1966 film appears in a bar scene of the Tarantino film Django Unchained. Many cameos featured in Maverick, directed by Richard Donner. Among them, Danny Glover – Mel Gibson's co-star in the Lethal Weapon franchise directed by Donner – appears as the lead bank robber, he and Maverick share a scene where they look as if they knew each other, but shake it off. As Glover makes his escape with the money, he mutters "I'm too old for this shit", his character's catchphrase in the Lethal Weapon films. In addition, a strain of the main theme from Lethal Weapon plays in the score when Glover is revealed. Actress Margot Kidder made a cameo appearance in the same film as a robbed villager: she had starred as Lois Lane in Donner's Superman. Ben Stiller, Vince Vaughn, Owen Wilson, Luke Wilson and
Time is an American weekly news magazine and news website published in New York City. It was founded in 1923 and run by Henry Luce. A European edition is published in London and covers the Middle East, and, since 2003, Latin America. An Asian edition is based in Hong Kong; the South Pacific edition, which covers Australia, New Zealand, the Pacific Islands, is based in Sydney. In December 2008, Time discontinued publishing a Canadian advertiser edition. Time has the world's largest circulation for a weekly news magazine; the print edition has a readership of 26 million. In mid-2012, its circulation was over three million, which had lowered to two million by late 2017. Richard Stengel was the managing editor from May 2006 to October 2013, when he joined the U. S. State Department. Nancy Gibbs was the managing editor from September 2013 until September 2017, she was succeeded by Edward Felsenthal, Time's digital editor. Time magazine was created in 1923 by Briton Hadden and Henry Luce, making it the first weekly news magazine in the United States.
The two had worked together as chairman and managing editor of the Yale Daily News. They first called the proposed magazine Facts, they wanted to emphasize brevity. They changed the name to Time and used the slogan "Take Time–It's Brief". Hadden was liked to tease Luce, he saw Time as important, but fun, which accounted for its heavy coverage of celebrities, the entertainment industry, pop culture—criticized as too light for serious news. It set out to tell the news through people, for many decades, the magazine's cover depicted a single person. More Time has incorporated "People of the Year" issues which grew in popularity over the years. Notable mentions of them were Steve Jobs, etc.. The first issue of Time was published on March 3, 1923, featuring Joseph G. Cannon, the retired Speaker of the House of Representatives, on its cover. 1, including all of the articles and advertisements contained in the original, was included with copies of the February 28, 1938 issue as a commemoration of the magazine's 15th anniversary.
The cover price was 15¢ On Hadden's death in 1929, Luce became the dominant man at Time and a major figure in the history of 20th-century media. According to Time Inc.: The Intimate History of a Publishing Enterprise 1972–2004 by Robert Elson, "Roy Edward Larsen was to play a role second only to Luce's in the development of Time Inc". In his book, The March of Time, 1935–1951, Raymond Fielding noted that Larsen was "originally circulation manager and general manager of Time publisher of Life, for many years president of Time Inc. and in the long history of the corporation the most influential and important figure after Luce". Around the time they were raising $100,000 from wealthy Yale alumni such as Henry P. Davison, partner of J. P. Morgan & Co. publicity man Martin Egan and J. P. Morgan & Co. banker Dwight Morrow, Henry Luce, Briton Hadden hired Larsen in 1922 – although Larsen was a Harvard graduate and Luce and Hadden were Yale graduates. After Hadden died in 1929, Larsen purchased 550 shares of Time Inc. using money he obtained from selling RKO stock which he had inherited from his father, the head of the Benjamin Franklin Keith theatre chain in New England.
However, after Briton Hadden's death, the largest Time, Inc. stockholder was Henry Luce, who ruled the media conglomerate in an autocratic fashion, "at his right hand was Larsen", Time's second-largest stockholder, according to Time Inc.: The Intimate History of a Publishing Enterprise 1923–1941. In 1929, Roy Larsen was named a Time Inc. director and vice president. J. P. Morgan retained a certain control through two directorates and a share of stocks, both over Time and Fortune. Other shareholders were the New York Trust Company; the Time Inc. stock owned by Luce at the time of his death was worth about $109 million, it had been yielding him a yearly dividend of more than $2.4 million, according to Curtis Prendergast's The World of Time Inc.: The Intimate History of a Changing Enterprise 1957–1983. The Larsen family's Time stock was worth around $80 million during the 1960s, Roy Larsen was both a Time Inc. director and the chairman of its executive committee serving as Time's vice chairman of the board until the middle of 1979.
According to the September 10, 1979, issue of The New York Times, "Mr. Larsen was the only employee in the company's history given an exemption from its policy of mandatory retirement at age 65." After Time magazine began publishing its weekly issues in March 1923, Roy Larsen was able to increase its circulation by using U. S. radio and movie theaters around the world. It promoted both Time magazine and U. S. political and corporate interests. According to The March of Time, as early as 1924, Larsen had brought Time into the infant radio business with the broadcast of a 15-minute sustaining quiz show entitled Pop Question which survived until 1925". In 1928, Larsen "undertook the weekly broadcast of a 10-minute programme series of brief news summaries, drawn from current issues of Time magazine, broadcast over 33 stations throughout the United States". Larsen next arranged for a 30-minute radio program, The March of Time, to be broadcast over CBS, beginning on March 6, 1931; each week, the program presented a dramatisation of the week's news for its listeners, thus Time magazine itself was brought "to the attention of millions unaware
Ricardo Luis Amigorena was born on better known as Mike Amigorena is an Argentine actor. He was born in Mendoza Province to a Basque Argentine father and an Italian Argentine mother. Amigorena was restless as an adolescent and was expelled from a number of secondary schools, he left Maipú for Buenos Aires in search of fame in 1992, struggled in a variety of menial jobs, living hand-to-mouth in a tenement for a number of years. Since May 2018 he is in a relationship with Sofía Vitola, he was discovered by a modeling agency and in 1992, was given a small role in leading local comic Guillermo Francella's sitcom, La familia Benvenuto. He appeared in the popular teen drama, Montaña rusa, in the mid-1990s, enrolled in a theatre school, mentored first by Santiago Doria, Alfredo Zemma, of the Argentine Actors' Association, he first appeared in Buenos Aires' vibrant theatre scene in 1995 and became a prolific stage actor, notably in a 1998 local production of German playwright Frank Wedekind's Spring Awakening, in a compressed Shakespeare production from 2004 to 2006, which earned him Argentine ACE and Clarín Awards.
He was given his first film role by directors Florencia Di Baja and Germán Drexler, as the leading man in their comedy, Tus ojos brillaban, in 2004, was reunited with Francella in 2005 in his top-rated sitcom, Casados con hijos. Two comedy film roles, in Gabriel Condrón's Un peso, un dólar and as the lead in Tatiana Merenuk's romantic comedy, Yo soy sola, were followed by his role as Martín Pells in the primetime Telefe sitcom, Los exitosos Pells, which premiered in May 2008 and for which he received a Martín Fierro Award. Amigorena was among the Argentine actors asked to appear in Francis Ford Coppola's production set in Buenos Aires, Tetro, he had a band called "Ambulancia" with his friends and he was the lead vocalist in his indie rock, they did covers and their own songs. In 2015 the band dissolved