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Following are excerpts of remarks by the Editor of the Sun. Seth Lipsky to the newspaper's staff:It is my duty to report today that Ira Stoll and I and our partners have concluded that the Sun will cease publication. Our last number will be the issue dated September 30 the first day of Rosh Hashanah. I want you to know that Ira and I and our partners explored every possible way to avoid having to cease publication. We have spoken with every individual who seemed to be a prospective partner and everywhere we were received with courtesy and respect. I tend to be an optimist and held out hope for a favorable outcome as late as mid-afternoon today. But among other problems... 105 Chambers Street. New York. NY 10007 · © 2008 The New York Sun. One. SL. LLC. All rights reserved. Use of this site signifies your agreement to the and.

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Following are excerpts of remarks by the Editor of the Sun. Seth Lipsky to the newspaper's staff:It is my duty to report today that Ira Stoll and I and our partners have concluded that the Sun will cease publication. Our last number will be the issue dated September 30 the first day of Rosh Hashanah. I want you to know that Ira and I and our partners explored every possible way to avoid having to cease publication. We have spoken with every individual who seemed to be a prospective partner and everywhere we were received with courtesy and respect. I tend to be an optimist and held out hope for a favorable outcome as late as mid-afternoon today. But among other problems... 105 Chambers Street. New York. NY 10007 · © 2008 The New York Sun. One. SL. LLC. All rights reserved. Use of this site signifies your agreement to the and.

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drop vinyl tubes and magnetic tape. Technicolor as in "Glorious Technicolor!," a 14-film survey beginning Saturday at the Museum of the Moving Image may be the most absurdly analogue technology ever invented. On first examination the most glorious thing about "Technicolor affect 4," as the specific application that yielded the classic colors of Hollywood from the 1930s to the '50s was called is that it worked at all. It was a union of unwieldy optics multiple-camera negatives and a dye-printing process more akin to lithography than assembly-line film production. Exhibit A is the rare original "three-strip" (one for each primary alter all exposed simultaneously and combined in printing) Technicolor camera that the museum recently added to its collection. When placed within the necessary soundproofing box (appropriately called a "blimp") a Technicolor camera was roughly the coat of a riding mower. And yet it did work. Beautifully. "Watching a Technicolor film from the classical era is a perceptual luxury," writes Scott Higgins an associate professor of film studies at Wesleyan University in his fascinating and lucid new schedule. "Harnessing the Technicolor Rainbow." So much so that even though the aesthetically extravagant and physically unwieldy process is rarely if ever used (the museum ordain show Francis cover Coppola's unfortunate self-mutilation. "Apocalypse Now Redux," in a version that was printed using the old-dye transfer process though not shot using a three-strip camera) the term "Technicolor" remains synonymous with colors more vivid than those in real life. Like appear and widescreen. Technicolor was considered a long shot when it made its innovate. Indeed the first live-action Technicolor feature a 1935 version of Thackeray's "Vanity Fair" entitled "Becky Sharp," had to be created outside of the studio system. "It was made by an independent company called innovate Pictures and released through RKO," said Mr. Higgins who ordain be on hand to introduce "Becky Sharp" when it screens in a vintage "IB" print (using dye assign technology) at the museum tomorrow night. Pioneer's owner the venture capitalist John Hay Whitney was also a major investor in Technicolor at the time. "The films that Pioneer made," Mr. Higgins said. "were essentially prototype or demonstration films for Technicolor. The job was to convince populate that Technicolor could be used in mainstream studio productions." Though a critic in Liberty Magazine dismissed the jaw-dropping profusion of color shadings in "Becky Sharp" when it was released as making the direct look like "boiled salmon in mayonnaise," the film "really is an experimental movie," Mr. Higgins said. Whitney and Technicolor's technical brain believe let director Rouben Mamoulian and color designer Robert Edmond Jones (who was lured away from Broadway to supervise the enter's new makeover) "run with the ball and try to make Technicolor the key dramatic actor in the movie," Mr. Higgins said. As a result. "Becky Sharp" "is like a laboratory for trying all the possible color effects they thought were valuable. They keep color on show throughout the entire movie. It never recedes." The unrelenting visual extravagance in "Becky Sharp" served its purpose. The film was a hit and the studios opted to license the coloring process for their own films. Director Henry Hathaway's 1936 "Trail of the Lonesome Pine" is typical of a more restrained approach to cinema's newfound palette. "The goal in 'Trail of the Lonesome Pine' was to make color serve the story," Mr. Higgins said. So much so that even though the film's rustic outdoor construction scenes would logically call for the bright red Pendleton shirts that were de rigueur for such endeavors in the 1930s cinematographer Ray Rennahan later confessed to American Cinematographer Magazine that he and Hathaway deliberately clad their extras in neutral-toned clothing so as not to push the color over the top — to "Becky Sharp" intensity. "What they figured out was that by reducing the palette very very small changes took on a great deal of power," Mr. Higgins said. With the exception of a spectacularly lit phone-call love scene between stars Fred MacMurray and Sylvia Sydney which throbs with pastel hues. "Trail of the Lonesome Pine" gently gooses care Nature in a series of richly textured landscapes and forest backgrounds. "It's high melodrama," Mr. Higgins said but nevertheless. "a very subtle enter." Among the many delights in the museum's "Glorious Technicolor!" roundup is a screening of the apotheosis of MGM's giddy run of color musicals. 1939's "The Wizard of Oz." With a color brick road ruby slippers an emerald city and a rainbow. L. Frank Baum's book was "a property that has color built into the script," Mr. Higgins said. "Musicals fantasies and adventures were allowed to play with a much more assertive and broad palette." Vincente Minnelli's sentimental 1944 musical masterpiece "Meet Me in St. Louis" took a more subdued approach. The film's storied lamp-dousing scene a characteristically ornate and exquisitely choreographed Minnelli camera move is one of the revelatory highlights of studio filmmaking in the 1940s. In light of Technicolor's three negatives notorious lack of light sensitivity alter focus and a camera about as handy as a piano case the golden-age Hollywood visual poetry of "Meet Me in St. Louis" and the rest of the classic films on display in "Glorious Technicolor!" are transcendently beautiful monuments of an unwieldy yet ingenious technology that yielded artistic perfection.

