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<?xml-stylesheet type="text/xsl" media="screen" href="/~d/styles/atom10full.xsl"?><?xml-stylesheet type="text/css" media="screen" href="http://feeds.feedburner.com/~d/styles/itemcontent.css"?><feed xmlns="http://www.w3.org/2005/Atom" xmlns:openSearch="http://a9.com/-/spec/opensearch/1.1/" xmlns:georss="http://www.georss.org/georss" xmlns:gd="http://schemas.google.com/g/2005" xmlns:thr="http://purl.org/syndication/thread/1.0" xmlns:feedburner="http://rssnamespace.org/feedburner/ext/1.0" gd:etag="W/&quot;Ak4FSXc4eCp7ImA9WhRQEUw.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810</id><updated>2011-12-06T04:01:58.930+07:00</updated><category term="Documentary" /><category term="Feature" /><category term="Theater" /><category term="Linguistics" /><category term="Performance" /><category term="Journalism" /><category term="Sci-Fi" /><category term="Soundtrack" /><category term="Music" /><category term="Films" /><category term="Philosophy" /><category term="Film" /><category term="Contemporary Art" /><category term="Comedy" /><category term="Fine Art" /><category term="Drama" /><category term="General" /><category term="Art(s)" /><category term="Language" /><category term="Musical" /><category term="Literature" /><category term="Thriller" /><category term="Experimental" /><category term="Dance" /><category term="Horor" /><category term="Books" /><title>SmartDonkey</title><subtitle type="html">This blog try to collect and share the information about films and e-books (especially e-book of art[s] and philosophy) which, might be, decent to have and could be use as referents.</subtitle><link rel="http://schemas.google.com/g/2005#feed" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/posts/default" /><link rel="alternate" type="text/html" href="http://keledai-pintar.blogspot.com/" /><link rel="next" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default?start-index=26&amp;max-results=25&amp;redirect=false&amp;v=2" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><generator version="7.00" uri="http://www.blogger.com">Blogger</generator><openSearch:totalResults>226</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="self" type="application/atom+xml" href="http://feeds.feedburner.com/KeledaiPintar" /><feedburner:info uri="keledaipintar" /><atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="hub" href="http://pubsubhubbub.appspot.com/" /><entry gd:etag="W/&quot;CU4ARn0_cCp7ImA9Wx5WFEg.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-1549577609814891714</id><published>2010-09-26T05:29:00.002+07:00</published><updated>2010-09-26T05:32:27.348+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-26T05:32:27.348+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Books" /><category scheme="http://www.blogger.com/atom/ns#" term="Literature" /><title>The Complete Poems: Anne Sexton</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_nNV_LZph0Qg/SeYqkJP3WDI/AAAAAAAAB64/O91ClSjdTlY/s320/41C4Y2X1SNL_004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://4.bp.blogspot.com/_nNV_LZph0Qg/SeYqkJP3WDI/AAAAAAAAB64/O91ClSjdTlY/s200/41C4Y2X1SNL_004.jpg" width="127" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;The Complete Poems: Anne Sexton&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Foreword by Maxine Kumin &lt;br /&gt;
&lt;br /&gt;
Mariner Books (April 1999) | ISBN-10: 0395957761 | 656 pages | PDF | English | 6 MB&lt;br /&gt;
&lt;br /&gt;
It's organized, chronologically, by her books (and hence her life): each poem from each book is within this one, plus some previously unpublished poems. Each of her books--in this case, chapters--is thematically consistent: fairy tales (Sexton-style "homages"), "love poems," time in the institution, etc.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-------------------------&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://rapidshare.com/files/221739296/Anne.Sexton-The.Complete.Poems.rar"&gt;http://rapidshare.com/files/221739296/Anne.Sexton-The.Complete.Poems.rar&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
81 min | avi | 125 Kbps | 640x352 | 29fps | 898MB | Color | English&lt;br /&gt;
&lt;br /&gt;
In 1973, at a Catholic poor house in Chicago, an 81-year-old retired janitor quietly died. His name was Henry Darger. Just months earlier, he had moved from the rented room where he had lived for over 40 years. When his landlords, Nathan and Kiyoko Lerner, cleaned out the clutter room, they discovered paintings: hundreds of brilliant watercolors, some over 10 feet long. The images were disturbing and mysteriously beautiful: little girls frolicking under stormy skies, little girls fighting soldiers, little girls being rescued by fantastic winged creatures. In many images, the girls were drawn naked, with penises.&lt;br /&gt;
&lt;br /&gt;
The landlords soon found the other half of Darger's life's work, perhaps the longest novel ever written: the more than 15,000 page, single-spaced typed In the Realms of the Unreal, an epic story of the virtuous Vivian girls and their religious war against the evil Glandelinian army. For most of his life, Henry Darger, a recluse whom others called "Crazy," had lived in this rich fantasy world. It was a world he had kept to himself.&lt;br /&gt;
&lt;br /&gt;
Today, Henry Darger is considered to be one of America's foremost outsider artists: an untaught artist working in isolation from the commercial or public eye. IN THE REALMS OF THE UNREAL, an adventurous documentary feature, explores the fantastic vision and shadowy life of this enigmatic artist. &lt;br /&gt;
&lt;br /&gt;
---------------------------------&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://rapidshare.com/files/368237952/In_the_Realms_of_the_Unreal.part01.rar"&gt;http://rapidshare.com/files/368237952/In_the_Realms_of_the_Unreal.part01.rar&lt;/a&gt;&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
Director : Megumi Sasaki&lt;br /&gt;
Runtime : 89 min&lt;br /&gt;
&lt;br /&gt;
USA | English | Color&lt;br /&gt;
Xvid, 512 x 384&lt;br /&gt;
MPEG Layer 3, Stereo, 48.000 kHz&lt;br /&gt;
&lt;br /&gt;
He was a postal clerk. She was a librarian. With their modest means, the couple managed to build one of the most important contemporary art collections in history. Meet Herb and Dorothy Vogel, whose shared passion and disciplines and defied stereotypes and redefined what it means to be an art collector.&lt;br /&gt;
&lt;br /&gt;
................................&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Intellect Ltd | 2010-08-01 | ISBN-10: 1841503266,1841503908 | 224 pages | PDF | 1.2 MB&lt;br /&gt;
&lt;br /&gt;
There have been many books published on acting, actor training, and practical theories for preparing for a role, but none of these books have ever looked philosophically at the language and the concepts that we use when we talk about acting. The Philosophical Actor is the first attempt to grapple with the fundamental questions of truth, art, and human nature unexamined in past treatments, from the first great essay by Diderot to the exhaustive system described by Stanislavski. With wide appeal to actors, directors, acting students, acting teachers and trainers, Donna Soto-Morettini draws from twenty-five years of experience as an acting teacher and director to introduce innovative ways of thinking about acting.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
..................................&lt;br /&gt;
&lt;br /&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/jPyQb0pwbTJqoD2gkBPkKG7HvS8/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/jPyQb0pwbTJqoD2gkBPkKG7HvS8/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/ueWAwHEnbwY" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/2301146880190582/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/philosophical-actor-practical.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/2301146880190582?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/2301146880190582?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/ueWAwHEnbwY/philosophical-actor-practical.html" title="The Philosophical Actor: A Practical Meditation for Practicing Theatre Artists" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/philosophical-actor-practical.html</feedburner:origLink></entry><entry gd:etag="W/&quot;Dk4NRXczfCp7ImA9Wx5XFUw.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-2145217720984378984</id><published>2010-09-15T08:43:00.000+07:00</published><updated>2010-09-15T08:43:14.984+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-15T08:43:14.984+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Art(s)" /><category scheme="http://www.blogger.com/atom/ns#" term="Books" /><title>Art History: Contemporary Perspectives on Method</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://covers.booktopia.com.au/978144/433/9781444333596.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://covers.booktopia.com.au/978144/433/9781444333596.jpg" width="138" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;Art History: Contemporary Perspectives on Method&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Wiley-Blackwell | 1444333593 | edition 2010 | PDF | 184 pages | 4,3 mb&lt;br /&gt;
