From a Hollywood Reporter online article:
It was during a run-in with Coco Chanel in 1958 that Hanne-Karine changed her name to Anna Karina, which the fashion designer told her sounded better. She used the moniker for her movie career, which began in earnest in 1960 with A Woman Is a Woman— just Godard’s second feature to be released —and lasted until 2008 with Victoria, a road movie she directed as well as starred in.
Anna Karina, the French New Wave starlet who rose to international acclaim in films directed by her then-husband Jean-Luc Godard, has died. She was 79.
She and Godard were married from 1961-64, and she served as his muse in such memorable works as A Woman Is a Woman (1961) — for which she received a Silver Bear at the Berlin Film Festival — Vivre sa vie (1962), Band of Outsiders (1964), Pierrot le Fou (1965) and Alphaville (1965).
The actress’ productive career was not limited to the movies of Godard, however. She accumulated more than 50 feature credits, working with other major auteurs like Jacques Rivette, Luchino Visconti, Chris Marker, Volker Schlöndorff and Rainer Werner Fassbinder.
The premise is simple: a black cat loves scheming a white mouse who incessantly throws bricks at the cat’s head, which police dog Officer Pupp, secretly harboring a passionate love for the cat, tries to prevent.
The Toulousain Charles Dantzig wrote, ‘I find the Marseillais tiresome, especially those who, as soon as you speak to them, start to bang on about the uniqueness of being Marseillais, adding with a particular sort of whining machismo that no one likes them and everyone defames them. Their humour is nothing more than pitiable braggadocio.’ Régis Jauffret, who grew up there, is pithier: ‘Marseille is a tragic city. It formed my imagination.’ (It’s an imagination of peerless bleakness.)
Nicholas Hewitt died in March, less than a month after completing the text of Wicked City. It’s a fine monument to his curiosity, compendious knowledge, resourcefulness and measured enthusiasm. He calls it ‘a series of snapshots’, which is perhaps too modest. If they are snapshots, they have been photoshopped and retouched to accord with his vision of the city and its well-rehearsed mythology of outsiderdom and exceptionalism, edginess and banditry. And his aspiration to explore Marseille’s hold on the ‘nation’s imagination’ is also too modest. The ‘international imagination’ would be more apt.
Melvyn Bragg and guests discuss the history and social impact of coffee. From its origins in Ethiopia, coffea arabica spread through the Ottoman Empire before reaching Western Europe where, in the 17th century, coffee houses were becoming established.
“The Academy Museum gives us the opportunity to honor the past while creating a building for the future—in fact, for the possibility of many futures. The historic Saban Building is a wonderful example of Streamline Moderne style, which preserves the way people envisioned the future in 1939. The new structure, the Sphere Building, is a form that seems to lift off the ground into the perpetual, imaginary voyage through space and time that is moviegoing. By connecting these two experiences we create something that is itself like a movie. You go from sequence to sequence, from the exhibition galleries to the film theater and the terrace, with everything blending into one experience.”
Situated on the famed “Miracle Mile,” the museum will preserve and breathe new life into the former 1939 May Company department store, now re-named the Saban Building. Celebrating its history and imagining new possibilities, the additions to the building that date from 1946 have been removed and replaced with a spherical building that features the 1,000-seat David Geffen Theater and the Dolby Family Terrace with views towards Hollywood. The revitalized campus will feature more than 50,000 square feet of gallery space, two theaters, cutting-edge project spaces, an outdoor piazza, the rooftop terrace, an active education studio, a restaurant, and store.
Over the span of fifty years, Charles M. Schulz created a comic strip that is one of the indisputable glories of American popular culture—hilarious, poignant, inimitable. Some twenty years after the last strip appeared, the characters Schulz brought to life in Peanuts continue to resonate with millions of fans, their beguiling four-panel adventures and television escapades offering lessons about happiness, friendship, disappointment, childhood, and life itself.
Larry David stars as… Larry David, living the good life out in Los Angeles and stumbling through one faux-pas after another. Curb Your Enthusiasm returns for its tenth season Sunday, January 19 at 10:30PM.
Rock ’n’ roll, or even popular music, [was] often highly gendered and sexist. It certainly was paternalistic in the ’60s and prior, in terms of songs being directed at women as objects, women as needing to be “counseled” about love, [or] it was about coming on to them, even if it was just something innocent and romantic, “I Want to Hold Your Hand.” And the Beatles very consciously in 1965 began to change their tone. They created a very specific type of female character who would think for herself and did not need a man. 
Looking back at your favorite classic rock songs through the lens of today’s attitudes about women’s empowerment, male privilege, and even sexual violence can be cringeworthy at best. But just as they were trailblazers in music, film, fashion, and popular culture, the Beatles were ahead of their time in embracing feminism, argues Kenneth Womack, a well-known authority on the band and dean at Monmouth University, evolving from early patronizing “hey, girl” entreaties to songs filled with independent women who don’t need a man, not even a Beatle. Ideological Diversity, a Harvard Kennedy School student organization, hosts a free talk with Womack on Thursday about how the group explored issues of feminism, gender, and inclusion in ways few rock bands dared in the 1960s.
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