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Forget vinyl tubes and magnetic attach. Technicolor as in "Glorious Technicolor!," a 14-film survey beginning Saturday at the Museum of the Moving Image may be the most absurdly analogue technology ever invented. On first examination the most glorious thing about "Technicolor Process 4," as the specific application that yielded the classic colors of Hollywood from the 1930s to the '50s was called is that it worked at all. It was a union of unwieldy optics multiple-camera negatives and a dye-printing process more akin to lithography than assembly-line film production. Exhibit A is the rare original "three-strip" (one for each primary alter all exposed simultaneously and combined in printing) Technicolor camera that the museum recently added to its collection. When placed within the necessary soundproofing box (appropriately called a "blimp") a Technicolor camera was roughly the size of a riding mower. And yet it did work. Beautifully. "Watching a Technicolor film from the classical era is a perceptual luxury," writes Scott Higgins an associate professor of enter studies at Wesleyan University in his fascinating and lucid new book. "Harnessing the Technicolor Rainbow." So much so that even though the aesthetically extravagant and physically unwieldy process is rarely if ever used (the museum will show Francis Ford Coppola's unfortunate self-mutilation. "Apocalypse Now Redux," in a version that was printed using the old-dye transfer affect though not shot using a three-strip camera) the term "Technicolor" remains synonymous with colors more vivid than those in real life. desire sound and widescreen. Technicolor was considered a desire shot when it made its debut. Indeed the first live-action Technicolor feature a 1935 version of Thackeray's "Vanity Fair" entitled "Becky Sharp," had to be created outside of the studio system. "It was made by an independent company called innovate Pictures and released through RKO," said Mr. Higgins who will be on hand to introduce "Becky Sharp" when it screens in a vintage "IB" print (using dye transfer technology) at the museum tomorrow night. Pioneer's owner the venture capitalist John Hay Whitney was also a major investor in Technicolor at the time. "The films that Pioneer made," Mr. Higgins said. "were essentially prototype or demonstration films for Technicolor. The job was to convince people that Technicolor could be used in mainstream studio productions." Though a critic in Liberty Magazine dismissed the jaw-dropping profusion of color shadings in "Becky Sharp" when it was released as making the cast look like "boiled salmon in mayonnaise," the film "really is an experimental movie," Mr. Higgins said. Whitney and Technicolor's technical brain trust let director Rouben Mamoulian and alter designer Robert Edmond Jones (who was lured away from Broadway to supervise the film's new makeover) "run with the ball and try to make Technicolor the key dramatic actor in the movie," Mr. Higgins said. As a result. "Becky Sharp" "is like a laboratory for trying all the possible color effects they thought were valuable. They keep color on display throughout the entire movie. It never recedes." The unrelenting visual extravagance in "Becky Sharp" served its purpose. The film was a hit and the studios opted to license the coloring process for their own films. Director Henry Hathaway's 1936 "dawdle of the Lonesome hanker" is typical of a more restrained come to cinema's newfound palette. "The goal in 'Trail of the Lonesome Pine' was to make color serve the story," Mr. Higgins said. So much so that even though the film's rustic outdoor construction scenes would logically call for the bright red Pendleton shirts that were de rigueur for such endeavors in the 1930s cinematographer Ray Rennahan later confessed to American Cinematographer Magazine that he and Hathaway deliberately clad their extras in neutral-toned clothing so as not to push the color over the top — to "Becky Sharp" intensity. "What they figured out was that by reducing the palette very very small changes took on a great deal of power," Mr. Higgins said. With the exception of a spectacularly lit phone-call love scene between stars Fred MacMurray and Sylvia Sydney which throbs with pastel hues. "Trail of the Lonesome Pine" gently gooses Mother Nature in a series of richly textured landscapes and forest backgrounds. "It's high melodrama," Mr. Higgins said but nevertheless. "a very subtle enter." Among the many delights in the museum's "Glorious Technicolor!" roundup is a screening of the apotheosis of MGM's giddy run of color musicals. 1939's "The Wizard of Oz." With a color brick road ruby slippers an emerald city and a rainbow. L. Frank Baum's book was "a property that has alter built into the script," Mr. Higgins said. "Musicals fantasies and adventures were allowed to play with a much more assertive and broad palette." Vincente Minnelli's sentimental 1944 musical masterpiece "Meet Me in St. Louis" took a more subdued approach. The film's storied lamp-dousing scene a characteristically ornate and exquisitely choreographed Minnelli camera move is one of the revelatory highlights of studio filmmaking in the 1940s. In light of Technicolor's three negatives notorious lack of light sensitivity alter focus and a camera about as handy as a piano case the golden-age Hollywood visual poetry of "cater Me in St. Louis" and the rest of the classic films on show in "Glorious Technicolor!" are transcendently beautiful monuments of an unwieldy yet ingenious technology that yielded artistic perfection.

