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8952
|
dbpedia
|
0
| 20
|
https://www.sgs.com/en/services/algeria-product-conformity-assessment-pca
|
en
|
Algeria – Certificate of Conformity for Exports
|
[
"https://imgix-prod.sgs.com/-/jssmedia/sgscorp/images/corporate/sgs-logo-tagline.cdn.en.1.png?fit=crop&auto=format&w=320 320w"
] |
[] |
[] |
[
""
] | null |
[] | null |
SGS certificates of conformity enable exporters to trade with Algeria and ensure the safety, quality and security of regulated products. Find out more.
|
en
|
https://www.sgs.com/icons/favicon.ico
|
SGSCorp
|
https://www.sgs.com/en/services/algeria-product-conformity-assessment-pca
|
As a qualifying Certification and Inspection body SGS can issue the appropriate document of compliance, known as a Certificat de Contrôle de Qualité des Marchandises to facilitate customs clearance. This certificate of conformity must be issued in the exporting country.
Algeria’s Quality Certificate ensures goods meet mandatory safety, quality and security requirements, enables international trade, avoids delays in customs and reduces potential losses from the import of non compliant products.
We issue Certificates of Conformity (CoC) for goods to be exported following a review of reports covering:
Physical inspection prior to shipment
Sampling, testing and analysis in accredited laboratories
A CoC is issued once conformity is confirmed.
With decades of experience managing conformity assessment programs around the world we offer exporters efficient and comprehensive solutions to ensure your shipments conform with Algeria’s requirements.
|
||||
8952
|
dbpedia
|
0
| 77
|
https://sublime-frequencies.bandcamp.com/album/1970s-algerian-folk-and-pop
|
en
|
1970's Algerian Folk And Pop
|
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[
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[] |
2014-05-08T00:00:00+00:00
|
1970's Algerian Folk And Pop by Various Artists, released 08 May 2014
1. Rachid & Fethi - Habit En Ich
2. Les Djinns - Nesthel
3. Freedom (Hourya - Abadane
4. Kri Kri - Wahdi
5. Ahmed Malek - Hawajez (Barriers)
6. Idir - A Vava Inouva
7. Abranis - Chenagh
8. Rachid & Fethi - Ana Ghris
9. Les Djinns - Nadia (Instrumental)
10. Smail Chaoui - N'sani N'san
Sublime Frequencies is thrilled to present a 2nd volume of classic tracks from Algeria’s popular music history. Where volume 1 focused on the early to mid-1970s Rai scene in western Algeria, this album features a variety of pop and folk styles from that same period. From the heavier rock and psychedelic sounds of Rachid & Fethi, Les Djinns and Les Abranis to the haunting folk music of Kri Kri and Djamel Allem and the Film soundtrack moods of Ahmed Malek, 1970s Algerian Folk & Pop documents a key period in the modern musical renaissance of a nation in transition. Most of these tracks are from 45 rpm singles, the key format during the early 1970s before the cassette took over as the medium of choice. Western musical influences can be heard throughout this extremely diverse record yet there is an undeniable Algerian sense of sadness contained here within a more tolerant space in time between two of the country’s most significant historical periods; National Independence from France and the darker times of a brutal civil war yet to come. Compiled by Hicham Chadly.
|
en
|
Sublime Frequencies
|
https://sublime-frequencies.bandcamp.com/album/1970s-algerian-folk-and-pop
|
supported by 12 fans who also own “1970's Algerian Folk And Pop”
go to album
supported by 12 fans who also own “1970's Algerian Folk And Pop”
go to album
|
|||||
8952
|
dbpedia
|
1
| 56
|
https://researchrepository.wvu.edu/wvuhistoricalreview/vol2/iss1/4/
|
en
|
"The Impact of French Algeria’s Participation during the First and Seco" by Reide Prunty
|
[
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] |
[] |
[] |
[
"French colonialism",
"French imperialism",
"Algerian War of Independence",
"Arab nationalism",
"WWI",
"WWII",
"World War I",
"World War II",
"Ferhat Abbas",
"Messali Hadj",
"Abd al-Hamid Ben Badis"
] | null |
[
"Reide Prunty",
"West Virginia University"
] | null |
The colonial relationship between France and French Algeria reached its boiling point during the Algerian War of Independence in 1954 after more than a century of French imperial subjugation. Before this pivotal year, French Algeria was required to support France through two total and primarily European wars. While Algerians believed that such a sacrifice for their imperial mother nation was cause for equality under French law, France was committed to the continued oppression of its colony. This essay argues that French Algeria’s contribution to the French war effort during the First and Second World Wars served as a catalyst to the rising Algerian nationalist sentiment that reached its peak in 1954. Through an in–depth examination of the colonial legacy in French Algeria, this paper aims to establish a pattern of exploitation, manipulation, and intransigence throughout France’s imperial administration of the region. Moreover, a thorough analysis of the various factions and leaders of Algerian nationalism demonstrates an intensifying demand for independence from France after the First and Second World Wars. By studying the history of Algeria’s continued oppression under France despite attempts at compromise as the root of Algerian nationalists’ fervor, the significance of the colonial legacy upon modern international relations and the imbalance of power within the world system becomes evident. The present tumultuous relationship between France and Algeria is a direct result of France’s unwillingness to relinquish its colony with an acknowledgement of French Algeria’s vital role during the First and Second World Wars, instead mounting a violent counterinsurgency against the region’s ambition for independence.
|
en
|
/favicon.ico
|
The Research Repository @ WVU
|
https://researchrepository.wvu.edu/wvuhistoricalreview/vol2/iss1/4
|
Abstract
The colonial relationship between France and French Algeria reached its boiling point during the Algerian War of Independence in 1954 after more than a century of French imperial subjugation. Before this pivotal year, French Algeria was required to support France through two total and primarily European wars. While Algerians believed that such a sacrifice for their imperial mother nation was cause for equality under French law, France was committed to the continued oppression of its colony. This essay argues that French Algeria’s contribution to the French war effort during the First and Second World Wars served as a catalyst to the rising Algerian nationalist sentiment that reached its peak in 1954. Through an in–depth examination of the colonial legacy in French Algeria, this paper aims to establish a pattern of exploitation, manipulation, and intransigence throughout France’s imperial administration of the region. Moreover, a thorough analysis of the various factions and leaders of Algerian nationalism demonstrates an intensifying demand for independence from France after the First and Second World Wars. By studying the history of Algeria’s continued oppression under France despite attempts at compromise as the root of Algerian nationalists’ fervor, the significance of the colonial legacy upon modern international relations and the imbalance of power within the world system becomes evident. The present tumultuous relationship between France and Algeria is a direct result of France’s unwillingness to relinquish its colony with an acknowledgement of French Algeria’s vital role during the First and Second World Wars, instead mounting a violent counterinsurgency against the region’s ambition for independence.
To view the content in your browser, please download Adobe Reader or, alternately,
you may Download the file to your hard drive.
NOTE: The latest versions of Adobe Reader do not support viewing PDF files within Firefox on Mac OS and if you are using a modern (Intel) Mac, there is no official plugin for viewing PDF files within the browser window.
|
||||
8952
|
dbpedia
|
2
| 8
|
https://www.britannica.com/summary/Algeria
|
en
|
Algeria geography, economy, and history
|
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Algeria, officially People’s Democratic Republic of Algeria , Country, North Africa.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/summary/Algeria
|
Algeria, officially People’s Democratic Republic of Algeria, Country, North Africa. Area: 919,590 sq mi (2,381,741 sq km). Population: (2024 est.) 46,839,000. Capital: Algiers. Most of the population is ethnically and linguistically Arab, with a large Amazigh minority. Languages: Arabic (official), Tamazight (national), French. Religion: Islam (official; predominantly Sunni). Currency: Algerian dinar. Algeria has the largest land area on the continent. The coastline has numerous bays, and the country’s rivers are small and generally seasonal. Northern Algeria is mountainous and is crossed from east to west by the Atlas Mountains; its highest point, elevation 7,638 ft (2,328 m), is Mount Chélia. In central and southern Algeria is much of the northern Sahara. Algeria has a developing economy based primarily on the production and export of petroleum and natural gas. After achieving independence, the country nationalized much of its economy but since the 1980s has privatized parts of the economy. Algeria is a multiparty republic with two legislative bodies; its head of state is the president, and its head of government is the prime minister. Phoenician traders settled there early in the 1st millennium bce; several centuries later the Romans invaded, and by 40 ce they had control of the Mediterranean coast. The fall of Rome in the 5th century led to an invasion by the Vandals and later to a reoccupation by the Byzantine (Eastern Roman) Empire. The Islamic invasion began in the 7th century; by 711 all of northern Africa was under the control of the caliphs of the Umayyad dynasty. Several Islamic Amazigh empires followed, most prominently the Almoravid (c. 1054–1130), which extended its domain to Spain, and the Almohad (c. 1130–1269). The Barbary Coast pirates menaced Mediterranean trade for centuries; their raids served as a pretext for France to enter Algeria in 1830. By 1847 France had established military control over most of the region and by the late 19th century had instituted civil rule. Popular protest against French rule resulted in the bloody Algerian War (1954–61); independence was achieved following a referendum in 1962. Beginning in the early 1990s, Islamic fundamentalist opposition to secular rule led to an outbreak in civil violence between the army and various Islamic extremist groups.
|
||||
8952
|
dbpedia
|
1
| 57
|
https://www.wildfrontierstravel.com/en_US/destination/algeria
|
en
|
Algeria Tours and Holidays
|
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[] |
[] |
[
""
] | null |
[] | null |
Wild Frontiers is an award winning tour operator serving Algeria. We specialise in tailor made and group Algeria tours and holidays.
|
Wild Frontiers
|
https://www.wildfrontierstravel.com/en_US/destination/algeria
|
Health and Vaccinations
There are no mandatory immunisations for travellers to Algeria though you should be up-to-date with Typhoid, Tetanus, Polio and Hepatitis A. Malaria is present in some parts of Algeria so we recommend you seek advice from your local GP or travel centre as to the correct immunisations and preventative treatments.
Currency
In Algeria the official unit of currency is the Dinar.
To check out the latest exchange rate for the places that you are visiting you can go to www.oanda.com.
Cultural Sensitivity
On our tours you will frequently interact with local people, each with their own distinct customs and traditions. We therefore ask you to be considerate and to treat them with respect. Your tour-leaders and guides will always be able to advise you accordingly.
In mosques and conservative areas in the south of Algeria, women may be expected to cover their arms, legs and heads and men should abstain from wearing shorts at all times.
Language & Religion
In Algeria, Arabic is the official language and Berber is also considered a nationally recognised language. French is also widely spoken although it holds no official status.
Most Algerians adhere to the Sunni branch of Islam and in addition there is a small Christian minority.
Time
Algeria is 1 hour ahead of GMT.
A useful website to check the time zone differences is www.worldtimezone.com.
Food and drink
Whilst Algerian cuisine is not as diverse as neighbouring Morocco, you can still expect to find tasty soups, freshly baked bread, tagines and couscous in places.
Alcohol is not widely available throughout Algeria except in the larger cities in the north. Local Algerian wine is available in places and rated as being pretty good! It is permitted to bring alcohol into the county, but you should be very discreet about when and where you consume it.
Travelling Solo In Algeria
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2021-06-11T00:00:00
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Algeria faces interlocking political and socio-economic challenges three years after a long-awaited presidential transition. A largely peaceful protest movement called the Hirak – prompted by the ex-president's attempt to prolong his tenure but driven by deeper grievances – filled the streets on Fridays for much of the period 2019-2021. The Hirak has faded, but its goals are unrealised, and renewed unrest is an ever present possibility. Tensions with Morocco, including over Western Sahara, also loom, threatening to roil North Africa. Through fieldwork and engagement with senior officials, Crisis Group works to enhance Algeria’s contribution to stability and conflict resolution in a troubled neighbourhood.
|
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https://www.crisisgroup.org/middle-east-north-africa/north-africa/algeria
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President Tebboune officially announced candidacy for 7 Sept election, as opposition decried unfair voting environment amid wider crackdown; govt recalled ambassador from Paris.
President announced candidacy while opposition criticised conditions for poll. Incumbent Tebboune 11 July confirmed he will run for another term as president after months of speculation. Opposition continued to voice concerns over election process. Algerian Workers’ Party leader Louisa Hanoune, whose participation may have legitimised elections as democratic contest, 13 July withdrew from race citing unfair conditions and called on her party to boycott elections; 11 prominent opposition figures 21 July wrote open letter denouncing “authoritarian climate” surrounding upcoming elections and calling for democratic change. Although 16 candidates filed applications, election body 25 July announced only three had met requirements and would compete in poll – Tebboune, Front des Forces Socialistes national secretary Youcef Aouchiche and Abdelaali Hassani Charif of Mouvement de la société pour la paix.
Authorities arrested pro-democracy Hirak movement activists and journalists. In lead-up to vote, authorities cracked down on journalists and Hirak movement members. Police 8-15 July arrested 14 Hirak activists in Bejaia city and authorities placed eight of them in pre-trial detention, while releasing other six under judicial supervision. Associated Press 1 July reported arrest of journalists Sofiane Ghirous and Ferhat Omar in late June for broadcasting material that authorities claimed “constituted incitement and hate speech”.
Algiers recalled ambassador from France over Western Sahara policy shift. Govt 30 July announced withdrawal of ambassador to Paris following France’s announcement same day it considered Moroccan plan for autonomy over Western Sahara “only basis” to solve conflict (see Western Sahara); move soured diplomatic relations with Algiers, supporter of Sahrawi independence.
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https://www.nbcnews.com/video/kaylia-nemour-wins-uneven-bars-final-for-algeria-s-first-gold-medal-216409669854
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Kaylia Nemour makes Algerian history with uneven bars gold
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2024-08-05T07:10:44+00:00
|
French-born Kaylia Nemour secured the uneven bars title at the 2024 Paris Olympics in front of a cheering French crowd, winning Algeria's first gymnastics medal. Watch the 2024 Paris Olympics on NBC and streaming on Peacock, July 26 - Aug 11.
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https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/nbcnews/all-other-sizes-PNG.ico/favicon.ico
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https://www.nbcnews.com/video/kaylia-nemour-wins-uneven-bars-final-for-algeria-s-first-gold-medal-216409669854
|
French-born Kaylia Nemour secured the uneven bars title at the 2024 Paris Olympics in front of a cheering French crowd, winning Algeria's first gymnastics medal. Watch the 2024 Paris Olympics on NBC and streaming on Peacock, July 26 - Aug 11.Aug. 5, 2024
|
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history of Algeria
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Other articles where history of Algeria is discussed: Algeria: History: This discussion focuses on Algeria from the 19th century onward. For a treatment of earlier periods and of the country in its regional context, see North Africa.
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Encyclopedia Britannica
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https://www.britannica.com/topic/history-of-Algeria
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Learn about this topic in these articles:
Assorted References
major treatment
In Algeria: History
This discussion focuses on Algeria from the 19th century onward. For a treatment of earlier periods and of the country in its regional context, see North Africa.
Read More
African Cup of Nations
In Africa Cup of Nations
In contrast, the Algerian government was unable to capitalize on Algeria’s victory in the 1990 Cup of Nations, as fans celebrated the team’s triumph in Algiers by chanting their support for the opposition Islamic Salvation Front. Political tensions violently disrupted the Cup of Nations in 2010: the Togo…
Read More
colonization
In Western colonialism: Partition of Africa
…French Army busy in the Algerian interior for another 50 years before all Algeria was under full French rule. While Tunisia and Egypt had been areas of great interest to European powers during the long period of France’s Algerian takeover, the penetration of these countries had been informal, confined to…
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In Western colonialism: Algeria and French decolonization, from 1956
Between 1956 and 1958 French army commanders in Algeria, politically radicalized, tried to promote a new Franco-Muslim society in preparation for Algeria’s total integration into France. Hundreds of thousands of rural Muslims were resettled under French military control, Algiers…
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In North Africa: Advent of European colonialism
…the former Turkish territory of Algiers—from the bey of Constantine in the east and from the Arab hero Abdelkader (ʿAbd al-Qādir) in the west—and another 20 years to replace the army with a civilian administration, following the fall of the French Second Empire in 1870. Algeria’s incorporation into metropolitan France…
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French Foreign Legion
In French Foreign Legion: History
…to support the conquest of Algeria, which the French had invaded the previous year. The legion absorbed many refugees who crowded into France as well as unemployed soldiers, such as members of the Swiss regiments who had served the unpopular Bourbon regime prior to the July Revolution of 1830. The…
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territorial dispute with Morocco
In African Union: Creation and achievements of the OAU
…border disputes, including those of Algeria and Morocco in 1963–64 and Kenya and Somalia in 1965–67. It monitored events in South Africa and advocated international economic sanctions against that country as long as the official policy of
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In Hassan II
…the struggle between Morocco and Algeria over Spanish Sahara (later Western Sahara), Hassan strongly promoted Morocco’s claim to the territory, and in November 1975 he called for a “Green March” of 350,000 unarmed Moroccans into the territory to demonstrate popular support for its annexation. Western Sahara was in fact divided…
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In Morocco: Foreign policy
…Western Sahara disrupted relations with Algeria beginning in the early 1970s, because Algeria generally opposed Morocco’s policies there. Renewed tensions in 2021 over Western Sahara and Morocco’s normalization of ties with Israel led Algeria to sever relations with Morocco.
Read More
Western Sahara
In Western Sahara: History
…support by its primary backer, Algeria, as that country was forced to concentrate on its own internal problems. Algeria’s diplomatic campaign on behalf of Sahrawi self-determination, however, continued unabated. By 2001 tens of thousands of Sahrawis, including numerous Polisario Front soldiers, had relocated to semipermanent refugee camps in Algeria.
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independence
In history of Europe: The reflux of empire
…obtained independence in 1956, but Algeria, legally part of the French republic, aroused far fiercer passions and led to another eight-year war, from 1954 to 1962. Whereas Dien Bien Phu had brought down a French government, the Algerian War caused the downfall of the French Fourth Republic and the accession…
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In France: The role of referenda
…1961, to approve self-determination in Algeria (when 75 percent voted in favour), and again in April 1962, approving the Évian Agreement, which gave Algeria its independence from France (when 91 percent voted in favour). The use of this latter procedure to amend the constitution without going through the preliminary phase…
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In North Africa: Nationalist movements
In Algeria the French refusal of demands by the reform-minded Young Algerians for French citizenship cleared the way for the radical separatist movement of Ahmed Messali Hadj and the Arab Islamic nationalist movement of Sheik ʿAbd al-Hamid Ben Badis. After the war the French were on…
Read More
Association of Algerian Reformist Ulama
In Association of Algerian Muslim Ulama
…advocated the restoration of an Algerian nation rooted in Islamic and Arabic traditions.
Read More
protest of Salan
In Raoul Salan
…officer who sought to prevent Algeria from gaining independence from France. In 1961–62 he led an organization of right-wing extremists, the Organisation de l’Armée Secrète (OAS; Secret Army Organization), in a campaign of terror against the government of Charles de Gaulle in both France and Algeria before being captured, tried,…
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leadership of
Bugeaud
In Thomas-Robert Bugeaud, duke d’Isly
Sent to Algeria for a short period in 1836, Bugeaud defeated Abdelkader, emir of Mascara and hero of the Arab resistance, at Sikkah (July 6), and with whom he negotiated the Treaty of Tafna (1837), which delimited the territories of the two parties. Critical of the traditional…
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Clauzel
In Bertrand, Count Clauzel
…of France and governor of Algeria (1835–37).
Read More
Drouet
In Jean-Baptiste Drouet, count d’Erlon
…be the first governor-general of Algeria and a marshal of France under Louis-Philippe.
Read More
Pélissier
In Aimable-Jean-Jacques Pélissier, duc de Malakoff
After brief service in Algeria in 1830, he returned there in 1839 to take part in the campaign against the patriot emir of Mascara, Abdelkader. It was during this period that he gained notoriety for killing an entire local population by gassing them in caves, a tactic of irregular…
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policies of
Charles X
In France: Charles X, 1824–30
…opportune moment: news came that Algiers had fallen to a French expeditionary force sent to punish the bey for assorted transgressions. But even this brilliant victory could not divert the fury of the king’s critics. The opposition won 274 seats, the ministry 143. When Charles chose not to substitute a…
Read More
Gaulle
In Charles de Gaulle: World War II
…he moved his headquarters to Algiers, where he became president of the French Committee of National Liberation, at first jointly with General Henri Giraud. De Gaulle’s successful campaign to edge out Giraud gave the world proof of his skill in political maneuvering.
Read More
Soustelle
In Jacques Soustelle
…Mendès-France appointed him governor-general of Algeria in January 1955. Initially viewed with suspicion by the Algerian French community, Soustelle soon came to be regarded as its principal spokesman, favouring the economic and political integration of Algeria with France. He was recalled in February 1956 by the Guy Mollet government.
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Algeria Population (2024)
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Population of Algeria: current, historical, and projected population, growth rate, immigration, median age, total fertility rate (TFR), population density, urbanization, urban population, country's share of world population, and global rank. Data tables, maps, charts, and live population clock
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Yearly % Change: For 2023: percentage change in total population over the last year (from July 1, 2022 to June 30 2023). For all other years: latest year annual percentage change equivalent assuming homogeneous change in the preceding five year period, calculated through reverse compounding.
Yearly Change: For 2023: absolute change in total population (increase or decrease in number of people) over the last year (from July 1, 2022 to June 30 2023). For all other years: average annual numerical change over the preceding five year period.
Migrants (net): The average annual number of immigrants minus the number of emigrants over the preceding five year period (running from July 1 to June 30 of the initial and final years), or subsequent five year period (for 2016 data). A negative number means that there are more emigrants than immigrants.
Median Age: age that divides the population into two numerically equal groups: half of the people are older than the median age indicated and half are younger. This parameter provides an indication of age distribution.
Fertility Rate: (Total Fertility Rate, or TFR), it is expressed as children per woman. It is calculated as the average number of children an average woman will have during her reproductive period (15 to 49 years old) based on the current fertility rates of every age group in the country, and assuming she is not subject to mortality.
Density (P/Km²): (Population Density) Population per square Kilometer (Km²).
Urban Pop % : Urban population as a percentage of total population.
Urban Population: Population living in areas classified as urban according to the criteria used by each country.
Country's Share of World Pop: Total population in the country as a percentage of total World Population as of July 1 of the year indicated.
World Population: Total World Population as of July 1 of the year indicated.
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https://www.iris-france.org/186600-is-algeria-tightening-its-migration-policy/
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Is Algeria Tightening Its Migration Policy?
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Algeria’s strategic position places it at the heart of migratory flows from the Sahel to Europe. While Algiers expelled nearly 2,000 migrants from sub-Saharan Africa to Niger at the beginning of 2024, the unhealthy political context in the Sahel is making the migration issue even more complex for the Maghreb...
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https://www.atlanticcouncil.org/blogs/menasource/algeria-morocco-reconciliation-western-sahara-sahrawi-polisario-front/
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Algeria’s Morocco obsession has killed reconciliation prospects
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2024-06-06T15:44:29+00:00
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For nearly five decades, Algeria has used the dispute over Western Sahara as a front for its antagonization of Morocco.
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Atlantic Council
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https://www.atlanticcouncil.org/blogs/menasource/algeria-morocco-reconciliation-western-sahara-sahrawi-polisario-front/
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By Samir Bennis
For nearly five decades, Algeria has used the dispute over Western Sahara as a front for its antagonization of Morocco. But behind Algeria’s support for the Sahrawi cause lies a much more complex case of the Algerian establishment’s determination to simultaneously avenge historical grievances and prevent Morocco from reclaiming a territory that would increase its strategic depth and make it the undisputed regional leader of the Maghreb.
The latest sign of Algeria’s obsession with Morocco was its decision to confiscate the jerseys of Moroccan soccer club RS Berkane after its players traveled to Algeria on April 19 to play a CAF Confederation Cup semifinal match against USMA Alger. Algeria justified its decision by stating that the team’s equipment bore an “illegitimate” map of Morocco, which included Western Sahara.
African soccer’s governing body intervened, ordering Algeria to drop its case and allow RS Berkane to play in the jerseys. However, Algiers disregarded the ruling, seizing any opportunity to display its support for what it describes as the self-determination of the Sahrawi people.
Many have maintained that one of the main drivers of Algeria’s hostility toward Morocco is the ideological makeup of the Algerian establishment and its strategy of seeking popular legitimacy.
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Algeria’s operating philosophy is to galvanize nationalist fervor against its enemies. For the past three decades, it has constantly needed to create external enemies to mobilize national support and divert public opinion from the country’s economic, social, and political problems.
While largely pertinent, this analysis ignores the psychological dimension of this chronic animosity between the two countries. Algeria’s military and political leaders harbor unresolved grievances against Morocco, which contribute to tensions. Additionally, Morocco is one of the oldest monarchies in the world, and has managed to maintain its sovereignty for much of its history. The same cannot be said of Algeria, a sixty-two-year-old country.
This makes the Algerian regime reluctant to fully explore the past, out of fear that a deep dive into the country’s history might lend credence to some critics’ claim that modern Algeria is the creation of imperialist France.
It’s worth mentioning that Morocco was a strong supporter of the Algerian liberation movement, contributing financially and logistically to the war effort against French domination. Then a champion of what some have described as a strong belief in the urgency and imperative of Muslim solidarity, Morocco ignored warnings and secret deals from France, committing itself to the liberation of Algeria instead.
Yet, post-independence, Algeria’s leadership quickly whitewashed this well-documented episode of Moroccan solidarity and generosity, providing invaluable insights into what would later become Algeria’s deep-seated desire to be the Maghreb’s undisputed leader.
Morocco’s defeat of Algeria in the border war known as the 1963 Sand War created a psychological barrier, as generations of Algerian military and political elites grew up with the idea of avenging the humiliation that newly independent Algeria had suffered at Morocco’s hands.
Morocco’s “betrayal” of Algeria
Over time, Algeria’s resentment against Morocco for its humiliating defeat morphed into a radical desire to take revenge by fostering separatism on Moroccan territory. Therefore, Algeria’s support of the Polisario Front is the culmination of the Algerian elite’s strategy of attaining regional primacy by establishing a satellite state in southern Morocco. While proclaiming its support for the “liberation struggle” of the “oppressed Sahrawi people,” Algeria’s primary goal is to keep Morocco in check by fomenting and prolonging the dispute over the Western Sahara region to prevent Rabat from reopening the issue of unresolved Algerian-Moroccan borders.
As far as Algiers is concerned, ending the Western Sahara dispute would provide Morocco with a level of strategic continental depth that would overwhelmingly consolidate its status as a regional hegemon. Algeria has steadfastly supported the Polisario for the past four decades to prevent Morocco from settling the territorial dispute. The Algerian-Moroccan rivalry entered a new phase in 2017 when Morocco joined the African Union (AU). Algeria had tirelessly used Morocco’s absence from the AU to push for a “parallel African agenda” on the Western Sahara question. This entailed lobbying for the Polisario Front’s Sahrawi cause, which it presents as a decolonization struggle against what it describes as Moroccan occupation.
Given that the AU’s official position on Western Sahara has shifted in Morocco’s favor since 2018, some of Algeria’s anti-Moroccan agitation speaks of deepening diplomatic disarray and a profound sense of disappointment. Algeria seems to be furious that Morocco, in the short time since its return to the AU, has effectively destroyed all the work that Algerian diplomacy had done for three decades to get the AU to fully support a self-determination referendum that would culminate in the creation of an independent state in the Western Sahara region.
Algeria’s displeasure with Morocco’s growing continental influence can be seen in three regional efforts that Algiers has undertaken in recent years to contain Rabat’s rising leadership. The first is the attempted revival of the Trans-Saharan Gas Pipeline project in 2022 to derail the more promising Nigeria-Morocco pipeline project. The second is the planned creation of free-trade zones with Niger and Mali to counter Morocco’s Atlantic Initiative for the Sahel. Finally, the most recent is the Algerian regime’s push for the creation of a Maghreb Union without Morocco.
For all these counterattacking efforts, highlighted by the projected openings of more African consulates in Dakhla and Laayoune, the fact remains that Morocco’s African diplomacy is having morale-boosting results. In contrast, Algeria’s diplomatic influence has declined across the continent. More importantly, Morocco’s African diplomacy now extends to countries such as Kenya, Ethiopia, Rwanda, and Nigeria, outside its so-called traditional francophone comfort zone. In the coming months and years, Algeria will redouble its efforts to persuade some of these countries to reconsider their cooperation with Morocco.
Perhaps the most significant blows to Algeria’s diplomacy have come from outside Africa. These include the consistent pro-Moroccan stance reflected in all United Nations (UN) resolutions on Western Sahara since 2007, the decisive US decision in 2020 to recognize Moroccan sovereignty over the region, and Spain’s 2022 declaration of full support for Morocco’s autonomy plan. While the first development has been gradual, and lacks absolute finality due to the presence of marginal pro-Polisario voices within the UN, the latter two events have shaken Algeria.
Taken together, however, these and other emerging developments clearly indicate that self-determination dreams have been buried—and that compromise is the only viable route to a politically feasible and lasting solution in the Sahara dossier. Faced with what increasingly appears to be an irreversible diplomatic setback, Algeria has shifted tactics by confronting Morocco on alternative battlefields. In recent months, as noted earlier, Algeria has used the unconventional platform of sport to settle scores with Morocco.
The goal is to open a second narrative front to rally popular sympathy and support for the Algerian-backed Polisario Front. Algeria’s permanent representative to the UN recently drew parallels between Palestine and Western Sahara, reflecting the regime’s overarching aspiration to distort historical facts and equate the Western Saharan and Palestinian cases.
It is unlikely that Algeria’s continued attacks on Morocco will compel the UN to reconsider its implicit, but increasingly apparent, burying of the self-determination option on Western Sahara. At the same time, there are growing signs that many in Morocco, having grown tired of ignoring Algiers’s unrelenting hostility toward Rabat, might start pushing Morocco to discard its long-standing patience and the ensuing hope of brotherly reconciliation between the two countries.
Time for the United States to step in
The animosity and hostility between the two countries have reached worrying levels, raising the specter of a military conflagration breaking out. Against this bleak backdrop, the United States should lead a vigorous diplomatic campaign.
To calm the waters between the two countries and ensure that the current state does not get out of hand, the United States should give more attention to its military cooperation with Morocco, while signaling to Algeria that Washington would do everything in its power to prevent it from taking any actions that could destabilize the region. Such a move could send Algeria an unmistakable signal of Washington’s commitment to security cooperation with Rabat.
Second, the United States must pressure the Algerian government to abide by the provisions of the UNSC Resolution on the Western Sahara issue since 2018, all of which call on Algeria to fully cooperate with the UN as it works toward a compromise-based and realistic political solution to the dispute. As Algeria’s rejection of some recent UN resolutions has shown, the only way to get it to commit to the UN-led political process is to pressure it to fully acknowledge its political responsibility for creating and prolonging this conflict and to negotiate a face-saving political solution with Morocco.
However, this goal will remain out of reach if the United States clings to a balancing diplomacy that prevents it from unequivocally supporting Morocco’s sovereignty over the Western Sahara. The time has come for the United States to break with this policy. It must align its political discourse and actions by reaffirming its recognition of Morocco’s sovereignty over Western Sahara while calling on Algeria to fully participate in the UN-led political process to achieve a political solution to the dispute.
Indeed, such a move would simply reflect the long-standing US position in the dispute. Numerous declassified Central Intelligence Agency (CIA) documents show that the United States has never believed in the viability of establishing a satellite state in southern Morocco. Americans have long praised the proverbial friendship that unites the United States and Morocco, stressing that Morocco was the first country to recognize US independence. It is time for the United States to give true meaning to this friendship by fully supporting Morocco’s decades-long quest to end the dispute over Western Sahara; by doing so, it could help end the conflict between Rabat and Algiers once and for all.
Samir Bennis is a senior political analyst specializing in Arab affairs and Morocco’s foreign policy. He is the co-founder and publisher of Morocco World News. His upcoming book, The Self-Determination Delusion: How Victim Politics and Feel-good Advocacy Have Hijacked the Western Sahara Case, comes out in July.
Further reading
Wed, Dec 14, 2022
Morocco’s World Cup victories are historical revenge for subaltern dreamers from the global south
MENASource By Sarah Zaaimi
The defeat-free journey of the Moroccan soccer national team, the Atlas Lions, is more than a simple sports score.
Thu, May 30, 2024
A war is raging between Algeria and Morocco. It is being fought in the heritage arena.
MENASource By Sarah Zaaimi
As political tensions between Algiers and Rabat have continued to mount since 2020, another front is being fought with no possible détente in sight.
Mon, Mar 6, 2023
Afrocentrism is trending in the Maghreb. It’s because Sub-Saharan migrants are rewriting their narrative.
MENASource By Sarah Zaaimi
North Africa undoubtedly faces a serious migration problem that will continue to aggravate if not addressed regarding its social, cultural, and historical dimensions and root causes.
Image: Members of the Polisario front take pictures of themselves in the liberated territories of the Western Sahara. Western Sahara, September 30, 2018. Photograph by Morgane Wirtz / Hans Lucas. Des membres du front Polisario se prennent en photo sur les territoires liberes du Sahara occidental. Sahara Occidental, 30 september 2018. Photographie de Morgane Wirtz / Hans Lucas.
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Trade Standards
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Includes customs regulations and contact information for this country's customs office.
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Overview
Executive Decree 98-69 established the Algerian Institute for Normalization (IANOR) as the appropriate government body for handling standardization issues. IANOR has since worked to assist Algeria’s economic sector in conforming with globalization and international standards.