&lt;br /&gt;
Art History: Contemporary Perspectives on Method examines the various patterns and approaches to the discipline of art history exhibited across the scholarship of all periods over the last 30 years, resulting in a cross section of art history in all its complexities and a timely survey of its historiography.&lt;br /&gt;
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&lt;a href="http://www.filesonic.com/file/16621843/Art%20History.pdf"&gt;http://www.filesonic.com/file/16621843/Art%20History.pdf&lt;/a&gt;&lt;br /&gt;
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...............................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-2145217720984378984?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
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&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Wiley | 2008-07-08 | ISBN: 0470228482 | PDF | 240 pages | 5.16 MB&lt;br /&gt;
&lt;br /&gt;
Respect for Acting by actress and teacher Uta Hagen is a textbook used in many acting  classes. Hagen's instructions and examples guide the aspiring actor through practical problems such as "How do I talk to the audience?" and "How do I stay fresh in a long run?" She advocates the actor's use of substitution in informing and shaping the action of the character the actor is playing.&lt;br /&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/yQGocDRbgA_LscDMo8_4N5nuL0Q/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/yQGocDRbgA_LscDMo8_4N5nuL0Q/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/v1p6mf6qAIA" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/6844115763447353716/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/respect-for-acting.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/6844115763447353716?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/6844115763447353716?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/v1p6mf6qAIA/respect-for-acting.html" title="Respect for Acting" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/respect-for-acting.html</feedburner:origLink></entry><entry gd:etag="W/&quot;D0cBRnw5fSp7ImA9Wx5XFUw.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-3819688442400364164</id><published>2010-09-15T08:14:00.001+07:00</published><updated>2010-09-15T08:44:17.225+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-15T08:44:17.225+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Theater" /><category scheme="http://www.blogger.com/atom/ns#" term="Art(s)" /><category scheme="http://www.blogger.com/atom/ns#" term="Books" /><title>Theatricality as Medium</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://www.fordhampress.com/images/small/0823224163.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://www.fordhampress.com/images/small/0823224163.jpg" width="134" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;Theatricality as Medium - Samuel Weber&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Fordham University Press | 2004-10-01 | 0823224163 | PDF | 428 pages | 10.92 MB&lt;br /&gt;
&lt;br /&gt;
Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the "mythos," or the "plot." This conception of theater has subordinated characteristics related to the theatrical medium, such as the process and place of staging, to the demands of a unified narrative. This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself. &lt;br /&gt;
&lt;br /&gt;
Beginning with Plato, Samuel Weber tracks the uneasy relationships among theater, ethics, and philosophy through Aristotle, the major Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, and many others who develop alternatives to dominant narrative-aesthetic assumptions about the theatrical medium. His readings also interrogate the relation of theatricality to the introduction of electronic media. The result is to show that, far from breaking with the characteristics of live staged performance, the new media intensify ambivalences about place and identity already at work in theater since the Greeks. &lt;br /&gt;
&lt;br /&gt;
Praise for Samuel Weber: “What kind of questioning is primarily after something other than an answer that can be measured ... in cognitive terms? Those interested in the links between modern philosophy nd media culture will be impressed by the unusual intellectual clarity and depth with which Weber formulates the ... questions that constiture the true challenge to cultural studies today. ...one of our most important cultural critics and thinkers.”&lt;br /&gt;
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&lt;br /&gt;
The MIT Press | 2001-04-02 | ISBN: 0262024888 | PDF | 408 pages | 4.26 MB&lt;br /&gt;
&lt;br /&gt;
After the closing of his first art gallery in 1917, photographer Alfred Stieglitz reemerged in the New York art world in the 1920s. He achieved his comeback in large part through the innovative means he used to promote himself and the artists of his inner circle. Stieglitz and a number of well-established critics drew on period conceptions of sexuality, gender, and cultural identity to characterize the artists he championed as the fulfillment of a shared vision of a vital, nonrepressed American art. &lt;br /&gt;
&lt;br /&gt;
In Painting Gender, Constructing Theory, Marcia Brennan examines how Stieglitz and the critics drew on early- twentieth-century discourses on sex and the psyche, particularly the theories of Sigmund Freud and Havelock Ellis, to characterize the artworks of the Stieglitz circle. Critics routinely described the often highly abstracted paintings of Georgia O'Keeffe, Arthur Dove, John Marin, Marsden Hartley, and Charles Demuth as transparent displays of the most intimate aspects of the self, taking both subject matter and painterly form to be guided by the artist's own gendered and psychic energies. &lt;br /&gt;
&lt;br /&gt;
Focusing on the key historical criticism and artworks, Brennan shows how the identities of all five Stieglitz circle artists were presented in terms of the masculinity and femininity, and the heterosexuality and homosexuality, thought to be embedded in their work. Brennan also discusses Stieglitz's relation to competing artistic and critical movements, including Thomas Hart Benton's regionalist art and Clement Greenberg's reformulation of formalism. Arguing that American formalist criticism consisted of a complex and paradoxical mixture of corporeality and disembodied transcendence, Brennan provides insight not only into the works of the Stieglitz circle but into the development of formalist criticism itself.&lt;br /&gt;
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&lt;br /&gt;
Publisher: PM Press | 2010 | ISBN 1604860545 | PDF | 360 pages | 9.1 MB&lt;br /&gt;
&lt;br /&gt;
The first comprehensive collection of Gustav Landauer’s writings in English, this valuable addition to the history of anarchism in the early 20th century gathers more than 40 influential works by one of Germany’s most prominent radical agitators. The readings presented here cover Landauer’s entire political biography, from his early anarchism of the 1890s and his philosophical reflections at the turn of the century to the subsequent establishment of the Socialist Bund and his tireless agitation against the coming Great War. Additional chapters on war and nationalism, the United States and Mexico, and opinion pieces and personal letters reveal the further scope of Landauer’s thinking with pieces on corporate capital, education, language, and Judaism.&lt;br /&gt;
&lt;br /&gt;