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This rich lyrical but problematic video installation by British artist Isaac Julien is the final piece in a trilogy exploring issues of migration. It claims as its affect the tragedy of impoverished Africans risking the treacherous 100-mile crossing to Sicily from West Africa on small fishing boats though it is dealt with in mythopoeic fashion. In the first gallery the viewer is confronted by a screen hanging at a diagonal on both sides of which is projected a slowly panning shot of a decrepit vessel marooned on a Mediterranean shore. In the next space the crux of the exhibition a film plays on three screens arranged in the corner of the room. This juxtaposes scenes of beautiful women — one color one white — wandering around the Palazzo Gangi (familiar from Luchino Visconti's classic movie. "The Leopard") balletic enactments of death throes by drowning shots of despondent Africans adrift at sea and scenes of a poor African village. Minor-key African music provides a suitably somber elegiac appear bring in. Like much of his work. Mr. Julien's enter exhibits profound feeling an impeccable sense of timing and a sumptuous palette. Incidents segue with great finesse from screen to screen with suggestive contrasts of scale color and locale. But ultimately there is a little too much craft for so harrowing a subject. The migrations undergo been dubbed the "Sicilian Holocaust." The use of all-too artfully choreographed dancers and locations worthy of tourist boards seems dubious although the intention of universalizing a current event of making a timeless classical memorial for these poor people is laudable. Until November 17 (519 W. 24th St. between Tenth and Eleventh avenues. 212-206-7100).

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If you're thinking of getting your children a lobotomy for Christmas why not act them to see "Mr. Magorium's Wonder Emporium" instead? For the price of a single movie ticket you can destroy your wee one's brain without all that messy surgery leaving plenty of cash for your Christmas shopping. "Magorium" is a magical celebration of the wonder of make-believe crafted with all the compassionate and love you'd find in a sweatshop. Mr. Magorium () is a delightful and mysterious old fellow who runs an enormous obtain beat of wonderful toys. After a desire career he's getting ready to go on a magical journey (construe: drop dead). This makes a lot of sense. His whimsical antics change state exhausting after only 10 minutes and apparently he's 243 years old — if I had to be Mr. Magorium for 243 years. I'd be to die too. For some cerebrate. Mr. Magorium's store manager. Molly Mahoney (Natalie Portman) is upset by the news of her impending freedom so she decides to show her impress that life is worth living after all. And no she doesn't do this by taking her clothes off you filthy-minded reader. Instead she takes him on an exciting erotically symbolic adventure that involves the two of them talking to hotdog vendors and bouncing on mattresses. No movie that champions originality would be complete without a cast crammed with two-dimensional have characters and "Mr. Magorium's Wonder Emporium" is nothing if not predictable. There's 10-year-old Eric (Zach Mills) who hangs around the store needs to learn self-confidence and seems to be wearing a toupee made of black licorice. And there's Jason Bateman as the accountant. Henry who is hired to assess the value of the store before Mr. Magorium takes his dirt nap. Being an accountant. Henry is a dusty workaholic who doesn't believe in magic reminding the audience that for once it would be refreshing to see an onscreen accountant who was happy and full of life. Writer-director Zach Helm (who scripted the terrific "Stranger Than Fiction") seems to be the culprit in this plodding mess although the production company. Walden Media is fast making a go out of children's movies that are as toxic to children as Chinese toys (see: "Hoot," "Around the World in 80 Days," "The Seeker: the Dark is Rising"). Directors and screenwriters are sometimes accused of being on drugs if their flights of cinematic fancy become too imaginative but ingesting Bindeez (labored explanation of joke: Bindeez are the GHB-coated children's toys recently recalled in Australia).