Standards Organizations
The Agence Algérienne de l’Accréditation (ALGERAC) falls under the authority of the Ministry of Industry. ALGERAC is the only Algerian accreditation organization. It ensures that national regulations concerning the accreditation of laboratories and the organization of certification inspections meet international norms. ALGERAC has certified some 100 assessment bodies since 2009.
IANOR oversees elaborating, publishing, and distributing all relevant data on Algerian standards. It is also responsible for providing conformity certifications to Algerian standards, issuing quality labels, and delivering appropriate authorizations to use brands according to the applicable regulations. The Algerian National Institute of Industrial Property (INAPI) protects industrial and intellectual property rights. This entity primarily handles the deposit and registration of patents, trademarks, and copyrights.
Import Documentation
Multiple authorities regulate the conformity of imported products. For cosmetics and hygiene products, Algeria requires a compulsory declaration of ingredients, and the formula must be submitted to a toxicology lab for analysis. Should the production be completed abroad, companies must forward the details of the toxicology lab handling the tests to the appropriate Algerian authorities.
For other imported products, the following documents should be presented to the customs service upon entry: customs documents, banking documentation (invoice, banking domicile), specific authorizations from police services (if required), and health and safety authorization for selected products (if needed). Customs will either provide an admission certificate or a non-admission certificate.
Product Certification
IANOR establishes and publishes standards applicable in Algeria. If a standard does not exist or a disagreement needs to be settled, the International Standards Organization (ISO) standard will prevail.
Accreditation
ALGERAC is the only Algerian accreditation organization. It ensures that national regulations concerning the accreditation of the laboratories and the organization of certification inspections meet international standards.
Publication of Technical Regulations
The government publishes technical regulations in the Official Gazette of the People’s Democratic Republic of Algeria (Journal Officiel).
Use ePing to review proposed technical regulations and conformity assessment procedures
The ePing SPS&TBT platform (https://epingalert.org/), or “ePing”, provides access to notifications made by WTO Members under the Agreements on Sanitary and Phytosanitary Measures (SPS) and Technical Barriers to Trade (TBT), distributed by the WTO from January 16, 1995 to present. ePing is available to all stakeholders free of charge and does not require registration unless the user wishes to receive customized e-mail alerts. Use it to browse notifications on past as well as new draft and updated product regulations, food safety and animal and plant health standards and regulations, find information on trade concerns discussed in the WTO SPS and TBT Committees, locate information on SPS/TBT Enquiry Points and notification authorities, and to follow and review current and past notifications concerning regulatory actions on products, packaging, labeling, food safety and animal and plant health measures in markets of interest.
Notify U.S., operated and maintained by the National Institute of Standards and Technology (NIST) since 2003 to distribute and provide access to notifications (and associated draft texts) made under the WTO TBT Agreement for US stakeholders, has reached its end of life. Per obligation under the TBT Agreement, each WTO Member operates a national TBT (and an SPS) Enquiry Point. National TBT Enquiry Points are authorized to accept comments and official communications from other national TBT Enquiry Points, which are NOT part of the WTO or the WTO Secretariat. All comment submissions from U.S. stakeholders, including businesses, trade associations, U.S domiciled standards development organizations and conformity assessment bodies, consumers, or U.S. government agencies on notifications to the WTO TBT Committee should be sent directly to the USA WTO TBT Inquiry Point. Refer to the comment guidance at https://tsapps.nist.gov/notifyus/data/guidance/guidance.cfm for further information.
Labeling and Marking
Algerian government regulations stipulate that imported products, particularly consumer goods, must be labeled in Arabic, and this regulation is strictly enforced. Though not required, it is helpful to label products in French.
Contacts
ALGERAC
Tel: +213-017-033-325
Email: boudalgerac@hotmail.com
Algerian Institute for Normalization (IANOR)
Address: 5 et 7 rue Abou Hammou Moussa BP 104 RP Alger Algérie
Phone: +213 21 78 21 35
Email: cinfo@ianor.org
Algerian National Institute of the Industrial Property (INAPI)
42 Rue Larbi Ben MHidi
Phone: +213 21 73 57 74
|
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8952
|
dbpedia
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1
| 61
|
https://www.nbcchicago.com/paris-2024-summer-olympics/why-kaylia-nemour-competes-for-algeria-instead-of-her-home-country-of-france/3508668/
|
en
|
Why Kaylia Nemour competes for Algeria instead of her home country of France
|
[
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] |
[] |
[] |
[
"Gymnastics"
] | null |
[
"NBC Chicago Staff/Associated Press",
"NBC Chicago Staff",
"Associated Press"
] |
2024-08-01T13:10:41
|
Gymnast Kaylia Nemour has thrilled crowds in Paris during the Olympics, but despite being from France, she isn’t competing for her home nation this week....
|
en
|
NBC Chicago
|
https://www.nbcchicago.com/paris-2024-summer-olympics/why-kaylia-nemour-competes-for-algeria-instead-of-her-home-country-of-france/3508668/
|
Gymnast Kaylia Nemour has thrilled crowds in Paris during the Olympics, but despite being from France, she isn’t competing for her home nation this week.
Nemour burst onto the scene during the team qualifications, and earned a spot both in the uneven bars competition and in the women’s all-around event, but instead of trying to earn a medal for France, she is trying to earn Algeria’s first-ever medal in gymnastics.
According to the Associated Press, she competes for Algeria because of a dispute between the French gymnastics federation and her club Avoine Beaumont. The dispute arose after she suffered injuries that required surgery, and she was prevented from competing by the French federation despite getting a go-ahead from surgeons to do so.
The AP reported that the long-lasting crisis was settled after the French minister for Sport intervened, leaving her to compete for Algeria in these Games.
Nemour holds dual citizenship in France and Algeria, and she won a silver medal at last year’s world championships, the first medal for a gymnast representing an African nation.
Nemour will compete in the women’s uneven bars competition on Sunday, and could also compete in the balance beam and floor exercise individual competitions.
|
|||||
8952
|
dbpedia
|
3
| 78
|
https://utpress.utexas.edu/9781477328439
|
en
|
France and Algeria
|
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] |
[] |
[] |
[
""
] | null |
[] |
2022-04-05T10:25:34+00:00
|
An examination of the complicated history between France and Algeria since the latter's independence. While most related studies concentrate on the colonial ...
|
en
|
University of Texas Press
|
https://utpress.utexas.edu/9781477328439
|
An examination of the complicated history between France and Algeria since the latter's independence.
While most related studies concentrate on the colonial era and Algeria's War of Independence, France and Algeria details the nations' postcolonial relationship. Phillip Naylor provides a philosophical approach, contending that France reformulated, rather than repudiated, “essential" strategic values during decolonization. It thus continued to pursue grandeur and independence, especially with regard to the Third World and Algeria, an essentialism that expedited France's postcolonial transformation. But as a new nation, Algeria needed to pursue the “existential" project of self-definition. It became involved in state-building while also promulgating socialism, and it recognized how French oil concessions in the Sahara impeded its independence, leading to the industry's post-colonial decolonization. Finally, the postcolonial relationship has featured a human dimension involving immigrants, pieds-noirs (colonial settlers), and harkis (Algerian soldiers loyal to France), all of them central to bilateral relations.
In this revised and updated edition of his seminal work, first published over twenty years ago, Naylor expands his coverage of the decolonization era, drawing on new information while continuing to study the ever-evolving relationship between the two countries. These new additions expose the continually shifting relations of power, perception, and identity between the two states.
|
|||||
8952
|
dbpedia
|
0
| 83
|
https://www.nbcsports.com/watch/olympics/djamel-sedjati-of-algeria-sets-world-leading-time-in-mens-800m-in-monaco
|
en
|
Sedjati of Algeria sets WL time in 800m in Monaco
|
https://nbcsports.brightspotcdn.com/dims4/default/6855d2f/2147483647/strip/true/crop/1920x1080+0+0/resize/1440x810!/quality/90/?url=https%3A%2F%2Fhdliveextra-a.akamaihd.net%2FHD%2Fimage_sports%2FNBCU_Sports_Group_-_nbcsports%2F186%2F458%2Foly_atm800_record_240712_v2.jpg
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] |
[] |
[] |
[
""
] | null |
[] |
2024-07-12T19:35:54+00:00
|
Algerian middle distance star Djamel Sedjati secured victory in the men's 800m at Diamond League Monaco with a world-leading time of 1:41.46, the third-fastest time recorded in the event's history.
|
en
|
/apple-touch-icon.png
|
NBC Sports
|
https://www.nbcsports.com/watch/olympics/djamel-sedjati-of-algeria-sets-world-leading-time-in-mens-800m-in-monaco
| |||
5671
|
dbpedia
|
2
| 7
|
https://www.imdb.com/title/tt1397220/characters/nm0686539
|
en
|
Santa's First Christmas (TV Movie 1992)
|
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Santa's First Christmas (TV Movie 1992) Nigel Planer as Romuald the Reindeer
|
IMDb
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https://www.imdb.com/title/tt1397220/characters/nm0686539
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It looks like we don't have any photos or quotes yet.
Be the first to contribute! Add a photo or add a quote.
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https://monoskop.org/Works_and_Words
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en
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Works and Words
|
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Wiki for Arts and Studies
|
en
|
/favicon.ico
| null |
Works and Words was an international art manifestation organised from 20-30 September 1979 by Foundation De Appel in Amsterdam, with artists, art historians and -critics from the Netherlands, former East-Germany, Hungary, Poland and former Yugoslavia (the invited artists from former Czechoslovakia were not able to come). Works and Words comprised lectures, discussions, performances, installations, video, film, historical documentation and an exhibition of photo works (from September 15 through 30). Lectures and meetings and the larger part of the performances took place in a space of 20 x 20 meters, situated in the ex-House of Detention in Amsterdam (De Kapel). The photo works exhibition was held in the Fundatie Kunsthuis, Amsterdam. The films were shown in the Stedelijk Museum and in the Filmmuseum. Gallery A presented Endre Tót’s Gladness Drawings (1973-79). The information and performance space on the main floor of De Appel building were used for various activities which often had a workshop character. The second floor gave a survey of developments and trends in the countries concerned from 1960 onwards. An important objective was to stimulate contact between the artists; daily group dinners were organised at De Appel. Foundation Holland Experimental Film and Fundatie Kunsthuis Amsterdam collaborated in the organisation of the film programme and the exhibition of photo works respectively.
Artists: Franklin Aalders, Jaroslav Anděl, Gábor Attalai, Zoran Belic, Jerzy Bereś, Gábor Bódy, Branko Bubenik, Michel Cardena, Nuša and Srečo Dragan, Ľubomír Ďurček, Miklós Erdély, Ivan Ladislav Galeta, Tomislav Gotovac, Frank Gribling, Buky Grinberg, Vladimir Gudac, Tibor Hajas, Zlatko Hajdler, Janusz Haka, Károly Halasz, Ágnes Háy, Vladimír Havrilla, Nan Hoover, Sanja Iveković, Servie Janssen, Zoltan Jeney, Gyorgy Jovanovic, Cezary Jaworski, Jacek Jozwiak, Szigmond Károlyi, Karoly Kelemen, Michal Kern, Milan Knížák, Tomislav Kobija, Július Koller, Mirko Komosar, Tomasz Konart, Jiří Kovanda, Harrie de Kroon, Zofia Kulik, Romuald Kutera, Paweł Kwiek, Przemyslaw Kwiek, KwieKulik, Natalia LL, Andrzej Lachowicz, Dušan Makavejev, Ivan Martinac, Dalibor Martinis, Raùl Marroquin, Dóra Maurer, Antoni Mikolajczyk, Karel Miler, Jan Mlčoch, Teresa Murak, Vjekoslav Nakić, Mihovil Pansini, Aldo Paquola, Andrzej Paruzel, Sef Peeters, Vladimir Petek, Sandor Pinczehelyi, Reindeer Werk (Dirk Larsen & Tom Puckey), Jaroslav Richtr, Józef Robakowski, Vinco Rozman, Tomasz Sikorski, Petr Štembera, Mladen Stilinović, Peter Timar, Teresa Tyszkiewicz and Zdzislaw Sosnowski, Goran Svob, Janusz Szczerek, István Sziranyi, Raša Todosijević, Endre Tot, Janos Toth, Sava Trifkovic, Ulay, Jiri Valoch, Ante Verzotti, Janos Veto, Zbigniew Warpechowski, Ryszard Waśko, Albert van der Weide, Dobroslav Zborník.
On Works and Words
Zsuzsa László, "Works and Words. The Invention and Renunciation of the Concept of East European Art", Bucharest: IP — The Institute of the Present, Nov 2018. [1]
"Works and Words. Inventarea și abandonarea conceptului de artă est-europeană", Bucharest: IP — Institutul Prezentului, Nov 2018. (Romanian)
Links
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
|
en
|
Environment, Studies in honour of Romuald Schild – Archeobooks
|
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[
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Archeobooks
|
https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
|
ISBN: 978-83-89499-42-4
Description: hardback, 346 pp. (30x21cm), phots., maps, drawings
Condition: new
Weight: 1415g.
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https://rewind.thetvroom.com/psc-title/programmes/romuald-the-reindeer/
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en
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Romuald the Reindeer Archives
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en
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Rewind
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https://rewind.thetvroom.com/psc-title/programmes/romuald-the-reindeer/
|
About This Site · Contact Us · Content Finder · FAQ · Privacy Policy · Terms and Conditions
Unless otherwise indicated material featured on this site is © 2024 The TV Room.
The TV Room is not affiliated with any broadcaster, production company or design/marketing/talent agency.
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https://ukchristmastv.weebly.com/bbc-1997.html
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en
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BBC 1997
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Saturday 20th December 1997 BBC1 7.00am Flash Gordon (b&w) (Repeat) 7.20am News and Weather 7.25am The Adventures of the Garden Fairies ...
|
en
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UK Christmas TV
|
https://ukchristmastv.weebly.com/bbc-1997.html
|
Saturday 20th December 1997
BBC1
7.00am Flash Gordon (b&w) (Repeat)
7.20am News and Weather
7.25am The Adventures of the Garden Fairies
(Repeat)
7.30am Romuald the Reindeer (Repeat)
7.40am Highlander (Repeat)
8.05am Conan the Adventurer (Repeat)
8.30am The New Adventures of Superman (Repeat)
9.15am Live and Kicking
12.12pm Weather
12.15pm Grandstand
5.15pm News and Weather
5.25pm Regional News, Sport
5.30pm Are You Being Served?
6.00pm Jim Davidson's Christmas
Generation Game
7.00pm Noel's House Party
7.50pm National Lottery Draw
8.15pm Casualty
9.10pm The Vicar of Dibley Christmas Special
(Repeat)
9.55pm News, Sport, Weather
10.15pm Match of the Day
11.25pm They Think It's All Over (Repeat)
11.55pm Clive Anderson All Talk
12.25am Top of the Pops (Repeat)
12.55am Film : Swashbuckler (1976)
followed by
Weather
2.35am BBC News 24
Sunday 21st December 1997
BBC1
6.45am Match of the Day (Repeat)
7.55am Film : Yes Virginia,
There Is a Santa Claus (1991)
9.25am News, Weather
9.30am The Promise of His Glory
10.15am Snowy River: the McGregor Saga (Repeat)
11.00am Countryfile
11.30am Canterbury : Cathedral Tales
12.20pm News
Weather for the Week Ahead
12.30pm EastEnders Omnibus
1.50pm Film : Oliver! (1968)
4.15pm News, Weather
4.30pm Regional News
4.35pm The Phoenix and the Carpet
5.05pm The Great Antiques Hunt
Christmas Special
5.50pm Songs of Praise :
A Christmas Carol Special
6.30pm Memories of Diana
7.15pm Film : Crocodile Dundee (1986)
8.45pm News, Weather
9.00pm Ballykissangel Christmas Special
10.15pm The Lily Savage Show
10.45pm Everyman
11.35pm It's Later Than You Think
12.15am Film : Doctor in the House (1954)
1.45am BBC News 24
Monday 22nd December 1997
BBC1
6.00am Business Breakfast
7.00am Breakfast News
9.00am Film : That's Entertainment! (1974)
(b&w and colour)
11.05am The Traditions of Christmas
11.10am Champion Children Awards
12.00 Last of the Summer Wine (Repeat)
12.30pm Celebrity Ready, Steady, Cook
1.00pm One O' Clock News, Weather
1.30pm Regional News, Weather
1.40pm The Weather Show
1.45pm Neighbours
2.10pm Petrocelli (Repeat)
3.00pm Vets in Practice (Repeat)
3.30pm Playdays
3.50pm The Enchanted Lands
4.00pm Bodger and Badger
4.15pm Noah's Island
4.40pm Goosebumps
5.00pm Newsround
5.10pm Blue Peter
5.35pm Neighbours (Repeat)
6.00pm Six O'Clock News, Weather
6.30pm Newsroom South East
7.00pm This Is Your Life
7.30pm Here and Now Christmas Special
8.00pm EastEnders
8.30pm Children's Hospital
9.00pm Nine O'Clock News
Regional News, Weather
9.30pm Hotel
10.00pm Film : Death Train (1993)
11.40pm Film : Carry On - Don't Lose Your Head
(1966)
1.05pm Film : The Phantom of Hollywood (1974)
2.20pm BBC News 24
Tuesday 23rd December 1997
BBC1
6.00am Business Breakfast
7.00am Breakfast News
9.00am Film : That's Entertainment, Part II (1976)
(colour & b&w)
11.00am Film : A Christmas Story (1983)
12.30pm Celebrity Ready, Steady, Cook
1.00pm One O' Clock News, Weather
1.30pm Regional News, Weather
1.40pm The Weather Show
1.45pm Neighbours
2.10pm Petrocelli (Repeat)
3.00pm Vets in Practice (Repeat)
3.30pm Playdays (Repeat)
3.50pm Arthur
4.10pm To Me... to You
4.35pm The Mask (Repeat)
5.00pm Newsround
5.10pm Aquila
5.35pm Neighbours (Repeat)
6.00pm Six O' Clock News, Weather
6.30pm Regional news magazine
7.00pm Holiday
7.30pm A Question of Sport
8.00pm EastEnders
8.30pm Airport
9.00pm Nine O' Clock News
Regional News, Weather
9.30pm Film : Clear and Present Danger (1994)
Première
11.45pm Bette Midler- Diva LasVegas
1.15am Film : Dream Lover (1986)
3.00am BBC News 24
Christmas Eve Wednesday 24th December 1997
BBC1
7.00am News, Regional News and Weather
7.10am Children's BBC
Teletubbies
Making Christmas Cards
7.35am Model Millie
Millie's model park comes to life (Repeat)
7.50am The Busy World of Richard Scarry
animation
8.15am Yakky Duck
Adventures of a little duckling (Repeat)
8.35am Santa Claus Is Coming to Town
animation, Samuel Claus is haunted by voices
(Repeat)
9.05am The Real Adventures of Jonny Quest
The team find an alien skeleton (Repeat)
9.30am Sweet Valley High
Teenage drama (Repeat)
9.55am Teletubbies
Dipsy's present is a big Christmas cracker
10.20am News, Regional News, Weather
10.30am Film : The Neverending Story (1984)
starring Noah Hathaway
12.00 Joy to the World
A Feast of Christmas Cheer!
The Christmas story celebrated in a gala
of carols, comedy, music and dance, at
London's Royal Albert Hall. Guests include
Cliff Richard, Diana Rigg, Peter Bowles,
Hannah Gordon, Gloria Hunniford and
the Chicken Shed Theatre Company
1.00pm News : Weather, Regional News
1.15pm Neighbours
Ruth resolves to leave Erinsborough
1.35pm Film : Problem Child (1990)
starring John Ritter
2.50pm Film : Raiders of the Lost Ark (1981)
starring Harrison Ford
4.35pm Blue Peter
The team are joined by a band and some
school chidren for a spot of carol-singing
5.05pm Neighbours
5.30pm Spice Girls on Top of the Pops
An insight into the chart busting girl group,
with interviews, previous performances on
the music show. and their latest single
6.00pm News and Weather
6.15pm Regional news magazine
6.30pm Celebrity Ready, Steady, Cook
Comedians Gareth Hale and Norman Pace
join chefs Ainsley Harriott and
Antony Worrall Thompson for a festive
edition of the cookery show, Which one of
the mirth-making duo will be the turkey
in the kitchen?
7.00pm All the Best for Christmas
Ronnie Corbett gets into the festive mood
with a selection of seasonal BBC comedy.
Among the classic programmes featured
are Porridge, The Good Life, Morecambe
and Wise, Steptoe and Son and Bottom
7.50pm A Perfect Day for Christmas
A Christmas Eve transmission of the
RRC's promotional video, which is being
shown several times over the holiday season.
The single topped the chart following
Children in Need.
7.55pm The Wildlife Specials
Humpback Whale
Continuing the series celebrating the
40th anniversary of the BBC Natural
History Unit, presented by David Attenborough
8.40pm National Lottery Draw
9.00pm Film : Naked Gun 33⅓ : the Final Insult
starring Leslie Nielsen Première
10.15pm Harry Enfield and Chums
Harry Enfield presents a new festive
special with his regular repertoire of
characters, including Kevin the teenager
and the Scousers
10.55pm News Justin Webb Regional News
Weather Peter Cockroft
11.15pm Christmas Midnight Mass
A live broadcast from Salisbury Cathedral
where worshippers congregate for a
traditional celebration of the First Mass
of Christmas
12.35am Film : Please Sir ! (1971)
starring John Alderton, Deryck Guyler
2.15-6.00am BBC News 24
Christmas Day Thursday 25th December 1997
BBC1
6.00am Children's BBC
Christopher the Christmas Tree
(Repeat)
6.25am Santa's First Christmas
(Repeat)
6.50am The Legend of Prince Valiant
(Repeat)
7.15am Eek! the Cat
(Repeat)
7.35am Free Willy
8.00am A Monster Christmas
(Repeat)
8.30am The Demon Headmaster Takes Over TV
A panto with an all-Starcast
9.20am Casper
9.40am Teletubbies
Christmas Carols
10.05am Christmas at the Castle
Fern Britton celebrates Christmas at
York's Castle Museum, with Archbishop
of York, Dr David Hope, David Bellamy,
Gary Barlow, Adiemus and York Minster choir
11.05am Film : Willy Wonka and the
Chocolate Factory (1971)
starring Gene Wilder
12.40pm Peter and the Wolf
The Royal Ballet school's production
of Prokofiev's orchestral fairy tale,
narrated by Anthony Dowell
1.10pm News and Weather
1.15pm Top of the Pops
The stars and the top-selling songs of the
year, introduced by Jayne Middlemiss,
Zoe Ball and Jo Whiley
2.15pm The Two Ronnies Christmas Show
seasonal selection of classic sketches and
songs featuring the talents of comic duo
Ronnie Barker and Ronnie Corbett.
With guest David Essex
3.00pm The Queen
Her Majesty addresses the Commonwealth
3.10pm Noel's Christmas Presents
A boy meets Star Wars creator George Lucas
a scout leader visits the African home of
Baden-Powel and a wish to see elephants
in their natural habitat becomes a reality.
Noel Edmonds brings more surprises to
deserving people
4.10pm Film : The Flintstones (1994)
starring John Goodman,
Elizabeth Perkins Première
5.30pm Animal Hospital
Rolf Harris, Shauna Lowry and Steve Knight
are joined by friends old and new at the
RSPCA's Harmsworth hospital this Christmas
6.00pm Auntie's New Festive Bloomers
Terry Wogan presents clips that the stars
hoped would never be shown. Including
out-takes from Tom Jones, I'm Alan Partridge,
Can't Cook Won't Cook , Blue Peter,
EastEnders and Men Behaving Badly
6.40pm News Justin Webb
Weather Peter Cockroft
6.50pm Film : The Mask (1994) Première
followed by A Perfect Day for Christmas
8.30pm EastEnders
Tony learns Terry and Irene's secret.
Will Phil regret his behaviour?
9.00pm One Foot in the Grave
Endgame
Victor's plans for a quiet autumn break
in the West Country have an eerie and
utterly terrifying conclusion
10.10pm News Anna Ford
Weather Peter Cockroft
10.20pm Men Behaving Badly
Christmas Day in Gary and Tony's flat:
a day spent lying in front of the telly in
a self-induced coma
11.05pm They Think It's All Over
Nick Hancock hosts the irreverent sports
quiz, David Gower, Gary Lineker, Lee Hurst
and Rory McGrath are joined by Sooty and
Matthew Corbett, and footballer
Graeme Le Saux
11.40pm I Hate Christmas Too!
A contemporary Christmas fable,
featuring Samuel West and Peter Capaldi
11.45pm Film : Airplane! (1980)
starring Robert Hays, Julie Hagerty,
Leslie Nielsen
1.10am Film : Carry On Loving (1970)
starring Sidney James,
Kenneth Williams, Charles Hawtrey
2.40pm News 24
Boxing Day Friday 26th December 1997
BBC1
6.30am Children's BBC
The Greedysauras Gang
Animated antics of five dinosaurs (Repeat)
6.35am William's Wish Wellingtons
Cartoon (Repeat)
6.40am Bump's Christmas Story
animation
6.50am Spot's Magical Christmas
animation (Repeat)
7.20am Poddington Peas
animation (Repeat)
7.25am The Toy Symphony
animation (Repeat)
7.50am White Christmas
animation (Repeat)
8.15am Eek! the Cat
animated feline fun
8.40am Sweet Valley High
High Teenage drama (Repeat)
9.00am North and South on Tour
Gail Porter meets the boy band on
tour and looks at how the comedy series
No Sweat turned them into pop stars
9.25am Casper Classics
Cartoon fun with the friendly ghost (Repeat)
9.40am Teletubbies
Po's present is a frosty cloud
10.10am Film : Superman III (1983)
starring Christopher Reeve, Richard Pryor
12.10pm Paul McCartney's Standing Stone :
the Documentary
Film following the creation of
Paul McCartney 's new symphonic work,
from the very beginnings of the piece through
to the first performance at the
Royal Albert Hall in London
1.00pm News and Weather, Regional News
1.10pm Neighbours
Lance finds a way to stay in Ramsay Street.
Lisa opts for a career change
1.30pm Disney Time
introduced by Keith Chegwin and
Jayne Middlemiss
2.10pm Film : Hook (1991)
starring Dustin Hoffman, Robin Williams
4.25pm Pink Panther
cartoon capers (Repeat)
4.50pm Final Score
Today's football results and sporting news
with Ray Stubbs
5.10pm News and Weather, Regional News
5.25pm Neighbours
5.50pm Big Break
Jim Davidson hosts a Boxing Day edition
of the snooker game show. Playing for charity
are The Generation Game's Melanie Stace,
singer Darren Day and former EastEnders
actress June Brown, while Peter Ebdon,
Ronnie O'Sullivan and Ken Doherty help out
with the shots, and John Virgo acts as referee
6.20pm Film : Beethoven's 2nd (1993)
starring Charles Grodin Première
7.40pm EastEnders
Frank comes to Pat's rescue, and Tiffany
pushes Grant too far
8.10pm Blankety Blank
The celebrity panel game returns for a
Christmas show with the Birkenhead
bomb-site Lily Savage as the new hostess
8.40pm News Edward Stourton
Weekend Weather Peter Cockroft
9.00pm The Vicar of Dibley
seasonal edition of the comedy.
Geraldine encourages Alice and
Hugo to further their relationship
and receives an unexpected proposal
herself
9.40pm Before They Were Famous II
Angus Deayton takes another dip into
the archives to find clips of the stars that
they would rather forget
10.15pm Film : True Lies (1994)
starring Arnold Schwarzenegger,
Jamie Lee CurtisPremière
12.35am Unplugged : Oasis
Tonight's programme captures one of
Britain's most popular bands of the
nineties, Oasis
1.20pm Film : Carry On Girls (1973)
starring Sidney James, Joan Sims
followed by
Weather
2.45am BBC News 24
Saturday 27th December 1997
BBC1
7.00am Flash Gordon (b&w)(Repeat)
7.20am News, Weather
7.25am The Adventures of the Garden Fairies
(Repeat)
7.30am Noddy (Repeat)
7.40am Highlander (Repeat)
8.05am Conan the Adventurer (Repeat)
8.30am The New Adventures of Superman
(Repeat)
9.15am Almost Live, Definitely Kicking
11.15am Film : When Dinosaurs Ruled the Earth
(1969)
12.50pm News, Weather
12.55pm Film : Half a Sixpence (1967)
3.15pm The World's Strongest Man
3.45pm Film : Bless This House (1972)
5.15pm News, Weather
5.25pm Regional News
5.30pm Are You Being Served? (Repeat)
6.00pm Film : Twins (1988)
7.40pm National Lottery Draw
8.05pm Casualty
followed by
National Lottery Update
9.25pm Birds of a Feather Christmas Special
10.15pm The Mrs Merton Christmas Show
10.45pm News and Sport
Weather
11.05pm They Think It's All Over
Christmas Special (Repeat)
11.40pm Film : Carry On Again Doctor (1969)
1.10am Top of the Pops (Repeat)
2.15am BBC News 24
Sunday 28th December 1997
BBC1
7.10am Film : Custer of the West (1968)
9.25am News, Weather
9.30am New Every Morning
10.15am Film : Meet Me in Las Vegas (1956)
12.05pm Canterbury : Cathedral Tales
12.55pm News and Weather
1.00pm EastEnders Omnibus (part one)
1.55pm Film : Porridge (1979)
3.25pm The World's Strongest Man
3.55pm EastEnders Omnibus (part two)
4.50pm Final Score
5.10pm Antiques Roadshow - the Next Generation
5.55pm News, Weather
6.10pm Regional News
6.15pm The Gospel According to Cliff
7.00pm Last of the Summer Wine
8.00pm The Detectives Special
8.50pm The Woman in White (1/2)
9.55pm News, Weather
10.10pm Match of the Day
11.25pm Film : The Rhythm of Life (1/3)
12.15am Unplugged : George Michael
1.05am Film : Sixteen Candies (1984)
2.35am BBC News 24
Monday 29th December 1997
BBC1
7.15am Teletubbies (Repeat)
7.40am The Busy World of Richard Scarry (Repeat)
8.05am Yakky Duck (Repeat)
8.30am Gadget Boy
8.55am The Real Adventures of Jonny Quest
(Repeat)
9.20am Sweet Valley High (Repeat)
9.45am Pingu (Repeat)
9.50am Teletubbies
10.20am News, Regional News, Weather
10.30am Film : The Ugly Dachshund (1966)
12.00 To the Manor Born Christmas Special
(Repeat)
12.30pm Celebrity Ready, Steady, Cook
1.00pm News, Weather, Regional News
1.15pm Neighbours
1.35pm Film : The Land before Time (1988)
2.40pm Vets in Practice
3.10pm The World's Strongest Man
3.40pm Film : Flight of the Navigator (1986)
5.05pm Blue Peter - the Best Bits
5.35pm Neighbours
6.00pm News, Weather
6.15pm Regional news magazines
7.00pm This Is Your Life
7.30pm Animal Sanctuary
8.00pm EastEnders
8.30pm Auntie's New Winter Bloomers
9.00pm Nine o'Clock News
Regional News; Weather
9.30pm The Woman in White (2/2)
10.35pm Films of the Year with Barry Norman
11.20pm Rhythm of Life
12.10am Film : Carry On England (1976)
1.40am Film : Blue City (1986)
followed by
Weather
2.55am BBC News 24
Tuesday 30th December 1997
BBC1
7.00am News, Regional News, Weather
7.10am Poddington Peas (Repeat)
7.15am Teletubbies (Repeat)
7.40am The Busy World of Richard Scarry (Repeat)
8.05am Casper Classics
8.30am The Real Adventures of Jonny Quest
(Repeat)
8.55am Blue Peter - the Best Bits (Repeat)
9.30am Sweet Valley High (Repeat)
9.50am Teletubbies
10.20am News, Regional News, Weather
10.30am Film : The Shaggy Dog (1959)
(b&w)
12.00 Waiting for God Christmas Special (Repeat)
12.30pm Celebrity Ready, Steady, Cook
1.00pm News, Weather, Regional News
1.15pm Neighbours
1.35pm Film : We're Back! A Dinosaur's Story (1993)
2.40pm Vets in Practice
3.10pm The World's Strongest Man
3.40pm Balls to Africa (Revised Repeat)
4.30pm Tom and Jerry
4.40pm A Flintstone Family Christmas (Repeat)
5.05pm Newsround 97
5.35pm Neighbours (Repeat)
6.00pm News, Weather
6.15pm Regional news magazines
6.30pm Watchdog : House-Style
7.00pm Holiday
7.30pm EastEnders
8.00pm Film : Mrs Doubtfire (1993)
9.00pm Nine o'Clock News
Regional News, Weather
9.30pm Film : Mrs Doubtfire (1993)
10.30pm Review of the Year
11.45pm Film : Carry On Up the Khyber (1968)
1.10am Film : A Nightingale Sang in
Berkeley Square (1979)
followed by
Weather
3.00am BBC News 24
New Year's Eve Wednesday 31st December 1997
BBC1
7.00am News, Regional News, Weather
7.10am Poddington Peas (Repeat)
7.15am Teletubbies (Repeat)
7.40am The Busy World of Richard Scarry
(Repeat)
8.05am Casper Classics
8.30am The Real Adventures of Jonny Quest
(Repeat)
8.55am Newsround 97 (Repeat)
9.30am Sweet Valley High (Repeat)
9.50am Teletubbies
10.20am News, Regional News, Weather
10.30am Film : The Nutcracker Prince (1990)
11.40am Cartoon
12.00 Keeping Up Appearances
Christmas Special (Repeat)
12.30pm Celebrity Ready, Steady, Cook
1.00pm News, Weather, Regional News
1.15pm Neighbours
1.35pm Cartoons
1.45pm Film : Bugsy Malone (1976)
3.15pm Film : Back to the Future Part III (1990)
5.05pm Neighbours (Repeat)
5.30pm News, Weather
5.45pm Regional news magazines
6.00pm Film : K-9 (1989)
7.35pm The Wildlife Specials : Wolf
8.25pm News, Regional News, Weather
8.45pm National Lottery Draw
9.00pm Cold Enough for Snow
10.30pm The Unique Dave Allen
11.00pm The End of the Year Show
with Angus Deayton
12.05am Happy New Year
The Archbishop of Canterbury
12.10am Hogmanay Live
1.00am Film : Carry On at Your Convenience (1971)
2.30am BBC News 24
New Year's Day Thursday 1st January 1998
BBC1
7.00am Children's BBC
Poddington Peas (Repeat)
7.05am Teletubbies (Repeat)
7.30am The Busy World of Richard Scarry (Repeat)
7.55am Casper Classics
8.15am Mighty Max (Repeat)
8.40am The Real Adventures of Jonny Quest
(Repeat)
9.05am Sweet Valley High (Repeat)
9.30am The World of Peter Rabbit and Friends
(Repeat)
10.00am Teletubbies
10.30am Film : Herbie Goes to Monte Carlo (1977)
12.10pm Noel's Le Mans Dream
1.00pm News, Weather, Regional News
1.10pm Neighbours
1.30pm Brambly Hedge (Repeat)
2.00pm Film : Mary Poppins (1964)
4.15pm Cartoons
4.35pm Blue Peter - Happy New Year
5.05pm From Grange Hill to Albert Square....
and Beyond
5.45pm News, Weather
5.55pm Regional News
6.00pm The World's Strongest Man 1997
7.00pm Mysteries with Carol Vorderman
7.30pm EastEnders
8.00pm Born to Be Wild with Martin Clunes
9.00pm Film : Forrest Gump (1994) Premiere
11.15pm News, Regional News, Weather
11.35pm Ramadan
11.55pm Fleetwood Mac - the Dance
followed by
Weather
12.55am Film : Carry On Abroad (1972)
2.20am BBC News 24
Friday 2nd January 1998
BBC1
6.40am Ramadan (Repeat)
7.00am News, Regional News, Weather
7.10am Poddington Peas (Repeat)
7.15am Teletubbies (Repeat)
7.40am The Busy World of Richard Scarry (Repeat)
8.05am Casper Classics
8.30am Mighty Max (Repeat)
8.55am The Real Adventures of Jonny Quest
(Repeat)
9.20am Blue Peter - Happy New Year (Repeat)
9.5Oam Teletubbies
10.20am News, Regional News, Weather
10.30am Film : The Shaggy DA (1976)
12.00 The Good Life Christmas Special (Repeat)
12.30pm Celebrity Ready, Steady, Cook
1.00pm News, Weather, Regional News
1.15pm Neighbours
1.40pm Film : Suburban Commando (1991)
3.00pm Vets in Practice (Repeat)
3.30pm Film : Star Trek V : The Final Frontier
(1989)
5.10pm Blue Peter
5.35pm Neighbours (Repeat)
6.00pm News and Weather
6.15pm Regional news magazines
6.30pm Film : Rent-a-Kid (1992)
7.55pm Only Fools and Horses :
Heroes and Villains (Repeat)
8.55pm Hetty Wainthropp Investigates
9.45pm News, Regional News
Weekend Weather
10.05pm Shirley Bassey : This is My Life!