---------------------------------&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://depositfiles.com/en/files/8igsc3grc"&gt;http://depositfiles.com/en/files/8igsc3grc&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
or&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://www.filesonic.com/file/18376099/1604860545.pdf"&gt;http://www.filesonic.com/file/18376099/1604860545.pdf&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
...................................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-4885870007534614577?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
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&lt;br /&gt;
English | Avi | 720×400 | 29fps 706Kbps | Mp3 112Kbps 48000Hz | 527Mb&lt;br /&gt;
&lt;br /&gt;
THE FUTURE OF FOOD offers an in-depth investigation into the disturbing truth behind the unlabeled, patented, genetically engineered foods that have quietly filled U.S. grocery store shelves for the past decade. From the prairies of Saskatchewan, Canada to the fields of Oaxaca, Mexico, this film gives a voice to farmers whose lives and livelihoods have been negatively impacted by this new technology. &lt;br /&gt;
&lt;br /&gt;
The health implications, government policies and push towards globalization are all part of the reason why many people are alarmed about the introduction of genetically altered crops into our food supply. Shot on location in the U.S., Canada and Mexico, The Future of Food examines the complex web of market and political forces that are changing what we eat as huge multinational corporations seek to control the world's food system. &lt;br /&gt;
&lt;br /&gt;
The film also explores alternatives to large-scale industrial agriculture, placing organic and sustainable agriculture as real solutions to the farm crisis today. The Future of Food reveals that there is a revolution going on in the farm fields and on the dinner tables of America, a revolution that is transforming the very nature of the food we eat.&lt;br /&gt;
&lt;br /&gt;
.....................................&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://hotfile.com/dl/55031963/128ce03/The.Future.of.FoodXviD_.part1.rar.html"&gt;http://hotfile.com/dl/55031963/128ce03/The.Future.of.FoodXviD_.part1.rar.html&lt;/a&gt;&lt;br /&gt;
&lt;a href="http://hotfile.com/dl/55031967/7db37bd/The.Future.of.FoodXviD_.part2.rar.html"&gt;http://hotfile.com/dl/55031967/7db37bd/The.Future.of.FoodXviD_.part2.rar.html&lt;/a&gt;&lt;br /&gt;
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OR :&lt;br /&gt;
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&lt;a href="http://sharingmatrix.com/file/12999131/The.Future.of.Food%5BXviD%5D_.part1.rar"&gt;http://sharingmatrix.com/file/12999131/The.Future.of.Food[XviD]_.part1.rar&lt;/a&gt;&lt;br /&gt;
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&lt;br /&gt;
...........................................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-9154412948076023032?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/7G9ZxlhT-oLs_ijnNozDkD_oWRw/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/7G9ZxlhT-oLs_ijnNozDkD_oWRw/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/WOZ1ThvyIyI" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/9154412948076023032/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/future-of-food-2004.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/9154412948076023032?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/9154412948076023032?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/WOZ1ThvyIyI/future-of-food-2004.html" title="The Future of Food (2004)" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://3.bp.blogspot.com/_EjYtO28-Nk4/SldJwBJFqSI/AAAAAAAABi4/O5LpnY6AieU/s72-c/the+future+of+food.jpg" height="72" width="72" /><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/future-of-food-2004.html</feedburner:origLink></entry><entry gd:etag="W/&quot;DEcER34zcCp7ImA9Wx5XE0w.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-6343451162943131053</id><published>2010-09-08T20:07:00.002+07:00</published><updated>2010-09-13T01:26:46.088+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-13T01:26:46.088+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Films" /><category scheme="http://www.blogger.com/atom/ns#" term="Documentary" /><title>Le monde selon Monsanto (The World According to Monsanto) [2008]</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://i44.tinypic.com/301nj7r.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://i44.tinypic.com/301nj7r.jpg" width="136" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;Le monde selon Monsanto - The World According to Monsanto (2008) - Marie-Monique Robin&lt;br /&gt;
&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Genre : Documentary&lt;br /&gt;
Source : DVD NTSC&lt;br /&gt;
Length : 109 minutes&lt;br /&gt;
Languages : English&lt;br /&gt;
Audio : 48000Hz  76 kb/s tot , Joint Stereo LAME3.90&lt;br /&gt;
Video : XviD 2pass @ 805 kbps&lt;br /&gt;
Resolution : 576 x 320 (16:9)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In March 2008, French journalist Marie-Monique Robin  released the results of her three years of research worldwide into Monsanto. A book was published by La Découverte, a French editor, and a video documentary, Le Monde selon Monsanto (The World according to Monsanto), was released on DVD and shown on Arte, the Franco-German culture TV channel.&lt;br /&gt;
&lt;br /&gt;
It reveals numerous controversial facts about Monsanto. Marie-Monique Robin traveled the world to meet scientists and political figures in order to investigate the consequences of several Monsanto products. Those interviewed include Shiv Chopra, a Canadian researcher who was fired by Health Canada for revealing an attempted bribe by Monsanto regarding the attempted introduction of Bovine Growth Hormone into Canada. The author of the research met several independent scientists around the world who tried to warn the political authorities about the use of GM seeds. According to the journalist, most of these scientists actually lost their jobs as a consequence of their speaking out. The "revolving door syndrome" is also pointed out in the research as a threat to the quality and independence of the scientific conclusions about the effects of Monsanto products, especially the Food and Drug Administration.&lt;br /&gt;
&lt;br /&gt;
Robin travels to India, Mexico, Argentina and Paraguay to see how Monsanto's genetically modified organisms (GMOs) have affected local farmers using it for their crops. Suicide rates of farmers in India have increased as farmers are finding it harder to earn a living using more expensive Monsanto seeds that despite claims still require specific pesticide and fertilizer. Mexico having banned GMOs is trying to limit contamination and crossbreeding from subsidized U.S. GMO corn imported in via North American Free Trade Agreement (NAFTA) for eating. Argentinian farmers are giving up farming and moving to urban slums because they cannot compete with GM crops and are finding their farms, livestock, and children being negatively affected by pesticide runoff. Paraguay was forced to accept GMO crops as it was being anonymously imported and grown en masse, not allowing its export would have negatively impacted the economy. In all cases genetic variation is reduced as a result of monocropping and ownership is increasingly concentrated.&lt;br /&gt;
&lt;br /&gt;
At the end, Monsanto declines to participate in the documentary.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;a href="http://rapidshare.com/files/138928084/The.World.According.to.Monsanto.2008.DVDRip.XviD-DiSSENT.part1.rar"&gt;http://rapidshare.com/files/138928084/The.World.According.to.Monsanto.2008.DVDRip.XviD-DiSSENT.part1.rar&lt;/a&gt;&lt;br /&gt;
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&lt;a href="http://rapidshare.com/files/138929255/The.World.According.to.Monsanto.2008.DVDRip.XviD-DiSSENT.part6.rar"&gt;http://rapidshare.com/files/138929255/The.World.According.to.Monsanto.2008.DVDRip.XviD-DiSSENT.part6.rar&lt;/a&gt;&lt;br /&gt;
&lt;a href="http://rapidshare.com/files/138929519/The.World.According.to.Monsanto.2008.DVDRip.XviD-DiSSENT.part7.rar"&gt;http://rapidshare.com/files/138929519/The.World.According.to.Monsanto.2008.DVDRip.XviD-DiSSENT.part7.rar&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;b&gt;&lt;i&gt;Other link:&lt;/i&gt;&lt;/b&gt;&lt;br /&gt;