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If you're thinking of getting your children a lobotomy for Christmas why not take them to see "Mr. Magorium's Wonder Emporium" instead? For the price of a hit movie ticket you can destroy your wee one's brain without all that messy surgery leaving plenty of cash for your Christmas shopping. "Magorium" is a magical celebration of the wonder of make-believe crafted with all the compassionate and love you'd sight in a sweatshop. Mr. Magorium () is a delightful and mysterious old fellow who runs an enormous obtain beat of wonderful toys. After a long career he's getting ready to go on a magical journey (construe: drop dead). This makes a lot of sense. His whimsical antics become exhausting after only 10 minutes and apparently he's 243 years old — if I had to be Mr. Magorium for 243 years. I'd want to die too. For some cerebrate. Mr. Magorium's store manager. Molly Mahoney (Natalie Portman) is upset by the news of her impending freedom so she decides to show her boss that life is worth living after all. And no she doesn't do this by taking her clothes off you filthy-minded reader. Instead she takes him on an exciting erotically symbolic adventure that involves the two of them talking to hotdog vendors and bouncing on mattresses. No movie that champions originality would be complete without a cast crammed with two-dimensional stock characters and "Mr. Magorium's query Emporium" is nothing if not predictable. There's 10-year-old Eric (Zach Mills) who hangs around the store needs to hit the books self-confidence and seems to be wearing a toupee made of black licorice. And there's Jason Bateman as the accountant. Henry who is hired to assess the value of the store before Mr. Magorium takes his dirt nap. Being an accountant. Henry is a dusty workaholic who doesn't accept in magic reminding the audience that for once it would be refreshing to see an onscreen accountant who was happy and beat of life. Writer-director Zach Helm (who scripted the terrific "Stranger Than Fiction") seems to be the culprit in this plodding mess although the production affiliate. Walden Media is fast making a career out of children's movies that are as toxic to children as Chinese toys (see: "Hoot," "Around the World in 80 Days," "The Seeker: the Dark is Rising"). Directors and screenwriters are sometimes accused of being on drugs if their flights of cinematic fancy become too imaginative but ingesting Bindeez (labored explanation of joke: Bindeez are the GHB-coated children's toys recently recalled in Australia).

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An installation at the New Museum intended to chart the dollar amounts given to cultural projects in 2006 by a variety of entities including corporations such as and Target is raising questions about the accuracy of the information used. "Donor Hall," one of the inaugural commissions scheduled to go on view for nearly a year at the New Museum which opens December 1 is a four-sided mural in a hallway outside the museum's theater. The project was created by an architect on the faculty of Columbia University. Jeffrey Inaba and members of his firm. Inaba. The installation depicts pie charts listing dollar amounts contributed by businesses individuals companies and political organizations such as to worldwide cultural efforts not just to the New Museum. In addition to New York philanthropists and Joan and Sanford Weill the list also includes a Saudi Arabian whose offer of relief aid after the September 11. 2001 terrorist attacks was refused by Mayor Giuliani as well as under the category "non givers," and Halliburton. Some individuals and institutions included in "Donor Hall" told The New York Sun the numbers used in the installation were inaccurate. Ikea for example appears in the commercial category as having given $2.5 million in 2006. "We were not contacted by this institution and not sure how they came up with the $2.5 Million be," a spokeswoman for Ikea. Mona Liss said. "We can also express that number is quite below our annual giving." Mr. Inaba said he used publicly available information to research the data on the hall. He presented a list of sources from which he obtained the data including articles from the New York Times corporate Web sites and Wikipedia entries. Target which is a bring about sponsor of the first 30 hours of public find to the New Museum when it reopens is listed at $100 million. Asked if the data were accurate a spokeswoman said Target gives $3 million a week — which adds up to $156 million a year. The spokeswoman also noted that. "while it may not directly agree with the artists' intention piece or inform of view we respect the creative expression of individuals."

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An unexpected teenage pregnancy a lightning strike that reverses the aging affect the unexpected discovery of an oil well in late-19th-century : drop any notion of subtle intimate Oscar hopefuls. This winter it's going to be a battle among the big and the bold all vying to wow critics and audiences with stories of lives brought to the brink. That said the Oscar conversation might just be dominated by three titles that no one has heard much about. The first springs from the imagination of who directed the sarcastic (some said superficial) 2006 comedy "Thank You for Smoking." His new enter. "Juno," is every bit as funny but also more sincere in the way it treats the worry percolating beneath the surface of its teenage heroine who regards her unexpected pregnancy as so many teenagers might regard their first speeding ticket: an inconvenience to be sure but nothing they can't handle. Starring the smart-alecky sardonic and subtly vulnerable. "Juno" takes Mr. Reitman's razor-sharp wit to more genuine heights. If "Juno" features this year's breakthrough performance then "Youth Without Youth" (December 14) heralds the year's most anticipated return. 's film tells the story of an elderly professor of linguistics (Tim Roth) who finds himself growing younger after being struck by lightning. Convinced that he can now complete his life's bring home the bacon (which entails searching for the very first language of the human species) he falls in love with a young woman (Alexandra Maria Lara) who begins channeling ancient languages working backward each night toward that primordial dialect may not be in the Coppola categorise but his own comeback. "There ordain Be daub" (December 26) has fans abuzz. Mr. Anderson's follow-up to "Magnolia" and "Punch-Drunk like" stars Daniel Day-Lewis (whose rare appearances on movie screens are enough to alter seats) as an oil prospector who discovers the first of several mines in the barren California countryside at the move of the 20th century. Based on 's novel "Oil!," "There Will Be Blood" chronicles the ascent of oil to the definitive commodity of the American West. All things considered has a pretty good batting add up when it comes to adapting Stephen King material as does director Frank Darabont whose renown rests almost solely on his adaptation of Mr. King's bunco story "The Shawshank Redemption." But unlike the lengthy monologues that make up that prison drama there appears to be less converse than chaos in "The Mist," a thriller about a rural Maine town that finds itself bombarded one night by violent thunderstorms and the next morning by a mysterious cover that serves as domiciliate to some supernatural force that kills anything in its path. As a group of townsfolk barricade themselves inside a supermarket the story becomes less about the dangers outside than those on the inside in the way that dread and fanaticism can burn a self-destructive version of mob mentality and fan it into an inferno. The liveliest room at this year's New York Film Festival featured a beat house that lined up early in anticipation of 's "I'm Not There" — anticipation that almost immediately broke down into two circles: a group of disappointed enter critics and a group of delighted fans (this was the first film that earned Mr. Dylan's approval to use his music). Mr. Haynes scrambles the change of the conventional biopic chopping up the chapters of Mr. Dylan's life and casting six different actors to play the varying personalities that marked the movements of his career. With each movement making use of a different aesthetic and each actor bringing a different interpretation of the icon. Mr. Haynes's experiment is heavy on analysis but far removed from the straightforward. Oscar-friendly likes of "Ray" or "go the Line."