10.50pm International Come Dancing
11.50pm Film : Carry On Behind (1975)
1.20am Film : Story of a Love Story (1973)
followed by
Weather
3.00am BBC News 24
Saturday 20th December 1997
BBC2
7.15am The Sky at Night
7.35am Film : Random Harvest (1942) (b&w)
9.40am Sports Review of the Year 1997 (Repeat)
11.40am The Whitbread: the World's
Greatest Ocean Race
12.10pm Film 97 with Barry Norman
12.40pm British Country Music Awards
1.40pm Film : The Greatest Show on Earth (1952)
4.10pm The Saint (First shown on ITV)
5.00pm TOTP2
5.45pm Timewatch : The True Story of
the Bridge on the River Kwai (Repeat)
6.35pm Busby Berkeley : Going through the Roof
7.30pm The Works :
Hughie Green - Mr Opportunity
8.00pm What the Papers Say
8.10pm I, Caesar
9.00pm Close Up on James Stewart
9.10pm Film : The Bridge on the River Kwai (1957)
11.45pm Film : Brainstorm (1983)
1.30am Film : First Man into Space (1958) (b&w)
followed by
Weatherview
Sunday 21st December 1997
BBC2
7.30am Teletubbies
8.10am Spot (Repeat)
8.15am Jackanory Gold (Repeat)
8.30am Bitsa (Repeat)
8.45am The Animals of Farthing Wood
9.10am The Prince of Atlantis (Repeat)
9.35am Noah's Island (Repeat)
10.00am The Real Adventures of Jonny Quest
10.25am Grange Hill (Repeat)
10.50am Out of Tune
11.20am Charlie Brown and Snoopy Show (Repeat)
11.50am The Simpsons (Repeat)
12.15pm The Sunday Show
1.00pm Film : Harvey (1950) (b&w)
2.40pm Film : The Naked Spur (1953)
4.10pm Close Up on James Stewart
4.15pm Ski Sunday
5.05pm Star Trek: Voyager
5.50pm The Natural World
6.40pm The Cat Show
7.30pm A Christmas Dickens
8.00pm Great Composers
9.00pm All Rise for Julian Clary
9.30pm Horizon : Ice Mummies
10.20pm The Perfect Blue
11.50pm Profit
12.35am Forgiveness.
1.20am Film : Invasion of the Saucer Men (1957)
(b&w)
Monday 22nd December 1997
BBC2
7.15am Children's BBC
Teletubbies (Repeat)
7.40am Orville and Cuddles (Repeat)
7.45am Juniper Jungle (Repeat)
7.55am Yakky Duck (Repeat)
8.15am Blue Peter
8.40am Harry and the Hendersons (Repeat)
9.05am The Real Adventures of Jonny Quest
(Repeat)
9.30am Sweet Valley High (Repeat)
9.55am Pingu (Repeat)
10.00am Teletubbies
10.30am Film : The Water Babies (1978)
12.00 Film : A Gift for Heidi (1958)
1.10pm The Greedysaurus Gang (Repeat)
1.15pm Hairy Jeremy (Repeat)
1.20pm A River Somewhere
1.50pm The Natural World : Gran Paradiso (Repeat)
2.40pm News, Regional News, Weather
2.45pm Call My Bluff (Repeat)
3.15pm Close Up on James Stewart
3.25pm News, Regional News, Weather (1962)
6.00pm The Simpsons
6.20pm Battlestar Galactica (Repeat)
7.15pm Close Up on James Stewart
7.30pm A Christmas Dickens
8.00pm Top Gear : the TVR Story
8.30pm The Antiques Show Christmas Special
9.00pm Shooting Stars Christmas Special
9.30pm The Fast Show
10.00pm All Rise for Julian Clary
10.30pm Newsnight
11.15pm Stella Street
11.25pm Film : Vertigo (1958)
1.30pm Film : Rope (1948)
followed by
Weather
Tuesday 23rd December 1997
BBC2
7.15am Teletubbies (Repeat)
7.40am Secret Life of Toys (Repeat)
7.55am Yakky Duck Cartoons (Repeat)
8.15am Blue Peter (Repeat)
8.40am Harry and the Hendersons (Repeat)
9.10am The Real Adventures of Jonny Quest
(Repeat)
9.30am Sweet Valley High (Repeat)
9.55am Pingu (Repeat)
10.00am Teletubbies
10.30am Film : The Last Unicorn (1980)
12.00 Film : Gypsy Colt (1954)
1.10pm Fireman Sam (Repeat)
1.20pm Golf
2.10pm Wildlife Showcase (Repeat)
2.40pm News, Regional News, Weather
2.45pm Call My Bluff (Repeat)
3.15pm Close Up on James Stewart
3.25pm News, Regional News, Weather
3.30pm Show Jumping
4.30pm Film : The Philadelphia Story (1940) (b&w)
6.20pm Close Up on James Stewart
6.35pm James Stewart : the Last of the Good Guys
7.30pm University Challenge
8.00pm A Christmas Dickens
8.30pm Food and Drink
9.00pm Brazen Hussies (Repeat)
10.30pm Newsnight
11.15pm Stella Street
11.25pm Treat It Gentle : Sidney Bechet
12.15am Film : Pete Kelly's Blues (1955)
1.50am Film : A Great Day in Harlem (1994)
(b&w and colour)
followed by
Weatherview
Christmas Eve Wednesday 24th December 1997
BBC2
7.00am The Phil Silvers Show
Army comedy with Sergeant Bilko
(b/w) (Repeat)
7.25am Film : The Night at the Opera (1935)
starring the Marx Brothers
8.55am Film : Footlight Parade (1933)
starring James Cagney
10.35am Film : Easy to Love (1953)
starring Esther Williams
12.10pm In Between
Documentary exploring the work of
award-winning choreographer
Shobana Jeyasingh
1.00pm Film : Destry Rides Again (1939)
starring James Stewart
2.30pm Film : Reach for the Sky (1956)
starring Kenneth More
4.45pm Everything to Play For
art series about classical music,
featuring conductor Mark Wigglesworth
5.15pm Carols from King's
A celebration of Christmas from the
chapel of King's College, Cambridge
6.30pm The First Silent Night
This musical detective story uncovers
the origin of the world's most famous
Christmas carol
7.00pm Flatworld
An animated cops and robbers film for
the family from Oscar-winning British
director Daniel Greaves, following the
trials and tribulations of a much-maligned
cat called Geoff, a fish called Chips and
their accident-prone owner Matt Phlatt
7.30pm Christmas Open Rhodes
Chef Gary Rhodes visits the Caribbean
island of Grenada to track down the origins
of Christmas spices such as nutmeg, cloves
and cinnamon
8.00pm Two Fat Ladies : Christmas
in this Yuletide tour, chefs Jennifer Paterson
and Clarissa Dickson Wright visit Winchester,
where they prepare a feast for the cathedral's
choirboys
8.30pm Third Rock from the Sun
Jolly Old St Dick
The aliens' first impression of Christmas
is that it's all about shopping and the killing
of defenceless trees
followed by A Perfect Day for Christmas
9.00pm Modern Times
Toy Stories
The documentary series enters the
action-packed, rocket-powered,
space-hopping, train-driven, model-mad
world of toys in a Christmas special that
profiles the people who play with them
9.50pm Sykes
Christmas Party
Eric and Hattie spend Christmas Day
at Corky's
10.20pm Arena
The Banana
Tonight's programme considers
musa sapientum, the fruit of the wise
11.20pm Film : The Haunting of Helen Walker (1995)
starring Valerie Bertinelli Première
12.50am Film : Carnival of Souls (1962)
starring Candace Hilligoss,
Frances Feist, Sidney Berger
2.15am Closedown
Christmas Day Thursday 25th December 1997
BBC2
7.00am Film : A Christmas Carol (1938)
starring Reginald Owen
8.10am Film : David Copperfield (1935)
starring W C Fields, Lionel Barrymore
10.15am Today's the Day Christmas Special
Roy Hudd and Amanda Barrie do battle
with Loyd Grossman and Lynda Barron
in this festive edition of the nostalgia quiz
using clips from Christmases past
10.45am Jinnah
A documentary about Mohammad Ali Jinnah,
founding father of Pakistan, whose birthday
is celebrated today
11.35am Film : Mrs Miniver (1942)
starring Greer Garson , Walter Pidgeon
1.45pm Everything to Play For
Settling Old Scores
The series exploring the world of a
young conductor continues with
Mark Wigglesworth leading the BBC
National Orchestra of Wales playing
Beethoven's Fifth Symphony
2.15pm Shooting Stars
Christmas edition of the offbeat game show
2.45pm The Simpsons
Simpson and Delilah
A hair-growth product transforms
Homer's life
3.10pm Film : White Christmas (1954)
starring Bing Crosby, Danny Kaye,
Rosemary Clooney
5.05pm Close Up on James Stewart
Charlton Heston and Rod Steiger recall
their favourite moments from
James Stewart's film career
5.25pm Film : Madame Butterfly (1995)
Adaptation of the classic Puccini opera,
starring Ying Huang, Richard Troxell
Première
7.30pm The Queen
Her Majesty's message to the Commonwealth
with signing and subtitles
7.40pm Cardigans at Christmas
A feast of old chestnuts from the glory days
of Christmases past with this look at the
rise and demise of the Christmas
light-entertainment spectacular
8.30pm A Christmas Dickens
Bob Sawyer's Party
Dickens's affection for The Pickwick Papers
led him to turn this comic encounter with
the zealous landlady Mrs Raddle into one of
his funniest and most popular entertainments
9.00pm Arena
Cigars - out of the Humidor
In 1962, before John F Kennedy signed the
embargo banning the importation of cigars
into America from Cuba, the President
ordered 1,200 Havana cigars, according to
Pierre Salinger, his former press secretary
10.00pm Gogs
Animated adventures of a Stone Age
family known as the Gogs
10.10pm Film : La Reine Margot (1994)
starring Isabelle Adjani, Daniel Auteuil,
Jean-Hugues Anglade
In French with English subtitles
Première
12.25am Close Up on James Stewart
Another celebrity chooses a treasured
movie moment from the film career of
the late James Stewart
12.35am Film : The Asphalt Jungle (1950)
starring Sterling Hayden, Louis Calhern
2.30am Closedown
Boxing Day Friday 26th December 1997
BBC2
7.15am The Phil Silvers Show
Phil Sil vers as Sgt Bilko (b&w)
7.40am Film : Gold Diggers of 1933 (1933)
Busby Berkeley musical (b&w)
9.15am Film : Oliver Twist (1948)
starring Alec Guiness, Robert Newton (b&w)
11.05am Film : Thoroughly Modern Millie (1967)
starring Mary Tyler Moore, Julie Andrews
1.20pm Christmas in Vienna
Placido Domingo and Sarah Brightman
star in a concert of traditional festive
music featuring the Vienna Symphony
Orchestra
2.20pm Everything to Play for
A Matter of Survival
Mark Wigglesworth travels to snowy
St Petersburg to uncover the origins of
Shostakovich's massive Leningrad Symphony
2.50pm Salome
opera, Luc Bondy 's production of
Richard Strauss's masterpiece
4.45pm Film : The Far Country (1955)
starring James Stewart
6.20pm Land of the Tiger
Concluding the wildlife documentary
series presented by writer Valmik Thapar
7.10pm A Christmas Dickens
Mrs Lirriper's Lodgings
Concluding the series of readings by
Simon Callow
followed by
Winter on Two
7.45pm The Royal Ballet
The Royal Ballet perform two ballets of
vastly differing styles
9.00pm The Hunt
With the debate on fox hunting gaining
particular topicality, this documentary,
in the Under the Sun series, looks at how
the controversial issue, which conjures up
quintessential images of traditional rural
England for some and an outdated and
barbaric practice for others, is under threat
10.10pm Steptoe and Son
Seasonal episode from 1974 of the classic
comedy about a rag-and-bone man and
his terminally frustrated son
10.55pm Stella Street
Another visit to the the celebrity-populated
avenues of Surbiton
11.05pm Film : The Browning Version (1994)
starring Albert Finney, Greta Scacchi,
Matthew Modine Première
12.35pm Film : The Amazing Colossal Man (1957)
followed by
Weatherview
2.05pm Closedown
Saturday 27th December 1997
BBC2
6.35am Film : Dames (1934) (b&w)
8.00am Film : Count Three and Pray (1955)
9.40am Film : Seven Cities of Gold (1955)
11.20am Cardiff Singer of the World
12.10pm The Whitbread :
the World's Greatest Ocean Race
12.40pm Racing from Chepstow
2.45pm Film : Seven Seas to Calais (1962)
4.25pm Campaign Confessions
5.15pm TOTP 2
6.00pm Natural History Night
An Evening with David Attenborough
and Friends
6.10pm The Flight of the Condor :
Ocean, Desert and Thin Air (Repeat)
7.10pm Too Close for Comfort (Repeat)
7.45pm The Big Freeze (Repeat)
8.20pm The Natural World : The Secret Garden
9.15pm The Bat That Cracked the Frog Code
(Repeat)
9.50pm The Haunted Huntress (Repeat)
10.30pm Stoats in the Priory (Repeat)
11.10pm The Most Popular BBC Wildlife Programme
12.00 Film : The Incredible Shrinking Man (1957)
(b&w)
1.20am Film : War of the Colossal Beast (1958) (b&w)
followed by
Weatherview
Sunday 28th December 1997
BBC2
7.30am Noddy
7.40am Teletubbies
8.20am Spot (Repeat)
8.25am Jackanory Gold (Repeat)
8.40am Bitsa (Repeat)
8.55am The Animals of Farthing Wood (Repeat)
9.20am The Prince of Atlantis (Repeat)
9.45am Noah's Island (Repeat)
10.10am The Real Adventures of Jonny Quest
(Repeat)
10.30am Grange Hill (Repeat)
11.00am Sweet Valley High (Repeat)
11.25am Charlie Brown and Snoopy Show (Repeat)
11.50am The Simpsons
12.15pm The Sunday Show Christmas Special
12.45pm Gogs (Repeat)
1.00pm The Royal Institution Christmas Lectures :
The Magical Maze
2.00pm The Merry Widow (opera)
4.25pm Campaign Confessions
5.15pm Duma the Cheetah
6.05pm Star Trek : Voyager
6.50pm Film : Legend (1985)
8.15pm Third Rock from the Sun
9.00pm Laurens van der Post : a Tribute
9.55pm Mothertime
11.25pm Stella Street
11.35pm Film : Le Colonel Chabert (1994)
1.30am Film : Terror from the Year 5000 (1958)
(b&w)
followed by
Weatherview
Monday 29th December 1997
BBC2
7.05am Match of the Day (Repeat)
8.20am Great Mysteries and Myths
of the 20th Century (b&w/colour)
8.45am Film : The Golden Hour (1941) (b&w)
10.05am Film : Mr Smith Goes to Washington (1939)
(b&w)
12.10pm Close Upon James Stewart
12.15pm Cambridge Folk Festival
12.55pm The Royal Institution Christmas Lectures
The Magical Maze
1.55pm Film : We Dive at Dawn (1943) (b&w)
3.30pm Film : The Way to the Stars (1945) (b&w)
5.15pm Everything to Play for
5.45pm Film : Zulu (1964)
8.00pm The Lost Children of Berlin
8.50pm Close Up on James Stewart
9.00pm The Fast Show
9.30pm Operation Good Guys : The Informant
10.00pm Merry Mind the Buzzcocks
10.40pm Stella Street
10.50pm The Christmas Armistice
11.35pm Stella Street
11.45pm Film : Germinal (1993)
followed by
Weatherview
Tuesday 30th December 1997
BBC2
7.05am Kisses (Repeat)
7.50am The Phil Silvers Show (Repeat) (b&w)
8.15am Great Mysteries and Myths
of the 20th Century
8.40am Film : 42nd Street (1933) (b&w)
10.05am The Great Romances of the 20th Century
10.30am Film : The Stratton Story (1949) (b&w)
12.20pm Cambridge Folk Festival
1.10pm Fireman Sam
1.20pm The Royal Institution Christmas Lectures
The Magical Maze
2.20pm Film : The Crimson Pirate (1952)
4.00pm Everything to Play For : Caught in the Act
4.30pm Film : Vera Cruz (1954)
6.00pm Film : The Man Who Never Was (1955)
followed by
A Perfect Day for Christmas
7.45pm University Challenge
8.15pm The Travel Show Christmas Show
9.00pm Modern Times : The Shrine
10.15pm Stella Street
10.25pm Film : Valmont (1989)
12.35am Film : Women in Love (1969)
followed by
Weatherview
New Year's Eve Wednesday 31st December 1997
BBC2
6.55am Going Hollywood: the War Years (Repeat)
8.10am Great Mysteries and Myths of
the 20th Century (b&w and colour)
8.35am Film : Vivacious Lady (1938) (b&w)
10.05am The Great Romances of the 20th Century
(Repeat)
10.30am Film : The Shop around the Corner (1940)
(b&w)
12.05pm Close Up on James Stewart
12.15pm Top Gear Rally Report
12.45pm Cambridge Folk Festival
1.25pm The Royal Institution Christmas Lectures
The Magical Maze
2.25pm The Travel Show (Repeat)
3.10pm Garth Brooks
4.20pm Everything to Play For : Turning the Page
4.50pm The World in 1998
5.50pm Close Up on James Stewart
6.00pm Film : Bend of the River (1952)
7.30pm Decisive Moments :
Images from the News 1997
8.30pm Flatworld (Repeat)
9.00pm Shooting Stars Christmas Special (Repeat)
9.35pm The Fast Show Christmas Special (Repeat)
10.20pm Stella Street
10.30pm Film : Official Denial (1993)
11.55pm Jools's Hootenanny
1.15am The Best of Glastonbury 97
followed by
Weatherview
New Year's Day Thursday 1st January 1998
BBC2
7.00am Day of the Pharaohs
The Face of Tutankhamun (Repeat)
7.50am Wonderful Things (Repeat)
8.40am Everywhere the Glint of Gold (Repeat)
9.30am The Pharaoh Awakes (Repeat)
10.20am Heads in the Sand (Repeat)
11.10am Happy New Year
The Archbishop of Canterbury (Repeat)
11.15am New Year's Day Concert from Vienna
12.30pm Video Nation - Best of 97
1.20pm The Royal Institution Christmas Lectures
The Magical Maze
2.20pm Day of the Pharaohs
Timewatch (Repeat)
3.10pm Film : Cleopatra (1963)
5.05pm Intermission-the Sand Dance
5.10pm Film : Cleopatra (1963) (cont'd)
7.20pm Pyramid People
7.30pm Secrets of Lost Empires : The Pyramid
(Repeat)
8.20pm Some of My Best Friends Are Asps
8.30pm The Cleopatra Files
9.00pm Search for the Lost Tomb - KV5
9.50pm The Likely Lads Christmas Special 1974
(Repeat)
10.35pm Film : Small Faces (1995)
12.20am Stella Street
12.30am Film : The Umbrellas of Cherbourg (1964)
followed by
Skiing Forecast
Friday 2nd January 1998
BBC2
6.55am Film : Each Dawn I Die (1939) (b&w)
8.20am Film : The Roaring Twenties (1939) (b&w)
10.05am The Art of Singing
11.05am Film : The Great Caruso (1951)
12.50pm The Art of Singing
1.50pm James Stewart : the Last of the Good Guys
2.40pm Winchester '73 (1950) (b&w)
4.10pm Film : Strategic Air Command (1955)
6.00pm The Simpsons (Repeat)
6.20pm Star Trek (Repeat)
7.15pm Electric Circus
7.30pm The Face
8.00pm The Fred Dibnah Story (Repeat)
8.30pm Gardeners' World
9.00pm Blackadder's Christmas Carol (Repeat)
9.45pm Game On
10.15pm Stella Street
10.25pm The Armistice Party Bucket
10.55pm Gary Larson's Tales from the Far Side
(Repeat)
11.25pm Film : Bodies, Rest and Motion (1993)
12.55am Clive Barker's A-Z of Horror
1.35am The Cask of Amontillado
followed by
Weatherview
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AVAHS – Santa’s First Christmas (1992) Review
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[
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2020-12-11T00:00:00
|
Plot: Santa shares his story about his first Christmas. Breakdown: Brain? Twix’s Brain: “Yes, Twix.” Today’s review is about the origins of Christmas. Brain: “Neato bandito.” And how Santa became, well, Santa. Brain: “Cool beans.” Yeah, well, this is just a short cute little kid’s film that is in no way taking itself seriously, so…
|
en
|
The Anime Madhouse
|
https://fiddletwix.wordpress.com/2020/12/11/avahs-santas-first-christmas-1992-review/
|
Plot: Santa shares his story about his first Christmas.
Breakdown:
Brain?
Twix’s Brain: “Yes, Twix.”
Today’s review is about the origins of Christmas.
Brain: “Neato bandito.”
And how Santa became, well, Santa.
Brain: “Cool beans.”
Yeah, well, this is just a short cute little kid’s film that is in no way taking itself seriously, so if you could do me a solid and not overthink this, that’d be—frick, you’re already googling things. Stop it!
Brain: “But it’s an interesting topic! Before Santa was a part of things, Christmas was basically Mardi Gras! And the poor would bust into rich people’s houses and demand stuff, and if they didn’t get it, they’d “terrorize” the homeowners, like this was some trick-or-treating raid.”
Brain!
Brain: “People used to get absolutely plastered and the rich were expected to cater to the lower class – Hey, one of these things stuck around through the years. I’ll give you a hint, they ain’t spiking eggnog with an increased minimum wage. Am I right? Up high!”
Brain!
Brain: “Hey, did you know Christmas was banned in the United States by puritans for a while because they didn’t like that people were giving and receiving gifts? I need a reverse alarm for how backwards that is.”
That’s fascinating, Brain, but we’re reviewing an early 90’s Christmas cartoon about a young Santa, and I’d really like to get through this without writing a thesis.
Brain: “Oh well, I’m sorry, Twix. I thought I was helping. So, uh, how’s the story start?”
Okay, first, Christmas, specifically, not any holiday that preceded it but landed on the same day, is already a holiday even though they’re not acknowledging the Jesus part and Santa isn’t a thing yet. Also, they act like Christmas is a boring-ass day where nothing happens, so you kinda wonder why it’s even a holiday.
Brain: “…….Okie dokie.”
And Santa makes these gifts out of rocks and sticks. He saves an elf from a frozen lake, gives her a stick, and then she brings him to the North Pole where the other elves show him their workshop where they make furniture.
Brain: “Wha, wait, they walked to the North Pole? Where does Santa live? Didn’t Saint Nicholas live in Asia Minor?”
That’s not important, Brain. What’s important is that Santa is super generous and wants to make Christmas special so he destroys all of the furniture and turns them into toys.
Brain: “He….celebrates the act of giving by destroying their hard work?”
Well….I….He….Moving on. He makes a sleigh out of firewood, but finds that his red dog can’t pull it very well. So he meets a flying reindeer – these reindeer, by the way, fly by flapping their antlers.
Brain: “……”
……
Brain: “You know, it’s theorized that the flying reindeer part of the Santa mythos was created due to a magic mushroom fueled drug trip, so I’ll leave that alone.”
I am really regretting using up my drug jokes on Pac-Man.
Brain: “I know, right?”
The reindeer, Romuald–
Brain: “Romuald?!”
Romuald…
Brain: “There was a real Romuald – a saint even.”
Oh really? Any connection to reindeer or Christmas?
Brain: “…..Mmmmmm……No.”
………Anyhoo, Romuald wouldn’t listen to Santa because he was a kid so Santa wore a fake beard and tricked Romuald into thinking he was an adult.
Brain: “That work–”
Before you say anything, they joke about how stupid it is that that worked.
Later, the elves work their butts off trying to make enough toys to hand out at Christmas. They calculate that they’ll have to work non-stop in order to make the deadline. This is played off like a joke, but it’s also kinda horrifying. These elves were just chill carpenters a few days ago and now they’re working themselves to the bone for nothing in return.
Santa dons his signature red suit and heads out on his first delivery run. The bottom of his sleigh ends up getting a massive hole in it due to Santa and Romuald’s poor flying skills, so many of the gifts end up falling out and conveniently fall into the chimneys of the houses below.
They patch the hole and deliver presents ‘round the clock’ and we see a clock spinning several days worth of hours, even though they said they have to deliver all of the presents by morning.
Brain: “Where do his parents think he is?”
Dunno. We never see them beyond the first couple of scenes. And Santa’s never seen delivering presents to his own house. As far as this story is concerned, he’s whisked away to the North Pole and never returns home.
Brain: “That’s upsetting.”
It sure is. They accidentally skew about 8000 miles off course, so Santa does the rational thing and plungers a steering wheel to Romuald’s head.
Brain: “….He….plungers….”
Yup.
Brain: “….a steering wheel….”
Yup.
Brain: “To Romuald’s head….”
Yup.
Brain: “For what purpose?”
To make him go faster, of course.
Brain:
Using Romuald’s new brain implant, they manage to reach all of the houses in the world, including a bunch of animals, except one – a little cottage in Mexico. They’re all out of gifts for the little boy inside, so they scrape off the snow from the sleigh and make a snowman outside the little boy’s window.
Brain: “Heh….wait…so everyone else gets gifts, including the animals, but this little Mexican boy gets a snowman made of old crusty sleigh snow that will inevitably melt in about 20 minutes?
Mmm, yeah, that’s about it.
Brain: “Didn’t they make an igloo for a dog in the arctic out of about twenty different individual gifts?”
Sure did!
Brain: “Couldn’t THAT have been made out of snow?”
Yeah, but the specialness about the little boy’s gift was that it was a snowman in Mexico – a place where it never snows.
Brain: “That is very wrong.”
Okay, fine. It’s an awful gift, but it’s the thought that counts.
Adult Santa: “So that’s the story of how I made Christmas what it is today.”
Funny, you wouldn’t think he’d be nimble enough to suck his own di–
Brain: “Did you know that one of the origin stories of Saint Nicholas involves him staying at an inn where three little boys were murdered by the innkeeper? They were dismembered and stuffed in the basement in barrels, but then Nicholas sensed what he had done and brought the victims back to life.”
?!?!?!
Brain: “Also, early Christians wanted to keep the gift-delivery aspect of the story, so they claimed baby Jesus did it, but in order to make sure they could literally scare kids into being good all year (and to explain how a baby can deliver all those gifts), they designed ‘scary’ huge sidekicks that were based on Saint Nicholas – Ru-Klaus, or Rough Nicholas, Aschenklas, or Ashy Nicholas, and Pelznickel, or Furry Nicholas……don’t read too much into that last name.”
…….Uh…yeah, the point is you can’t really thank anyone for the way that Christmas is celebrated today because it has such a vast history that underwent many changes, and it’s not universal across the numerous different countries and cultures that celebrate it. If we can blame humanity for ruining Christmas with its commercialism, I think we can also thank humanity as a whole for making it the loving and warm holiday that many people still cherish it as. No holiday can truly be ruined as long as you celebrate it the way you want to, and that type of thinking spreads to other people and makes the season that much more peaceful and happy.
Brain: “Amen.”
Santa and the others nap after their journey, and we close out on the story, which, by the way, has been conveyed to us through The Office-style documentary shots of Adult Santa and pals telling the story. Also, this wasn’t really Santa’s first Christmas since he had about six or seven Christmases before he started delivering gifts.
The end.
Brain: “So you hated this special, eh?”
Nope. I thought it was really good. It had a good sense of humor, it was unique enough, and it drove home the true meaning of Christmas without being overly cheesy.
Brain: “But it was really stupid.”
You know what’s stupid? Spending a five page review talking to your own brain.
Brain: “……..Fair enough.”
Yes, there are some things they just get bafflingly wrong, and it’s really simple stuff too, so they didn’t really have any excuse for it, but it’s mostly just goofy and silly instead of enragingly dumb. It’s a light-hearted and fun Christmas story. You won’t bust a gut laughing, but you will probably enjoy it well enough.
Brain: “Huh, well I sure learned something today.”
You should, you read about fifteen different articles.
Brain: “No, I mean that you can enjoy something kinda cheap and goofy as long as the heart behind it is genuine.”
Of course you know that, because I know that. Because….you’re….my brain.
Brain: “…..Oh my god. You weren’t out of drug jokes, you liar! HOW MANY MAGIC MUSHROOMS DID YOU GOBBLE, MARIO?!”
I didn’t do anything! But I’m going to stop talking to you anyway just in case the pink elephants turn into reindeer.
Brain: “Good call. I need to stock up on aspirin for your Nestor: The Long-Earred Christmas Donkey review anyway. Peace out.”
Yeah, see ya—wait what?……Damn, Brain left before I could make a Pinky and Brain reference. That’s relevant now and everything! *huff* Now how do I end the review?
That’ll do.
If you enjoy my work and would like to help support my blog, please consider donating at my Ko-Fi page. Thank you! ♥
|
|||||
5671
|
dbpedia
|
0
| 18
|
https://us.daum.fr/
|
en
|
Daum USA - Vases, Bowls, Custom Glassware
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
Daum, the legendary glassmaker master, has kept alive for more than a century the greatest artists of its time, giving their work of art a second life.
|
en
|
//us.daum.fr/cdn/shop/files/Logo_Daum_NOIR_63e80a7f-6c3c-46bb-b514-0499cb29f1e9_32x32.png?v=1613678342
|
Daum Inc
|
https://us.daum.fr/
|
Patrick Rougereau's poetry and boundless creativity
have given birth to a fantastic sculpture, the Punky
Fish, now crystallized by Daum in sublime shades of
blue and amber. The crystal gives it the light effect so
dear to the artist's eye and offers it a whole new
emotion.
"I dreamt of this enigmatic animal one day. So, fish
and bird came together to create this phantasmagorical animal. The Punky Fish was born!"
Patrick Rougereau
Emilio Robba, renowned for his artistic talent in capturing the essence of nature, collaborates with Daum to unveil a superb addition to the Monstera collection. This new turquoise variant of the small wall leaf reflects Robba's commitment to infusing his creations with the vibrant spirit of botanical life.