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H.264 | Bit rate : 766 Kbps | 720 x 400 | 16/9 | 29.970 fps&lt;br /&gt;
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&lt;br /&gt;
Directed : Robert Kenner&lt;br /&gt;
Starring : Michael Pollan, Eric Schlosser&lt;br /&gt;
&lt;br /&gt;
Source: DVD&lt;br /&gt;
Size: 733.68 MB&lt;br /&gt;
Genre: Documentary&lt;br /&gt;
Video: 640×352 | 900kbps | 23.976fps&lt;br /&gt;
Audio: English | 131kbps | ABR MP3&lt;br /&gt;
Subtitles: None&lt;br /&gt;
Runtime: 1hr 33mins&lt;br /&gt;
IMDB Rating: 8.2/10 (875 votes)&lt;br /&gt;
RT Critics: 7.9/10 (77 reviews)&lt;br /&gt;
&lt;br /&gt;
The current method of raw food production is largely a response to the growth of the fast food industry since the 1950s. The production of food overall has more drastically changed since that time than the several thousand years prior. Controlled primarily by a handful of multinational corporations, the global food production business - with an emphasis on the business - has as its unwritten goals production of large quantities of food at low direct inputs (most often subsidized) resulting in enormous profits, which in turn results in greater control of the global supply of food sources within these few companies. Health and safety (of the food itself, of the animals produced themselves, of the workers on the assembly lines, and of the consumers actually eating the food) are often overlooked by the companies, and are often overlooked by government in an effort to provide cheap food regardless of these negative consequences. Many of the changes are based on advancements in science and technology, but often have negative side effects. The answer that the companies have come up with is to throw more science at the problems to bandage the issues but not the root causes. The global food supply may be in crisis with lack of biodiversity, but can be changed on the demand side of the equation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-----------------------------------&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://rapidshare.com/files/329143623/Food.Inc.LIMITED.DVDRip.XviD-ZOOM.part1.rar"&gt;http://rapidshare.com/files/329143623/Food.Inc.LIMITED.DVDRip.XviD-ZOOM.part1.rar&lt;/a&gt;&lt;br /&gt;
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&lt;br /&gt;
........................................&lt;br /&gt;
&lt;br /&gt;
English sub:&lt;br /&gt;
&lt;a href="http://subscene.com/english/food-inc/subtitle-271617.aspx"&gt;http://subscene.com/english/food-inc/subtitle-271617.aspx&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Mp3 | 320 kbps | 1:16:17 &lt;br /&gt;
&lt;br /&gt;
The soundtrack features 13-songs chronicling The Doors' six landmark albums with studio versions of classic tracks mixed with legendary live cuts including performances from The Ed Sullivan Show and The Isle Of Wight Festival.ABOUT THE FILM:'WHEN YOU'RE STRANGE' uncovers historic and previously unseen footage of the illustrious rock quartet and provides new insight into the revolutionary impact of its music and legacy. Directed by award-winning writer/director Tom DiCillo and narrated by Johnny Depp, the film is a riveting account of the band's history. The film reveals an intimate perspective on the creative chemistry between drummer John Densmore, guitarist Robby Krieger, keyboardist Ray Manzarek and singer Jim Morrison - four brilliant artists who made The Doors one of America'smost iconic and influential rock bands. Using footage shot between the band's 1965 formation and Morrison's 1971 death, 'WHEN YOU'RE STRANGE' follows the band from the corridors of UCLA's film school, where Manzarek and Morrison met, to the stages of sold-out arenas.&lt;br /&gt;
&lt;br /&gt;
Tracklist:&lt;br /&gt;
&lt;br /&gt;
01. Johnny Depp - Poem: Cinema 0:18&lt;br /&gt;
02. Johnny Depp - Poem: The Spirit Of Music 0:17&lt;br /&gt;
03. The Doors - Moonlight Drive 3:01&lt;br /&gt;
04. Johnny Depp - Poem: The Doors Of Perception 0:07&lt;br /&gt;
05. The Doors - Break On Through (To The Other Side) (Live At Isle Of Wright 1970) 4:47&lt;br /&gt;
06. Johnny Depp - Poem: A Visitation Of Energy 0:05&lt;br /&gt;
07. The Doors - Light My Fire (Live At The Ed Sullivan Show 1967) 2:57&lt;br /&gt;
08. Jim Morrison - To Really Be A Superstar (Interview) 0:13&lt;br /&gt;
09. The Doors - Five To One 4:25&lt;br /&gt;
10. Johnny Depp - Poem: Wasting The Dawn 0:06&lt;br /&gt;
11. The Doors - When The Music's Over (Live At Danish TV 1968) 12:26&lt;br /&gt;
12. The Doors - The Four Of Us Are Musicians / I'd Like Them To Listen / Rock &amp;amp; Roll And Jazz / Our Music Is Symbolic (Interview) 0:44&lt;br /&gt;
13. The Doors - Hello, I Love You 2:11&lt;br /&gt;
14. Jim Morrison - Dead Serious (Interview) 0:08&lt;br /&gt;
15. The Doors - People Are Strange 2:10&lt;br /&gt;
16. Johnny Depp - Poem: Inside The Dream 0:11&lt;br /&gt;
17. The Doors - Soul Kitchen 3:31&lt;br /&gt;
18. Johnny Depp - Poem: We Have Been Metamorphosized 0:16&lt;br /&gt;
19. Johnny Depp - Poem: Touch Scares 0:12&lt;br /&gt;
20. The Doors - Touch Me 2:56&lt;br /&gt;
21. Johnny Depp - Poem: Naked We Come 0:09&lt;br /&gt;
22. Johnny Depp - Poem: O Great Creator Of Being 0:12&lt;br /&gt;
23. The Doors - The End 11:25&lt;br /&gt;
24. Johnny Depp - Poem: The Girl Of The Ghetto 0:26&lt;br /&gt;
25. The Doors - L.A. Woman 7:47&lt;br /&gt;
26. Johnny Depp - Poem: Crossroads 0:10&lt;br /&gt;
27. The Doors - Roadhouse Blues (Live At New York 1970) 4:29&lt;br /&gt;
28. Johnny Depp - Poem: Ensenada 0:15&lt;br /&gt;
29. The Doors - Riders On The Storm 6:54&lt;br /&gt;
30. Johnny Depp - Poem: As I Look Back 0:11&lt;br /&gt;
31. The Doors - Crystal Ship 2:38&lt;br /&gt;
32. Johnny Depp - Poem: Goodbye America 0:24&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-----------------------------------&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Directed :  Tom DiCillo&lt;br /&gt;
Produced :  John Beug, Jeff Jampol, Peter Jankowski&lt;br /&gt;
Written  :  Tom DiCillo&lt;br /&gt;
Narrated :  Johnny Depp&lt;br /&gt;
Cinematography :  Paul Ferrara&lt;br /&gt;
Editing :  Micky Blythe, Kevin Krasny&lt;br /&gt;
Release date(s) : April 9, 2010&lt;br /&gt;
Running time :  1 hour, 21 minutes&lt;br /&gt;
Country : United States&lt;br /&gt;
Language :  English&lt;br /&gt;
&lt;br /&gt;
When You're Strange is a documentary about the life of The Doors. It is written and directed by Tom DiCillo.&lt;br /&gt;
&lt;br /&gt;
Doors keyboardist Ray Manzarek has stated that "This will be the true story of the Doors," and that the film will be "the anti-Oliver Stone," referring to the 1991 film about the group that Stone directed, and which drew quite a bit of criticism from many Doors fans and Morrison intimates for certain departures from the truth in Stone's screenplay.&lt;br /&gt;
&lt;br /&gt;
The documentary first screened at the Sundance Film Festival on January 17, 2009. It received somewhat favorable reviews from that showing, however the narration (by director DiCillo) was singled out by most viewers as very seriously flawed for its monotonic delivery. Due to the rash of complaints about the narration, Johnny Depp was hired to redub it. A few months later, DiCillo pronounced the film "just about locked", and announced that there would be a showing of the new "redux" version. It debuted at the Los Angeles Film Festival on Sunday, June 21, 2009. The completed film was also shown at the London Film Festival on October 16-18, 2009. The film was released in theaters on April 9, 2010, with a soundtrack release on April 6, 2010. It was released in Canada on April 15, 2010. PBS showed this film as part of its series American Masters on May 12, 2010. The film was released on DVD on June 29, 2010. In France the film, distributed by MK2, was released under its original title and received an excellent reception.&lt;br /&gt;
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-----------------------------------------------&lt;br /&gt;
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&lt;b&gt;624x352 | XviD @ 1006 kbps | English | MP3 ~ 128 kbps | 85 min | 710 Mb&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;a href="http://hotfile.com/dl/51823231/d8a9d06/When.Youre.Strange.2009.BDRip.XviD-DMZ.part4.rar.html"&gt;http://hotfile.com/dl/51823231/d8a9d06/When.Youre.Strange.2009.BDRip.XviD-DMZ.part4.rar.html&lt;/a&gt;&lt;br /&gt;
