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Para assinalar o Dia da Língua Portuguesa e da Cultura na CPLP, a Porto Editora aliou-se ao realizador Miguel Gonçalves Mendes na publicação de "Sotaques", um vídeo que celebra a diversidade da língua portuguesa no mundo através da leitura de "O Paraíso são os outros", de Valter Hugo Mãe.
O vídeo foi concebido pelo cineasta, responsável por projetos como José e Pilar e Autografia, e os registos de áudio e vídeo foram efetuados na volta ao mundo que empreendeu durante o ano de gravação de "O Sentido da Vida", o seu novo filme (com estreia prevista em 2018).
Nesta leitura de "O Paraíso são os outros" encontramos pessoas de Cochim, Goa, Damão, Diu, Macau e outras, a que mais tarde, e já em Lisboa, se juntaram diferentes sotaques de pessoas provenientes de países africanos de língua portuguesa, de Timor-Leste, do Brasil e várias zonas de Portugal.
Numa viagem que reflete a diversidade da nossa língua, os leitores dão voz ao estilo singular de Valter Hugo Mãe e à sua personagem principal, uma menina fascinada pelo amor, que usa a imaginação para antever e descobrir o que é a felicidade.
"Sotaques" será cedido gratuitamente ao Museu da Língua Portuguesa, em São Paulo, atualmente em obras de reconstrução, após o grande incêndio de 2012. No futuro, e no seguimento deste mesmo projeto, será publicado um minidocumentário sobre a forma como as diferentes culturas vivem, no seu quotidiano, a Língua Portuguesa.
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"There is a whirlwind in southern Morocco, the aajej, against which the fellahin defend themselves with knives. There is the africo, which has at times reached into the city of Rome. The alm, a fall wind out of Yugoslavia. The arifi, also christened aref or rifi, which scorches with numerous tongues. These are permanent winds that live in the present tense.
There are other, less constant winds that change direction, that can knock down horse and rider and realign themselves anticlockwise. The bist roz leaps into Afghanistan for 170 days--burying villages. There is the hot, dry ghibli from Tunis, which rolls and rolls and produces a nervous condition. The haboob--a Sudan dust storm that dresses in bright yellow walls a thousand metres high and is followed by rain. The harmattan, which blows and eventually drowns itself into the Atlantic. Imbat, a sea breeze in North Africa. Some winds that just sigh towards the sky. Night dust storms that come with the cold. The khamsin, a dust in Egypt from March to May, named after the Arabic word for 'fifty,' blooming for fifty days--the ninth plague of Egypt. The datoo out of Gibraltar, which carries fragrance.
There is also the ------, the secret wind of the desert, whose name was erased by a king after his son died within it. And the nafhat--a blast out of Arabia. The mezzar-ifoullousen--a violent and cold southwesterly known to Berbers as 'that which plucks the fowls.' The beshabar, a black and dry northeasterly out of the Caucasus, 'black wind.' The Samiel from Turkey, 'poison and wind,' used often in battle. As well as the other 'poison winds,' the simoom, of North Africa, and the solano, whose dust plucks off rare petals, causing giddiness.
Other, private winds.
Travelling along the ground like a flood. Blasting off paint, throwing down telephone poles, transporting stones and statue heads. The harmattan blows across the Sahara filled with red dust, dust as fire, as flour, entering and coagulating in the locks of rifles. Mariners called this red wind the 'sea of darkness.' Red sand fogs out of the Sahara were deposited as far north as Cornwall and Devon, producing showers of mud so great this was also mistaken for blood. 'Blood rains were widely reported in Portugal and Spain in 1901.'
There are always millions of tons of dust in the air, just as there are millions of cubes of air in the earth and more living flesh in the soil (worms, beetles, underground creatures) than there is grazing and existing on it. Herodotus records the death of various armies engulfed in the simoom who were never seen again. One nation was 'so enraged by this evil wind that they declared war on it and marched out in full battle array, only to be rapidly and completely interred."
The English Patient, Michael Ondaatje
His mind was freshly inclined toward sorrow; toward the fact that the world was full of sorrow; that everyone labored under some burden of sorrow; that all were suffering; that whatever way one took in this world, one must try to remember that all were suffering (none content; all wronged, neglected, overlooked, misunderstood), and therefore one must do what one could to lighten the load of those with whom one came into contact; that his current state of sorrow was not uniquely his, not at all, but, rather, its like had been felt, would yet be felt, by scores of others, in all times, in every time, and must not be prolonged or exaggerated, because, in this state, he could be of no help to anyone and, given that his position in the world situated him to be either of great help or great harm, it would not do to stay low, if he could help it.
Saunders, George. Lincoln in the Bardo: A Novel (pp. 303-304). Random House Publishing Group. Kindle Edition.
Pixar in a Box is a behind-the-scenes look at how Pixar artists do their jobs. You will be able to animate bouncing balls, build a swarm of robots, and make virtual fireworks explode. The subjects you learn in school — math, science, computer science, and humanities — are used every day to create amazing movies at Pixar. This collaboration between Pixar Animation Studios and Khan Academy is sponsored by Disney.