Emilio Robba's distinctive style, characterized by his
architectural approach to floral design, creates timeless pieces that transcend the boundaries between art and nature and bring the outdoors to the heart of any interior
space.
|
||||
5671
|
dbpedia
|
2
| 56
|
https://www.tvbeurope.com/tag/paris-2024
|
en
|
Paris 2024
|
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[] |
[] |
[
""
] | null |
[] | null |
Key highlights included the Men's and Women's 100m finals, which saw surges in viewership both before and after the events
|
en
|
TVBEurope
|
https://www.tvbeurope.com/tag/paris-2024
|
Media Delivery
‘Localisation is our superpower’: How WBD Sports is delivering the Olympics to Europe
TVBEurope catches up with WBD Sport's Scott Young to hear how the broadcaster is using its streaming services to bring the Olympics to more...
Media Delivery
A new era of broadcasting at the Olympic Games
Writing exclusively for TVBEurope, Digital TV Group CTO Alex Buchan details a 5G Broadcast demo by TDF in the run-up to the Games
Media Consumption
How will we watch the Olympics in 2032?
From VR headsets to volumetric video, the Video Labs team at InterDigital give us some insight into how we might watch (and produce) the...
Audio
Bringing the ‘wow’ factor to the sound of Paris 2024
John Schur, president, solutions group at Telos Alliance, explains why sound is just as important as video when covering a major sporting event
Artificial Intelligence
OBS, AI and Paris 2024
TVBEurope’s sits down with Sotiris Salamouris, chief technology officer at OBS and Intel’s EMEA chief technology officer, Jean-Laurent Philippe, to hear about some of...
Sustainability
Opinion: Could this year’s ‘Summer of Sport’ be the greenest yet?
Matthew Williams-Neale, VP of marketing, Appear, explains how broadcasters' efforts are ensuring the excitement of live sports can be enjoyed sustainably, setting a new...
Live Production
France Télévisions prepares cloud and wireless remote workflow for Paris 2024
The broadcaster employed a hyper-mobile broadcasting wokflow on special programming marking one year to the start of next summer's Olympic Games
Live Production
Olympic Broadcasting Services aims to give Paris 2024 big screen feel with cinematic lenses
OBS revealed plans to provide more than 11,000 hours of content from the Games, including more athlete-centric coverage and behind-the-scenes material, pre-and post-competition
Live Production
Regional hubs, remote production and ‘every form of connectivity’ will underpin Paris 2024 for WBD Sports
WBD Sports' SVP content and production Scott Young tells David Davies about how the broadcaster is aiming to bring viewers ‘closer to the story’...
Media Delivery
European broadcasters collaborate on 5G Broadcast plans
Broadcasters expect to demonstrate jointly developed 5G Broadcast applications and commercial use cases during next summer Paris Olympics and UEFA European Football Championship in...
Live Production
TVU Networks aims to help broadcasters deliver winning coverage of Paris 2024
A variety of TVU IP and cloud-based remote production solutions will be used to cover the Games, which takes place from 26th July to...
Live Production
Channel 4 to remote produce 2024 Paris Paralympics from Wales
Whisper is planning to build new state-of-the-art technical facilities, including production galleries and edit suites, as part of its work with the broadcaster
|
|||||
5671
|
dbpedia
|
1
| 0
|
https://dubdb.fandom.com/wiki/Romuald_the_Reindeer
|
en
|
Romuald the Reindeer
|
https://static.wikia.nocookie.net/international-entertainment-project/images/8/83/Romuald_the_Reindeer_-_poster_%28English%29.png/revision/latest?cb=20240704163858
|
https://static.wikia.nocookie.net/international-entertainment-project/images/8/83/Romuald_the_Reindeer_-_poster_%28English%29.png/revision/latest?cb=20240704163858
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[
""
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[
"Contributors to The Dubbing Database"
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Romuald the Reindeer is a British children’s animated series created by Robin Lyons and Andrew Offiler. It was produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The show aired on BBC One in 1996 and revolves around the adventures of a Christmas reindeer named...
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en
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https://static.wikia.nocookie.net/international-entertainment-project/images/4/4a/Site-favicon.ico/revision/latest?cb=20210709131246
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The Dubbing Database
|
https://dubdb.fandom.com/wiki/Romuald_the_Reindeer
|
Romuald the Reindeer is a British children’s animated series created by Robin Lyons and Andrew Offiler. It was produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The show aired on BBC One in 1996 and revolves around the adventures of a Christmas reindeer named Romuald, a sullen teenage reindeer, as he navigates life's twists and turns. Alongside Romuald, there are other characters like his little sister Ulrika, his parents Harold and Hilda, and the local reindeer bullies Clint, Kirk, and Burt.
Cast[]
Character Actor
Romuald Haroldson
Nigel Planer
Ulrika Haroldson
Julie Higginson
Harold Haroldson
Jonathan Kydd
Hilda Haroldson
Emma Wray
Grandpa Ivy
Kenneth Waller File:Clint (Romuald the Reindeer).png
Clint
Arthur Smith File:Kirk (Romuald the Reindeer).png
Kirk
Jonathan Kydd File:Burt (Romuald the Reindeer).png
Burt
Christian Rodska
International versions[]
Dubs[]
Language Title Channels Danish Rensdyret Rumle DR1 (formerly) Estonian
(voice-over) Põhjapõder Romuald Kanal 2 (formerly) French Romuald
Romuald le grand renne
Romuald le renne France 3 (formerly)
Télétoon (formerly) German Romuald, das Rentier Der Kinderkanal (formerly)
ZDF (formerly)
ORF 1 (formerly) Hungarian Romuald, a rénszarvas TV1 (formerly) Irish Bómán TG4 (Cúla4 block, formerly) Italian Romualdo la renna RaiDue (formerly) Polish Renifer Romuald Canal+ (formerly)
Minimax (formerly) Scottish Gaelic Fionnlagh Fast BBC One Scotland (formerly)
BBC Two Scotland (formerly) Slovak Sob Romuald STV1 (formerly) Slovene Romuald TVS 1 (formerly)
Title translations[]
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5671
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dbpedia
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1
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
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en
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Environment, Studies in honour of Romuald Schild – Archeobooks
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en
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Archeobooks
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
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ISBN: 978-83-89499-42-4
Description: hardback, 346 pp. (30x21cm), phots., maps, drawings
Condition: new
Weight: 1415g.
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2
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
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en
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Environment, Studies in honour of Romuald Schild – Archeobooks
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en
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Archeobooks
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
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ISBN: 978-83-89499-42-4
Description: hardback, 346 pp. (30x21cm), phots., maps, drawings
Condition: new
Weight: 1415g.
|
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5671
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dbpedia
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0
| 9
|
https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
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en
|
Rudolph Mascot Costume for Christmas Events
|
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Rudolph the reindeer mascot costume for events and promotions. Handcrafted design, high quality materials.
|
en
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/apple-touch-icon.png
|
https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
|
This Rudolph the reindeer mascot from Santa Claus is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Rudolph the Reindeer Mascot
The Rudolph the Santa Claus reindeer mascot is a charming and attractive costume, perfect for livening up your end-of-year events and parties. Representing the famous reindeer with its dark and light brown coat, majestic antlers and iconic red nose, this mascot will bring the magic of Christmas to all your festive occasions, such as Christmas markets, parades and commercial events.
NetJuggler analysis of the Rudolph the Reindeer Mascot
I find this Rudolph mascot particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its soft touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Target audience and uses of Santa's Rudolph the Reindeer mascot
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Personalize your mascot!
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
About the Manufacturer of the Rudolph the Christmas Reindeer Mascot
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
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0
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https://www.saatchiart.com/paintings/jump/feature
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en
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Jump Paintings
|
[
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Results for "Jump" Paintings. Discover 1809 Paintings by top emerging artists from around the world, including Julita Malinowska, Félix Hemme, and Daniel Kozeletckiy. Buy original art worry free with our 14-day satisfaction guarantee.
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en
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/favicon.ico
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Saatchi Art
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https://www.saatchiart.com/en-de/paintings/jump/feature
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Boys
Paintings , 100.4 W x 78.7 H x 1.2 D in
685 Jump Dude !
Paintings , 51.2 W x 63 H x 0.1 D in
Jump #10
Paintings , 41.3 W x 41.3 H x 0.8 D in
air born
Paintings , 25.6 W x 35.4 H x 0.4 D in
Joy
Paintings , 25.6 W x 19.7 H x 0.1 D in
Odpust w Świerklanach
Paintings , 35.4 W x 39.4 H x 0.8 D in
Secret treehouse
Paintings , 39.4 W x 47.2 H x 0.8 D in
Jump, The Spire
Paintings , 13.8 W x 19.7 H x 0.1 D in
Uncovered Spot
Paintings , 23.6 W x 19.7 H x 2 D in
791 Peter on his motorcycle
Paintings , 27.6 W x 39.4 H x 0.8 D in
Splash II
Paintings , 62.2 W x 50 H x 1.6 D in
Zabrze
Paintings , 23.6 W x 27.6 H x 0.8 D in
Jump
Paintings , 17.7 W x 20.5 H x 0.7 D in
Jump / 111.5 x 110 x 0,1 cm
Paintings , 43.9 W x 43.3 H x 0.1 D in
Rouge Orchidee Corner Bar
Paintings , 23.6 W x 27.6 H x 0.8 D in
Speed
Paintings , 8.3 W x 11.7 H x 0.1 D in
In spiaggia 28
Paintings , 15.7 W x 11.8 H x 0.4 D in
Jump
Paintings , 18.5 W x 21.7 H x 1.2 D in
Run!
Paintings , 17.5 W x 21.5 H x 0.2 D in
Flying high in scarlet light
Paintings , 78.7 W x 55.1 H x 1.1 D in
The big jump
Paintings , 19.7 W x 19.7 H x 0.8 D in
Fountain of Life
Paintings , 31.5 W x 39.4 H x 0.8 D in
Thought
Paintings , 23.6 W x 35.4 H x 1 D in
Waterjump
Paintings , 29.1 W x 41.3 H x 1.6 D in
Summer 2021 3
Paintings , 7.9 W x 7.9 H x 1.4 D in
Dive / Series of Contemporary Painting on Silver leaf & metal
Paintings , 28.7 W x 13 H x 0.1 D in
Jumping off a rock
Paintings , 31.5 W x 39.4 H x 0.8 D in
Hardly touch the ground
Paintings , 37.8 W x 37.8 H x 1.2 D in
Richmond Drive
Paintings , 39.4 W x 39.4 H x 0.8 D in
Jump
Paintings , 74.8 W x 59.1 H x 1.2 D in
MM Lime green
Paintings , 15.7 W x 15.7 H x 1.6 D in
In spiaggia 15
Paintings , 27.6 W x 19.7 H x 0.4 D in
August 25 - Rondo
Paintings , 12.1 W x 12.1 H x 0.8 D in
696 Saulie et Thude
Paintings , 63 W x 51.2 H x 0.1 D in
Red Ball
Paintings , 23.6 W x 27.6 H x 1.2 D in
Bournemouth
Paintings , 31.5 W x 39.4 H x 0.8 D in
Trampoline
Paintings , 23.6 W x 31.5 H x 1.6 D in
Jump / 91,3 x 75,6 cm
Paintings , 29.8 W x 35.9 H x 0.1 D in
Into Blue #2
Paintings , 18.1 W x 15 H x 0.8 D in
Vertigo, Grand Canyon
Paintings , 8.7 W x 13.8 H x 0.1 D in
HAPPINESS / UNIQUE 3 DIMENSIONAL CONTEMPORARY PAINTING
Paintings , 26 W x 49.2 H x 2 D in
Jump
Paintings , 59.1 W x 39.4 H x 0.8 D in
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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5671
|
dbpedia
|
0
| 22
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https://us.daum.fr/collections/eternal-rose-1
|
en
|
Eternal Rose
|
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[
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The Maison Daum celebrates 140 years of French craftsmanship and presents the Eternal Rose. This graceful flower crystallizes a message of infinite love. The finely carved crystal rose in red or in a soft orange-pink tone unveils the subtlety and grace of the flower and is accentuated by the precious stem gilded in 24-
|
en
|
//us.daum.fr/cdn/shop/files/Logo_Daum_NOIR_63e80a7f-6c3c-46bb-b514-0499cb29f1e9_32x32.png?v=1613678342
|
Daum Inc
|
https://us.daum.fr/collections/eternal-rose-1
|
The Maison Daum celebrates 140 years of French craftsmanship and presents the Eternal Rose. This graceful flower crystallizes a
message of infinite love. The finely carved crystal rose in red or in a soft orange-pink tone unveils the subtlety and grace of the flower
and is accentuated by the precious stem gilded in 24-karat gold, revealing its exquisite delicacy.
This timeless rose, a token of everlasting love, conveys an unforgettable emotion.
Each piece is created with the passion of our skilled craftsmen, and numbered by hand.
|
||
5671
|
dbpedia
|
3
| 77
|
https://www.christies.com/en/lot/lot-5764192
|
en
|
Attributed to Joseph Romuald Bernier (1873-1952), Biddeford, Maine, Early 20th Century, A Pair of Blue Jays Sitting on Branches with Berries
|
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[] |
[] |
[
"Christie’s",
"Live Auction",
"Auction",
"Lot"
] | null |
[] | null |
A Pair of Blue Jays Sitting on Branches with Berries
|
en
|
/Assets/Discovery.Project.Website/V2023/favicons/favicon.ico
|
https://www.christies.com/en/lot/lot-5764192
|
If you wish to view the condition report of this lot, please sign in to your account.
Sign in
|
|||||
5671
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dbpedia
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3
| 2
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https://romuald-the-reindeer.fandom.com/wiki/Romuald_Haroldson
|
en
|
Romuald Haroldson
|
https://static.wikia.nocookie.net/romuald-the-reindeer/images/7/73/Romuald_the_Reindeer.png/revision/latest?cb=20140117184249
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https://static.wikia.nocookie.net/romuald-the-reindeer/images/7/73/Romuald_the_Reindeer.png/revision/latest?cb=20140117184249
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[] |
[] |
[
""
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[
"Contributors to Romuald the Reindeer Wiki"
] | null |
Romuald Haroldson is a Fictional Character and the Title Character of Romuald the Reindeer. Romuald Harold is a Teenage Christmas Reindeer who Lives in Lapland with his Mum Hilda, his Dad Harold and Little Sister Ulrika. He seems to always carry a lot of teen angst with the misadventures he has...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
Romuald the Reindeer Wiki
|
https://romuald-the-reindeer.fandom.com/wiki/Romuald_Haroldson
|
Romuald Haroldson is a Fictional Character and the Title Character of Romuald the Reindeer.
Bio[]
Romuald Harold is a Teenage Christmas Reindeer who Lives in Lapland with his Mum Hilda, his Dad Harold and Little Sister Ulrika. He seems to always carry a lot of teen angst with the misadventures he has throughout the series.
Attire[]
Romuald Haroldson Wears a dight and dark blue knitted pullover with turquoise zig zag stripe. and He wears Purple socks on his hooves. In the Special Santa's First Christmas he is naked and says that Santa gave him the Jumper althought in the series him mum made it for him.
Apperances[]
Romuald appers in all episodes and specials.
Voice Actors[]
|
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5671
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|
https://www.youtube.com/playlist%3Flist%3DPL9q7tCEs7waMWQ2LjwgxyG5E9WJ3I2QZ2
|
en
|
Bevor Sie zu YouTube weitergehen
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de
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//www.google.com/favicon.ico
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https://consent.youtube.com/m
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5671
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3
| 21
|
https://genome.ch.bbc.co.uk/schedules/service_bbc_two_england/2001-02-08
|
en
|
BBC Programme Index
|
https://genome.ch.bbc.co.uk/favicon.ico
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https://genome.ch.bbc.co.uk/favicon.ico
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[] |
2001-02-08T00:00:00
|
/favicon.ico
| null |
Ends 9.00.
Spider
Animated antics with the eight-legged character.
(R)
7.05 Polka Dot Shorts
Adventures in the polka-dot land of Roo.
(R)
7.15 The All-New Popeye Show
Three more misadventures with the spinach-guzzling sailor.
(R)
7.35 Rugrats
Animated double bill with the cute youngsters.
(R) (S)
8.00 Blue Peter
Children's magazine, presented by Konnie Huq, Liz Barker, Matt Baker and Simon Thomas.
(Shown yesterday at 5pm on BBC1)
(S) (W)
8.25 Monster Rancher
When their plane breaks down, Genki and his friends end up in an area controlled by arch baddie Pixie.
(S)
8.50 Romuald the Reindeer
Animation. Romuald becomes completely addicted to his computer game.
(Repeated at 1pm)
(R)
Twelve years ago a small patch of a strange gigantic seaweed appeared off the coast of Monaco.
Despite warnings from a marine biologist about its high toxicity, the seaweed was ignored by local authorities, and has now mutated into a phenomenon known as the "killer algae" which is choking all indigenous life. This documentary examines how a supposedly harmless plant has become a potential threat to global marine life.
See Choice.
(S) (W)
Killer algae websites - Webwatch: page 42
(Repeats are not indicated)
Open Science
12.30 What Have the Sixties Ever Done for Us?
12.40 Background Brief: Impact - Planet Earth
1.00 Final Frontier
1.30 Background Brief: First Came Dolly
1.45 What Have the Eighties Ever Done for Us?
2.00 Stress
(S)
2.30 Looking Glass World
(S)
3.00 Samples of Analysis
(S)
Curriculum Development
3.30 Explicit Learning Plus: Listen to This - the Pupil's Perspective
Languages
4.00 Get By in French: Part 1
Working In the Arts
5.00 Career Development
Open University
6.00 Restoring the Balance
(S)
6.30 Brief Encounter
(S)
Ends 7.00am.
|
|||||
5671
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0
| 74
|
https://www.encyclopedia.com/education/news-wires-white-papers-and-books/planer-nigel-1955
|
en
|
PLANER, Nigel 1955(?) –
|
[
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[] |
[
"PLANER",
"Nigel 1955(?)–\nPERSONAL\nBorn February 22",
"1955 (some sources say 1953)",
"in London",
"England; son of George Victor and Margaret Lesley (maiden name"
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[] | null |
PLANER, Nigel 1955(?)–
PERSONAL
Born February 22, 1955 (some sources say 1953), in London, England; son of George Victor and Margaret Lesley (maiden name Source for information on Planer, Nigel 1955(?)–: Contemporary Theatre, Film and Television dictionary.
|
en
|
/sites/default/files/favicon.ico
|
https://www.encyclopedia.com/education/news-wires-white-papers-and-books/planer-nigel-1955
|
PLANER, Nigel 1955(?)–
PERSONAL
Born February 22, 1955 (some sources say 1953), in London, England; son of George Victor and Margaret Lesley (maiden name, Weeden) Planer; brother of Roger Planer (a writer); married Anna Lea, August 19, 1989 (divorced, 1994); married Frankie Park (an actress), April 3, 1999 (some sources cite 2000); children: (first marriage) Stanley; (second marriage) one son. Education: Attended University of Sussex; trained for the stage at London Academy of Music and Dramatic Art.
Addresses: Agent— Maureen Vincent, Peters, Fraser & Dunlop, Drury House, 34–43 Russell St., London WC2B 5HA, England.
Career: Actor and writer. Comic Strip (comedy group), founding member; also performed with Comedy Store. Appeared in commercials. Performed poetry readings in England.
Member: British Actors' Equity Association, Writers Guild of Great Britain, Musicians Union.
Awards, Honors: BPI Award, best comedy record, 1984.
CREDITS
Film Appearances:
Mansell, Yellowbeard, Orion, 1983.
Charlie, Brazil, Universal, 1985.
Gunter, The Supergrass (also known as The Comic Strip Presents the Supergrass ), New Line Home Video, 1985.
DHSS Manager, Eat the Rich, Columbia/TriStar Home Video, 1987.
Den, More Bad News, 1987.
Bernard, old man, and first camp actor, The Strike, 1987.
Grand Wazir, Carry On Columbus, Lauren Films, 1992.
Parkey, Clockwork Mice, 1995.
Car salesperson, The Wind in the Willows (also known as Mr. Toad's Wild Ride ), Columbia, 1997.
Taxi driver, Diana & Me, 1997.
Gerald, The Land Girls (also known as Trois Anglaises en campagne ), Gramercy, 1998.
Appeared as Darly Worthorne, Thunder Pants, Dragon Pictures.
Television Appearances; Series:
Member of ensemble, The Comic Strip Presents, Channel 4, 1983–1984, 1988–1990, and 1992–1993.
Neil Pye, The Young Ones, MTV, 1985.
Nigel Cochrane, Roll Over Beethoven, 1985–1986.
David Castle, King & Castle, BBC, 1986.
Ralph Filthy (Filthy Ralph), Filthy, Rich, and Catflap, BBC, 1987.
Title role, Nicholas Craig, the Naked Actor (also known as The Nicholas Craig Masterclass ), 1990.
Narrator and other voices, The Magic Roundabout (also known as The New Magic Roundabout ), Channel 4, beginning 1990.
Member of ensemble, The Comic Strip, BBC–2, 1990–1998.
Voice, Romuald the Reindeer, Fox Family Channel, 1998–1999.
Also appeared as Laurence Didcott, Bonjour la classe; narrator, Grizzly Tales for Gruesome Kids; and Lou Lewis, Shine On Harvey Moon.
Television Appearances; Movies:
Andrew Veitch, Number 27, BBC, 1988.
Paul Hockings, Frankenstein's Baby, BBC, 1990.
Himself, The Nearly Complete and Utter History of Everything, BBS, 1999.
Television Appearances; Miniseries:
Jeff, Blackeyes, BBC, 1989.
Antonio, The Marriage of Figaro, 1995.
Television Appearances; Episodic:
The Lenny Henry Show, 1984.
Bartender, "Madeleine," Happy Families, 1985.
Lord Smedley, Madame La Guillotine, and the Scarlet Pimpernel, "Nob and Nobility," Blackadder the Third (also known as The Black Adder ), BBC–1, 1987.
"Dangerous Liaisons," French and Saunders, 1990.
Inspector Hopkins, "The Golden Pince–Nez," The Memoirs of Sherlock Holmes (also known as Sherlock Holmes ), Granada, 1994.
The Good Sex Guide, 1994.
Shelford, "The Reconstituted Corpse," Jonathan Creek, 1997.
Gavin, "I Tell You It's Burt Reynolds," Paul Merton in Galton and Simpson's..., 1997.
Tim Goodman, "Four Men in a Car," The Comic Strip Presents, Channel 4, 1998.
Colin Boswell, "Look Again," The Bill, ITV1, 1999.
Tim Goodman, "Four Men in a Plane," The Comic Strip Presents, Channel 4, 2000.
Undertaker, "Dead Grandma," Baddiel's Syndrome, 2001.
Himself, Breakfast, BBC, 2001.
Himself, "New Years Compilation," I Love 1980's, BBC2, 2001.
Himself, "West End Theatre Special," The Weakest Link, BBC, 2002.
Dumbledore, "Harry Potter and the Secret Chamberpot of Azerbaijan," French and Saunders, 2003.
Guest on Saturday Night Live, LWT.
Television Appearances; Specials:
"A Night of Comic Relief 2," Comic Relief, 1989.
"Red Nose Day 3: The Stonker," Comic Relief, 1991.
Party in the Park 2002, Channel 5, 2002.
Television Appearances; Pilots:
Wake Up With..., 1994.
Baz Grimley, The Grimleys, ITV, 1997.
Television Appearances; Other:
Himself, Boom Boom, Out Go the Lights, BBC, 1981.
Neil, Comic Relief (also known as The Utterly Utterly Rude Video Live ), 1986.
John Peel, The Trials of Oz, BBC, 1991.
Jocelyn Pride, Cuts, YTV, 1996.
Sheldon Cohen, You Are Here: Whatever Happened to Baby Jo?, 1998.
Himself, Top Ten Comedy Records, 2000.
Also appeared in Two Lumps of Ice, BBC.
Stage Appearances:
Amos Hart, Chicago (musical), Adelphi Theatre, London, 1997.
Pop, We Will Rock You (musical), Dominion Theatre, London, 2002.
Also appeared in All's Well That Ends Well, Regents Park Theatre, London; in Angry Old Men; as Den Denis, Badnews Live, London production; as Che, Evita (musical); as George, Feel Good, London; as Frosch, Die Fledermaus, English National Opera; as Donny, High Life, Bush Theatre, London; as Nicholas Craig, I, an Actor; as Douglas Beachey, Man of the Moment, London; and in Nicholas Craig (solo show), Hampstead, England; appeared in productions at Globe Theatre, London; Leeds Playhouse, Leeds, England; Lyric Theatre, London; Oxford Playhouse, Oxford, England; and Young Vic Theatre, London; also performed at Edinburgh Festival, Edinburgh, Scotland, and Adelaide Festival, Adelaide, Australia.
Major Tours:
Toured as Den Denis, Badnews Live, and with the company of Comic Strip, international cities.
Stage Director:
Directed Neil, Edinburgh, Scotland, and tour of international cities; and Outer Limits, London production and touring production.
Radio Appearances:
Performed as narrator and other voices, Adrian Mole, BBC (England); in Gruesome Tales for Grizzly Kids; as Bilbo Baggins, The Hobbit, BBC Radio 4; in I, an Actor, BBC Radio 4; in Lord of the Rings, Radio 5; and in Nicholas Craig's Acting Masterclass, BBC; also guest on the Griff Rhys–Jones Radio Show.
RECORDINGS
Video Games:
Voices, Discworld II: Mortality Bytes! (also known as Discworld II: Missing Presumed...!? ), 1996.
Voice of zombie, Discworld Noir, Perfect Entertainment, 1999.
Albums:
Recorded two comedy albums.
WRITINGS
Television Episodes:
(With Doug Lucie) "Funseekers," The Comic Strip Presents, Channel 4, 1988.
Also writer for King & Castle, BBC, and Not the Nine O'Clock News.
Television Writing; Other:
Comic Relief (also known as The Utterly Utterly Rude Video Live ), 1986.
Other:
Neil's Book of the Dead, 1983.
I, an Actor, 1987.
A Good Enough Dad, 1992.
Let's Get Divorced, 1994.
Therapy and How to Avoid It, 1996.
Unlike Buddha, 1997.
The Right Man, 1998.
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https://bid.eastbristol.co.uk/past-auctions/sreas10883/lot-details/73a457e3-1319-45b9-a24c-b0d5011bfaad
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en
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ROMUALD THE REINDEER (1996) ARTWORK
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https://www.the-saleroom.com/en-gb/auction-catalogues/east-bristol-auctions/catalogue-id-sreas10883/lot-73a457e3-1319-45b9-a24c-b0d5011bfaad
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Auction Types:
LIVE AUCTION - this means that in-person bidding and viewing will available. Internet bidding will also be possible, as will absentee / commission bids and telephone bids.
LIVE BROADCAST AUCTION - this is an auction broadcast online-only. A live feed with show the auctioneer conducting the sale. Bidding can happen online, and absentee / commission and telephone bidding will be available. In-person bidding will not be available. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
TIMED AUCTION - a timed auction is an online-only auction, with bidders against a clock. When the timer runs down, the highest bidder wins (subject to any reserves). A bid within the last 10 minutes will reset the timer to 10 minutes, allowing bidders fair chance and to combat 'sniping'. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
Conditions of Sale
Auctioneum Ltd (trading as East Bristol Auctions) carries on business with bidders, buyers and all those present in the auction room and online prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. Definitions
In these Conditions:
(a) ‘Auctioneer’or ‘we/us’ means the firm Auctioneum Ltd or its authorised auctioneer, as appropriate;
(b) ‘Hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;
(c) ‘Terms of Consignment’ means the stipulated terms and rates of commission on which Auctioneum Ltd accepts instructions from sellers or their agents;
(d) ‘Total amount due’ means the hammer price in respect of the lot sold together with any premium. Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
(e) ‘sale proceeds’ means the net amount due to the seller, being the hammer price for the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
(f) ‘You’, ‘Your’ etc refers to the buyer as identified in condition 2;
(g) The singular includes the plural and vice versa as appropriate.
Information for buyers
2. Bidding Procedures and the Buyer
(a) Bidders are required to satisfy any security arrangements before entering the auction room to view or bid, and to register their particulars immediately on purchasing their first lot on the day.
(b) The maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer's absolute discretion by re-offering the Lot during the course of the auction or otherwise.
(c) Bidders shall be deemed to act as principals.
(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments
Bidding increments shall be at the auctioneer's sole discretion.
4. The Purchase Price
The buyer shall pay the hammer price together with a premium thereon of 21%+VAT (25.2% total) on the premium at the rate imposed by law.
ARTISTS RE-SALE RIGHT. Buyers of the re-sold art of living artists will be charged the royalty where applicable. Currently this is 4% on any item sold at 1000 Euros or over, diminishing from 50,000 Euros. VAT is not applicable on this charge. Further details can be obtained from artistscollectingsociety.org.
5. Value Added Tax
Valued Added Tax on the hammer price is imposed by law on all items affixed with an asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position)
6. Payment
We accept payment via the telephone and also provide a secure payment portal through our website for your own security. Bidders leaving successful commission bids with us via telephone or email should be aware that payment will be made via this service. Online bidders, whether live or by automated online commission can pay via these services also. We do not accept Credit Card payments over £200 in any instance, we also no longer accept Cheques as a form of payment. From January 1st 2024 we will no longer accept cash payments. Full payment terms can be found on your invoice.
(1) Immediately a Lot is sold you will:
(a) Give to us, if requested, proof of identity, and
(b) Pay to us the total amount due in case or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent whether expressed or implied.
7. Title and Collection of Purchase
Ample opportunity is given for inspection. Each purchaser, by making a bid for a lot, is deemed to have knowledge of all the Conditions of Sale and to have satisfied themselves as to the physical condition and accuracy of the description of the lot, including, but not restricted to, whether the lot is damaged, or has been repaired. No refund shall be granted on any lot for matters arising to condition.
Collection of won lots from our saleroom must take place within 5 workings days of the sale date unless there has been strict and written prior agreement. Please note that we do not have the capacity to store items for customers for more than this period of time without prior agreement. Uncollected items will be subject to storage charges of £5 per lot per day after the 5th working day. By agreeing to bid with us you agree to these terms and we reserve the right to charge for storage at our discretion by use of credit / debit card held on file, or upon collection by customer, or by telephone so as to release to carriers. If storage fees amount in value to more than the value of the lots purchase price and/or the low estimate, we the auctioneer take ownership of the lot(s) to recover the storage fees.
(1) The ownership of any Lots purchased shall not pass on to you until you have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you have purchased and paid for no later than five working days following the day of the auction after which you shall be responsible for any removal, storage and insurance charges.
(3) No purchase can be claimed or removed until it has been paid for.
8. Remedies for Non-Payment or Failure To Collect Purchase
(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we as agent for the seller shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise all or any of the following rights and remedies:
(a) To proceed against you for damages for breach of contract;
(b) To rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;
(d) To remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere, at the cost of £5 per lot per day;
(e) To deduct this cost from any registered credit or debit card submitted for registration at time of bidding
(f) To retain that or any other Lot sold to you until you pay the total amount due;
(g) To reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien on any of your property in our possession for any purpose.
(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions.
9. Third Party Liability
All members of the public on our premises are there at their own risk and must note the layout of the accommodation and security arrangements. Accordingly, neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. Commission Bids
Whilst prospective buyers are strongly advised to attend the auction personally or via an online bidding platform and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any neglect or default in so doing or failing to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of Title And Availability
The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is property authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.
12. Agency
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Descriptions
(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view, inspect and ask for written condition reports before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to the lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition, size or estimated selling price involve matters of opinion. Neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition, size or quality of lots, express, implied or statutory, and hereby excluded. All lots remain sold completely 'as is' - irrespective of any description, and no refund shall be issued on any lot where matters arising to condition are raised.
(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.
(3) Electrical items - any and all electrical items (including, but not limited to, lamps, toys, furniture etc) are sold as decorative 'antique' or 'curio' objects ONLY and must only be used after a qualified electrician / professional has inspected the item for safety. Auctioneum Ltd or its agents are not liable for any injury, damage or loss relating to use of any electrical item. Based upon guidance from Trading Standards, plugs, cables and power leads will be removed prior to sale. No guarantees, warranties or similar are implied nor given on the working ability or electrical safety of any item.
(4) Measurements and Sizes - any measurements or stated sizes should be assumed as 'approximate' where given, and buyers are specifically requested to check sizes match their expectations prior to bidding.
14. Online Bidding
Auctioneum Ltd offer catalogues across multiple online bidding websites. Each of these websites levies a different charge for this service and any prospective bidders are asked to satisfy themselves as to those charges on each specific website.
In completing the bidder registration on www.the-saleroom.com and providing your card details and unless alternative arrangements are agreed with Auctioneum Ltd you:
1. authorise Auctioneum Ltd if they so wish, to charge the card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com or other website, and
2. confirm that you are authorised to provide these card details to Auctioneum Ltd through www.the-saleroom.com (or other website) and agree that Auctioneum Ltd are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.
15. Anti-Money Laundering
Under the regulations set by the Financial Conduct Authority (FCA), Auctioneum Ltd is required to provide appropriate identity evidence for HMRC when transactions take place over £10000. This is to prove that all buyers seeking to purchase high value items from East Bristol Auctions are who they say they are.
Buyers registering to bid via saleroom.com and Auctioneum's own website will register to bid initially by entering an email address ( subject to validating) a current address of residence along with a valid debit or credit card that details will be matched against each other to verify your identity and to protect us from theft and fraud, complying with AML laws. Successful bidders of items over £10,000 using internet bidding will be sent an email after purchase asking for these, which includes details on what kind of documents we can accept. Please note, in some instances, if we are unable to verify your identity as a bidder on items of a value over £10,000, we will possibly not be able to process your bid and it may be cancelled as a result. Once your identity has been verified, we will inform you via email.