&lt;a href="http://hotfile.com/dl/51823226/32439a8/When.Youre.Strange.2009.BDRip.XviD-DMZ.part5.rar.html"&gt;http://hotfile.com/dl/51823226/32439a8/When.Youre.Strange.2009.BDRip.XviD-DMZ.part5.rar.html&lt;/a&gt;&lt;br /&gt;
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&lt;a href="http://hotfile.com/dl/51823768/d387ce6/When.Youre.Strange.2009.BDRip.XviD-DMZ.part7.rar.html"&gt;http://hotfile.com/dl/51823768/d387ce6/When.Youre.Strange.2009.BDRip.XviD-DMZ.part7.rar.html&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;All links are interchangable. It mean you can download any part of archive from any server and can extract it without problem.&lt;/i&gt;&lt;br /&gt;
&lt;br /&gt;
.....................................................&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;BRRip XvidHD 720p-NPW | AVI | XviD 1280x720 3499Kbps 23.976fps | AC3 640Kbps 6CH 48KHz | 1hr 25mn | 2.48GB&lt;/b&gt;&lt;br /&gt;
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&lt;a href="http://rapidshare.com/files/404628644/When.Youre.Strange.A.Film.About.The.Doors.2010.BRRip.XvidHD.720p-NPW.part07.rar"&gt;http://rapidshare.com/files/404628644/When.Youre.Strange.A.Film.About.The.Doors.2010.BRRip.XvidHD.720p-NPW.part07.rar&lt;/a&gt;&lt;br /&gt;
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&lt;a href="http://rapidshare.com/files/404628616/When.Youre.Strange.A.Film.About.The.Doors.2010.BRRip.XvidHD.720p-NPW.part13.rar"&gt;http://rapidshare.com/files/404628616/When.Youre.Strange.A.Film.About.The.Doors.2010.BRRip.XvidHD.720p-NPW.part13.rar&lt;/a&gt;&lt;br /&gt;
&lt;a href="http://rapidshare.com/files/404627812/When.Youre.Strange.A.Film.About.The.Doors.2010.BRRip.XvidHD.720p-NPW.part14.rar"&gt;http://rapidshare.com/files/404627812/When.Youre.Strange.A.Film.About.The.Doors.2010.BRRip.XvidHD.720p-NPW.part14.rar&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;All links are interchangable. It mean you can download any part of archive from any server and can extract it without problem.&lt;br /&gt;
&lt;/i&gt;&lt;br /&gt;
................................................................................&lt;br /&gt;
&lt;br /&gt;
single file: 690 MB&lt;br /&gt;
&lt;a href="http://letitbit.net/download/45377.45c34ba5ff3a3038ef5edf3bd/WYS__2009_.rar.html"&gt;http://letitbit.net/download/45377.45c34ba5ff3a3038ef5edf3bd/WYS__2009_.rar.html&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
..............................................................................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-1582776963831711740?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/RUIONSZxMDs1Cs2pAGwMnPPfGRk/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/RUIONSZxMDs1Cs2pAGwMnPPfGRk/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
&lt;a href="http://feedads.g.doubleclick.net/~a/RUIONSZxMDs1Cs2pAGwMnPPfGRk/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/RUIONSZxMDs1Cs2pAGwMnPPfGRk/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/rrolgntwj0E" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/1582776963831711740/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/doors-when-youre-strange-film-about.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/1582776963831711740?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/1582776963831711740?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/rrolgntwj0E/doors-when-youre-strange-film-about.html" title="The Doors - When You're Strange: A Film About The Doors (2010)" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://1.bp.blogspot.com/_R4JUzeEd2Cw/TF41dTjLA7I/AAAAAAAABM0/-fvdY6LNVx4/s72-c/Cover0.JPG" height="72" width="72" /><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/doors-when-youre-strange-film-about.html</feedburner:origLink></entry><entry gd:etag="W/&quot;DUEASH08eSp7ImA9Wx5QGEQ.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-7777983190500962554</id><published>2010-09-08T05:14:00.000+07:00</published><updated>2010-09-08T05:14:09.371+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-08T05:14:09.371+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Films" /><category scheme="http://www.blogger.com/atom/ns#" term="Documentary" /><category scheme="http://www.blogger.com/atom/ns#" term="Experimental" /><title>De Fem benspænd [The Five Obstructions] (2003)</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://upload.wikimedia.org/wikipedia/en/thumb/7/75/The_Five_Obstructions.jpg/220px-The_Five_Obstructions.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/7/75/The_Five_Obstructions.jpg/220px-The_Five_Obstructions.jpg" width="141" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;De Fem benspænd [The Five Obstructions] (2003) -- Lars Von Trier &amp;amp; Jørgen Leth&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Director : Lars Von Trier &amp;amp; Jørgen Leth&lt;br /&gt;
Writers : Lars Von Trier &amp;amp; Jørgen Leth&lt;br /&gt;
Editors : Daniel Dencik, Morten Højbjerg, Camilla Skousen&lt;br /&gt;
Cast : Lars Von Trier, Jørgen Leth, Claus Nissen, Daniel H. Rodriguez, Patrick Bauchau, Pascal Perez, Meschell Perez, Alexandra Vandernoot, Jacqueline Arenal, Anders Hove&lt;br /&gt;
Cinematographers : Kim Hattesen, Dan Holmberg &lt;br /&gt;
Runtime : 103 Min &lt;br /&gt;
Country : Denmark&lt;br /&gt;
&lt;br /&gt;
DvdRip, Color, NTSC, Avi&lt;br /&gt;
Language : Danish, English, French, Spanish, &lt;br /&gt;
with English subtitles (.srt file)&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;De Fem benspænd&lt;/i&gt; is a 2003 film by Lars Von Trier and Jørgen Leth. The film is a documentary, but incorporates lengthy sections of experimental films produced by the filmmakers. The premise is that Lars Von Trier has created a challenge for his friend and mentor, Jørgen Leth, another filmmaker. Von Trier's favourite film is Leth's The Perfect Human (1967). Von Trier gives Leth the task of remaking The Perfect Human five times, each time with a different 'obstruction' (or obstacle) given by Von Trier.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
http://rapidshare.com/files/319318253/DFBensp_nd.part1.rar&lt;br /&gt;
http://rapidshare.com/files/319326321/DFBensp_nd.part2.rar&lt;br /&gt;
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http://rapidshare.com/files/319307161/DFBensp_nd.part8.rar&lt;br /&gt;
&lt;br /&gt;
................................................................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-7777983190500962554?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/_N3W7_BlMD-f1IOY_mAVXykFAYs/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/_N3W7_BlMD-f1IOY_mAVXykFAYs/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/r2rOjXLx94c" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/7777983190500962554/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/de-fem-benspnd-five-obstructions-2003.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/7777983190500962554?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/7777983190500962554?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/r2rOjXLx94c/de-fem-benspnd-five-obstructions-2003.html" title="De Fem benspænd [The Five Obstructions] (2003)" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/de-fem-benspnd-five-obstructions-2003.html</feedburner:origLink></entry><entry gd:etag="W/&quot;DEUGQH47eip7ImA9Wx5QF0o.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-2879254586228587455</id><published>2010-09-06T19:30:00.000+07:00</published><updated>2010-09-06T19:30:21.002+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-06T19:30:21.002+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Films" /><category scheme="http://www.blogger.com/atom/ns#" term="Musical" /><category scheme="http://www.blogger.com/atom/ns#" term="Drama" /><title>QUADROPHENIA</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_WYSTqa5QopU/R9ybMtO_x7I/AAAAAAAAChc/eHCK3LE9pB4/s1600/Quadrophenia_-_Edicion_Especial_por.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://4.bp.blogspot.com/_WYSTqa5QopU/R9ybMtO_x7I/AAAAAAAAChc/eHCK3LE9pB4/s200/Quadrophenia_-_Edicion_Especial_por.jpg" width="141" /&gt;&lt;/a&gt;&lt;/div&gt;QUADROPHENIA - Franc RODDAM&lt;br /&gt;
&lt;br /&gt;
XviD-903 | mp3@192 | 528x400 | English | DVD Cover &amp;amp; Sticker | 1h55 | 903 Mb&lt;br /&gt;
&lt;br /&gt;
USA-UK 02 Nov 1979&lt;br /&gt;
Director Franc RODDAM&lt;br /&gt;
Music The WHO&lt;br /&gt;