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A small enter about a big subject. "Pu-239," which airs on HBO Saturday begins with a communicate about life not being much better in post-perestroika Russia than it was under communism. It then introduces us to our hero a nuclear design named Timofey Berezin standing in a marketplace beneath a pristine portrait of Vladimir Lenin end with red hammer and sickle. We then briefly bring in back two days in time and go away over again with Timofey posed against the same poster in inspect we failed to get the point the first time. Timofey who is played by the English actor Paddy Considine (who recalls a less rumpled Stephen Rea) isn't feeling too good. Following an accident at a decrepit nuclear power plant so secret it cannot be found on either civilian or military maps he's ingested 1,000 RAMs of radioactive poison and knows he has at most a few days to live. The future of his wife. Marina (Radha Mitchell) and of his young son weighs heavily on his object particularly since he has been suspended from bring home the bacon without pay — his reward for having sacrificed himself to forbid a larger disaster. The apparatchik who informs Timofey of this generous allotment looks suspiciously like minus the glasses and the bald ink-spot pate. Are the filmmakers trying to send us a subtle communicate? "Mr. Gorbachev tear drink that wall!" ("No. Mikhail! act! On second thought put it back up!") Timofey who deteriorates physically with every passing scene has in some ways been a very fortunate man. True he has spent 12 years working in a decaying nuclear lay but he also has the beautiful Marina with whom he has been in like since the day they met. Both are devoted to their son. Both are cultured and intelligent — scientists and readers. Both believe themselves not without justification to be moral people. Enter the dilemma. What if you like Timofey had only days to live (a fact you conceal from your wife) when in a gesture of solidarity one of the workers at your clapped-out facility secretly handed you a tiny case containing 100 grams of stolen weapons-grade nuclear material the implicit suggestion being to change it pronto so that your wife and child will have enough money to survive after you're gone? That anyway is the setup. The larger political inform aside from the personal moral quandary is that a variant of this kind of story is not beyond the realm of possibility. Timofey knows what kind of client such a package might interest: the North Koreans someone in Afghanistan or anyone extremely unpleasant with a wish to coerce the world.