Buyers submitting telephone bidding requests and commission bids prior to the auction will also be subject to the above requirements and document requests prior to bidding thus satisfying both East Bristol Auctions and the current regulations for the Money Laundering Act .
Auctioneum Ltd will be required by law to meet current compliance requirements for example, under UK AML (anti-money laundering) HMRC laws, or individual countries customs laws and regulations and disclose this information
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"IT'S A SWEET LIFE"
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By Charleen Touchette
See her new book:
IT STOPS WITH ME
MEMOIR OF A CANUCK GIRL
by CHARLEEN TOUCHETTE
June 2004
Touch Art Books, Santa Fe
also, hear an online interview with the author/artist at University of Colorado, "What Follows"
When did it begin? It was not the moment when my first screaming breath echoed in the slick tiled delivery room unheard by both my mother and father that began the saga of my life. Nor was it the touching moment when my nineteen-year old mother awoke from an ether-induced fog in Woonsocket Hospital to gaze lovingly into the wide eyes of her newborn baby girl.
No, the destiny that would be mine was rooted far deeper in the past. It was rooted in my parents', grandparents', and great-grandparents' experiences. It was rooted in a culture and a community rapidly changing and dying right before the childish eyes I opened to the world. It was rooted in a history of oppression and suppression, a mixed heritage that held both good and bad starkly contrasted side by side. With my coal black eyes, Indian hair, French language, and woman centered culture I also inherited a legacy of dysfunction, alcoholism, and abuse.
When did it begin? How did love and cruelty become so inextricably entwined, so connected they were like right and left hands or even right and left sides of the same face? How did cruelty become such a natural part of the family that love was used as the excuse to hide it? How did loyalty become defined as refusing to tell? It would be so easy to say it started with my father's drinking, but that would be too simplistic. The roots go far deeper.
Was it when my mother opted to exchange the cruelty of poverty for that of my father's drunken rages bartering our child's souls for the gilded cage of a suburban tract house? Was it when her mother, Mimi, encouraged her to marry the tall handsome up and coming dentist ignoring all the warning signs of his violent temper? Or was it even earlier when Mimi, desperate for a better life for Colleen than her own as a millworker's wife, painted her fresh and lovely daughter's thirteen-year old face and entertained her suitors?
More likely it was when my dad's mother, Mémère Louisia, was overwhelmed by childbirth and never quite recovered, leaving my father emotionally abandoned and unable to bond. A crazy cold lady, she never held or hugged my dad his entire life. It could also go back to Pépère Touchette, his dad. He was a kind and gentle loving grandfather to my sisters and I, but my dad always seemed afraid of him. Perhaps when Pépère was a young powerful man looming six foot three inches and nearly three hundred pounds of solid muscle, he lost his temper with his odd only son and exploded with rage. Maybe his fist crashed down on Little Archie's scrawny body the way Archie would release his rage on my tiny frame decades later.
No, that is highly unlikely because my Pépère was the most loving, tender man I ever knew ó he truly was a gentle giant. More likely, it was crazy Mémère's bony fist that battered Archie's skinny form. Mémère Louisia was nervous to the point of pathology. She was always on some kind of medication for her "nerves". Maybe she had a bad reaction to the many different types of pills she popped, or the bottle of red wine she drank alone in the dark every day. Maybe she lost her temper, and turned her rage upon her only son relentlessly without cause or warning.
Or it may have been something else, something even darker, and more sinister. I think the roots probably go even deeper, further back. Chances are it could go back to my father being sent away to boarding school when he was barely twelve years old alone and left to the mercy of the brutal brothers. Perhaps my dad's vehemence against sending children away to school was rooted in some horrible memory of his experiences at Assumption with the brothers or the upper classmen who persecuted and teased the gawky boy.
Or maybe it goes back even further to my paternal great-grandparents, Mémère and Pépère Touchette. They immigrated to America for a better life. Despite their struggles, my Pépère, Archie Joseph, was born in a dark damp cell in one of the grim stone tenements housing the millworkers that lined the swift river in North Grosvendale, a dirt-poor French Canadian mill town in the northeast corner of Connecticut. Pépère, his sisters, and cousins all had to work from the time they were little children alongside their adult relatives in dank noisy mills where they breathed wool fiber day in and day out. They often woke up coughing wool and blood in the icy mornings as they left for work before dawn. Desperate to escape the dead end drudgery of a millworker's life, Pépère seized the opportunity to apprentice with a plumber at seven years old for a meager seven dollars a week. Despite the dreary monotony of their oppressive lives, my North Grosvendale relatives refused to lose hope. They struggled, suffered, scrimped, and saved hoping that their children and grandchildren would not have to suffer and work so very hard for so very little.
Certainly, it must be traced back on my mother's side as well. Perhaps to Mimi's father, Alphonse Lavallee, the philandering barber surgeon who sexually molested his daughters and some of his grand and great granddaughters until Mémère Philomêne finally left him and showed up on my grandmother's doorstep one day with her suitcase in hand.
Chances are it goes back even further than that to Philomêne's mother, Mémère Philomêne Lambert who married Pépère Antoine Hébert and struggled with him to till the rocky nutrient depleted New England soil to feed their large family. When she became blind and died in 1914, my grandmother was only ten years old. Or even further back to David Lambert's Trading Post situated among the Kainah , the Blood Nation, in the shadow of the craggy Canadian Rockies on a bluff overlooking the Kootenay River. And to Pépère Lambert and his Pied Noir Indian wife who packed up her belongings on a travois and tearfully left her tribe to follow her Frenchman to the East.
It could also go back to the Indian ancestry of Pépère Touchette's family who emigrated from Canada to toil in the mills of North Grosvendale. They inherited all the physical attributes of their Indian blood along with debilitating blinding diabetes, and the insidious predilection for alcoholism, but through cultural genocide lost the direct ties to their tribal heritage. I may never know for sure whether they were descended from the Mohawk, or other Six Nations tribes of the Iroquois Confederacy from Montréal and New York State, or the Ojibwe from the Northern Woodlands, or the Abenaki of Québec, or even the Micmacs of Acadia, or perhaps the Pequot and Nipmuc who were indigenous to the land they lived on in northeastern Connecticut. Still, some of their blood runs in my veins and has in part made me who I am.
And it must go back to the generations of mixed blood immigrants who left hunger and persecution in French Canada and trudged down into New England to find work in the dangerous mills in the early 1800s. They had tired of the unbearable religious, economic, and cultural discrimination imposed upon them in Québec Province. They sought a country where they could speak their beloved language freely and raise their children with their religion and culture without suffering subjugation.
Or maybe it goes even further back to the explorers, horse traders, and trappers ó the rugged adventurers who trudged and portaged the uncharted forests, rivers, and woodland lakes trapping and trading with the Abenaki, Mohawk, Iroquois, Ojibwe, Lakota, Cree, and Blackfeet people who inhabited this ancient land. These voyageurs met and married for love, seduced, or raped the Indian women who bore their children. Sojourning in tiny towns throughout French Canada along the Rivière Saint-Laurent, they married and birthed their babies in places with mysterious names like Yamaska, Sorel, St. Robert, St. Damase, and St. Hyacinthe.
Perhaps it can be traced to young Martin Aucouin who left Cougnes in France and braved the cross-Atlantic voyage to settle in Port Royal in Acadia, the home of the legendary Evangeline immortalized in Longfellow's epic poem. And to the five generations of Aucoins who strove to create a peaceful life in Nova Scotia in little Acadian towns with poetic names like Cobequid, Grand Pré, and St.Charles aux Mines until the Expulsion of 1755.
And it could be connected to the tragedy of my Acadian ancestors who refused to deny their heritage and were forced to leave behind their homes, cherished belongings, and mementos - the irreplaceable physical traces of our family history lost to their descendants forever. And to the homeless families who were scattered throughout the British colonies unwanted and despised wherever they were deposited. And to the wretched refugees who were left without a home or country seeking justice and compassion on both sides of the Atlantic - but finding it nowhere.
Or maybe it is rooted even further back to the starving ancestors in Haute-Pyrénees, Anjou, Poitou, Champagne, and Bretagne who tired of trying to pull nourishment from that land and took their chances sailing to New France. They sailed on ships over the treacherous stormy Atlantic seas, seeking cultural and religious freedom, adventure, and economic opportunity.
And always it goes back to the women struggling to put food in the stomachs of their many, many children, to keep warm clothes on their backs and shoes on their growing feet. And to the men, the Pères, who labored incessantly with no relief to bring some meager nourishment to their large families. And to the Pépères, the grandfathers, who broke their backs tilling the infertile lands they tried to settle, trapping and hunting in the unexplored wilderness of the Canadian forests. Or to the ones who drowned or caught pneumonia pulling Atlantic salmon, cod, Arctic char, and haddock from the frigid maritime province seas. And to the Pépères, who hunted seals, froze to death on ice floes, or were lost at sea in Atlantic storms on fishing boats like "The Fairy Queen. Or to the Pépères who laid lobster traps, pulling their snapping captives from the frozen North Atlantic for their factories at Wolf Cove and LaDique. Or to the Pépère who built a flourmill above the Platin River, or to the cousin who raised minks in the piercing solitude of the towering pines of Québec province's deep forests. And especially to the fathers who were so downtrodden by political oppression and poverty that every vestige of their self-esteem was destroyed. Feeling powerless, emasculated and beleaguered by the wailing of too many hungry mouths to feed they tried to dull their anguish with alcohol and gambling but often ended up venting their frustrations by abusing their wives and children. And ultimately, it always goes back to the Catholic Church that gave them all solace even as it created, supported, and benefited from the deplorable conditions that oppressed them.
Patterns - patterns of oppression and reacting to oppression and internalizing oppression until men are drinking, raging, and beating their women and children to forget the humiliation of their lives and women are manipulating and sacrificing their children to have some semblance of control over theirs. This is my complex legacy.
How did it get to the point where men and women are at war, and their children are the swords they wield against each other? I don't know, but I do know it's not just about my family and my ancestry. I don't know when it started but I do know where it is ending. It is stopping right here with me. I know I was not the first girl to be abused in my family. But I will be the first to say, "No more! It stops here!" I will remember and I will heal. I will release it from my life and through my healing, all the woman of my lineage will be healed too.
My Complex Legacy
The women of my lineage connect me to five hundred years and twenty generations of French Canadian culture in North America, countless centuries and lifetimes of Indian wanderings on this continent, and innumerable ages of peasant life in France. My ancestors, who faced challenges, overcame adversity, or became crushed by oppression, endowed me with a complex challenging legacy. It is impossible to discern whether the violent character of my inheritance goes back through all my genetic lines or perhaps to just one or two whom history battered especially relentlessly.
What matters is that along with a legacy of dysfunction, I was also blessed with the gift of the rich cultural traditions of all my ancestors ó French, Blood, Eastern Woodland Indian, and Acadian. Each had a strong tradition of survival against seemingly insurmountable odds. Though rife with struggle, each strand of my peoples' history was also a tradition of fortitude, which endowed me with the tools to be a tenacious survivor. The blood of all my ancestors runs in my veins - genes from each one spin in the double helix of my DNA. My birthright is a diverse cultural heritage that made me who I am and determined the fate into which I was born, but also gave me the necessary skills to prevail.
My forebears journeyed to Canada from nearly every province of France. On my mother's side, the Lavallees originated in the
third century, B.C. in Armorica in ancient Brittany and the Héberts issued from Provence in the south of France in ancient times. The Lamberts came from Dauphiné in the Rhone Valley in the picturesque Alps of southeastern France. On my father's side, the Touchettes were anciently seated at Notre Dame du Touchet near Mortaine in the coastal province of Normandy. The young captivating daughter of the magistrate of Orléans, Marie Touchet was the favorite courtesan of King Charles IX in the sixteenth century. The Aucoins first originated in the province of Anjou, the region of the Hautes-Pyrénées, the mountains that separate France from Spain's Iberian Peninsula, and were later awarded lands in St. Croix in the province of Burgundy.
Our ancestry can be traced to Pierre Aucoin's ancestors who were originally from the parish of Cougnes, Charente-Maritime near the Port of LaRochelle in France. And to Pépère Nicholas Sylvestre, Mémère Touchette's maternal ancestor, who was born in Pont-sur-Seine in Champagne in the northeastern part of France, and traveled to Sorel, Québec where he was overjoyed to see his son, Nicolas born a Canadian in 1644. My Aucoin, Hébert, Lavallee, and Lambert ancestors were among the three hundred "picked men" and engaged bachelors" from Brittany who were recruited by order of Cardinal Richelieu in the 1600's to settle Acadia because of their reputation as strong, hard-working, religious people.
Historically, our communal heritage goes back to the explorer, Jacques Cartier who made his first of three voyages claiming eastern Canada for Francoise I er, Roi de France in 1534. And to the voyageur, Samuel de Champlain who first explored the St. Laurent seaway in 1603, made twenty crossings to bring settlers to Lower Canada, founded Québec in 1608, and served as the first governor of French Canada. And to Louis Hébert, the Parisian apothecary, who sailed with de Champlain and was the first true migrant to New France with his family when he arrived in 1617. And to the fifteen thousand commoners and nobles captivated by the fur trade who left Montréal in the late seventeenth and eighteenth centuries to explore the Canadian wilderness. These Voyageurs learned the native languages and shared their own, giving French names to the waterways and mountains they "discovered" for the French king. Intermarrying with native women, they became a new people ó Métis ó half-breeds, who created their own culture incorporating elaborate French swirling patterns into Native beadwork on exquisite Bandolier bags, hand-tanned buckskins, and sewing warm wool hooded Capote coats made from prized Hudson Bay and Pendleton trade blankets. And our story is fundamentally linked to the arrogance and destructive force of the Jesuits and Catholic missionaries who began their forays into the Canadian wilderness at the very beginning of the seventeenth century changing everything forever for its indigenous people.
Although merely an unrecorded footnote in the bigger history of the meeting of French and indigenous people, my lineage can not be complete without considering the intimate personal moment when my Pépère Lambert met his Pied Noir beauty and convinced her to be the mother of his children. Her Indian name is lost to us, but Pépère christened her, Suzanne. Through her, I am linked to her mother and grandmothers who foraged and cared for children and valiant horse stealing husbands while they set up and broke camp season after season, year after year, in their strenuous nomadic life following the buffalo across the Northern Plains. And back through time from daughter to mother to grandmother in an unbroken line of mothers who faced the same struggles birthing, nurturing, and protecting their children through centuries of wanderings. They began on foot by the woodland lakes and steadily migrated west until they reached the vast plains at the foot of the Rocky Mountains during the "dog days" when they had only dogs for moving camp. Once on the plains, they hunted the sacred buffalo on foot by creating corrals from the women's travois poles then driving them into the traps. Grouping en masse shouting men, women, and children rushed the stampeding herds into the funnel shaped chutes, warriors slew them with lances, and the women butchered the huge beasts reserving the prized liver for their favorites. When Spanish explorers brought Arabian horses to the New World, they acquired swift steeds the men rode to hunt buffalo and become the fiercest raiders of the Northern Plains. The mothers and grandmothers were relieved to finally have powerful pack animals to lug their heavy tipis and provisions.
Certainly the sorrowful part of my legacy goes back especially to those women of the Blackfeet Confederacy who were kidnapped and raped stolen far from their territory as spoils of war in the continual battles against the Cree, Flathead, and Crow. And to those taken as prisoners of war who were traded into slavery to warriors from other tribes or to the French Voyageurs. Or to the wives whose dignified faces were mutilated when their husbands cut off their noses to punish infidelity. And it can be traced to the pitiful mourning of the clan mothers and grandmothers who wept and keened cutting their hair and slashing their flesh and clothes repeatedly throughout 1819, when the "Coughing Epidemic" killed a third of my Blackfeet ancestors. And to their daughters who mourned inconsolably in 1837 when smallpox brought in by the whites with infected trade goods wiped out two-thirds of the people as well as any hope of retaining their territory and resisting Western Expansion.
But it is also connected to those proud women who helped create a society where a woman could divorce an abusive husband simply by removing his belongings and placing them outside of her tipi. And especially to those virtuous holy women who fulfilled their vows to put up the Medicine Lodge for the Sun Dance Ceremony. And of course, to the caretakers of the ancient Beaver Bundle and the Beaver Men entrusted to carry out its ceremonies, and the grandmothers who danced the sacred Beaver Bundle Dance. And to those who gathered sweetgrass and sage on the endless plains for the ceremonies and trudged deep into the steep mountain forests to find flat cedar and herbal medicines. And it goes back to the powerful spiritual leaders of the Motokiks Women's Society who erected their unusual Medicine Lodge the third night of making camp. And especially to the Snake members of that Matoki, and of course to the Pipe Lighters who take the smoking pipes to the lodge fire and light them for the People. And perhaps it is linked spiritually to Snake People Woman who solemnly wore the horned headdress of the Scabby Bull. And to the humble ones who took on the grave responsibility of caring for the Medicine Pipe Bundles and their painted tipis. And ultimately to the brave girl who married Thunder and patiently learned the songs and ceremonies of the Pipe he gave to her as a gift to the People. And certainly, to those visionaries among my people who dreamed the form and shape of the Medicine Pipe Bundles. And to those who heard new songs for the Pipes on the wind or in their dreams. And even to those animals who offered their skins and medicine songs to be remembered in the ceremonies. And ultimately everything goes back to Oki, the Creator ó Old Man who together with Old Woman made the people from lumps of clay, determined how they would live, and taught them what they needed to know to survive. To Oki, who decided that they would not live forever so they would learn compassion for one another.
I am also descended from the settler Martin Aucouin and five generations of peace-loving Acadians. My lineage is tied to these industrious, deeply religious, pastoral people who were much like the Amish. And to the Pépères and Mémères living together in self-sufficient communities, who fished, trapped, and cultivated their fields communally sharing equally the fruits of their work. They toiled to reclaim the marshlands for farming and became experts at building and repairing dykes. Although only a few knew how to read or write, all were well practiced in living cooperatively and in peace. Their poverty did not embitter them. They welcomed the orphans into their modest but clean homes and provided dignified care for the needy and elderly. Records show that for many years, their communities were free from crime, theft, debauchery, and illegitimacy. A profoundly moral people, they abided in a simple state of innocence and equality totally opposed to acts of war or violence.
So naturally, to understand, I must also remember my gentle Acadian ancestors and that fateful day, September 5, 1755 when they were ordered to congregate at the Catholic Church at Grand Pré at exactly three o'clock in the afternoon. Huge transport ships were moored ominously in the harbor. British soldiers surrounded the church to prevent escape. Those who refused to take an oath of allegiance to England were herded onto the waiting transport ships with bayonets at their backs and deported immediately ó permanently banished from their beloved L'Acadie.
I am descended from the Pépères and Mémères who stood helplessly as the British deliberately separated families; tore children away from their mothers, wives from their husbands, grandparents from their many grandchildren, and brothers and sisters from their siblings, and took them away forever from each other and their tranquil homeland. And to those whose eyes stung with bitter tears when they saw the glow of the flames and great billows of black smoke rising from their church, mills, and hundreds of homes and barns burning to the ground on the receding shore as they reluctantly sailed out of the sheltered harbor.
My ancestry goes directly back to Pépère Pierre Aucoin who fortunately was among the two thousand Acadians who escaped into the woods. He survived by hiding in the brush by day starving on what little he could forage in the Canadian forest in late September. Pursued doggedly by the soldiers who hunted the fugitive Acadians like animals, he fled. Pépère traveled swiftly, bushwhacking through the dark forest at night until, his clothes in tatters about him barely concealing his nakedness, and his feet frostbit and bleeding, he finally found refuge at the village of St. Pierre Les Becquets in Quebéc. But I am also linked to the so many unlucky Acadians whose genetic lines and family names were terminated forever as they expired alone in the frozen forests leaving no children of their own to tell their sad story.
And I am tied to the broken hearted ones, who cringed when British soldiers marched throughout the Maritime Provinces for nearly a decade after the Expulsion of 1755. They watched powerless while the army imposed the loyalty oath brandishing saber tipped rifles to brutally confiscate lands, animals, property, and businesses from the Acadians who remained loyal to France. To those who stayed behind hidden in the deep forests protected by their Indian friends. And to those secreted ones who watched heartbroken while everything that was left behind was burned by the soldiers or greedily stolen by British settlers. They stood by impotent, forced to witness while their enemies plowed the land they had painstakingly cleared of boulders, harvested the fields they had reclaimed from marshland, left the dykes they had strenuously maintained crumble into ruin, pulled the nets they had made in from the abundant sea, and slept in the beds where they had conceived and pushed out their babies.
My heritage is also connected to the ones who were shipped back to exile in France, unwelcome and shunned in their motherland as well as abandoned and betrayed repeatedly by the French government. And to the countless cousins like Ann Aucoin who drowned when the unsafe overloaded ships sunk with their wretched cargo. To those tragic souls whose dreams of returning to freedom in their cherished L'Acadie were destined never to be fulfilled. And to Ann's husband, Pierre Henry who died of a broken heart in St. Malo, France after his truelove perished at sea and his hopes for a better life in Canada were destroyed by the forced exile.
I am also tied to the even unluckier cousins who were sold into slavery in the West Indies. And to the ones who died in the unbearable heat of Santo Domingo where they emigrated after the colony of New York refused to welcome them. And to the one hundred and thirty-eight who left exile in France only to perish in the tropical inferno of the failed Acadian colony of French Guiana on the northeast coast of South America. And to the ones who fled slavery in the Deep South with the blacks on sugar and cotton plantations in Georgia.
And I am connected to the two hundred and thirty seven Acadians who died of smallpox when they sat captive aboard transport vessels for three months in Philadelphia's harbor who have no descendants to tell their story. When the so-called "City of Brotherly Love" refused admittance to the seven hundred and fifty-four émigrés who had been exiled to Pennsylvania by the cruel Governor Lawrence, nearly a third of them perished. And my history is tied to those brave ones who were taken as prisoners of war to England and held in concentration camps in port cities like Liverpool. And to the more than two thousand Acadians who were deported to Massachusetts and labored under the harsh treatment of the Bostonians who treated them like slaves. And to the sixty brave families who left Boston and marched the eighteen hundred-mile journey back to Acadia on foot ó pregnant women, children, and all. And to those few broken souls who survived the grueling trek home, only to be forced to continue wandering like ghosts of a quickly fading past from village to village ó finding refuge in none.
My lineage can also be traced to the lucky ones who were taken to Connecticut, the only British colony where the Acadians were treated charitably. And to the ones who were transported directly or who later escaped exile with just the tattered clothes on their backs to settle in parishes like Lafayette and Opelousas in the fertile bayous of the Spanish colony of Louisiana where they were welcomed and aided by the Acadian commissioner. Though the Spanish began their naturalization by Hispanicizing their names, Louisiana was one of the only places where the Acadians were treated humanely, given freedom, and their choice of lands. They thrived in communities like Lafourche, St. Landry, and St. Martinville where they came to be known as Cajuns. My lineage can be directly traced to those cousins who sailed on some of the seven ships carrying Acadians back to the States, like LeBon Papa with Francoise Aucoin tightening sails and swabbing decks as a seaman. And it is also connected to the Aucoin, Touchette, Lavallée, Lambert, and Hébert cousins who were carried from exile in France to Louisiana to rebuild lives that had been shattered by their exodus from Acadia. And to their numerous descendants whose names now clutter the phonebooks of Lafayette and other Louisiana towns.
But understanding my heritage would not be complete without also considering my Woodland Indian ancestors' contribution to my gene pool. The genes my voyageur Pépères' Indian wives passed down had no defense against the smallpox, influenza, diabetes, and alcoholism that decimated indigenous people after the arrival of the Europeans, and we inherited these problems. But we also benefited from the priceless positive aspects of their genetic legacy that was also handed down to their descendants. Their distinctive facial structure is echoed in my children's' faces, as in mine. And their legendary fierceness in battle is reborn in my son Sage's fearlessness as a wrestler. My father, son Jacques, and I all wear the classic hawk-like nose upon our faces just as my grandfather and father did before us. Although the trail linking us to our woodland ancestors has been blurred and nearly erased by cultural genocide, who we are and who we would become is also determined by these indigenous ancestors who etched their legacy onto our genes.
So, my lineage may also be traced back to the Abenaki and Six Nations of the Iroquois Confederacy whose matrilineal structure and Council of Clan Mothers selected the chiefs and kept them accountable to the tribe. And to the clan mothers who raised strong capable girls and taught them to make every decision guided by the wisdom of the previous seven generations always considering the impact it would have upon the next seven generations into the future. And to the families who were entrusted with caring for and feeding the False Face and Corn Husk entities. And to the shamans who danced and sung their complex ceremonies bringing the world into harmony for healing; ensuring the return of spring, the success of the harvest, and the proper sequence of the seasons. And to the mothers and grandmothers who cultivated the fields, carefully planting the Three Sisters together as their ancestors had taught them so the bean's vine would wind itself around the sturdy corn stalks and the broad squash leafs would shade the roots. And to the women who tanned deerskin and fashioned moccasins so their men could move noiselessly through the forests and return home safely to the longhouses. And perhaps even to the Ojibwe who made birch bark canoes paddling silently throughout the woodland's lakes and rivers braving mythical creatures to bring huge lake trout and sturgeon home to their wickiups. And naturally, it is linked to the fierce warriors who allied with the French and unsuccessfully fought the French Indian Wars from the late 1600's until 1763 to try to expel the British invaders from their ancestral lands. But it is also tied to the healers who gathered medicinal herbs in the forests and the beadworkers who beaded the secrets of the plants into decorative patterns to teach their daughters and granddaughters herbal medicine.
On my mother's side, my ancestry is linked to Mimi's grandfather, Antoine Hébert who married the mixed blood beauty, Philomêne Lambert. He was a trader and salesman who traveled all over Canada and New England with his rickety weathered wagon buying the remnants of farmers' harvests and selling them on his next stops down the dusty rutted post road. Pépère Hébert's stock changed constantly depending upon the season, the produce of the area he passed through, and the laws of supply and demand. Late summer might find his cart filled with pints of wild blueberries, blackberries, and summer vegetables. In the fall, Mohawk black ash splint bushel baskets overflowing with golden Maine potatoes, multicolored gourds, and the Three Sisters ó corn, squash, and beans from the harvest would be crammed between crates of crisp Mac Intosh apples and crockery jugs of pure maple syrup tapped when the sap in the trees began running. When Pépère Hébert passed near the coast, scarlet lobsters with snapping claws, succulent velvet crabs, hard gray oysters, scallops, littleneck clams, and translucent shrimp packed on huge slabs of ice and piles of briny seaweed became the ingredients for a New England style clambake for lucky families farther down the line. In winter, the wagon might be piled high with stacks of velvety Indian tanned deerskins, beaver pelts, and other hides. Fresh greens, chicken and quail eggs, newborn lambs, and wild asparagus shoots would replace them in the early spring. Moving from town to town and one homestead to another, Pépère would sell the overflowing contents of his cart as he made his way from Canada down through New England. But there must have been too many times when the rains, or snows, or pestilence destroyed the harvest and left no surplus from the farmers leaving his buckboard and belly empty. He must have tired of the blizzards that nearly froze him solid as he coaxed his half-starved horse to drag the wagon through the biting snow during interminable New England winters. Eventually, he settled in Woonsocket with Philomêne to make an attempt at farming.
On my father's side my lineage goes back to Mémère Touchette's father, Pierre Aucoin, who was born in Ste. Victoire in the Notre Dame Mountains of Eastern Canada south of Quebéc City. He and his hearty wife, Delima "Sylime" Sylvestre, traveled throughout Quebéc Province where their first eight children were born. They continued journeying through all the New England states, then trekked all the way down south to Louisiana where they spent time with extended family in Lafayette, returned to Québec for a while, then moved south again to Natick, Rhode Island where my Mémère Louisia was born. Eventually, the hardy travelers settled in North Grosvendale, Connecticut where Pierre and Sylime raised their fourteen children in a big white house with black shutters, a wide wrap around porch and steeply gabled roof on a homestead where extensive Indian stone ruins were excavated.
And to Pépère Gustave and Mémère Caesarie Touchette who also emigrated to North Grosvendale to find work in the mills. Their Indian ancestry made them highly susceptible to diabetes and they lived and died painfully because of the disease. Mémère lost her eyesight and passed on the life-threatening disease to my Pépère whose wounds on his legs from his hard labor as a plumber would never heal. Genetically, they didn't have the ability to assimilate the sugar, nor to process the alcohol ó so it wreaked havoc on their systems.
My lineage became rooted in Woonsocket when Antoine and Philomêne Hébert settled there to farm. Their daughter, my maternal great-grandmother Philomêne was born on their homestead in 1875. She carried on their legacy of farming but after marrying Alphonse Basil Lavallee, she cultivated a crop of sorrow along with her haricots verts. A sturdy farm woman who endured her faithless husband pampering an endless string of mistresses, she finally fainted collapsing to the pine planked kitchen floor when the doctor came to tell her that yet another of her children had contracted tuberculosis. "Non, pas Florence, mon coueur!" she gasped overcome with grief. Just two and a half years before in the early 1930s, Mémère Philomêne had buried three children in eighteen months, two - Raymond and Loretta ó from the virulent contagious TB. The third, her charming artistic son Frank was working in the mill for his brother-in-law, my grandfather Romuald, when his hand was crushed in the frames. The doctors at Woonsocket Hospital performed surgery to amputate his hand under general anesthesia without knowing he had eaten a hearty noontime dinner and he expired on the operating table after aspirating food into his lungs. He was barely twenty.
My mother's oldest sister, Gértrude was only five years old when the first death occurred. She remembers the subsequent year and a half with sorrow. In a bittersweet way, she loved the chance to play with her many cousins at the wakes in her Mémère's farmhouse until she fell asleep amid a pile of babies corralled by stacks of winter coats strewn on the beds. The grown-up's grief while they sat with the dead young people in the front room distracted them, and gave her more freedom to explore. But then she would remember mon oncle Frank's smiling face when he used to take out his sketchbook to surprise her with a quick sketch of her face or of one of the dogs her grandparents boarded on the farm ó and she missed him. Or she would smell the toast daughty cooking in the kitchen and recall how her nineteen-year old ma tante Loretta had let her pour the most fresh-tapped maple syrup on her breakfast. Or one of the uncle's cologne would remind her of how mon oncle Oscar smelled when he used to raise her high above his head and pretend to drop her while she squealed in delight. Mon oncle Oscar was only twenty-seven when he died and had just married. Everyone had been so happy dancing at the fait dos dos at his wedding. Though the family was gathered together again, even little Gértrude could tell that this reunion was different from the joyous one celebrating mon oncle Oscar's marriage. Still, she couldn't understand why the adults said she could never see her uncles and aunt again. Then suddenly, the sharp gesture of a Mémère shushing her or the image of the ma tantes holding each other and sobbing in a huddle would shock her into remembering why they were all there ó and fresh tears would stain her little cheeks.
Three times, little ma tante Gert cringed when she saw the huge ominous black satin crêpe hanging on the front door of her Mémère's house signifying a family in mourning. Three times, Mémère Philomêne waked a child in the same farmhouse where she had birthed them. Three times during that interminable year and a half, the family stayed up all night sitting in the front parlor with the bodies of their children whose young lives were cut so short so tragically before their times. Three times, the Mémères and Pépères, the ma tantes and mon oncles, and the nieces and nephews gathered around Mémère Philomêne's hunched sobbing form. Three times, they rocked her in their arms trying vainly to comfort her knowing there was nothing they could ever say or do to soothe the pain of a mother losing three of her barely grown children.
Though the other mothers busied themselves bringing her mugs of warm milk, bowls of thick pea soup, and flaky pieces of pie, though they lent their bosoms and handkerchiefs to her tears ó they knew they could never ease her suffering. As they bustled around the kitchen feeding the men and looking after the many grandchildren running around preciously joyous despite the occasion, they felt the depth of her grief. They knew that as she wailed, she was thinking of each detail of her baby's birth, his first step, the way he ran into the house beaming with a bunch of daisies crammed into his muddy fist, and how grown-up he looked in his first suit. As they watched her keen, they knew she was thinking of sweet Loretta's little mouth taking suck and all the years they shared until Loretta was old enough to paint her bow-shaped mouth, and to carry her mother's stories and grandchildren into the future ó but still way too young to die. Swaying back and forth with a hole in her heart, Mémère Philomêne was mourning not only her dead children, but also the cherubic grandchildren they would never bring to her knee. The ma tantes drew their own children closer to them hugging them so tightly that they squirmed and ran away confused. The immensity of Mémère's loss made their own greatest fears concrete ó and they knew there was no bottom to her pain.
When Mémère Philomêne heard the news about my grandmother's T.B., her youngest, preteen Oscar was already at Wallum Lake Sanatorium where he would be confined for four long years while battling the deadly lung disease. Hearing about my grandmother's illness was too much for the normally formidable Philomêne. She could not bear to lose her special daughter to this debilitating disease intent on decimating her family against which their Indian blood seemed to have no defense. Still, she stoically held back her tears as they drove Florence to the sanatorium where she stayed for an entire year at the beginning of my mother's life to take the cure while sitting outside in a wheelchair bundled up in blankets against the frigid winds. Florence's speedy recovery was phenomenal. It was unheard of for anyone to be released from the sanatorium after just one year, but the devoted mother was determined to get well to return home to her three little children, especially baby Colleen who the disease had forced her to abandon when she was just seventeen months old. So, Florence left the sanatorium despite the doctors' warnings predicting early death ringing in her ears. For ten years, the entire family would accompany her to Wallum Lake every Saturday where the doctors would insert a foot long needle into her back to collapse her damaged left lung. Despite their dire prognosis, Mimi lived to be nearly a hundred. She was a tall stately French speaking woman who was proud of her classic Indian beauty and of the ancestry that gave her striking high cheekbones and jet-black hair. Descended from people of substance, she walked with pride grounded by her complex family history that became my rich legacy. Though she lived the simple life of a homemaker, Mimi was not an ordinary woman. Her grace, compassion, and beauty were legendary in the Woonsocket of my birth.