Cast Phil DANIELS, Leslie ASH, Philip DAVIS, Mark WINGETT, STING, Ray WINSTONE&lt;br /&gt;
&lt;br /&gt;
London, 1965: Like many other youths Jimmy's hates the philistine life, especially his parents and his job in mailing division. Only when he's together with his friends, a 'Mod' clique, cruises London on his motor-scooter and hears 'The Who' and 'The High Numbers', he feels free and accepted. However it's a flight into an illusionary world.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-----------------------&lt;br /&gt;
&lt;br /&gt;
http://rapidshare.com/files/54213509/qua_dro_phe_nia.part01.rar&lt;br /&gt;
http://rapidshare.com/files/54216722/qua_dro_phe_nia.part02.rar&lt;br /&gt;
http://rapidshare.com/files/54219812/qua_dro_phe_nia.part03.rar&lt;br /&gt;
http://rapidshare.com/files/54223261/qua_dro_phe_nia.part04.rar&lt;br /&gt;
http://rapidshare.com/files/54226633/qua_dro_phe_nia.part05.rar&lt;br /&gt;
http://rapidshare.com/files/54230052/qua_dro_phe_nia.part06.rar&lt;br /&gt;
http://rapidshare.com/files/54233240/qua_dro_phe_nia.part07.rar&lt;br /&gt;
http://rapidshare.com/files/54236570/qua_dro_phe_nia.part08.rar&lt;br /&gt;
http://rapidshare.com/files/54239815/qua_dro_phe_nia.part09.rar&lt;br /&gt;
http://rapidshare.com/files/54239930/qua_dro_phe_nia.part10.rar&lt;br /&gt;
&lt;br /&gt;
atau :&lt;br /&gt;
http://www.fileserve.com/file/HDjXG9A&lt;br /&gt;
(single file)&lt;br /&gt;
&lt;br /&gt;
.................................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-2879254586228587455?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
&lt;p&gt;&lt;a href="http://feedads.g.doubleclick.net/~a/1p0gK1K1wovNVfuigKHfaFt2K84/0/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/1p0gK1K1wovNVfuigKHfaFt2K84/0/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;br/&gt;
&lt;a href="http://feedads.g.doubleclick.net/~a/1p0gK1K1wovNVfuigKHfaFt2K84/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/1p0gK1K1wovNVfuigKHfaFt2K84/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/xWZA3K2WwtE" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/2879254586228587455/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/quadrophenia.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/2879254586228587455?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/2879254586228587455?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/xWZA3K2WwtE/quadrophenia.html" title="QUADROPHENIA" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_WYSTqa5QopU/R9ybMtO_x7I/AAAAAAAAChc/eHCK3LE9pB4/s72-c/Quadrophenia_-_Edicion_Especial_por.jpg" height="72" width="72" /><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/quadrophenia.html</feedburner:origLink></entry><entry gd:etag="W/&quot;CkcGRX06eSp7ImA9Wx5QF0w.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-7234622595206349198</id><published>2010-09-06T01:07:00.000+07:00</published><updated>2010-09-06T01:07:04.311+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-06T01:07:04.311+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Films" /><category scheme="http://www.blogger.com/atom/ns#" term="Documentary" /><title>Capturing Reality: The Art of Documentary (2008)</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://i65.servimg.com/u/f65/15/25/85/65/1591.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://i65.servimg.com/u/f65/15/25/85/65/1591.jpg" width="138" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;Capturing Reality: The Art of Documentary (2008) - Pepita Ferrari&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
98 min | avi | 160 Kbps | 640x352 | 29fps | 854 MB | Color | English&lt;br /&gt;
&lt;br /&gt;
Filmmakers have been turning their cameras on the world since the time of the Lumière brothers — and the idea of documentary has sparked impassioned creative debate ever since.&lt;br /&gt;
&lt;br /&gt;
Some of the genres most influential directors reflect upon its unique power in Capturing Reality: The Art of Documentary. Over 30 luminaries — including Albert Maysles, Errol Morris, Alanis Obomsawin, Michel Brault, Nick Broomfield, Kim Longinotto and that great iconoclast Werner Herzog — offer insight into their craft while reflecting on the nature of representation and the perennially contested status of the truth.&lt;br /&gt;
&lt;br /&gt;
Can film capture reality? What ethical issues arise when portraying real lives? How does editing or music condition our emotional response to film? More than 100 clips enliven the discussion, offering a panoramic overview of contemporary documentary cinema, from Grey Gardens and The Thin Blue Line to The Day I Will Never Forget and Darwins Nightmare.&lt;br /&gt;
&lt;br /&gt;
In order to make Capturing Reality, director Pepita Ferrari interviewed a number of prominent documentary filmmakers. Ferrari's goal was to find out where they get their inspiration and what their view is on the profession. She intersperses the interviews with short film excerpts that illustrate their arguments. The entire process of documentary filmmaking comes up, from the original plan and the research all the way to the cutting room. Some directors attach a great deal of importance to solid preparation through research, whereas others prefer to be surprised by locations and subjects. A number of them argue for more attention for the visual aspect of a documentary, whether this is a special kind of camerawork, lighting, or even dramatisation. Others follow their subjects with a small digital camera, sometimes making concessions in the cinematic quality in favour of the story. An important topic of discussion is the authenticity of the film and the integrity of the filmmaker. It becomes clear that a documentary can take on many different forms, but that every director is looking in his or her own manner for a suitable way to tell a story about reality.&lt;br /&gt;
&lt;br /&gt;
With the participation of:&lt;br /&gt;
Jennifer Baichwal, Manfred Becker, Michel Brault, Nick Broomfield, Joan Churchill, Malcolm Clarke, Eduardo Coutinho, Paul Cowan, Jean-Xavier de Lestrade, Molly Dineen, Jennifer Fox, Serge Giguère, Denis Gheerbrant, Patricio Guzmán, Werner Herzog, Scott Hicks, Heddy Honigmann, Jean-Daniel Lafond, Sylvain L'Espérance, Jean-Pierre Lledo, Kim Longinotto, Kevin Macdonald, Catherine Martin, Albert Maysles, Errol Morris, Stan Neumann, Alanis Obomsawin, Laura Poitras, Emmanuel Priou, Velcrow Ripper, Hubert Sauper, Rakesh Sharma, Claire Simon, Barry Stevens, Sabiha Sumar, Nettie Wild, Peter Wintonick, and Jessica Yu.&lt;br /&gt;
&lt;br /&gt;
------------------------------------&lt;br /&gt;
http://rapidshare.com/files/343457182/Capturing.Reality.2008-Smz.part1.rar&lt;br /&gt;
http://rapidshare.com/files/343434052/Capturing.Reality.2008-Smz.part2.rar&lt;br /&gt;
http://rapidshare.com/files/343503171/Capturing.Reality.2008-Smz.part3.rar&lt;br /&gt;
http://rapidshare.com/files/343483403/Capturing.Reality.2008-Smz.part4.rar&lt;br /&gt;
http://rapidshare.com/files/343464414/Capturing.Reality.2008-Smz.part5.rar&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
atau : &lt;br /&gt;
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http://hotfile.com/dl/26503168/cbb0c4e/Capturing.Reality.2008-Smz.part1.rar.html&lt;br /&gt;
http://hotfile.com/dl/26503253/e1a5706/Capturing.Reality.2008-Smz.part2.rar.html&lt;br /&gt;
http://hotfile.com/dl/26503357/a7b461c/Capturing.Reality.2008-Smz.part3.rar.html&lt;br /&gt;
http://hotfile.com/dl/26503434/c639c64/Capturing.Reality.2008-Smz.part4.rar.html&lt;br /&gt;
http://hotfile.com/dl/26503468/5d6d18c/Capturing.Reality.2008-Smz.part5.rar.html&lt;br /&gt;
&lt;br /&gt;
.......................................................&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-7234622595206349198?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
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&lt;br /&gt;
Directed : Todd Haynes&lt;br /&gt;
Produced : Christine Vachon, Michael Stipe, Bob Weinstein, Harvey Weinstein&lt;br /&gt;
Written  : Todd Haynes, James Lyons&lt;br /&gt;
Narrated : Janet McTeer&lt;br /&gt;
Starring : Jonathan Rhys Meyers, Ewan McGregor&lt;br /&gt;
Music    : Carter Burwell, Craig Wedren&lt;br /&gt;
Cinematography : Maryse Alberti&lt;br /&gt;
Editing  : James Lyons&lt;br /&gt;
Release date(s) : November 6, 1998&lt;br /&gt;
Running time : 124 minutes&lt;br /&gt;
Country : United Kingdom, United States&lt;br /&gt;