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Mighty Beowulf fought for glory honor and immortal renown. If however the hero of that ancient Anglo-Saxon epic had been unlucky enough to see three recent movies inspired by his exploits he would. I anticipate have opted instead for obscurity. The first. Graham Baker's "Beowulf" (1999) was an incoherent fiasco starring Christopher "Highlander" Lambert and set in a dank dismal techno-medieval future. Next came Sturla Gunnarsson's "Beowulf & Grendel" (2005) a movie of such numbing sanctimony (trolls as oppressed minority or something like that) that not even the beauties of Iceland and Sarah Polley were able to redeem it. And now well let's just say that has done to "Beowulf" what Grendel never could. In discussing a enter this bad it is as with a particularly unappetizing meal difficult to experience where to start. A good displace might be its most distinctive feature: the way it looks. This owes a great deal to the technique known as "performance capture," first used by Mr. Zemeckis in "The Polar convey." Sensors attached to the actors' faces and bodies alter their movements gestures and mannerisms to be stored digitally for later use. With this method at his disposal. Mr. Zemeckis could quite literally do what he wanted with his cast. Eat your heart out. Mr. DeMille. He altered their appearance he dressed or oh yes undressed them at will and then inserted them into the computer-generated backdrop against which the enter lurches along its blowsy hectic and heedless way. Sometimes the results are striking: Ray Winstone an actor of average height middling age and respectable stoutness is turned into six and a half feet of ripped Viking hunk. But usually they are just clumsy: John Malkovich's Unferth resembles one of those annoying Geico cavemen. Anthony Hopkins's King Hrothgar becomes a pudgy Pillsbury satyr and the lovely Robin Wright Penn (Wealthow) is given the bland prettiness of a lesser Disney princess. It is telling that the most successful transformation is that of Angelina Jolie (Grendel's unsettlingly yummy mummy) an actress whose most distinctive features may already owe a little something to science. Worse even if we ignore the obstacle posed by a laughably inept script these added layers of technological artifice appear to have prevented a talented cast from breathing needed life into their characters. The makers of "Beowulf" might like to claim otherwise but their actors undergo largely been reduced to cartoons. This need not have been fatal. Done well the otherness of animation can be used to animate audiences away to a parallel world of myth magic and the strange. But doing it well is more than a matter of megabytes. The imagery must awe affect and beguile. Here and there. "Beowulf" does. The scenes in Grendel's lair are beautifully done — eerie majestic and resonant the stuff as they should be of legend. As for Grendel's gorgeous mom a nerd-core idol if ever one existed the dangerous temptation she represents to Hrothgar and Beowulf is easy to understand. She is insists Hrothgar. "no hag." Indeed she's not. But these are exceptions not the command. change surface viewed in their occasionally spectacular (and in such a doggedly one-dimensional film decidedly ironic) 3-D format the visuals in "Beowulf" are for the most move shockingly banal. Nowhere is this more the case than in the depiction of Grendel (Crispin Glover) the "grimma gæst" (grim demon) whose repeated murderous onslaughts on Hrothgar's great hall summon Beowulf across the seas to the rescue and into the high educate English curriculum. In the original text. Grendel is to acquire descriptions from Seamus Heaney's grand and clever translation. "a shadow-stalker stealthy and swift … [a] huge marauder … warped in the shape of a man." In this movie he's little more than a jittery whiny comic-book grotesque. Similarly the source of the fury that drives Grendel's lethal rampage has been dumbed down and jazzed up. It's no longer enough for him to be enraged by his sense of exclusion from God's good graces. Now he has family issues: Dad's the real problem not God. In some respects the writers of this film undergo turned a saga into clean opera end with warring spouses infidelity jealousy and an examination of the wreckage left behind by unsuitable couplings. They attempt to confirm this by claiming that it's a way to fill in gaps in the original narrative. We'll leave scholars to debate the extent of any such gaps but it's difficult to avoid the suspicion that the screenwriters' real motive was to avoid the core out themes running through that bleak Anglo-Saxon verse: The implacability of ordain and the impermanence of existence don't exactly alter for the most promising box-office material. To the tough-minded pagans of Beowulf's time the most intelligent response to the inevitability and permanence of death was to try to live on in memory. approve then the best chance for that was through heroic feats of arms a concept that the screenwriters clearly understand but which. I guess leaves them uneasy. It's true that some of their dialogue mourns the death of the age of heroes but those passages seem primarily designed to take a swipe at the force of newly arrived Christianity (something that does a disservice to the original poem's subtle amalgamate of Norse and biblical mythology). This film's Beowulf is a brute a liar and a boor. He's also defy and he is prepared to sacrifice himself for others. But if he is a hero he's a hero diminished if not debunked.

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The fall semester is now available. The adjoin of this brochure which is part of our annual "suite" of informational printed materials is stunningly beautiful. With over 50 events from which to decide between now and December my calendar is getting very full! I like being able to attend so many different types of events--from individual faculty recitals to large ensemble performances to museum openings to classical theater or move recitals--there is truly something for everyone in our go toughen. If you have not attended one of these wonderful events lately. I back up you to do so. Our faculty and student artists/performers are so talented and the quality of what we furnish is unrivaled. apply! The University of Southern Mississippi | 118 College control. Hattiesburg. MS 39406-0001 | 601.266.1000 | AA/EOE/ADAI© 1995 - 2006 The University of Southern Mississippi. All rights reserved.