Woonsocket - "Place of Many Falls"
When I was born, Woonsocket was still one of the strongest and most intact strongholds of Franco American culture in the United States. Like many textile mill towns in New England, it was a magnet for desperately poor culturally oppressed French Canadians who fled Québec Province beginning in the 1830's. They came in waves. Hundreds of thousands of destitute immigrants flooded over the border searching for cultural and religious freedom. They came with their many children; ten to twenty in each family bundled up in threadbare homespun clothes that were scant protection against the Canadian Arctic winds. They came with hungry children and they came with hope ó hope that going to America would bring a better life for their children.
They came to Woonsocket ó located in the heart of the Blackstone River Valley - the birthplace of the American Industrial Revolution. These heroic men, women, and children fueled that revolution with their backbreaking toil in the unsafe textile mills for pennies a day. When they arrived they were exploited and oppressed by the Anglo Saxon mill owners who lived in mansions on the North End while their workers tried to subsist in squalid tenements that were barely inhabitable firetraps.
Despite the hardships they endured, the three pillars of our culture, "Foi, Langue et Famille" (Faith, Language and Family), kept our community intact and relatively untouched by mainstream America until the advent of radio, and later, television brought the world into everyone's homes changing everything inexorably. "Foi" was Catholicism, the faith our ancestors brought from France, or learned from the Jesuit missionaries, and practiced in French Canada. My ancestors were Roman Catholics and looked to the Pope in Rome as the ultimate authority of their beloved Mother Church. Any other faith was unthinkable. "Langue" was French, either Québecois, with its peculiar accents frozen in the style of the days when the ancestors began leaving France in the early 1600's, or Parisian, with its modulated refined accents learned from the French nuns at École Jesus Marie. Everyone was proficient in their first language and had mixed feelings when their children returned from school in the thirties and forties with English as their second language. Though the families stressed speaking French and tried to keep our native tongue alive, slowly the primary language of their adopted country became dominant ó even in Woonsocket. "Famille" ó were the large extended Catholic families, so large they became clans with grandparents living surrounded by their numerous children, grandchildren, and great grandchildren within a radius of a few blocks or miles. These three tenets kept French Canadian culture strong and it thrived virtually intact until the mid 1950s when mass media and economic depression relentlessly unraveled its seamless fabric.
When I left home and would tell people I was from Rhode Island, they would say, "Oh that is a beautiful state!" I would laugh, "Well you obviously have not been to Woonsocket! Woonsocket, (pronounced "Woooooon soc két" by the natives), is a small industrial city in the very northeasternmost corner of Rhode Island. It is totally different from the quaint re-gentrified city portrayed on the new hit television show, "Providence", and a world away from the mansions of Newport, and white sand beaches of Narragansett that form most people's impression of Rhode Island. Woonsocket ó it is thought that the name came from two Indian words, "Woone", meaning Thunder, and "Suckete", meaning Mist referring to the majestic Woonsocket Falls. Woonsocket ó some historians think it derives from another Indian word meaning "Place of Steep Descent", but when I was little, I was told that the Indians called it "place of many falls" ó and it certainly is all of that. Woonsocket ó it probably was beautiful then when Indians hunted along the steep banks of the wide Blackstone River that flowed through rolling hills thickly forested with maples, massive oak, and weeping beech trees teeming with white-tailed deer, black bear, bobcats, and wild turkey.
But by the time I was playing in the forests bordering the river in the mid-sixties, the Blackstone was totally polluted with chemicals and solvents from the textile mills upstream. Giant rats the size of cats were the only wildlife visible on the river's shores. The mills spewed toxins directly into the river that contaminated our water supply as it wound past our neighborhood. These toxins grew my baby sister's cancer that would show up when she was eighteen as a tumor on her thyroid. Nearly every house on Clark Road would eventually have a cancer patient in the family. The victims were men and women of all ages from Mrs. Dextrase across the street who died riddled with breast cancer to little John, the Hopkins' precious only son at the top of the street who contracted Hodgkin's lymphoma when he was just a boy. When I begged my parents to investigate the water system to find the source of the extremely high cancer rate on their street, they refused. My father whined, "It's God's will. It's already been written, "Shaaleen Gail". There is nothing we can do". Their meek acceptance of fate revealed the insidious side of my ancestors' faith. Their obedience to the Church extended to most other authority figures making them resigned to their fate ó powerless to confront injustice and rectify the situation.
Though poisoned, the Blackstone River was still the economic and physical lifeline of our community. Running along its eastern shore, Mendon Road was the old Indian trail that became the main artery between our house in the insignificant suburb of Cumberland Hill and our school, work, families, and community in Woonsocket. There was nothing for a young girl to do on the short stretch of Mendon Road that was Cumberland's only center. The neighborhood hardware store, St. Joan of Arc Church, and Rowey's Drug Store, where my girlfriends and I would go to get cherry chocolate cokes and lime rickeys while twirling on vinyl stools at a real soda fountain, were not enough to keep me occupied. Woonsocket was bustling and fascinating by comparison and I loved following that winding road to its pounding heart.
As you left Cumberland and neared Woonsocket continuing down Mendon Road, it became congested with an ugly hodgepodge of shops, manufacturing factories, clapboard houses, tenements, as well as the increasingly omnipresent fast food, and retail chain stores. There was no urban planning then and the zoning control was corrupt, so pretty white colonial homes with their traditional black or forest green shutters stood next to used tire yards, mobile homes, strip malls, and trashed out tract houses.
When you approached Woonsocket climbing up and down hills and around curves as the road followed the Blackstone River, you could see the ubiquitous smoke towers of the many textile mills spewing gigantic billows of toxic fumes into the crisp blue skies. You could smell Woonsocket several miles before you arrived when I was growing up. From the crest of the hill as you entered town, you could see the mammoth French Worsted Mill down below where my Mimi worked thirteen hour days as a young girl, as well as several other woolen mills, and the Florence Dye mill that colored the wool for the textile mills that made up the Hamlet Mill District.
The mills and the river dominated the landscape. You could cross the Hamlet Avenue Bridge over the river at the beginning of Hamlet Avenue and see the falls rushing below that provided the energy to drive the massive looms. The red brick mills built by French and Belgian industrialists were enormous ó covering several city blocks apiece. Their thousands of frosted windows stared blankly over the landscape they were destroying. The foaming water at the base of the falls was a putrid pea green from the chemicals released directly into the water by the mill owners who cared for nothing but profit. It smelled poisoned and we would wrinkle up our little noses and cover our faces with embroidered handkerchiefs as we crossed the bridge. On summer days, the rhythmic banging and clanging of the machines could be heard through the open windows.
On the other side of the bridge was Cumberland Street. It was the most squalid and poorest of all the streets in Woonsocket that housed the unfortunate mill workers. The tenements there were the worst in Woonsocket and the people were the dirtiest and most unrefined. When they wanted to teach me to act middle class, my family would often say, "Don't act like you are from Cumberland Street! Shaaleen Gail!" The filthy tenements were four and five stories high made of cheap clapboard with peeling lead based paint overflowing with impoverished families ó up to thirteen and even fifteen children stuffed into each apartment. These incendiary rat infested slums often burst into flames bringing more tragedy into the already tragic lives of their inhabitants. The huge rats crawled up from the Blackstone River and plagued the residents often biting the little children as they slept crammed four and five to a bed. At the end of narrow Cumberland Street was Social Coin (pronounced Quin) where street walkers and "sallops" offered their services and the poorest welfare mothers lived trying to make ends meet while forced to buy over-processed food and tacky overpriced clothes at the only shops within walking distance.
Église Ste. Anne's sat in the middle of Cumberland Street surrounded by the squalor and dire poverty. It was an elaborate Gothic style church with a sumptuous interior embellished with gold leaf and intricate carvings of the Saints and the Holy Family. The people could be starving and suffering, but still they dropped their hard earned pennies into the collection baskets so the Church would be adorned and the priests would be dressed in finery ó well fed, and fat as turkeys.
But for our family, the church had a more personal meaning. The ceiling was covered with Rococo hand painted murals where an image of ma tante Gert's face represented one of the heavenly angels. The little hunchbacked fresco painter who had traveled from Italy to paint the church's ceiling was a boarder at Grandpère Ethier's house. He had taken a fancy to my mother's older sister, Gértrude whose fresh thirteen-year old face embodied his vision of the angelic. He also chose her infant cousin, Gerry Noël as the model for the baby Jesus. Gértrude sat and posed for him experiencing the special thrill of being seen as a beautiful angel for a few hours a week during the many months it took to complete the frescoes so long ago. She was amazed when he took the sketch he had made of her face and placed it upon the body of the celestial angel. Decades later, she would still get an awed look about her whenever she talked about it. Ste. Anne's Church became for us "the Church where ma tante Gert is an angel on the ceiling".
As you continued the drive around Woonsocket, the river wove in and out of neighborhoods, tenement slums, and cluster after cluster of textile mills and factories. The people breathed the cotton and wool fibers that would eventually give many of them Brown lung disease during grueling thirteen hour work days in the factories, then went home to inhale the chemical fumes from the factories' smoke stacks through their open windows, and drink the polluted water from the river. The falls could be breathtakingly beautiful with thousands of spouts of sudsy rushing water, but only from a distance. Close up, the fetid smells were overwhelming. All kinds of gross offal and detritus floated and roiled about in the murky chemical stew.
I often think of how amazingly beautiful it must have been when the Eastern Woodland Indians of the area first saw these incredible falls. A mix of Nipmuck, Wampanoag, and Narragansett Indians hunted in the lush forests surrounding the white water rapids and falls of the Blackstone River. It would have been a spectacular sight when they first entered the verdant river valley so very long ago. After surging over innumerable torrents and creating hundreds of waterfalls as it wove in and out of the valley at Woonsocket Falls, the river emptied into a basin as big as a lake with countless cataracts cascading into it. The spraying water would have refracted the shimmering light and made luminous rainbows everywhere. And the water would have smelt fresh then, and tasted pure and sweet. And they would have greatly valued such a miraculous place, honored it as sacred, and aptly named it ó"Woonsocket" ó place of many falls.
But soon the Europeans arrived, and the destruction of the magnificent wild river began. In 1660, Richard Arnold, an associate of Roger Williams who fled the repressive Puritan colony of Massachusetts and established Rhode Island as a colony championing religious freedom, arrived in Woonsocket with his sons and built a sawmill powered by the waterfalls of the swiftly moving river. Thus began the gradual deterioration and pollution of that superb untamed body of water. The first textile mill, Social Manufacturing Company, was erected beside Mill River, a tributary of the Blackstone in 1810, shortly after Samuel Slater had built his revolutionary spinning mill in nearby Pawtucket. The subsequent years saw the emergence of six bustling mill districts, Woonsocket Falls, Social, Jenkesville, Bernon, Globe, and Hamlet, each with several mills apiece lining the shores of the Blackstone River and spewing unfiltered untreated refuse directly into its formerly pristine waters. A complex network of canals, damns, reservoirs, holding ponds, and trenches connected to a series of gears, shafts, and belts in the factories was developed to turn the powerful wild river into one of the major industrial power sources of nineteenth century New England. By the time I was a little girl, these mills and men's greed had already destroyed the feral river's beauty and turned its water and air foul. The once sweet pool was now a cesspool. You could not walk by the river without covering your face against the stench. This was the world into which I was born just after dark had fallen on a cold icy February night right in the middle of the twentieth century.
CHARLEEN TOUCHETTE © 2000, 2001
Santa Fe, New Mexico
Biography
Born 1954, Woonsocket, Rhode Island. Education: Wellesley College, Brown University and Rhode Island School of Design, BA, Painting 1975, Bard College.
Touchette, writer, artist, arts activist, consultant, educator, lecturer, and curator, resides in Santa Fe, New Mexico with her husband and three sons and daughter from 20-10 years old. Her visionary paintings have been exhibited nationally and internationally in galleries and museums since 1975 including a 1999 two-person exhibit at the American Indian Community House Gallery in New York City. In 1998, Touchette was awarded the Women's Caucus for Art (WCA) President's Award for "her achievements as an artist, her leadership in the feminist art movement and her constancy and commitment to the Women's Caucus for Art." Touchette is an effective arts activist who has worked nationally to increase visibility and inclusion for women and multicultural artists. She has networked with Indian artists since 1978 and was the researcher for The Sweet Grass Lives On: 50 North American Indian Artists (Lippincott/Crowell).
Touchette has curated many major museum exhibitions including "Native Abstraction" at the Museum of New Mexico's Museum of Indian Arts and Culture, "Ancient Visions" at Willamette University, Oregon, the "Four Sacred Mountains Arts Festival" in Tuba City, Navajo Nation, which toured through the Arizona Commission for the Arts Traveling exhibition program, and a forthcoming exhibit at the Institute of American Indian Arts Museum in Santa Fe scheduled to open in February of 2001.
Touchette's paintings and writing have been published widely, including in the Woman's Art Journal, New Directions for Women, Women of Sweetgrass, Cedar and Sage, by Harmony Hammond and Jaune Quick-to-See Smith, Creation's Heartbeat by Linda Leonard, Womanspirit Sourcebook, Women Artists: Multi-Cultural Visions by Betty La Duke, The Reflowering of the Goddess by Gloria Orenstein, A Gathering of Spirit edited by Beth Brant, Multicultural Reader (MCAE), Calyx, New Woman Magazine, The Magazine, a chapter in New Feminist Criticism edited by Arlene Raven, and many others. During 1991, she was the arts editor for Signals, a Santa Fe newspaper on women in the arts. Currently Touchette writes for The Magazine and Native Artist's Magazine.
From 1988 to 1995, Touchette was an Executive Board Member of the Women's Caucus for Art, serving as co-chair of the Exhibitions Committee, on the Honor Award's Selection Committee as catalog editor and chair, and as a member of the Women of Color and Jewish caucuses. During her tenure on the Honors Committee, Touchette facilitated the honoring of the first Native American, Hispanic, and Asian artists. She founded the Spiderwoman World Arts Network in 1990, then coordinated and moderated a series of panels featuring multicultural women artists in 1992 co-sponsored by the College of Santa Fe.
As an arts educator, Touchette developed an innovative cross-cultural slide curriculum for the Minnesota Center for Arts Education (MCAE) entitled "Native American Art is World Art", and has taught extensive workshops, delivered countless lectures and keynote addresses, and has been a Visiting Artist for the Arizona Commission on the Arts and several colleges including the Minneapolis College of Art and Design. She will be teaching at the University of Colorado in the spring of 2001.
Touchette originated the project, Women Creating: Contemporary Artists of the West, and curated "O'Keeffe's Contemporaries: Our Honored Matriarchs", "Innovative Women Artists of New Mexico: The Undiscovered O'Keeffe's", and "Sacred Manifestations: Expressions of Spirituality". She has written a fascinating memoir, Itís a Sweet Life which that weaves her personal story into the complex tapestry of the history of her French Canadian and Indian people, and the mainstream story of baby boomers whose lives have spanned two centuries.
Charleen Touchette's fascinating memoir, "It's a Sweet Life", chronicles her family's unique history, her work in the feminist and contemporary Indian art movements, and her recovery from the latent effects of child abuse in Santa Fe's healing community. She is presently seeking a literary agent and publisher. You may contact her by e-mail at Touchart@aol.com.
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https://www.instagram.com/rhino_feros_tattoo/p/C6a7xVrMffp/
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https://www.baerenreiter.com/en/catalogue/music-for-piano/piano-recital-pieces/
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en
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Bärenreiter Verlag
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For anyone who wants to try out their skills in combination with their piano lessons or wishes to play for their own pleasure, Bärenreiter offers high-quality editions at affordable prices for every musical taste in our piano catalogue. The editions range from easy short pieces to the first works by the great composers, either for solo piano or companionable piano duet. Appropriate selections for various eras, styles and occasions can be found in our popular series structured by composer “Bärenreiter Piano Album” and “Easy Piano Pieces and Dances” where each volume features a particular composer.
Lovers of arrangements of popular baroque, classical and romantic pieces and melodies will find just what they want in the Bärenreiter Piano Moments series. Those who prefer jazzy sounds or Latin rhythms will welcome our Ready to Play series.
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https://genome.ch.bbc.co.uk/schedules/service_bbc_two_england/2004-01-01
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en
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BBC Programme Index
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Ends 9.00.
Little Bear
A triple bill of adventure with the small cub.
6.30 Fimbles
The gang turn the valley into a wonderland.
6.50 Romuald the Reindeer
Romuald has a visit from his friend Renaldo.
7.00 Postman Pat
Pat's faulty alarm lets him oversleep.
7.15 Clifford the Big Red Dog
Clifford moves to the Island.
7.30 CBeebies Pantomime: Oh Yes It is!
The Prince's Palace hosts a star-studded party.
Shown Christmas Day on CBeebies channel
7.45 Bill and Ben
Bob the hedgehog settles down for winter.
Followed by CBeebies Birthdays
8.00 Bob the Builder
Roley meets a rock star.
8.10 Balamory
Archie invents a noisy hat
8.30 Tweenies
The Tweenies prepare for their pantomime.
8.50 Pingu
Pingu gets a new kite and plays a game of fish.
The best moments from last year's wildlife programmes and favourites from the BBC's Natural History Unit make up this three-hour special, hosted by Bill Oddie from the Eden Project in Cornwall and Devon's National Marine Aquarium-
6.00 Elephants turn the cameras on the film-makers, there's a look at Britain's cleverest animal and David Attenborough recalls his personal highlights from Wildlife on One - his encounters with meerkats and dolphins.
7.00 The second hour includes a visit to Prince Charles's organic garden at Highgrove, while Bill Oddie revisits Wild in Your Garden. Saba Douglas-Hamilton searches for tigers in India and watches reindeer migrate towards the Arctic, plus highlights from Wild Down Under with New
Zealand's parrots and Pacific underwater wonders.
8.00 Natural World visits Five Owl Farm in North Yorkshire as Wildlife on One focuses on the dragon lizard. David Attenborough discusses his new series Life in the Undergrowth and there's more from Australia, including kangaroos and koalas.
Producer Sarah Pitt ; Executive producer Fiona Pitcher ^ www.bbc.co.uk/nature Videoplus code for 6.00 to 9.00pm (non-PDC)
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https://www.hollywoodreporter.com/movies/movie-reviews/ghost-town-anthology-review-berlin-2019-1185284/
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‘Ghost Town Anthology’ (‘Repertoire des villes disparues’): Film Review | Berlin 2019
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2019-02-11T07:00:00+00:00
|
Denis Cote chronicles the bizarre after-effects of a small-town tragedy in 'Ghost Town Anthology,' weaving supernatural elements into the tattered social fabric of a rural community.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/movies/movie-reviews/ghost-town-anthology-review-berlin-2019-1185284/
|
There are no scares in Ghost Town Anthology, but a disquieting mood slowly builds as the dead start returning to haunt a rural village shocked out of its stagnant inertia and imperviousness to change. French-Canadian critic-turned-filmmaker Denis Cote’s latest occupies a stylistic middle-ground between the gentle observation of his nonfiction cine-essays like Bestiaire and A Skin So Soft on one hand, and his oddball elliptical narratives, like Vic + Flo Saw a Bear, on the other. Probably too subdued for genre fans and too psychologically thin for those with artier inclinations, the low-key mood piece nonetheless has enough ambiguity to keep you watching.
It could almost be described as a slyly playful, minimalist take on M. Night Shyamalan territory, though that risks making it seem more commercial than it is. But the words “I see dead people” could be on the lips of pretty much everyone in Irenee-les-Neiges, a tiny fictional Quebecois town of just 215 people.
Shot on grainy, washed-out-looking 16mm with a handheld camera, the film opens with images of a wind-blasted, snowbound rural flatland dotted with dilapidated barns, a picture interrupted by a car driving at high speed that veers suddenly off the road and directly into a wall of concrete blocks. The crash draws the curious gazes of a handful of children in raggedy winter-wear and woolen masks, with black circles covering their eyes and mouths. These sprite-like figures appear throughout, their identities revealed only toward the end, though anyone paying attention will figure it out sooner.
The driver of the car, killed on impact, was 21-year-old Simon Dube, who leaves behind his brother Jimmy (Robert Naylor), two years older, torn between anger and grief; his shattered mother Gisele (Josee Deschenes); and his father Romuald (Jean-Michel Anctil), who is unable to help his wife or surviving son, taking off with no fixed destination to sort things out in his mind.
The mayor of the close-knit village, Simone Smallwood (Diane Lavallee), takes a defensive tone to the apparent suicide, even in her funeral eulogy. Chafing against the growing feeling that the countryside is dying as rural communities turn into ghost towns, she calls Simon one of the brave young fallen soldiers. “But we will not lose the war,” she declares. “Life goes on.” However, she curtly refuses the offer of investigative help or grief counseling from the county office, bristling when a representative arrives anyway. The mayor’s open hostility seems fueled by the stranger, Yasmina (Sharon Ibgui), being a Muslim, her appearance already having drawn disturbed attention at the local diner. Simone informs her in no uncertain terms that the villagers are capable of dealing with their own problems.
Cote trains a deadpan gaze on a small cross-section of the villagers. Nosy Louise (Jocelyne Zucco) and her doting husband Richard (Normand Carriere) are a complacent middle-aged couple, their vigorous showshoeing through the woods interrupted when they come across a dead deer. Socially awkward welfare-recipient Adele (Larissa Corriveau) is “a few lightbulbs short of a chandelier,” according to Richard, but he and Louise take her in anyway once she starts freaking out. Diner owner Pierre (Hubert Proulx) wants to invest in a fixer-upper despite the mayor’s warning that the house has bad energy since a depressed father’s murder-suicide incident there decades earlier. Pierre’s girlfriend Camille (Rachel Graton) just wants to move someplace more vibrant. And Andre (Remi Goulet) seems as dependent on his buddy Jimmy for stability as Jimmy was on Simon.
At first, Cote remains cryptic about whether the townsfolk are actually seeing people or merely imagining it, particularly when Gisele, Jimmy and Romuald start having encounters with Simon. The most vivid of them occurs when Romuald picks up a hitchhiker who responds to his questions with silence and goes to sleep in the back of the car, before gradually being revealed to have the face of his son. Simon’s appearance to Jimmy by the hockey rink is more unequivocal. For a filmmaker more interested in horror tropes, there might have been some significance in Simon’s body being kept in storage until a thaw allows for a spring burial, but this is not that kind of movie.
While Simone seems to think the two figures she sees standing in a field one night are a trick of the darkness, there’s no mistaking the startling experience of Adele, who shuts herself in a shed at the sight of one of the masked urchins, only to look out in terror through a window and see 25 or so unfamiliar figures suddenly gathered there.
Aside from the end credits, Cote uses no music, only a low, ominous drone on the soundtrack, so the movie remains strange, mournful and anxious rather than actually frightening. What’s unusual about the sightings is that the ghostly figures show no sign of evil intent or direct communication of any kind, and once their provenance is explained by the enterprising Yasmina, the locals seem almost accepting of them. Only the fragile Adele remains literally suspended between the living and the dead, while others react to the intrusion into their lives as an impetus for change.
Loosely adapted from the debut novel by Montreal-based writer Laurence Olivier, this is a curious film, deliberately threadbare in its plotting and muted in its emotional effect. But it is open to any number of interpretations, touching on fear of outsiders and otherness, the importance of reckoning with the past and the danger for insular small-town communities of being forgotten, as much due to their own closed-off nature as to big-city migration. It could just as easily be dismissed as slight, but you get out of it what you’re willing to put in.
Production companies: Couzin Films
Cast: Robert Naylor, Josee Deschenes, Larissa Corriveau, Diane Lavallee, Jean-Michel Anctil, Remi Goulet, Jocelyne Zucco, Normand Carriere, Hubert Proulx, Rachel Graton, Sharon Ibgui
Director-screenwriter: Denis Cote, loosely adapted from the novel by Laurence Olivier
Producer: Ziad Touma
Director of photography: Francois Messier-Rheault
Production designer: Marie-Pier Fortier
Costume designer: Caroline Bodson
Editor: Nicolas Roy
Venue: Berlin International Film Festival (Competition)
Sales: Films Boutique
97 minutes
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5671
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dbpedia
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3
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https://www.flickr.com/photos/vemsteroo/33146735504
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en
|
Deer Stalking
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2024-08-15T21:38:40.005000+00:00
|
This stag caught the morning light beautifully as he stalked his way through Glen Affric. I
t was a day of rain yesterday so I got round to editing a few shots, but that didn't stop me exploring, staying inside is off the agenda when you have a dog. Tali wanted to explore, so we went to Plodda falls in the pouring rain. It's an incredible place, one that I'll be going back to in better conditions!
<a href="http://www.twitter.com/vemsteroo" rel="noreferrer nofollow">Twitter</a> | <a href="http://www.veritymilliganphotography.com" rel="noreferrer nofollow">Website</a> | <a href="http://www.facebook.com/veritymilliganphotography" rel="noreferrer nofollow">Facebook</a> | <a href="https://www.instagram.com/veritymilligan/" rel="noreferrer nofollow">Instagram</a>
|
en
|
https://combo.staticflickr.com/pw/favicon.ico
|
Flickr
|
https://www.flickr.com/photos/vemsteroo/33146735504
|
This stag caught the morning light beautifully as he stalked his way through Glen Affric. I
t was a day of rain yesterday so I got round to editing a few shots, but that didn't stop me exploring, staying inside is off the agenda when you have a dog. Tali wanted to explore, so we went to Plodda falls in the pouring rain. It's an incredible place, one that I'll be going back to in better conditions!
Twitter | Website | Facebook | Instagram
|
||||
5671
|
dbpedia
|
0
| 4
|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
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en
|
High Quality and Customizable
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Discover the Romuald the reindeer mascot, ideal for livening up your Christmas events. French manufacturing, machine washable.
|
en
|
/apple-touch-icon.png
|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
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This Romuald the reindeer mascot is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Reindeer Romuald Mascot
The Romuald the reindeer mascot is a charming and attractive costume, perfect for livening up your Christmas events and shows. Representing a reindeer with its beautiful brown and white coat and its large majestic antlers, this mascot is ideal for adding a festive and warm touch to your end-of-year celebrations. Whether for Christmas markets, parades or commercial events, Romuald the reindeer will captivate young and old.
NetJuggler analysis of the Renne Romuald Mascot
I find this mascot of Romuald the reindeer particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its softness to the touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Who is the Renne Romuald Mascot for?
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Customizable mascots
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
Artisanal confection in Auvergne
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
|
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5671
|
dbpedia
|
1
| 6
|
https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
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en
|
Rudolph Mascot Costume for Christmas Events
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Rudolph the reindeer mascot costume for events and promotions. Handcrafted design, high quality materials.
|
en
|
/apple-touch-icon.png
|
https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
|
This Rudolph the reindeer mascot from Santa Claus is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Rudolph the Reindeer Mascot
The Rudolph the Santa Claus reindeer mascot is a charming and attractive costume, perfect for livening up your end-of-year events and parties. Representing the famous reindeer with its dark and light brown coat, majestic antlers and iconic red nose, this mascot will bring the magic of Christmas to all your festive occasions, such as Christmas markets, parades and commercial events.
NetJuggler analysis of the Rudolph the Reindeer Mascot
I find this Rudolph mascot particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its soft touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Target audience and uses of Santa's Rudolph the Reindeer mascot
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Personalize your mascot!