&lt;br /&gt;
The story follows a British journalist, Arthur Stuart (Christian Bale), who has to search his own past when writing an article about the mysterious disappearance of a former glam-rock star, Brian Slade (Jonathan Rhys Meyers), for an American periodical. The film turns Slade's paranoia of being murdered during a concert (a paranoia that Bowie incorporated into the Ziggy Stardust story in the climax of the Ziggy Stardust album) into a career-ending publicity stunt by Slade, after which he gradually disappears from the public view entirely. As Stuart locates and talks with people connected to Slade, trying to find out what happened, he revisits the glam-rock scene of the '70s in a series of vignettes, which recreate the stories of Slade, Slade's collaborator and one time lover Curt Wild (Ewan McGregor) and others involved in their lives.&lt;br /&gt;
&lt;br /&gt;
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-----------------------------------&lt;br /&gt;
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http://www.megaupload.com/?d=8Y5YLUO6&lt;br /&gt;
http://www.megaupload.com/?d=QUSIWPQP&lt;br /&gt;
&lt;br /&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/5mjNikeFXmBZq_Evn6NqdaDzpGM/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/5mjNikeFXmBZq_Evn6NqdaDzpGM/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/9Gx4K2AcMCw" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/3222245327742192788/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/09/velvet-goldmine-1998.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/3222245327742192788?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/3222245327742192788?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/9Gx4K2AcMCw/velvet-goldmine-1998.html" title="Velvet Goldmine (1998)" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/09/velvet-goldmine-1998.html</feedburner:origLink></entry><entry gd:etag="W/&quot;AkQAQXo4fip7ImA9Wx5QF00.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-2908780235577842748</id><published>2010-09-06T00:37:00.001+07:00</published><updated>2010-09-06T00:39:00.436+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-09-06T00:39:00.436+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Films" /><category scheme="http://www.blogger.com/atom/ns#" term="Musical" /><category scheme="http://www.blogger.com/atom/ns#" term="Comedy" /><category scheme="http://www.blogger.com/atom/ns#" term="Feature" /><category scheme="http://www.blogger.com/atom/ns#" term="Drama" /><title>Hedwig and the Angry Inch (2001)</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://img5.imagebanana.com/img/yr3vgbic/hedwig.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://img5.imagebanana.com/img/yr3vgbic/hedwig.jpg" width="135" /&gt;&lt;/a&gt;&lt;/div&gt;Director&amp;nbsp; : John Cameron Mitchell&lt;br /&gt;
Cast&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; :   John Cameron Mitchell, Michael Pitt, Miriam Shor, Stephen Trask&lt;br /&gt;
Country&amp;nbsp;&amp;nbsp; : USA, 2001&lt;br /&gt;
&lt;br /&gt;
Hedwig, born a boy named Hansel in East Berlin, fell in love with an  American G.I. and underwent a sex-change operation in order to marry him  and flee to the West. Unfortunately, nothing worked out quite as it was  supposed to - years later, Hedwig is leading her rock band on a tour of  the U.S., telling her life story through a series of concerts at  Bilgewater Inn seafood restaurants. Her tour dates coincide with those  of arena-rock star Tommy Gnosis, a wide-eyed boy who once loved  Hedwig... but then left with all her songs.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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-----------------------------&lt;br /&gt;
&lt;br /&gt;
http://rapidshare.com/files/33449237/Hedwig.part1.rar&lt;br /&gt;
http://rapidshare.com/files/33520234/Hedwig.part2.rar&lt;br /&gt;
http://rapidshare.com/files/33888424/Hedwig.part3.rar&lt;br /&gt;
http://rapidshare.com/files/33585338/Hedwig.part4.rar&lt;br /&gt;
http://rapidshare.com/files/33961326/Hedwig.part5.rar&lt;br /&gt;
http://rapidshare.com/files/34010227/Hedwig.part6.rar&lt;br /&gt;
http://rapidshare.com/files/34254592/Hedwig.part7.rar&lt;br /&gt;
http://rapidshare.com/files/34283629/Hedwig.part8.rar&lt;br /&gt;
&lt;br /&gt;
------------------------------------------------------------------------------&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/3161066258229239810-2908780235577842748?l=keledai-pintar.blogspot.com' alt='' /&gt;&lt;/div&gt;
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&lt;br /&gt;
Univ. Toronto Press | 2008 | ISBN 0802098851 | 224 Pages | PDF | 6 MB&lt;br /&gt;
&lt;br /&gt;
With this lucid translation of Du litteraire au filmique, André Gaudreault's highly influential and original study of film narratology is now accessible to English-language audiences for the first time. Building a theory of narrative on sources as diverse as Plato, The Arabian Nights,and Proust, From Plato to Lumière challenges narratological orthodoxy by positing that all forms of narrative are mediated by an "underlying narrator" who exists between the author and narrative text.&lt;br /&gt;
&lt;br /&gt;
Offering illuminating insights, definitions, and formal distinctions, Gaudreault examines the practices of novelists, playwrights, and filmmakers and applies his theory to the early cinema of the Lumière brothers and more recent films. He also enhances our understanding of how narrative develops visually without language - monstration - by detailing how the evolution of the medium influenced narratives in cinema. From Plato to Lumière includes a translation of Paul Ricoeur's preface to the French-language edition as well as a new preface by Tom Gunning. It is a must-read for cinema and media students and scholars and an essential text on the study of narrative.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
---------------------------&lt;br /&gt;
&lt;br /&gt;
http://hotfile.com/dl/39359382/dff6f6a/PlatoLumiere.zip.html&lt;br /&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/sKEEaLz42aFipqgOTHdzabmOv60/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/sKEEaLz42aFipqgOTHdzabmOv60/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/rbkVMiHuOqc" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/224841797039480964/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/08/from-plato-to-lumiere-narration-and.html#comment-form" title="1 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/224841797039480964?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/224841797039480964?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/rbkVMiHuOqc/from-plato-to-lumiere-narration-and.html" title="From Plato to Lumière: Narration and Monstration in Literature and Cinema" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><thr:total>1</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/08/from-plato-to-lumiere-narration-and.html</feedburner:origLink></entry><entry gd:etag="W/&quot;CEAFR3w7fip7ImA9Wx5RE08.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-8732157529322335882</id><published>2010-08-20T23:29:00.003+07:00</published><updated>2010-08-20T23:45:16.206+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-08-20T23:45:16.206+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Philosophy" /><category scheme="http://www.blogger.com/atom/ns#" term="Books" /><title>Creativity and Critique (Social and Critical Theory)</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://3.bp.blogspot.com/_eSfk329emNQ/TG6xC_ub2OI/AAAAAAAAAII/CcxDrGyIZd4/s1600/000be6e6.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://3.bp.blogspot.com/_eSfk329emNQ/TG6xC_ub2OI/AAAAAAAAAII/CcxDrGyIZd4/s200/000be6e6.jpeg" width="133" /&gt;&lt;/a&gt;&lt;/div&gt;Creativity and Critique (Social and Critical Theory) - Ballantyne, G.&lt;br /&gt;
&lt;br /&gt;
BRILL | 2009 | 214 Pages | ISBN 9004157794 | PDF | 1.56 MB&lt;br /&gt;
&lt;br /&gt;
Constructing a dialogue between the social theory of Alain Touraine and the philosophy of Paul Ricoeur, this work locates the wellsprings of the renewed intepretative powers of Touraine's recent sociology of the subject and critique of modernity in an implicit and unfinished, but unmistakable 'hermeneutical turn'.&lt;br /&gt;
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http://depositfiles.com/en/files/ldjknwdu9&lt;br /&gt;
