Peter O’Toole


“Dear All, It is time for me to chuck in the sponge. To retire from films and stage. The heart for it has gone out of me: it won’t come back. My professional acting life, stage and screen, has brought me public support, emotional fulfillment and material comfort. It has brought me together with fine people, good companions with whom I’ve shared the inevitable lot of all actors: flops and hits. However, it’s my belief that one should decide for oneself when it is time to end one’s stay. So I bid the profession a dry-eyed and profoundly grateful farewell. Ever Peter O’Toole”

Ladislaw Starewicz

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Ladislaw Starewicz: Although his name nowadays means very little, Starewicz ranks alongside Walt Disney, as one of the great animation pioneers, and his career started nearly a decade before Disney’s. He became an animator by accident – fascinated by insects, he bought a camera and attempted to film them, but they kept dying under the hot lights. Stop-motion animation provided an instant (if slow) solution, and Starewicz discovered that he had a natural talent for it. He subsequently made dozens of short films, mostly featuring his trademark stop-motion puppets, but also live action films(x).
watch The Revenge of a Kinematograph Cameraman (1912) here.

Catherine Wheatley in Michael Haneke’s Cinema: The Ethic of the Image

“Ethical concerns sculpt the themes and forms of Haneke’s work. Each of his feature films presents an ethical problem within its narrative — suicide, murder, conspiracy and rape are recurring themes, for example — and they also demonstrate an underlying concern with questions of guilt and responsibility. But this concern does not only take place on a narrative level, as characters struggle with and against their responsibility for past and present actions: it is also demonstrated on an extra-diegetic level. The content of each of these films presents us with a series of ethical problems which echo or mirror a set of ethical problems that Haneke sees inherent to the viewing situation. These problems revolve around the spectator’s complicity with the cinematic apparatus and their tacit acceptance or denial of this complicity. While questions of complicity, responsiblity and guilt raised within the narratives of Haneke’s films provide in themselves ample material for consideration, they also represent by analogy Haneke’s concerns with the acts of film-going and film-viewing.”