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
About the Manufacturer of the Rudolph the Christmas Reindeer Mascot
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
|
|||||
5671
|
dbpedia
|
2
| 50
|
https://zbsa.eu/berit-eriksen/
|
en
|
Prof. Dr. habil. Berit Valentin Eriksen
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2021-10-28T12:09:57+00:00
|
E-Mail: berit.eriksen@zbsa.eu • Telefon: +49/(0)4621/813 – 482 • Fax: +49/(0)4621/813 – 535 Personal data Born 1960 in Horsens, Denmark Academic qualifications 1984 Masters degree in Prehistoric Archaeology, University of Aarhus 1989 PhD degree in Prehistoric Archaeology from the University of Aarhus based on the thesis: »Change and Continuity in a Prehistoric Hunter-Gatherer Society« 2010 Habilitation at the University of Tübingen: »Transitions and Transformations. From late Pleistocene reindeer hunters to Bronze Age flint knappers«. Venia legendi in Prehistory (Ur- und Frühgeschichte) 2011 Transfer of habilitation to the University of Kiel. Venia legendi in Prehistory (Ur- und Frühgeschichte) 2021 Honorary Professor, University of Kiel, Institute of Pre- and Protohistoric Archaeology Academic career 1990–1992 Post doctoral Alexander von Humboldt research fellow at the University of Tübingen 1992–1995 Assistant research professor at the University of Aarhus (external funding by the Danish Research Council for the Humanities) 1996 Post doctoral research fellow at Thisted Museum. Extensive research travels in Germany 1997 Managing editor of »Nordic Archaeological Abstracts« 1997–2002 Substitute associate professor in Palaeolithic and Mesolithic archaeology at the University of Aarhus. Post doctoral research fellow at Ferskvandsmuseet and at Thisted Museum 2002–2004 Academic project officer at Moesgaard Museum 2004–2007 Senior research fellow at Moesgaard Museum (external funding by the Danish Research Council for the Humanities) 2007–2008 Fixed term lecturer in Palaeolithic and Mesolithic archaeology at the University of Aarhus 2009– present Head of Research at the »Centre for Baltic and Scandinavian Archaeology« within the »Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf« 2014–2017 Professor II, University of Bergen, Department of Archaeology, History, Cultural Studies and Religion (part time professorship) 2021– present Honorary Professor, University of Kiel, Institute of Pre- and Protohistoric Archaeology Honorary offices 1998–2009 founding member and secretary of the UISPP Commission XXXII: »Final Palaeolithic of the Great European Plain / Paléolithique final de la Grande Plaine européenne«. 2009–2018 president of the UISPP Commission for »The Final Palaeolithic of Northern Eurasia / Le Paléolithique Final de l’Eurasie du Nord«. 2006-2010 Danish national member of the Permanent Council of the UISPP. 2010-2018 member of the Executive Council of the UISPP. Founding member and secretary (1992–2003) of the INQUA working group on »Archaeology of the Pleistocene-Holocene Transition« 1999–2003 secretary of the INQUA Commission on »Human Evolution and Paleoecology« 1999–2003 founding member and secretary of the Danish Alexander von Humboldt Club Current membership in other formalized research networks »Nordic Blade Technology Workshop« »Stoneage Bog Group Network« »SoDiTeCh – Social Dimensions of Technological Change« Publications Monographs and edited volumes 1991B.V. Eriksen, Change and Continuity in a Prehistoric Hunter-Gatherer Society: A study of cultural adaptation in late glacial – early postglacial southwestern Germany. Archaeologica Venatoria 12. Tübingen. 1996L.G. Straus, B.V. Eriksen, J.M. Erlandson & D.R. Yesner (eds), Humans at the End of the Ice Age: The Archaeology of the Pleistocene-Holocene Transition. Plenum Press, Interdisciplinary Contributions to Archaeology. New York. 1998B.V. Eriksen & L.G. Straus (eds), As the World Warmed: Human Adaptations Across the Pleistocene-Holocene Boundary. Quaternary International vol. 49/50. Oxford. 2000B.V. Eriksen (ed), FLINTSTUDIER – en håndbog i systematiske analyser af flintinventarer. Aarhus Universitetsforlag. Århus. 2002B.V. Eriksen & B. Bratlund (eds), Recent studies in the Final Palaeolithic of the European plain. Proceedings of a UISPP Symposium. Stockholm, 14.–17. October 1999. Jutland Archaeological Society Publications Vol. 39. Højbjerg. 2002L.E. Fisher & B.V. Eriksen (eds), Lithic raw material economy in late glacial and early postglacial western Europe. British Archaeological Reports S1093. Oxford. 2004T. Terberger & B.V. Eriksen (eds), Hunters in a changing world – Jäger in einer sich wandelnden Welt. Verlag Marie Leidorf. Rahden/Westfalen. 2006B.V. Eriksen (ed), Stenalderstudier. Tidligt mesolitiske jægere og samlere i Sydskandinavien. Jutland Archaeological Society Publications Vol. 55. Højbjerg. 2010B.V. Eriksen (ed), Lithic technology in metal using societies. Proceedings of a UISPP Workshop, Lisbon, September 2006. Jutland Archaeological Society Publications Vol. 67. Højbjerg. 2011W. Müller, B.V. Eriksen, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 58. 2012W. Müller, B.V. Eriksen, D. Richter, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 59. 2013W. Müller, B.V. Eriksen, D. Richter, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 60. 2014W. Müller, B.V. Eriksen, D. Richter, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 61. 2015C.J. Frieman & B.V. Eriksen (eds), Flint Daggers in Prehistoric Europe. Oxbow Books. Oxford. W. Müller, S. Costamagno, B.V. Eriksen, T. Hauck, Z. Mester, L. Moreau, D. Richter, I. Schmidt, M. Street, E. Turner & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 62. 2016W. Müller, S. Costamagno, B.V. Eriksen, T. Hauck, Z. Mester, L. Moreau, P. Nigst, A. Pastoors, D. Richter, I. Schmidt, M. Street & E. Turner (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 63. 2017B.V. Eriksen, A. Abegg-Wigg, R. Bleile & U. Ickerodt (eds), Interaktion ohne Grenzen. Beispiele archäologischer Forschungen am Beginn des 21. Jahrhunderts – Interaction without borders. Exemplary archaeological research at the beginning of the 21st century, Vol. 1–2 (Schleswig). 2018J.H. Bech, B.V. Eriksen & K. Kristiansen (eds), Bronze Age Settlement and Land-Use in Thy, Northwest Denmark, Vol. I–II. Jutland Archaeological Society Publications Vol. 102. Højbjerg. 2019B.V. Eriksen, E. Rensink & S.K. Harris (eds), The Final Palaeolithic of Northern Eurasia. Proceedings of the Amersfoort, Schleswig and Burgos UISPP Commission Meetings. Schriften des Museums für Archäologie Schloss Gottorf, Ergänzungsreihe Band 13. Schleswig. Articles 1986B.V. Eriksen, The pursuit of upper Palaeolithic social structures. Kontaktstencil nr. 28-29. Aarhus, pp. 70–79. 1988B.V. Eriksen, Kontinuitet og forandring fra palæolitikum til mesolitikum i Europa – overvejelser omkring et projekt. In: T. Madsen (ed), Bag Moesgårds maske. Aarhus Universitetsforlag. Aarhus, pp. 15–19. 1990B.V. Eriksen, Multivariabel bebyggelsesarkæologi. En undersøgelse af for¬historiske jæger-samler bopladsers topografiske placering ved hjælp af den multivariable korrespondens-analyse. In: C.U. Larsen (ed), Arkæologi, Statistik og EDB. Arkæologiske skrifter 4. København, pp. 81–114. B.V. Eriksen, Cultural change or stability in prehistoric hunter-gatherer societies. A case study from the late Palaeolithic – early Mesolithic in southwestern Germany. In: P.M. Vermeersch & P. Van Peer (eds), Contributions to the Mesolithic in Europe. Studia Praehistorica Belgica 5. Leuven, pp. 193–202. 1991B.V. Eriksen, Den naturmæssige baggrund for den senglaciale Bromme bosættelse i Sydskandinavien. LAG 2. Aarhus, pp. 5–29. 1996B.V. Eriksen, Regional variation in late Pleistocene subsistence strategies. Southern Scandinavian reindeer hunters in a European context. In: L. Larsson (ed), The earliest settlement of Scandinavia. Acta Archaeologica Lundensia, Series in 8°, No. 24. Stockholm, pp. 7–21. B.V. Eriksen, The Pleistocene-Holocene transition in Europe. In: L.G. Straus, B.V. Eriksen, J.M. Erlandson & D.R. Yesner (eds), Humans at the End of the Ice Age: The Archaeology of the Pleistocene-Holocene Transition. Plenum Press, Interdisciplinary Contributions to Archaeology. New York, pp. 79–81. B.V. Eriksen, Resource exploitation, subsistence strategies and adaptiveness in late Pleistocene – early Holocene northwestern Europe. In: L.G. Straus, B.V. Eriksen, J.M. Erlandson & D.R. Yesner (eds), Humans at the End of the Ice Age: The Archaeology of the Pleistocene-Holocene Transition. Plenum Press, Interdisciplinary Contributions to Archaeology. New York, pp. 101–128. B.V. Eriksen, Diskussionsbeitrag zum Spätpaläolithikum Mitteleuropas – Apologie einer urgeschichtlichen Quellenkritik. In: I. Campen, J. Hahn & M. Uerpmann (eds), H. Müller-Beck Festschrift: Spuren der Jagd – Die Jagd nach Spuren. Tübinger Monographien zur Urgeschichte 11. Tübingen, pp. 285–289. 1997B.V. Eriksen, Settlement patterns, cave sites and locational decisions in late Pleistocene Central Europe. In: C. Bonsall & C. Tolan-Smith (eds), The Human Use of Caves. British Archaeological Reports S667, Archaeopress. Oxford, pp. 38–49. B.V. Eriksen, Implications of thermal pretreatment of chert in the German Mesolithic. In: R. Schild & Z. Sulgostowska (eds), Man and Flint. Proceedings of the VIIth International Flint Symposium. Warsaw, pp. 325–329. 1999B.V. Eriksen, Late Palaeolithic Settlement in Denmark – how do we read the record? In: M. Kobusiewicz & J.K. Kozłowski (eds), Post-pleniglacial re-colonisation of the great European lowland. Folia Quaternaria 70. Kraków, pp. 157–173. B.V. Eriksen, Varmebehandling af flint – et eksperimentalarkæologisk studie. In: O. Høiris et al. (eds), Menneskelivets mangfoldighed. Arkæologisk og antropologisk forskning på Moesgård. Aarhus Universitet & Moesgård Museum. Højbjerg, pp. 185–192. 2000B.V. Eriksen, Kapitel 1: Indledning; Kapitel 3: Grundlæggende flintteknologi; Kapitel 6: “Chaîne opératoire” – den operative proces og kunsten at tænke som en flinthugger; Kapitel 14: “Squeezing blood from stones” – flintoldsagernes vidnesbyrd om social struktur, subsistens¬økonomi og mobilitet i ældre stenalder. In: B.V. Eriksen (ed), FLINTSTUDIER – en håndbog i systematiske analyser af flintinventarer. Aarhus Universitetsforlag. Aarhus, pp. 9–16, pp. 37–50, pp. 75–100, pp. 231–274. B.V. Eriksen, Les derniers temps du Paléolithique : l’homme et l’environnement au Tardiglaciaire en Allemagne du sud-ouest et au nord-ouest de la Suisse. In: B. Valentin, P. Bodu & M. Christensen (eds), L’Europe centrale et septentrionale au Tardiglaciaire. Actes de la Table-Ronde internationale de Nemours, 13-16 mai 1997. Mémoires du Musée de Préhistoire d’Ile de France n°7. Paris, pp. 223–238. B.V. Eriksen, Patterns of Ethnogeographic Variability in Late Pleistocene Northwestern Europe. In: G. Larsen Peterkin & H.A. Price (eds), Regional Approaches to Adaptation in Late Pleistocene Western Europe. BAR International Series 896, British Archaeological Reports. Oxford, pp. 147–168. 2001B.V. Eriksen, Universitetets rolle og muligheder i ældre stenalders forskning. In: O. Lass Jensen, S.A. Sørensen & K. Møller Hansen (eds), Danmarks Jægerstenalder – status og perspektiver. Hørsholm Egns Museum. Hørsholm, pp. 195–207. 2002B.V. Eriksen, Die Rolle der deutschen Paläolithforschung in der internationalen Diskussion. Archäologisches Nachrichtenblatt, pp. 51–54. B.V. Eriksen, Reconsidering the geochronological framework of Lateglacial hunter-gatherer colonization of southern Scandinavia. In: B.V. Eriksen & B. Bratlund (eds), Recent studies in the Final Palaeolithic of the European plain. Jutland Archaeological Society Publications Vol. 39. Højbjerg, pp. 25–41. B.V. Eriksen, Fossil mollusks and exotic raw materials in late glacial and early postglacial find contexts – a complement to lithic studies. In: L.E. Fisher & B.V. Eriksen (eds), Lithic raw material economy in late glacial and early postglacial western Europe. British Archaeological Reports S1093. Oxford, pp. 27–52. 2003B.V. Eriksen, Territoriality and Regionalization – Introduction. In: L. Larsson et al. (eds), Mesolithic on the Move. Papers presented at the Sixth International Conference on the Mesolithic in Europe, Stockholm 2000. Oxbow Books. Oxford, pp. 281–282. B.V. Eriksen, Europe, Central: Archaeological Caves. Entry in: Encyclopedia of Cave and Karst Science. Fitzroy Dearborn Publishers (Taylor & Francis). London, pp. 333–336. 2006B.V. Eriksen, Stenalderstudier – fortid, nutid og fremtid for den tidligt mesolitiske arkæologi. In: B.V. Eriksen (ed), Stenalderstudier. Tidligt mesolitiske jægere og samlere i Sydskandinavien. Jutland Archaeological Society Publications Vol. 55. Højbjerg, pp. 9–18. B.V. Eriksen, Colourful Lithics – the “Chaîne Opératoire” of Heat Treated Chert Artefacts in the Early Mesolithic of Southwest Germany. In: C.J. Kind (ed), After the Ice Age. Settlements, subsistence and social development in the Mesolithic of Central Europe. Konrad Theiss Verlag. Stuttgart, pp. 147–153. 2007B.V. Eriksen, Travelling craftsmen in Early Bronze Age Denmark – addressing the evidence of leftover lithics. In: B. Hårdh, K. Jennbert & D. Olausson (eds), On the Road. Studies in honour of Lars Larsson. Acta Archaeologica Lundensia, Series in 4°, No. 26. Lund, pp. 253–258. M. Winther Olesen & B.V. Eriksen, Krogstrup ved Snejbjerg. En bronzealderboplads med flintværktøj. Midtjyske fortællinger 2007, Herning Museum. Herning, pp. 77–92. 2008B.V. Eriksen, Dynamic technological analysis of Bronze Age lithics. A tribute to an unconventional archaeologist. In: Z. Sulgostowska & A.J. Tomaszewski (eds), Man – Millennia – Environment. Studies in honour of Romuald Schild. Institute of Archaeology and Ethnology, Polish Academy of Sciences. Warsaw, pp. 301–306. 2009B.V. Eriksen, Mobilität als Überlebensstrategie. Unterwegs im Südwesten. In: S. Rau, D. Naumann & M. Barth (eds), Eiszeit – Kunst und Kultur. Begleitband zur Grossen Landesausstellung: Eiszeit – Kunst und Kultur im Kunstgebäude. Thorbecke Verlag. Stuttgart, pp. 131–133. 2010B.V. Eriksen, Flint working in the Danish Bronze Age – the decline and fall of a master craft. In: B.V. Eriksen (ed): Lithic technology in metal using societies. Jutland Archaeological Society Publications Vol. 67. Højbjerg, pp. 81–93. 2011B.V....
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Zentrum für Baltische und Skandinavische Archäologie (ZBSA) — Zentrum für Baltische und Skandinavische Archäologie
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https://zbsa.eu/berit-eriksen/
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1991
B.V. Eriksen, Change and Continuity in a Prehistoric Hunter-Gatherer Society: A study of cultural adaptation in late glacial – early postglacial southwestern Germany. Archaeologica Venatoria 12. Tübingen.
1996
L.G. Straus, B.V. Eriksen, J.M. Erlandson & D.R. Yesner (eds), Humans at the End of the Ice Age: The Archaeology of the Pleistocene-Holocene Transition. Plenum Press, Interdisciplinary Contributions to Archaeology. New York.
1998
B.V. Eriksen & L.G. Straus (eds), As the World Warmed: Human Adaptations Across the Pleistocene-Holocene Boundary. Quaternary International vol. 49/50. Oxford.
2000
B.V. Eriksen (ed), FLINTSTUDIER – en håndbog i systematiske analyser af flintinventarer. Aarhus Universitetsforlag. Århus.
2002
B.V. Eriksen & B. Bratlund (eds), Recent studies in the Final Palaeolithic of the European plain. Proceedings of a UISPP Symposium. Stockholm, 14.–17. October 1999. Jutland Archaeological Society Publications Vol. 39. Højbjerg.
2002
L.E. Fisher & B.V. Eriksen (eds), Lithic raw material economy in late glacial and early postglacial western Europe. British Archaeological Reports S1093. Oxford.
2004
T. Terberger & B.V. Eriksen (eds), Hunters in a changing world – Jäger in einer sich wandelnden Welt. Verlag Marie Leidorf. Rahden/Westfalen.
2006
B.V. Eriksen (ed), Stenalderstudier. Tidligt mesolitiske jægere og samlere i Sydskandinavien. Jutland Archaeological Society Publications Vol. 55. Højbjerg.
2010
B.V. Eriksen (ed), Lithic technology in metal using societies. Proceedings of a UISPP Workshop, Lisbon, September 2006. Jutland Archaeological Society Publications Vol. 67. Højbjerg.
2011
W. Müller, B.V. Eriksen, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 58.
2012
W. Müller, B.V. Eriksen, D. Richter, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 59.
2013
W. Müller, B.V. Eriksen, D. Richter, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 60.
2014
W. Müller, B.V. Eriksen, D. Richter, M. Street & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 61.
2015
C.J. Frieman & B.V. Eriksen (eds), Flint Daggers in Prehistoric Europe. Oxbow Books. Oxford.
W. Müller, S. Costamagno, B.V. Eriksen, T. Hauck, Z. Mester, L. Moreau, D. Richter, I. Schmidt, M. Street, E. Turner & G.-C. Weniger (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 62.
2016
W. Müller, S. Costamagno, B.V. Eriksen, T. Hauck, Z. Mester, L. Moreau, P. Nigst, A. Pastoors, D. Richter, I. Schmidt, M. Street & E. Turner (eds), Quartär. Internationales Jahrbuch zur Eiszeitalter- und Steinzeitforschung/ International Yearbook for Ice Age and Stone Age Research, Band 63.
2017
B.V. Eriksen, A. Abegg-Wigg, R. Bleile & U. Ickerodt (eds), Interaktion ohne Grenzen. Beispiele archäologischer Forschungen am Beginn des 21. Jahrhunderts – Interaction without borders. Exemplary archaeological research at the beginning of the 21st century, Vol. 1–2 (Schleswig).
2018
J.H. Bech, B.V. Eriksen & K. Kristiansen (eds), Bronze Age Settlement and Land-Use in Thy, Northwest Denmark, Vol. I–II. Jutland Archaeological Society Publications Vol. 102. Højbjerg.
2019
B.V. Eriksen, E. Rensink & S.K. Harris (eds), The Final Palaeolithic of Northern Eurasia. Proceedings of the Amersfoort, Schleswig and Burgos UISPP Commission Meetings. Schriften des Museums für Archäologie Schloss Gottorf, Ergänzungsreihe Band 13. Schleswig.
1986
B.V. Eriksen, The pursuit of upper Palaeolithic social structures. Kontaktstencil nr. 28-29. Aarhus, pp. 70–79.
1988
B.V. Eriksen, Kontinuitet og forandring fra palæolitikum til mesolitikum i Europa – overvejelser omkring et projekt. In: T. Madsen (ed), Bag Moesgårds maske. Aarhus Universitetsforlag. Aarhus, pp. 15–19.
1990
B.V. Eriksen, Multivariabel bebyggelsesarkæologi. En undersøgelse af for¬historiske jæger-samler bopladsers topografiske placering ved hjælp af den multivariable korrespondens-analyse. In: C.U. Larsen (ed), Arkæologi, Statistik og EDB. Arkæologiske skrifter 4. København, pp. 81–114.
B.V. Eriksen, Cultural change or stability in prehistoric hunter-gatherer societies. A case study from the late Palaeolithic – early Mesolithic in southwestern Germany. In: P.M. Vermeersch & P. Van Peer (eds), Contributions to the Mesolithic in Europe. Studia Praehistorica Belgica 5. Leuven, pp. 193–202.
1991
B.V. Eriksen, Den naturmæssige baggrund for den senglaciale Bromme bosættelse i Sydskandinavien. LAG 2. Aarhus, pp. 5–29.
1996
B.V. Eriksen, Regional variation in late Pleistocene subsistence strategies. Southern Scandinavian reindeer hunters in a European context. In: L. Larsson (ed), The earliest settlement of Scandinavia. Acta Archaeologica Lundensia, Series in 8°, No. 24. Stockholm, pp. 7–21.
B.V. Eriksen, The Pleistocene-Holocene transition in Europe. In: L.G. Straus, B.V. Eriksen, J.M. Erlandson & D.R. Yesner (eds), Humans at the End of the Ice Age: The Archaeology of the Pleistocene-Holocene Transition. Plenum Press, Interdisciplinary Contributions to Archaeology. New York, pp. 79–81.
B.V. Eriksen, Resource exploitation, subsistence strategies and adaptiveness in late Pleistocene – early Holocene northwestern Europe. In: L.G. Straus, B.V. Eriksen, J.M. Erlandson & D.R. Yesner (eds), Humans at the End of the Ice Age: The Archaeology of the Pleistocene-Holocene Transition. Plenum Press, Interdisciplinary Contributions to Archaeology. New York, pp. 101–128.
B.V. Eriksen, Diskussionsbeitrag zum Spätpaläolithikum Mitteleuropas – Apologie einer urgeschichtlichen Quellenkritik. In: I. Campen, J. Hahn & M. Uerpmann (eds), H. Müller-Beck Festschrift: Spuren der Jagd – Die Jagd nach Spuren. Tübinger Monographien zur Urgeschichte 11. Tübingen, pp. 285–289.
1997
B.V. Eriksen, Settlement patterns, cave sites and locational decisions in late Pleistocene Central Europe. In: C. Bonsall & C. Tolan-Smith (eds), The Human Use of Caves. British Archaeological Reports S667, Archaeopress. Oxford, pp. 38–49.
B.V. Eriksen, Implications of thermal pretreatment of chert in the German Mesolithic. In: R. Schild & Z. Sulgostowska (eds), Man and Flint. Proceedings of the VIIth International Flint Symposium. Warsaw, pp. 325–329.
1999
B.V. Eriksen, Late Palaeolithic Settlement in Denmark – how do we read the record? In: M. Kobusiewicz & J.K. Kozłowski (eds), Post-pleniglacial re-colonisation of the great European lowland. Folia Quaternaria 70. Kraków, pp. 157–173.
B.V. Eriksen, Varmebehandling af flint – et eksperimentalarkæologisk studie. In: O. Høiris et al. (eds), Menneskelivets mangfoldighed. Arkæologisk og antropologisk forskning på Moesgård. Aarhus Universitet & Moesgård Museum. Højbjerg, pp. 185–192.
2000
B.V. Eriksen, Kapitel 1: Indledning; Kapitel 3: Grundlæggende flintteknologi; Kapitel 6: “Chaîne opératoire” – den operative proces og kunsten at tænke som en flinthugger; Kapitel 14: “Squeezing blood from stones” – flintoldsagernes vidnesbyrd om social struktur, subsistens¬økonomi og mobilitet i ældre stenalder. In: B.V. Eriksen (ed), FLINTSTUDIER – en håndbog i systematiske analyser af flintinventarer. Aarhus Universitetsforlag. Aarhus, pp. 9–16, pp. 37–50, pp. 75–100, pp. 231–274.
B.V. Eriksen, Les derniers temps du Paléolithique : l’homme et l’environnement au Tardiglaciaire en Allemagne du sud-ouest et au nord-ouest de la Suisse. In: B. Valentin, P. Bodu & M. Christensen (eds), L’Europe centrale et septentrionale au Tardiglaciaire. Actes de la Table-Ronde internationale de Nemours, 13-16 mai 1997. Mémoires du Musée de Préhistoire d’Ile de France n°7. Paris, pp. 223–238.
B.V. Eriksen, Patterns of Ethnogeographic Variability in Late Pleistocene Northwestern Europe. In: G. Larsen Peterkin & H.A. Price (eds), Regional Approaches to Adaptation in Late Pleistocene Western Europe. BAR International Series 896, British Archaeological Reports. Oxford, pp. 147–168.
2001
B.V. Eriksen, Universitetets rolle og muligheder i ældre stenalders forskning. In: O. Lass Jensen, S.A. Sørensen & K. Møller Hansen (eds), Danmarks Jægerstenalder – status og perspektiver. Hørsholm Egns Museum. Hørsholm, pp. 195–207.
2002
B.V. Eriksen, Die Rolle der deutschen Paläolithforschung in der internationalen Diskussion. Archäologisches Nachrichtenblatt, pp. 51–54.
B.V. Eriksen, Reconsidering the geochronological framework of Lateglacial hunter-gatherer colonization of southern Scandinavia. In: B.V. Eriksen & B. Bratlund (eds), Recent studies in the Final Palaeolithic of the European plain. Jutland Archaeological Society Publications Vol. 39. Højbjerg, pp. 25–41.
B.V. Eriksen, Fossil mollusks and exotic raw materials in late glacial and early postglacial find contexts – a complement to lithic studies. In: L.E. Fisher & B.V. Eriksen (eds), Lithic raw material economy in late glacial and early postglacial western Europe. British Archaeological Reports S1093. Oxford, pp. 27–52.
2003
B.V. Eriksen, Territoriality and Regionalization – Introduction. In: L. Larsson et al. (eds), Mesolithic on the Move. Papers presented at the Sixth International Conference on the Mesolithic in Europe, Stockholm 2000. Oxbow Books. Oxford, pp. 281–282.
B.V. Eriksen, Europe, Central: Archaeological Caves. Entry in: Encyclopedia of Cave and Karst Science. Fitzroy Dearborn Publishers (Taylor & Francis). London, pp. 333–336.
2006
B.V. Eriksen, Stenalderstudier – fortid, nutid og fremtid for den tidligt mesolitiske arkæologi. In: B.V. Eriksen (ed), Stenalderstudier. Tidligt mesolitiske jægere og samlere i Sydskandinavien. Jutland Archaeological Society Publications Vol. 55. Højbjerg, pp. 9–18.
B.V. Eriksen, Colourful Lithics – the “Chaîne Opératoire” of Heat Treated Chert Artefacts in the Early Mesolithic of Southwest Germany. In: C.J. Kind (ed), After the Ice Age. Settlements, subsistence and social development in the Mesolithic of Central Europe. Konrad Theiss Verlag. Stuttgart, pp. 147–153.
2007
B.V. Eriksen, Travelling craftsmen in Early Bronze Age Denmark – addressing the evidence of leftover lithics. In: B. Hårdh, K. Jennbert & D. Olausson (eds), On the Road. Studies in honour of Lars Larsson. Acta Archaeologica Lundensia, Series in 4°, No. 26. Lund, pp. 253–258.
M. Winther Olesen & B.V. Eriksen, Krogstrup ved Snejbjerg. En bronzealderboplads med flintværktøj. Midtjyske fortællinger 2007, Herning Museum. Herning, pp. 77–92.
2008
B.V. Eriksen, Dynamic technological analysis of Bronze Age lithics. A tribute to an unconventional archaeologist. In: Z. Sulgostowska & A.J. Tomaszewski (eds), Man – Millennia – Environment. Studies in honour of Romuald Schild. Institute of Archaeology and Ethnology, Polish Academy of Sciences. Warsaw, pp. 301–306.
2009
B.V. Eriksen, Mobilität als Überlebensstrategie. Unterwegs im Südwesten. In: S. Rau, D. Naumann & M. Barth (eds), Eiszeit – Kunst und Kultur. Begleitband zur Grossen Landesausstellung: Eiszeit – Kunst und Kultur im Kunstgebäude. Thorbecke Verlag. Stuttgart, pp. 131–133.
2010
B.V. Eriksen, Flint working in the Danish Bronze Age – the decline and fall of a master craft. In: B.V. Eriksen (ed): Lithic technology in metal using societies. Jutland Archaeological Society Publications Vol. 67. Højbjerg, pp. 81–93.
2011
B.V. Eriksen, Schwanengesang über das Steinhandwerk – Meister und die, die es nicht können – Die frühmetallzeitliche Steintechnologie Dänemarks. Archäologische Nachrichten aus Schleswig-Holstein, Heft 17, pp. 7–9.
2013
B.V. Eriksen, Looking for Facts … Still Missing the Boats! Norwegian Archaeological Review, 46:1, pp. 92–94.
M. Sørensen, T. Rankama, J. Kankaanpää, K. Knutsson, H. Knutsson, S. Melvold, B.V. Eriksen & H. Glørstad, The First Eastern Migrations of People and Knowledge into Scandinavia: Evidence from Studies of Mesolithic Technology, 9th-8th Millennium BC. Norwegian Archaeological Review, 46:1, pp. 19–56.
2014
J. Meadows, B.V. Eriksen, I. Zagorska, A. Dreves & J. Simpson, Dating Late Palaeolithic harpoons from Lake Lubans, Latvia. Radiocarbon, 56 (2), pp. 581–589.
2015
C.J. Frieman & B.V. Eriksen, Introduction. Flint Daggers: A Historical, Typological and Methodological primer. In: C.J. Frieman & B.V. Eriksen (eds) Flint Daggers in Prehistoric Europe. Oxbow Books. Oxford, pp. 1–9.
2016
B.V. Eriksen & H.C.H. Andersen, Hammelev. An Early Mesolithic cremation grave from Southern Jutland, Denmark. In: J. Grünberg et al. (eds), Mesolithic Burials – Rites, symbols and social organization of early postglacial communities. Tagungen des Landesmuseums für Vorgeschichte Halle, Band 13/1, pp. 73–80.
2017
J.P. Brozio, W. Dörfler, B.V. Eriksen, S.B. Grimm, D. Groß, S. Hartz, W. Kirleis, J. Kneisel, H. Lübke, J. Meadows, J. Müller & U. Schmölcke, TransformationsDimensionen – Wildbeuter, Bodenbauer und frühe Metallurgen im Fokus. Sonderforschungsbereich 1266: ein neues Großprojekt der Universität Kiel. Archäologische Nachrichten aus Schleswig-Holstein, Heft 22, 2016, pp. 18–21.
2018
B.V. Eriksen, Bronze Age flint-working at Bjerre, Thy. In: J.H. Bech, B.V. Eriksen & K. Kristiansen (eds), Bronze Age Settlement and Land-Use in Thy, Northwest Denmark, Vol. II. Jutland Archaeological Society Publications Vol. 102. Højbjerg, pp. 281–347.
2019
M.N. Haidle & B.V. Eriksen, Obituary: Hansjürgen Müller-Beck (13 August 1927–2 August 2018). Journal of Anthropological Research 75, no. 1, Spring 2019, pp. 1–5.
W. Hamer, D. Knitter, S.B. Grimm, B. Serbe, B.V. Eriksen, O. Nakoinz & R. Duttmann, Location modelling of Final Palaeolithic sites in Northern Germany. Geosciences 9, 430, 2019, pp. 1–14. (https://www.mdpi.com/2076-3263/9/10/430/htm)
I. Zagorska, B.V. Eriksen, J. Meadows & V. Zelčs, Late Palaeolithic settlement of Latvia confirmed by radiocarbon dating of bone and antler artefacts. In: B.V. Eriksen, E. Rensink & S.K. Harris (eds), The Final Palaeolithic of Northern Eurasia. Proceedings of the Amersfoort, Schleswig and Burgos UISPP Commission Meetings. Schriften des Museums für Archäologie Schloss Gottorf, Ergänzungsreihe Band 13. Schleswig, pp. 343–362.
2020
E. Corradini, B.V. Eriksen, M.F. Mortensen, M.K. Nielsen, M. Thorwart, S. Krüger, D. Wilken, N. Pickartz, D. Panning & W. Rabbel, Investigating lake sediments and peat deposits with geophysical methods – a case study from a kettle hole at the Late Palaeolithic site of Tyrsted, Denmark. Quaternary International 558, 2020, pp. 89-106. (https://doi.org/10.1016/j.quaint.2020.08.008)
2021
É. David & B.V. Eriksen, Antler Tool’s Biography Shortens Time Frame of Lyngby-axes to the Last Stage of the Late Glacial. In: S. Gaudzinski-Windheuser, O. Jöris (eds.), The Beef behind all possible pasts. The tandem-Festschrift in honour of Elaine Turner and Martin Street. Monographien des Römisch-Germanischen Zentralmuseums 157, 2 (Mainz 2021), pp. 639-656. (https://doi.org/10.11588/propylaeum.950.c12583)
S.B. Grimm, B.V. Eriksen, S. Krüger, T. Reuter, M. Wild & M.-J. Weber, Late Glacial occupation of northern Germany and adjacent areas. Revisiting the archives. In: S. Gaudzinski-Windheuser, O. Jöris (eds.), The Beef behind all possible pasts. The tandem-Festschrift in honour of Elaine Turner and Martin Street. Monographien des Römisch-Germanischen Zentralmuseums 157, 2 (Mainz 2021), pp. 433-457. (https://doi.org/10.11588/propylaeum.950.c12572)
2022
T. Earle, A.-L. Haack Olsen, B.V. Eriksen, P.S. Henriksen & I.K. Kristensen, Everyday Life at Bjerre Site 7, a Late Bronze Age House in Thy, Denmark. European Journal of Archaeology, 25/3, 2022, pp. 372-395. (https://doi.org/10.1017/eaa.2021.63)
M. Wild, M.F. Mortensen, N.H. Andreasen, P. Borup, C. Casati, B.V. Eriksen, L. Frost, K.M. Gregersen, M.B. Henriksen, M. Kanstrup, J. Olsen, K.B. Pedersen, P.V. Petersen, C. Ramskov, L. Sørensen, M. Sørensen & S. Wåhlin, Palaeolithic bone and antler artefacts from Lateglacial and Early Holocene Denmark: technology and dating. Quartär 67, 2020, pp. 105-180. (https://doi.org/10.7485/qu.2020.67.88925)
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https://en.wikipedia.org/wiki/Tales_of_the_Tooth_Fairies
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No.TitleOriginal air date1"Mission: Toothbrush"7 September 1993 ( )
The Tooth Mice are sent in bad weather to deliver toothbrushes to twins with bad teeth.
2"The Silver Sleighbell"14 September 1993 ( )
The Tooth Mice deliver to an eskimo sleighbells for his dog sled, aided by the clumsy reindeer Romuald.
3"The Golden Scissors"21 September 1993 ( )
The Tooth Mice deliver to a girl named Fabienne a small pair of scissors.
4"Flying Feathers"28 September 1993 ( )
The Tooth Mice procure a goose feather to substitute a feather pen for a fountain pen specially for a girl named Anna.
5"A Proud Candle"5 October 1993 ( )
The Tooth Mice venture in a flooding storm to give a boy named Vincent a special flashing candle, with help from a stray cat named Rammy.
6"Magic Chimes"12 October 1993 ( )
The Tooth Mice pick a rare bluebell flower for a girl named Sophie, almost getting caught by an owl, but rescued by Arthur.
7"Jonathan Loses His Tooth"19 October 1993 ( )
The Tooth Mice bring an absent-minded boy named Jonathan a special diary, and in the process get the tooth mouse teacher her job back.
8"Stolen Present"9 November 1993 ( )
As the Tooth Mice try to deliver a whistle for a boy named Fabian, it is taken by Ronald Rat, but Arthur helps them recover it.
9"The Bell Doll"16 November 1993 ( )
Gisele does not return from her tooth exchange job, so Arthur delivers a bell doll to a girl named Emily and rescues Gisele from a cage.
10"The Book of Leaves"23 November 1993 ( )
As the Tooth Mice deliver a leaf book to a girl named Sandree, Marad the Buzzard captures Gisele, but Gisele soothes her to sleep with the book.
11"Mr. Sun, Mrs. Rain"30 November 1993 ( )
The Tooth Mice bring a girl named Audrey a comb, but have trouble as Audrey's pet cat shows up.
12"Sky Scraper"7 December 1993 ( )
The Tooth Mice go to the 60th floor of a sky scraper to bring a boy named Charles a clockwork bird, running into Roland Rat on the way.
13"Cat's Enough"14 December 1993 ( )
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https://www.britannica.com/biography/Simanas-Daukantas
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Simanas Daukantas | Lithuanian Nationalism, Romanticism & Enlightenment
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Simanas Daukantas was a historian who was the first to write a history of Lithuania in Lithuanian and a pioneer of the Lithuanian national renaissance. Daukantas studied languages and literature at the University of Vilnius (at Vilnius, former capital of Lithuania, then part of the Russian Empire;
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en
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/biography/Simanas-Daukantas
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Simanas Daukantas
Lithuanian historian
Quick Facts
Born:
Oct. 28, 1793, Kalviai, Lithuania
Died:
Dec. 6 [Nov. 24, old style], 1864, Papilė, Lithuania, Russian Empire (aged 71)
Subjects Of Study:
Lithuania
Simanas Daukantas (born Oct. 28, 1793, Kalviai, Lithuania—died Dec. 6 [Nov. 24, old style], 1864, Papilė, Lithuania, Russian Empire) was a historian who was the first to write a history of Lithuania in Lithuanian and a pioneer of the Lithuanian national renaissance.
Daukantas studied languages and literature at the University of Vilnius (at Vilnius, former capital of Lithuania, then part of the Russian Empire; 1816–18) and then philosophy, law, and history. He received his master of law degree in 1825. After 10 years as a translator in the office of the governor general in Riga, Latvia, where he had access to the archives, he went to St. Petersburg in 1835 to take a post in the senate office and archives, where he was able to study important Lithuanian state documents. He retired because of ill health in 1850.
Britannica Quiz
History Buff Quiz
Daukantas’ two main historical works are Būdas senovės lietuvių, kalnėnų ir žemaičių (1845; “The Character of the Lithuanians, Highlanders, and Samogitians”) and Istorija žemaitiška (written before 1838 and first published in serial form in a U.S. Lithuanian newspaper, 1891–96; “History of Samogitia”). Because he was concerned with uplifting and instilling national pride in the Lithuanian people, he idealized his nation’s past. The importance of his works lies in their influence on the Lithuanian national movement, as well as in the quality of his writing.
This article was most recently revised and updated by Encyclopaedia Britannica.
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Christmas and holidays
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Lumières en Seine at the Domaine de Saint-Cloud, the magical route - final days
Lumières en Seine is the sublime Festival of Lights that will once again illuminate the Domaine de Saint-Cloud, from November 17, 2023 to January 14, 2024. The program includes a magical stroll of almost 2km, to be enjoyed over the festive season.