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&lt;br /&gt;
Continuum | 2009 | ISBN 1441124489 | 240 Pages | PDF OCR | 6.7 MB&lt;br /&gt;
&lt;br /&gt;
This is a highly original analysis of Paul Ricoeur's 'narrative self', specifically in relation to the philosophy of difference articulated by Gilles Deleuze, thus bringing together two giants of twentieth-century Continental philosophy for the first time. What is the self? Is it the impregnable cogito of Descartes or the shattered self of Nietzsche? Or has it become serendipitously constituted from pieces of fairy tales and novels, childhood comics and soap operas - a multitude of forces culled from fashion, modern myth, culture and recreation? Or must we still convince ourselves, like Rousseau, that the self can never be tainted; that it is, above all else, irrefrangible? Paul Ricoeur proposed that the self is formed within the narratives we tell of ourselves, that it is itself a form of narrative. But is this enough? Could a self cohere in a multitude of potential narratives or find unity among its stories? In this book, Declan Sheerin challenges the theory that the self is narrative alone or that concordance reigns over discordance in the self. Drawing upon the works of Gilles Deleuze, he proposes that deep to the sense of a unified, represented self is a more fundamental self of difference, a self that is more than merely coherent narrative.&lt;br /&gt;
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-------------------------------&lt;br /&gt;
&lt;br /&gt;
http://uploading.com/files/get/3dm7b774/&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Continuum | 2009 | ISBN 1847061885 | 237 Pages | PDF OCR | 8 MB&lt;br /&gt;
&lt;br /&gt;
This book offers an original and insightful examination of Ricoeur's hermeneutics, a central concept in his work. Paul Ricoeur (1913-2005) was one of the most prolific and influential French philosophers of the twentieth Century. In his enormous corpus of work he engaged with literature, history, historiography, politics, theology and ethics, while debating 'truth' and ethical solutions to life in the face of widespread and growing suspicion about whether such a search is either possible or worthwhile. &lt;br /&gt;
&lt;br /&gt;
In "Ricoeur and the Hermeneutics of Suspicion", Alison Scott-Baumann takes a thematic approach that explores Ricoeur's lifelong struggle to be both iconoclastic and yet hopeful, and avoid the slippery slope to relativism. Through an examination of the 'hermeneutics of suspicion', the book reveals strong continuities throughout his work, as well as significant discontinuities, such as the marked way in which he later distanced himself from the 'hermeneutics of suspicion' and his development of new devices in its place, while seeking a hermeneutics of recovery. Scott-Baumann offers a highly original analysis of the hermeneutics of suspicion that will be useful to the fields of philosophy, literature, theology and postmodern social theory.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
-------------------------------&lt;br /&gt;
&lt;br /&gt;
http://hotfile.com/dl/25233827/2d15d86/9781847061881_-_ALISON_SCOTT-BAUMANN_-_Ricoeur_and_the_Hermeneutics_of_Suspicion.pdf.html&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
State University of New York Press 2010 | 226 Pages | ISBN: 1438429495 | PDF | 1 MB&lt;br /&gt;
&lt;br /&gt;
Written in the aftermath of the deaths of the French philosophers Jacques Derrida (1930-2004) and Paul Ricoeur (1913-2005), this book is an important and innovative study of the contentious relation between deconstruction and hermeneutics. Offering close readings of Derrida's and Ricoeur's writings on phenomenology, psychoanalysis, structuralist linguistics, and Levinasian ethics, Eftichis Pirovolakis introduces the motif of "improbable encounters," and explicates why the two thinkers may be said to be simultaneously close to each other and separated by an unbridgeable abyss. &lt;br /&gt;
&lt;br /&gt;
Pirovolakis complicates any facile distinction between these movements, which are two of the most influential streams of continental thought, and questions a certain pathos with respect to the distance separating them. Pirovolakis also translates Derrida's brief tribute to Ricoeur: "The Word: Giving, Naming, Calling," which appears here in English for the first time. The book is essential reading for anyone immersed in continental philosophy or literary theory. &lt;br /&gt;
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&lt;br /&gt;
http://www.megaupload.com/?d=6BC4N0PO&lt;br /&gt;
&lt;br /&gt;
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&lt;a href="http://feedads.g.doubleclick.net/~a/_Mm5dFQOhtT_VzUpzjTSH4duFq8/1/da"&gt;&lt;img src="http://feedads.g.doubleclick.net/~a/_Mm5dFQOhtT_VzUpzjTSH4duFq8/1/di" border="0" ismap="true"&gt;&lt;/img&gt;&lt;/a&gt;&lt;/p&gt;&lt;img src="http://feeds.feedburner.com/~r/KeledaiPintar/~4/GAJuErGuHvY" height="1" width="1"/&gt;</content><link rel="replies" type="application/atom+xml" href="http://keledai-pintar.blogspot.com/feeds/502155417904750607/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://keledai-pintar.blogspot.com/2010/08/reading-derrida-and-ricoeur-improbable.html#comment-form" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/502155417904750607?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3161066258229239810/posts/default/502155417904750607?v=2" /><link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/KeledaiPintar/~3/GAJuErGuHvY/reading-derrida-and-ricoeur-improbable.html" title="Reading Derrida and Ricoeur: Improbable Encounters Between Deconstruction and Hermeneutics" /><author><name>SmartDonkey</name><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="27" height="32" src="http://3.bp.blogspot.com/_eSfk329emNQ/TAWEpIY3hoI/AAAAAAAAACw/WjmNBwWEO3U/S220/donkey%26carrot.png" /></author><thr:total>0</thr:total><feedburner:origLink>http://keledai-pintar.blogspot.com/2010/08/reading-derrida-and-ricoeur-improbable.html</feedburner:origLink></entry><entry gd:etag="W/&quot;CEYGQng7fyp7ImA9Wx5RE08.&quot;"><id>tag:blogger.com,1999:blog-3161066258229239810.post-3102237643226985908</id><published>2010-08-20T22:59:00.002+07:00</published><updated>2010-08-20T23:35:23.607+07:00</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-08-20T23:35:23.607+07:00</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="Philosophy" /><category scheme="http://www.blogger.com/atom/ns#" term="Books" /><title>Ricoeur's Critical Theory</title><content type="html">&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://www.sunypress.edu/images/Product/icon/60734_cov.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="200" src="http://www.sunypress.edu/images/Product/icon/60734_cov.jpg" width="132" /&gt;&lt;/a&gt;&lt;/div&gt;Ricoeur's Critical Theory - David M. Kaplan&lt;br /&gt;
&lt;br /&gt;
State University of New York Press | 2003-02-27 | ISBN: 0791456951 | 224 pages | PDF | 1,5 MB&lt;br /&gt;
&lt;br /&gt;
The first book-length treatment of Paul Ricoeur's conception of philosophy as critical theory.&lt;br /&gt;
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"There's still, I feel, much room for both introductory as well as critical studies on Ricoeur's 'ouvre' (although there have been some acceptable studies already from the late 80's). Most of those studies either (dis)cover Ricoeur's ouvre as a big story in temporal-biographical development, or they concentrate on an individual theme or characteristics of Ricoeur's theory. What seems to be highly typical in those studies is the constant need to use definite descriptions a' la 'it is hermeneutics', 'that makes him a phenomenologist', 'not a structuralist' etc. What is missing is the development of ideas in argumentation or dialogical comparison/discussion. That we get from Kaplan's almost massive study. Because of that, we get also views on those knots, sciasmas and aporias wich characterise Ricoeur's way of doing philosophy in a constant dialogue with philosophies wich seem at first be very unspoken in ricoeurean language. Kaplan's is highly recommendable, as is the choice to read it together with Simms' superb 'Ricoeur and Lacan'."&lt;br /&gt;
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http://depositfiles.com/en/files/oscewo3v4&lt;br /&gt;
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