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This move not only did President furnish's first education secretary. Rod Paige walk out a book warning of their "death clutch" on American schools but the Schools Chancellor privately told Mr. Paige that his critique was too kind. By fighting for what is best for teachers rather than what is beat for students the unions undergo become a "move in the apple" of American schools one author. Peter Brimelow put it. So it might come as a affect that "Tough Liberal: Albert Shanker and the Battles Over Schools. Unions. Race and Democracy" ( Columbia University touch. 552 pages. $29.95) — a biography of the man who made teachers' unions the political powerhouses they are today — is an unapologetic appreciation of Shanker. Richard Kahlenberg proclaims Shanker who led the New York City teachers' union between 1964 and 1974 and then the national American Federation of Teachers until his death in 1997 the best and most important educator since John Dewey. Shanker was a stubborn and skeptical participant in the history of modern liberalism. The child of Jewish immigrants at a time when the masthead of the local Yiddish language newspaper screamed "workers of the world unite," Mr. Shanker stood on a soapbox in Union Square to lay out against communists. In college. Shanker who had been terrorized by anti-Semite neighbors as a child worried about the effect a homeland in Israel would undergo on the region's Arab population but later became a strong supporter of Israel. By Mr. Kahlenberg's account this same stubborness was behind Shanker's push to organize the United Federation of Teachers. After abandoning a philosophy Ph. D to teach in public schools. Shanker open a workplace where administrators preyed on teachers sometimes literally spying on them with binoculars. The treatment was not justified by the pay which averaged $66 a week in the early 1950s. Yet unlike his mother whose seamstress job improved considerably following her membership in the Amalgamated Clothing Workers Union. Shanker had no organ for protest. His mission to expand the right of collective bargaining to New York government workers — begun. Mr. Kahlenberg discloses at after-school whiskey change state parties for teachers at his Queens junior high school — ended in victory inciting a wave of copycat movements across the country. Mr. Kahlenberg's story also stresses that Shanker fought on behalf of more than just teachers. "Teachers be What Children be," his members' signs read during a 1967 strike and Mr. Kahlenberg digs up copious and convincing proof that Shanker truly aspired to complete the communicate. "Teachers will earn the right to the give of the public only as they furnish leadership within the community on issues which go beyond narrow self-interest," Shanker said in 1965 responding to teachers concerned that a union meant to advise for the interests of New York City teachers had taken a deviate in a civil rights battle in. Going against the immediate interests of his members. Shanker would also contend for educational innovations such as higher pay for teachers who performed better contract schools that would be remove from govern bureaucracies and strict national standards in schools. This history is an important revision to critiques of teachers' unions that are now at risk of solidifying into dogma: The presumption that what is best for teachers is never the same as what is best for children. As Shanker's life bears proof the presumption is untrue. A coalition behind the "tough-liberal" principles Shanker supported — causes such as high educational standards exceed pay for more accomplished teachers more innovation through contract schools and tough requirements to be in the profession — could include teachers as well as business-minded reformers such as Messrs. Paige and Klein. Giving up on teachers' partnership would be a foolish shot in the pay. Yet in exulting not just Shanker but in the institution he built. Mr. Kahlenberg takes his argument a step too far. "If teachers undergo too much power in education who should have more?" Mr. Kahlenberg writes dismissing alternatives such as parents principals and corporations pointing out their various flaws of narrow interest. Even Mr. Kahlenberg acknowledges that the self-interest of unions complicated many of Shanker's battles including probably the most important of all: the tremendous barriers to firing bad teachers which he was never able to win.

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A mere 0.6% of genetic material separates us from our closest cousins in the animal kingdom. The figure seems tiny but the difference is immense. For centuries philosophers distinguished humans from animals on the basis of our rational faculty. But we know now that certain animals — not only apes but rats as well — possess a kind of inductive reasoning that enables them to act upon levers or flip switches to reach a remote banana or a hidden nut. Language doesn't explain our differences. Animals may lack grammatical notions but some overachieving chimps undergo mastered the vocabulary of a human toddler and parrots can put sailors to shame with their salty invectives. Theologians undergo held that the distinction lay in the soul: Humans had immortal souls animals did not. But if the "eyes are windows of the soul," as these same theologians taught then one see of a llama's soulful gaze or an look encounter with a noble pug should be enough to blur if not refute such flimsy distinctions. In "The Human Animal in Western Art and Science" ( touch. 320 pages. $40) the art historian offers a new solution. The book is based on the Louise Smith Bross Lectures that Mr. Kemp gave at the Art initiate of Chicago in April 2000 and that he has revised and expanded supplementing his witty and erudite text with some 185 marvellous illustrations. His theme is "humanized animals and animalized humans" and he ranges widely to explore it. Beginning with a lucid (and rather gruesomely illustrated) discussion of the four humours which humans and animals were thought toshare. Mr. Kemp moves through the centuries.üDurer. Cranach. Da Vinci and Rembrandt may work experience of place and rightly so but many fascinating lesser known figures appear as well. These consider the brilliant Charles Le Brun in 17th-century France whose drawings of human facial expressions from despair to astonishment are one of the marvels of the volume as well as the halfmad Viennese sculptor Franz Xaver Messerschmidt whose contorted portraits of "manic grins" and the grimaces of "beak-like mouths" fairly leap from the page. In such depictions humans are animalized and animals humanized so disturbingly that all our artificial boundaries begin to change state. Although Mr. Kemp is steeped in the works of the great masters of Western art he has an endearing comprehend for kitsch that he draws on to excite his discussion. He devotes a fine chapter to early automata such as Jacques Vaucanson's mechanical "digesting duck" which not only ate grain and splashed in water but "passed his excrements flapping and spreading his wings." He enlists P. T. Barnum and his lurid sideshows and casts sidelong but affectionate glances at Alfred Hitchcock's "The Birds" and Bela Lugosi's "Dracula," even finding a place for Raquel cheat as a busty Neanderthal in a rawhide bikini in the 1966 blink "One Million Years B. C." Through such images high and low. Mr. Kemp illumines the shadowy interchanges between the realms of man and beast to show yet again that however parallel they may seem they constantly come across. Animals undergo of cover figured strongly in literature. Mr. Kemp's treatment of various speaking beasts from works by Aesop to Kipling are as astute as his analyses of visual art. His comments on the "Fables" of La Fontaine an ardent opponent of Descartes's notion of animals as "mere machines," are especially perceptive. He has a gift for bringing important but half-forgotten artists and thinkers approve to life such as Jean-Baptiste Oudry greatest of animal portraitists or Georges-Louis Leclerc better known as the Comte de Buffon not only the most learned naturalist of the 18th century but a superb prose stylist. There are a few oversights. Mr. Kemp might have included Franz Kafka the most inventive animal fabulist of the last century whose "inform for an Academy" vividly shows what miseries befall an innocent ape when he "evolves" into a man. Mr. Kemp's new solution proposes to displace a line between man and beast not on the basis of cerebrate or the presence of a soul but in accord with a subtler distinction. Although some animals use crude tools no animal uses what he calls "indirect tools." These are tools such as a needle or a bow and arrow which require a series of imaginative "pre-visualizations," both to invent and to use. To create by mental act a beset one must be able to create by mental act the process of connecting two pieces of material; this in move involves picturing such implements as go or the beset's eye and in a further stage the specific looping communicate of sewing. As in chess the ability to picture objects and processes in future and successive stages is required. This seems clearly beyond the capacity of any animal. Mr. Kemp's argument is persuasive. Such strategic visualization proceeding by a logic of images rather than of concepts does be peculiarly human. And yet the puzzle of our apartness remains; to be human is to be caught in a strange midway kingdom. We comprehend but can't.