This topic is an exploration of the storytelling process at Pixar.
James Joyce was born on this day in 1882. One of the most influential writers of the twentieth century, his novel Ulysses stands as a monument to modernism but remains a daunting challenge to many readers. This picture of Marilyn Monroe was taken during a photoshoot with Eve Arnold, who described the moment thus:
'We worked on a beach on Long Island. She was visiting Norman Rosten the poet…. I asked her what she was reading when I went to pick her up (I was trying to get an idea of how she spent her time). She said she kept Ulysses in her car and had been reading it for a long time. She said she loved the sound of it and would read it aloud to herself to try to make sense of it — but she found it hard going. She couldn’t read it consecutively. When we stopped at a local playground to photograph she got out the book and started to read while I loaded the film. So, of course, I photographed her. It was always a collaborative effort of photographer and subject where she was concerned — but almost more her input.'
Gosto muito de listas mas mais de lê-las do que fazê-las. Quando me ponho a enumerar, alguma coisa me escapa sempre, escolhas injustas acabam feitas e no fim saio irritado e desiludido com o empreendimento. Quando é coisa de pôr por ordem de preferência ou limitar à dezena, então, é o cabo dos trabalhos.
Em relação a cinema, nem vou tentar. Vi filmes em festivais, no cinema, no Netflix, via Videoclube, em Blu-Ray, no ecrã da sala escura, no ecrã de um computador, no ecrã da televisão. E tentei não ver nada que detestasse particularmente. E alguns gostei realmente muito e até revi ou tenciono rever.
A televisão, não me posso esquecer de contar com a televisão!
Em relação a música, ouço-a de tantas maneiras diferentes que o registo é difícil: em CD, vinil, no Apple Music, Spotify, Soundcloud, Youtube e tudo o resto que me aparece à frente. Diz-me o Last FM (que apenas regista alguns e quando lhe apetece) que o álbum que mais ouvi foi a banda sonora do Nocturnal Animals, do Abel Korzeniowski, que o artista que mais ouvi foram os R.E.M. e que a faixa que mais ouvi foi 'Candy Says' dos The Velvet Underground. Mas diz-me também que ouvi 462 artistas diferentes, portanto vale o que vale, nesta época em que toda a música está disponível. Vá, arredondemos para 500.
Em relação a livros, o Goodreads tem-me ajudado a manter um registo mais ou menos fiel daquilo que começo e acabo, ainda por cima assim arrumadinho com bonecos e tudo. Ficam por registar os que apenas consulto, folheio, largo, distraído, os que compro e esperam o seu tempo que há de vir. Duas ou três notas: há banda desenhada extraordinária a ser publicada; há poesia extraordinária e, em alguns casos, fortemente política, a ser publicada, sobretudo em língua inglesa; li, aliás, quase só em inglês, um hábito já de alguns anos mas que este ano bateu mais forte porque precisava mais de pensar em inglês (os motivos para isso não vêm agora ao caso, talvez algum dia venham); não quer isto dizer que despreze a literatura lusófona ou de qualquer outro país; o ano ainda não acabou e é provável que esta lista esteja ainda incompleta.
O que mais quiserem saber, não hesitem em perguntar.
P.S.: Faltam também aqui os livros de fotografia, uma meia dúzia este ano.
SCENE VI. Friar Laurence's cell.
Enter FRIAR LAURENCE and ROMEO
So smile the heavens upon this holy act,
That after hours with sorrow chide us not!
Amen, amen! but come what sorrow can,
It cannot countervail the exchange of joy
That one short minute gives me in her sight:
Do thou but close our hands with holy words,
Then love-devouring death do what he dare;
It is enough I may but call her mine.
These violent delights have violent ends
And in their triumph die, like fire and powder,
Which as they kiss consume: the sweetest honey
Is loathsome in his own deliciousness
And in the taste confounds the appetite:
Therefore love moderately; long love doth so;
Too swift arrives as tardy as too slow.
Here comes the lady: O, so light a foot
Will ne'er wear out the everlasting flint:
A lover may bestride the gossamer
That idles in the wanton summer air,
And yet not fall; so light is vanity.
Good even to my ghostly confessor.
Romeo shall thank thee, daughter, for us both.
As much to him, else is his thanks too much.
Ah, Juliet, if the measure of thy joy
Be heap'd like mine and that thy skill be more
To blazon it, then sweeten with thy breath
This neighbour air, and let rich music's tongue
Unfold the imagined happiness that both
Receive in either by this dear encounter.
Conceit, more rich in matter than in words,
Brags of his substance, not of ornament:
They are but beggars that can count their worth;
But my true love is grown to such excess
I cannot sum up sum of half my wealth.
Come, come with me, and we will make short work;
For, by your leaves, you shall not stay alone
Till holy church incorporate two in one.
On September 27, 1991 BBC 1 broadcast a film on Don DeLillo, titled "Don DeLillo: The Word, The Image, and The Gun" which was directed by Kim Evans.