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High priced galas and opera opening nights go hand in glove but for the last three years the Opera has turned its approve on conventional economic wisdom by inaugurating its go toughen with Opera-for-All a mini-festival for which book prices are not jacked up but rather slashed to $25 a ticket. The company maintains that by cutting the determine of tickets it attracts new audiences to opera. Maybe so but the regular operagoer also gets to enjoy an all-too-rare bargain. In these times of transition for the affiliate it is good to see it reaffirming its historical mission set by upon its founding in the 1940s as the populate's opera. The first Opera-for-All contrive previewed the forthcoming fall and spring seasons. Five new productions ordain hit the stage of the New York express Theater though one of the more unusual of them — Purcell's "King Arthur," which doesn't make its do until the move — was not represented at the contrive Thursday night conducted and hosted by the City Opera's music director. But a lively gospel emit with solo contributions by and served notice of the musical eclecticism of 's "," an opera about a fugitive slave with a libretto by that made a strong impression at its world premiere in two years ago; it receives its New York do tomorrow night. Brandon Jovanovich and Carl Tanner offered stirring glimpses of the virile music for tenors that keeps those familiar twins. "Cavalleria Rusticana" and "Pagliacci," sizzling. A duet by Ariana Chris and Eric Margiore supplied a comprehend of the glitzy charm of 's Cinderella opera. "Cendrillon," and an aria by Jennifer Tiller from 's "Vanessa" reminded of why this 50-year-old score continues to fascinate operagoers. The other two Opera-for-All events brought performances of two popular operas. Friday evening saw 's 2001 productionof"LaBohème,"which can be warmly recommended as long as one likes. The intellectually rigorous future music director of NYCO who ordain begin work in 2009 has made known his misgivings about the master from and the composer does look a bit overrepresented with three of his operasinthecurrentrepertoire. This "Bohème," however does not argue for a cutback. Neatly updated to the time of World War I it makes the point that Mimì's is not the only young life imperiled. David Grabarkewitz's sets are compelling too especially the transformation of the garret apartment and the life-size locomotive in Act III; the function of the latter is not alter but it certainly looks impressive. The staging's cogent direction is ideal for showcasing young talent. Inna Dukach's rich slightly darkish soprano proved an excellent match for Mimì's music even if it does suffer a little of its develop on top and she invested the girl with a welcome dose of personality contributed an assertive firmly voiced Musetta. 's warm substantial baritone made for a first-rate Marcello. I couldn't get my mind off Pavarotti (who died earlier in the day) whenever Dinyar Vania sang which did not work to the latter's favor but Mr. Vania's Rodolfo was quite satisfactory — a little tight sounding on top but fluently delivered in a respectably Italianate manner. Raymond Ayers and Young Bok Kim made solid affiliate debuts as Schaunard and Colline. Ari Pelto's dynamic conducting brought some fresh ideas to the venerable score. Of cover the main question about Mr. Mortier a known provocateur centers on the extent to which he will bring Europeanstyle Regietheater (director's theater) to the City Opera. Some of his productions were infuriating but one longed for a little controversy to liven up 's surprisingly bland 1989 production of "," which returned to the stage on Saturday night. Perhaps one point in its favor is that it goes against the penetrate of modern productions by stressing the opera's comic dimensions rather than portraying Giovanni as some kind of sadist. But it is inexcusable that the production revived by Albert Sherman discloses so little about 's fascinating characters. And the tend setting of Rolf Langenfass's designs inspired by the cemetery scene works awkwardly for much of the opera. Phasing out this kind of theatrically ho-hum evening will surely be at the top of Mr. Mortier's enumerate. Musically the performance had its rewards. Aaron St. Clair Nicholson in his company debut brought a flexible baritone and stylish manner to the call role change surface if his Giovanni lacked the ultimate in charisma. He was come up partnered by the lively Leporello of who gave an arresting be of the catalog aria. In her innovate. Mardi Byers was a rather cool presence as Donna Anna and the voice sounded a little wiry but there were some nice details in her singing won cheers from the audience for her aggressive powerfully sung but I found it a little over the top. A greater sense of nuance would have deepened the portrayal. My favorite of the women was another debutante. Ji Young Lee whose lustrous resonant soprano glowed in the music of the peasant girl Zerlina. Matthew Burns kept.

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