Christmas 2023 in Paris: the Dior Yule log by Jean Imbert at 30 Montaigne
Celebrate the festive season with elegance and refinement thanks to the Dior Yule log, available at 30 Montaigne from December 15, 2023. A sweet couture creation by chefs Jean Imbert, Romuald Bizart and Camille Lochouarndévoile, for a highly stylish New Year's Eve meal.
12 websites to resell your Christmas gifts, without any fuss ...
Every year, Christmas presents are double or nothing. Sometimes a dream, sometimes the wrong thing, the presents aren't always pleasant surprises. So, to lighten the scowl on your face, we're secretly revealing the 12 best sites for reselling "poisoned" Christmas presents. To be consulted incognito ...
Christmas 2023: where to put your Christmas tree after the festivities in Paris?
Once the festive season is over, the City of Paris invites you to drop off your Christmas tree at one of the capital's many collection points, until January 20, 2024!
Hauts-de-Seine: Santa Claus authorized to travel by sleigh with his reindeer thanks to a decree
On the night of December 24th to 25th, all the children are impatiently waiting for Santa Claus to come and visit them, and to make it easier for him to get around, a mayor in the Hauts-de-Seine department has issued a decree authorizing him to travel around with his sleigh!
Christmas Brunch 2023 at Maison Villeroy
Maison Villeroy, a small, confidential pocket luxury hotel with a fine Michelin-starred restaurant, is offering us an exceptional lunch for the day after Christmas Eve, on Monday December 25, 2023.
Christmas 2023: every day, a new release unveiled in your Sortiraparis advent calendar
To tide you over until Christmas, Sortiraparis invites you to discover a new outing every day. From December 1 to 24, follow us to the restaurants, museums, theaters, fun experiences and monuments of Paris and the Île-de-France region!
D-118 before Christmas! Did you know? Where does the story of Santa Claus come from?
Every December 25, Santa Claus delights children by bringing them gifts by the thousands. But where does he come from and why is he red? We reveal the secrets of Santa's true story.
Léandre Vivier's magnificent Yule Log for Burgundy Paris 2023
Léandre Vivier, the talented Pastry Chef at the Burgundy Paris, unveils a superb, curvaceous Yule log for the 2023 festive season.
The exceptional Petit Train du Cheval Blanc Yule Log Paris 2023
For its 2023 Yule log, Cheval Blanc Paris is offering us a gourmet experience that takes us back to our childhood memories: an all-chocolate magic train, a delicious reinterpretation of traditional wooden toys, with a gourmet tribute to travel and hazelnuts.
Lenôtre's Bûche de Noël Luge by Etiennne Leroy and festive creations 2023
For the festive season of 2023, Maison Lenôtre takes us into a magical world. We discover the creation of Etienne Leroy, World Pastry Champion, a sublime Luge Yule Log filled with gifts. Discover the gourmet treats and festive creations in store this year from the famous house.
The crispy Lulu Yule log at the Lutetia Paris 2023 by Nicolas Guercio
Looking for an exquisite and unique Yule log for the festive season? Discover Nicolas Guercio's incredible creation for Hôtel Lutetia this year. The log, available by reservation only until December 22, 2023, will be retired at the Hotel Lutetia Paris on December 23 and 24, 2023.
Low-glycemic, gluten-free Yule logs from Belles Envies 2023
Les Belles Envies unveils 3 Yule logs for 2023, suitable for diabetics and gluten intolerants. Available in three new-to-Paris flavors, these low-glycemic delights promise to delight your taste buds this holiday season.
The Full Vanilla Christmas Log at the Royal Monceau Raffles Paris x Messika 2023 by Quentin Lechat
Le Royal Monceau - Raffles Paris, in collaboration with Messika, unveils a creation by Quentin Lechat: Full Vanille, recalling the codes of the Saint-Honoré. Vanilla lovers beware: you'll love this version with its different textures.
Nina Métayer's 2023 Christmas logs
For Christmas 2023, Nina Métayer unveils no less than 5 gourmet and original logs. A succulent signature log that enhances the aesthetics of the table, a gluten-free log that reveals itself in a gentle hum, and three classic logs that will also tickle the taste buds of the most gourmet palates.
Christmas 2023: Christmas market, indoor skating rink and family entertainment in Trappes
Come and discover the Féeries de Noël, a Christmas market, an indoor skating rink and lots of entertainment for the whole family!
Christmas and New Year's Eve at Parc Astérix 2023-2024
How about celebrating Christmas or New Year's Eve 2023-2024 in hotels or at Parc Astérix? Whether you're with the family, as a couple or with friends, here are some great ideas for a fun-filled evening and day out.
La Maison Louveciennes returns with its winter chalet and Mont d'Or raclette
La Maison Louveciennes is transformed into a high-altitude chalet for winter! Whether you're looking for raclette, Mont D'Or fondante or tartiflette in a mountain atmosphere, here's a spot just a few minutes from Paris that's sure to win you over.
Christmas vacations at Parc Astérix 2023-2024: light trail, ice rink, rides and shows
Parc Astérix is once again celebrating the magic of Christmas during the 2023 Christmas vacations. From December 23, 2023 to January 7, 2024, you're invited to discover the festive activities of the Gaulish Christmas at the theme park. Ice rink, sledges, trail of lights, hidden tavern and enchanting shows await you...
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As viewers tune in once again to watch athletes competing for medals in Paris, TVBEurope hears from three technology vendors who are helping broadcasters with their live video infrastructure, monitor their feeds, and convert SDR to HDR
|
en
|
TVBEurope
|
https://www.tvbeurope.com/tag/paris-2024
|
Live Production
When failure is not an option: The technology powering coverage of the Summer Games
As viewers tune in once again to watch athletes competing for medals in Paris, TVBEurope hears from three technology vendors who are helping broadcasters...
Live Production
LiveU delivers more than 70,000 hours of coverage from Paris 2024
The company's IP-video technology played a key role in reducing the need for heavy equipment to be transported during Paris 2024
Adtech
Yospace stitches 4 billion ads into Olympic live streams
Key highlights included the Men's and Women's 100m finals, which saw surges in viewership both before and after the events
Artificial Intelligence
Opinion: AI in broadcast and media production workflows
Simon Clarke, CTO at Telestream, on the evolution of AI in the media and entertainment landscape
Live Production
Alibaba Cloud enhancing coverage at Paris 2024 and beyond
Cloud-based and AI-driven innovations aimed to enhance viewer experiences and help meet sustainability targets
Media Consumption
Paris 2024 ‘on track to reach half the world’s population’
Broadcast and digital figues for the Games "are going through the roof" said IOC President Thomas Bach
Media Consumption
Warner Bros Discovery’s Olympics coverage hits one billion streaming minutes after two days
Eurosport's average linear audiences have also increased compared to Tokyo 2020, up 98 per cent so far
Media Management
Alibaba, OBS partner on AI-fueled OBS Cloud 3.0 for Paris 2024
OBS Live Cloud has become the main method of remote distribution to Media Rights-Holders (MRHs) for the first time in the history of the...
Media Delivery
‘Localisation is our superpower’: How WBD Sports is delivering the Olympics to Europe
TVBEurope catches up with WBD Sport's Scott Young to hear how the broadcaster is using its streaming services to bring the Olympics to more...
Media Delivery
A new era of broadcasting at the Olympic Games
Writing exclusively for TVBEurope, Digital TV Group CTO Alex Buchan details a 5G Broadcast demo by TDF in the run-up to the Games
Media Consumption
How will we watch the Olympics in 2032?
From VR headsets to volumetric video, the Video Labs team at InterDigital give us some insight into how we might watch (and produce) the...
Audio
Bringing the ‘wow’ factor to the sound of Paris 2024
John Schur, president, solutions group at Telos Alliance, explains why sound is just as important as video when covering a major sporting event
Artificial Intelligence
OBS, AI and Paris 2024
TVBEurope’s Matthew Corrigan sits down with Sotiris Salamouris, chief technology officer at OBS and Intel’s EMEA chief technology officer, Jean-Laurent Philippe, to hear about...
Sustainability
Opinion: Could this year’s ‘Summer of Sport’ be the greenest yet?
Matthew Williams-Neale, VP of marketing, Appear, explains how broadcasters' efforts are ensuring the excitement of live sports can be enjoyed sustainably, setting a new...
Media Delivery
Medal alerts, multi-audio feeds, 3,800 hours of live coverage: WBD reveals streaming plans for Paris 2024
The broadcaster will deliver 3,800 hours of live content, covering every event – peaking at 54 simultaneous live streams - across Max and discovery+
Live Production
Pedalling in Paris: France Télévisions cargo bikes deliver Olympic coverage
The bikes aim to beat congestion allowing mobile video news teams to move around Paris
Media Consumption
Channel 4 undertakes ‘significant technology and operational work’ to make Paralympics more accessible
Advertising with subtitles will be supported across linear Channel 4 television around Paralympics coverage as well on its streaming platform
Media Consumption
NBCUniversal’s Peacock to offer ‘multiview’ option during Paris 2024
Peacock Discovery Multiview will offer an what it says is an industry-first, enhanced four-view experience, with real-time on-screen descriptions from NBCU’s Olympic experts
Live Production
160 countries to cover Paris 2024 Paralympic Games
Paris 2024 will make history as the first Paralympic Games to offer some live coverage from each of the 22 sports
Live Production
TVU Networks aims to meet Paris 2024 demand with new partnership
The partnership with MediaPower France will enable TVU to meet the requirements of French broadcasters for live production tools and services ahead of the...
Live Production
France Télévisions prepares cloud and wireless remote workflow for Paris 2024
The broadcaster employed a hyper-mobile broadcasting wokflow on special programming marking one year to the start of next summer's Olympic Games
Live Production
Olympic Broadcasting Services aims to give Paris 2024 big screen feel with cinematic lenses
OBS revealed plans to provide more than 11,000 hours of content from the Games, including more athlete-centric coverage and behind-the-scenes material, pre-and post-competition
Live Production
Regional hubs, remote production and ‘every form of connectivity’ will underpin Paris 2024 for WBD Sports
WBD Sports' SVP content and production Scott Young tells David Davies about how the broadcaster is aiming to bring viewers ‘closer to the story’...
|
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5671
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dbpedia
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3
| 4
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https://m.imdb.com/title/tt0274064/releaseinfo/
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en
|
Romuald the Reindeer (TV Series 1996)
|
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Romuald the Reindeer (TV Series 1996) - Movies, TV, Celebs, and more...
|
en
|
IMDb
|
https://www.imdb.com/title/tt0274064/releaseinfo/
|
Top Gap
By what name was Romuald the Reindeer (1996) officially released in Canada in English?
Answer
|
|||||
5671
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dbpedia
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1
| 68
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https://www.amazon.com/JAccuse-Marise-Dauvray/dp/B0018BYNY4
|
en
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Amazon.com
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en
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Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
|
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dbpedia
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3
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https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
|
en
|
Rudolph Mascot Costume for Christmas Events
|
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Rudolph the reindeer mascot costume for events and promotions. Handcrafted design, high quality materials.
|
en
|
/apple-touch-icon.png
|
https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
|
This Rudolph the reindeer mascot from Santa Claus is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Rudolph the Reindeer Mascot
The Rudolph the Santa Claus reindeer mascot is a charming and attractive costume, perfect for livening up your end-of-year events and parties. Representing the famous reindeer with its dark and light brown coat, majestic antlers and iconic red nose, this mascot will bring the magic of Christmas to all your festive occasions, such as Christmas markets, parades and commercial events.
NetJuggler analysis of the Rudolph the Reindeer Mascot
I find this Rudolph mascot particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its soft touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Target audience and uses of Santa's Rudolph the Reindeer mascot
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Personalize your mascot!
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
About the Manufacturer of the Rudolph the Christmas Reindeer Mascot
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
|
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5671
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dbpedia
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2
| 1
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https://dubdb.fandom.com/wiki/Romuald_the_Reindeer
|
en
|
Romuald the Reindeer
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https://static.wikia.nocookie.net/international-entertainment-project/images/8/83/Romuald_the_Reindeer_-_poster_%28English%29.png/revision/latest?cb=20240704163858
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https://static.wikia.nocookie.net/international-entertainment-project/images/8/83/Romuald_the_Reindeer_-_poster_%28English%29.png/revision/latest?cb=20240704163858
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[
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[
"Contributors to The Dubbing Database"
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Romuald the Reindeer is a British children’s animated series created by Robin Lyons and Andrew Offiler. It was produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The show aired on BBC One in 1996 and revolves around the adventures of a Christmas reindeer named...
|
en
|
https://static.wikia.nocookie.net/international-entertainment-project/images/4/4a/Site-favicon.ico/revision/latest?cb=20210709131246
|
The Dubbing Database
|
https://dubdb.fandom.com/wiki/Romuald_the_Reindeer
|
Romuald the Reindeer is a British children’s animated series created by Robin Lyons and Andrew Offiler. It was produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The show aired on BBC One in 1996 and revolves around the adventures of a Christmas reindeer named Romuald, a sullen teenage reindeer, as he navigates life's twists and turns. Alongside Romuald, there are other characters like his little sister Ulrika, his parents Harold and Hilda, and the local reindeer bullies Clint, Kirk, and Burt.
Cast[]
Character Actor
Romuald Haroldson
Nigel Planer
Ulrika Haroldson
Julie Higginson
Harold Haroldson
Jonathan Kydd
Hilda Haroldson
Emma Wray
Grandpa Ivy
Kenneth Waller File:Clint (Romuald the Reindeer).png
Clint
Arthur Smith File:Kirk (Romuald the Reindeer).png
Kirk
Jonathan Kydd File:Burt (Romuald the Reindeer).png
Burt
Christian Rodska
International versions[]
Dubs[]
Language Title Channels Danish Rensdyret Rumle DR1 (formerly) Estonian
(voice-over) Põhjapõder Romuald Kanal 2 (formerly) French Romuald
Romuald le grand renne
Romuald le renne France 3 (formerly)
Télétoon (formerly) German Romuald, das Rentier Der Kinderkanal (formerly)
ZDF (formerly)
ORF 1 (formerly) Hungarian Romuald, a rénszarvas TV1 (formerly) Irish Bómán TG4 (Cúla4 block, formerly) Italian Romualdo la renna RaiDue (formerly) Polish Renifer Romuald Canal+ (formerly)
Minimax (formerly) Scottish Gaelic Fionnlagh Fast BBC One Scotland (formerly)
BBC Two Scotland (formerly) Slovak Sob Romuald STV1 (formerly) Slovene Romuald TVS 1 (formerly)
Title translations[]
|
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dbpedia
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3
| 47
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https://www.daum.au/art-editions-romuald-hazoume
|
en
|
Daum in Australia. Romuald Hazoumé
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en
|
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A committed artist, Romuald Hazoum. denounces modern slavery. An essential element of contemporary African art, he loves outsized pieces, disturbing pieces. His aesthetic and political works are collected all over the world.
Blue Oil Head and Petrol Head denounce the black market traffic of petrol used by 90% of the Beninese population.
|
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dbpedia
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https://carol-japp.pixels.com/featured/reindeer-at-copenhagen-christmas-market-carol-japp.html
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en
|
Reindeer at Copenhagen Christmas Market by Carol Japp
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[] |
[] |
[
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"carol japp",
"reindeer",
"christmas",
"holidays",
"festive",
"copenhagen",
"kobenhavn",
"denmark",
"copenhagen denmark",
"christmas market",
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"hojbro plads",
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"fairy lights",
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"christmas tree",
"holiday lights",
"market",
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"old town square",
"holiday",
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"december",
"traditional",
"sleigh",
"noel",
"textured",
"winter warmth",
"europe",
"european",
"european christmas markets",
"old world",
"magical"
] | null |
[] | null |
Festive Reindeer at the Hojbro Plads Christmas Market in Copenhagen, Denmark. Reindeer at Copenhagen Christmas Market has added textures to complete t...
|
en
|
Carol Japp Official Website
|
https://carol-japp.pixels.com/featured/reindeer-at-copenhagen-christmas-market-carol-japp.html
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dbpedia
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| 66
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https://www.mutualart.com/Article/The-Top-Instagrams-from-Documenta14-/B7002125645866CB
|
en
|
The Top Instagrams from Documenta14
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[] |
[] |
[
""
] | null |
[
"MutualArt"
] |
2017-06-14T00:00:00
|
We take a look at this year's sprawling edition of the exhibition, as seen through the lenses of the world's leading curators, gallerists and museum directors
|
en
|
https://www.mutualart.com/Article/The-Top-Instagrams-from-Documenta14-/B7002125645866CB
|
We take a look at this year's sprawling edition of the exhibition, as seen through the lenses of the world's leading curators, gallerists and museum directors
1. Hendrik Folkerts, Curator for Documenta14
Documenta curator Hendrik Folkerts offered a preview of Maria Eichhorn's towering installation Unlawfully acquired books from Jewish ownership. The work is part of a project focused on the books and artworks looted by Nazis, considering issues of owernship and restitution.
2. Ann Gallagher, Curator of British Art at Tate
Ann Gallagher, Tate's Curator of British Art, shared work by award-winning French filmmaker Romuald Karmakar, whose installation takes over the entire Westpavilion of Kassel's 18th-century Orangerie. Films by the artist consider the collapse of the Byzantine Empire and the Fall of Constantinople — two events that shaped history.
3. Dea Vanagan, Director of Hauser & Wirth Somerset
Beau Dick hailed from a secluded village on Canada's northwest coast which, due to its isolated position, remained largely untouched by colonial authorities. Known as Gwa'yi to its residents, the region observes traditional ceremonies and modes of governance. Dick, who promoted the rights of Canada's indigenous peoples, became renowned as a master carver, creating works that appear 'alive'.
4. Adriano Pedrosa, Director Museu de Arte de São Paulo
Artist Ibrahim Mahama swathes buildings in sacks used to transport goods including coffee, rice, beans and charcoal from Asia to his native Ghana. The material is a record of a global journey, as well as a reference to its use in many parts of Western Africa, where jute is repurposed to form anything from curtains to items of clothing.
5. Iaroslav Volovod, Assistant Curator Garage Museum of Contemporary Art
Much-photographed, The Parthenon of Books by artist Marta Minujín is built from almost 100,000 currently or previously banned books, by authors from around the world. Constructed to replicate the first Parthenon of Athens, the installation is defiant, referencing the ideals of history's first democracy on the same site where the Nazis once burned 2000 books.
6. Klaus Biesenbach, Director MoMA PS1
7. Jens Hoffmann, Senior Curator at the Museum of Contemporary Art Detroit
Maria Hassabi's dancers move in slow contortions, using their bodies to create an ever-changing sequence of angles and curves. Entitled STAGING, the performance is set against an electric fuschia floor, and has had visitors to Kassel stopping in their tracks.
8. Stuart Comer, Chief Curator of Media and Performance Art at MoMA
A post shared by Stuart Comer (@stuartcomer) on Jun 9, 2017 at 8:15am PDT
Born in Beirut in 1978, Lebanese-Dutch artist Mounira Al Solh is presenting a series of portraits entitled I Strongly Believe in Our Right to be Frivolous. Each is born of the artist's encounters with Middle Eastern and North African migrants who had transitioned, or were in the midst of transitioning, from the status of refugee to citizen.
9. Polly Staple, Director of Chisenhale
It is hard to miss Banuce cennetoglu's BEINGSAFEISSCARY. Installed on the façade of a building in Kassel's Friedrichsplatz, the work takes inspiration from the graffitied wall of a university in Documenta's sister site, Athens. The artist has borrowed letters from Kassel's Fridericianum, one of the oldest museums in Europe.
10. Frances Morris, Director, Tate Modern
Tate Modern Director Frances Morris is one of several prominent institution heads to have shared images of Nisyros (Vivian's bedroom), an installation by Buenos Aires-born artist Vivian Suter. Housed in a glass pavilion, the work features paintings that hang from the ceiling, forming vibrant enclosures.
For more on auctions, exhibitions, and current trends, visit our Articles Page
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https://mediatoon-distribution.com/en/programme/romuald-le-renne-2/
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en
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Romuald Le Renne
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2022-04-11T13:08:53+00:00
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en
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Mediatoon Distribution
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https://mediatoon-distribution.com/en/programme/romuald-le-renne-2/
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5671
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dbpedia
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2
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https://www.tiktok.com/discover/brigitte-voice-actor
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en
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Make Your Day
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5671
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dbpedia
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3
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https://www.netjuggler.net/En/buy/reindeer-mascot.html
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en
|
High Quality and Customizable
|
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Discover the Romuald the reindeer mascot, ideal for livening up your Christmas events. French manufacturing, machine washable.
|
en
|
/apple-touch-icon.png
|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
|
This Romuald the reindeer mascot is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Reindeer Romuald Mascot
The Romuald the reindeer mascot is a charming and attractive costume, perfect for livening up your Christmas events and shows. Representing a reindeer with its beautiful brown and white coat and its large majestic antlers, this mascot is ideal for adding a festive and warm touch to your end-of-year celebrations. Whether for Christmas markets, parades or commercial events, Romuald the reindeer will captivate young and old.
NetJuggler analysis of the Renne Romuald Mascot
I find this mascot of Romuald the reindeer particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its softness to the touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Who is the Renne Romuald Mascot for?
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Customizable mascots
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
Artisanal confection in Auvergne
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
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dbpedia
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https://www.tiktok.com/%40benmualdo/video/7379350657486081286
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Make Your Day
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https://www.artsy.net/article/artsy-editorial-documenta-14-struggles-statement-uncertain-times
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en
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Documenta 14 Struggles to Make a Statement about Our Uncertain Times
|
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"Art World",
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"Anna Halprin",
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"Antonio Vega Macotela",
"Leo von Klenze",
"Marta Minujin",
"Michel Auder",
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"Ulrich Wüst"
] | null |
[
"Tess Thackara"
] |
2017-06-09T17:15:59+00:00
|
The exhibition is devoid of a single narrative, but it excels when mining local history and Germany's long infatuation with classical Greece.
|
en
|
https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico
|
Artsy
|
https://www.artsy.net/article/artsy-editorial-documenta-14-struggles-statement-uncertain-times
|
Tess Thackara
Ibrahim Mahama, Check Point Sekondi Loco. 1901–2030. 2016–2017, 2016/2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
We are living in an age of uncertainty, documenta 14 curator-at-large Bonaventure Soh Bejeng Ndikung said, opening the second chapter of the quinquennial exhibition on Wednesday. The show, widely expected to issue a statement on our times, is this year split between two locations—Athens and Kassel—and the past and present of both cities is deftly interwoven here.
Ndikung is one of an extensive team of curators, led by artistic director Adam Szymcyzk. Szymcyzk’s choice to share the event with the Greek capital is in no small way tied to the uncertainties that are currently rattling our fragile planet and global community. Athens, of course, has seen a steady stream of tens of thousands of migrants arrive on its shores from the Middle East and Northern Africa since 2015, putting further strain on an already devastated economy. Its citizens have also endured severe austerity measures (not to mention international humiliation) imposed by its primary creditor, Germany.
Installation view of documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
Advertisement
Documenta was originally founded to create cultural unity between East and West Germany during the tense and fractious years of the Cold War. By uprooting elements of this historically loaded exhibition from the quiet, provincial town of Kassel, and placing them in the relatively unstable environment of Athens, Szymcyzk and his team have asked viewers to approach their global neighbors with empathy. “Documenta 14,” said another of its curators, Paul B. Preciado, “is a process of becoming the political subjects of history.”
The presence of Greece remains strong across the Kassel edition. And if uncertainty is best conveyed through experiences of confusion and dislocation, then this component of documenta 14 has certainly achieved its goal (though perhaps by accident). To call the exhibition scattered doesn’t quite capture the disjointed, often haphazard assortment of artworks that visitors find across 35 venues in the city, which together house works by hundreds of artists—many of which, in a gesture of generosity and reciprocity, have come directly from Athens’s EMST museum, a collection of works by Greek and international artists that’s been installed in the Fridericianum.
Across Kassel, information is scant. Numerous works are accompanied by barely a shred of context. And in a handful of locations, the works’ installation borders on incoherent.
Installation view of work by Ulrich Wüst at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
A viewer might find herself, for example, in a room that’s shared by a group of performers locked into a frozen formation on a plush, magenta pink carpet; a series of whimsical mail art pieces by Moyra Davey applied to the wall; Ulrich Wüst’s desolately empty black-and-white photos of the German Democratic Republic; and Artur Żmijewski’s silent films showing men with amputated limbs, engaged in exercises—post-World War II, one presumes? The work is strong, but when shown together, there is little to hold on to, hardly a thread to pull—save, perhaps, for the invocation of Europe’s violent past.
And therein lies documenta 14’s most cohesive throughline: that of our shared history. Various themes simmer up at moments throughout the exhibition—the rampant path of capitalism and nation-building (Michel Auder’s 14-channel video The Course of Empire, 2017, installed in the derelict former underground station of Kassel’s Hauptbahnhof, plays out a collage of scenes showing military invasions, wasted towns, and industrial production and consumption); the experience of migration (Angela Melitopoulos’s video Crossings, 2017, partly shot in a refugee camp in Lesbos, captures voices of anonymous migrants as they learn the English words, “rejection,” “love,” and “care”); and 1960s-style alternative communities and nature-worship (archival documents of Anna Halprin’s San Francisco dance circles or footage of “ecosexuals” Annie Sprinkle and Beth Stephens being wedded to Planet Earth in a ceremony).
Michel Auder, The Course of Empire, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
But the exhibition excels when it mines the recent and earlier history of Kassel, excavating its stories and turning the city into a microcosm of phenomena playing out around the world. It does so across two venues, in particular, which are the strongest presentations of documenta 14 in Kassel: the Neue Galerie and the Neue Neue Galerie (Neue Hauptpost).
The Society of Friends of Halit, for example, a coalition of activist groups that form part of documenta 14’s public programs, is investigating the 2006 murder of local Kassel resident Halit Yozgat, shot dead in a family-run internet café, the ninth in a spate of racially motivated killings of migrants by a neo-Nazi terrorist group. The sole living member of the trio of National Socialist Underground (NSU) members believed to have carried out the murder is now on trial in Munich.
However, Forensic Architecture, a research agency based at Goldsmiths, University of London, have worked to re-enact the events of the shooting and dig into the clues left embedded in the space—principally to determine whether a Hessian state secret service agent named Andreas Temme lied in his testimony before the court when he said that he did not hear gunshots, notice the smell of gunpowder, or see Halit’s body. The group has proven that this would not have been the case had Temme been in the café when the murder took place—and they have proven that he had could not have exited the café in time for the perpetrators to enter unseen. Needless to say, this raises questions.
Marta Minujín, The Parthenon of Books, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
The presence of an active investigation within the exhibition space of the Neue Neue Galerie (Neue Hauptpost) shows how Kassel has been touched by larger themes of immigration and racial violence, as well as the way in which the city’s space is a palimpsest of histories. Similarly, Ahlam Shibli’s Heimat (2016–17) follows the experiences of two migrant communities that arrived in Kassel in the mid-20th century, capturing them in portraits, accompanied by text that details their efforts to establish a new home and integrate themselves into the fabric of the place.
The seismic shifts that took place during and after World War II, prompting mass migrations, are further invoked and connected to the ancient history of Greece by way of the German (and Nazi) fascination with the classical world. Alexander Kalderach’s romantic renderings of the ancient Greek Parthenon, such as Der Parthenon (1939), on view in Kassel’s Neue Galerie, caught the eye of Adolf Hitler, as the wall text notes. And the curators push this connection back still further, showing the German landscape painter (and father of infamous Nazi-era art dealer Cornelius Gurlitt) Louis Gurlitt’s sun-soaked Akropolis (ca. 1858), which he painted on a visit to Greece (when the country was ruled by German monarch, King Otto I).
Antonio Vega Macotela, The Mill of Blood, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
Kassel itself does not escape this study in the German infatuation with Greek civilization. Leo von Klenze, an artist-architect whose career began in Kassel (and who built Kassel’s Ballhaus building, which is one of documenta’s venues), lived for years in Athens, working on a city plan for King Otto I, and would eventually model his Walhalla—which still sits today above Germany’s Danube and appears in the form of von Klenze’s own painting in the Neue Galerie—on the Parthenon.
And then, of course, there is Marta Minujín’s giant Parthenon of Books (2017), which currently dominates Kassel’s Friedrichsplatz, a recreation of her 1980s installation in Argentina following the end of the country’s repressive Dirty War, for which she assembled a replica Parthenon out of metal scaffolding and thousands of books that had been banned during the military dictatorship. It’s a monument to freedom and humanity, and here functions as a rebuke to the Nazis’ deployment of classical civilization as an excuse for ethnic-cleansing and the pursuit of power.
Máret Ánne Sara, Pile o’ Sápmi, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
Across documenta 14, alternative “anti-monuments,” as curator Candice Hopkins calls them, stand as markers not of authority but of history’s brutalities—as in Antonio Vega Macotela’s The Mill of Blood (2017), a reconstruction of the minting machine built by Spanish colonizers in South America and powered by indigenous and African slaves, or even Máret Ánne Sara’s curtain of reindeer heads in the Neue Neue Galerie (Neue Hauptpost), memorializing Norway’s more recent history of reindeer culling.
But documenta 14 doesn’t find only endless doom and gloom, death and exploitation, in march of human history. Mercifully, for worn-out visitors, there is some relief. Romuald Karmakar’s searingly moving videos Byzantion and Die Entstehung des Westens: Von den Anfängen in der Antike bis zum Fall von Konstantinopel (both 2017), the solitary installation in Kassel’s Orangerie, invoke the end of the Byzantine Empire and the fall of Constantinople through the heart-wrenchingly beautiful singing of choirs in two churches in Russia and Greece.
And Agnes Denes’s peaceful The Living Pyramid (2015/2017), composed of steps of flowers and plants, is a quiet monument to geological time and the natural world.
Installation view of work by Romuald Karmakar at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
There are also stories of individuals who have resisted persecution and intolerance, such as Lorenza Böttner, born Ernst Lorenz Böttner, who lived in the city of Lichtenau, not far from Kassel, in the 1970s. Lorenza, who identified as a transgender female, had both arms amputated as a young boy, following a crippling electric shock induced by climbing a pylon.
Later in life, as Lorenza, she would go on to study at the Kassel School of Art, and learn to paint with her feet and mouth. Some of her canvases are on view in the Neue Galerie: romantic self-portraits that show her feminized, armless form, some of which place her within archetypal female imagery. She would become an ardent advocate for disability rights, performing her foot-and-mouth painting in public and arguing for the acceptance and canonization of disabled artists.
Many of the subjects of this documenta, curator Paul Preciado offered, could have been the subjects of ethnographic vitrines. “We have been given agency to destroy the vitrines,” he said, urging visitors to see documenta 14 as a “new institution in transition.”
Agnes Denes, The Living Pyramid, 2015/2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.
Perhaps it’s that distrust of institutions—and of any power structures at all—that has led the curators of documenta 14 to avoid any one single narrative. “We have always been against interpretation,” Szymcyzk said. “The great lesson is that there is no one lesson.” What exactly that means is anyone’s guess. There’s no possibility of looking without interpretation; it’s the very basis of drawing meaning from the world around us.
But if there’s one idea that documenta 14 does put forth with success—the meaning that we can draw from all of this—it’s precisely that of the collective experience of being subject to power, and doing our best to refuse it, wherever we live.
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| 72
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https://www.britannica.com/place/Baltic-states
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en
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Baltic states | History, Map, People, Independence, & Facts
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[
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1998-07-20T00:00:00+00:00
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Baltic states, northeastern region of Europe containing the countries of Estonia, Latvia, and Lithuania, on the eastern shores of the Baltic Sea. They are bounded on the west and north by the Baltic Sea, on the east by Russia, on the southeast by Belarus, and on the southwest by Poland and an exclave of Russia.
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en
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/favicon.png
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Encyclopedia Britannica
|
https://www.britannica.com/place/Baltic-states
|
Baltic states, northeastern region of Europe containing the countries of Estonia, Latvia, and Lithuania, on the eastern shores of the Baltic Sea.
The Baltic states are bounded on the west and north by the Baltic Sea, which gives the region its name, on the east by Russia, on the southeast by Belarus, and on the southwest by Poland and an exclave of Russia. The underlying geology is sandstone, shale, and limestone, evidenced by hilly uplands that alternate with low-lying plains and bear mute testimony to the impact of the glacial era. In fact, glacial deposits in the form of eskers, moraines, and drumlins occur in profusion and tend to disrupt the drainage pattern, which results in frequent flooding. The Baltic region is dotted with more than 7,000 lakes and countless peat bogs, swamps, and marshes. A multitude of rivers, notably the Neman (Lithuanian: Nemunas) and Western Dvina (Latvian: Daugava), empty northwestward into the Baltic Sea.
The climate is cool and damp, with greater rainfall in the interior uplands than along the coast. Temperatures are moderate in comparison with other areas of the East European Plain, such as in neighbouring Russia. Despite its extensive agriculture, the Baltic region remains more than one-third forested. Trees that adapt to the often poorly drained soil are common, such as birches and conifers. Among the animals that inhabit the region are elk, boar, roe deer, wolves, hares, and badgers.
The Latvian and Lithuanian peoples speak languages belonging to the Baltic branch of the Indo-European linguistic family and are commonly known as Balts. The Estonian (and Livonian) peoples, who are considered Finnic peoples, speak languages of the Finno-Ugric family and constitute the core of the southern branch of the Baltic Finns. Culturally, the Estonians were strongly influenced by the Germans, and traces of the original Finnish culture have been preserved only in folklore. The Latvians also were considerably Germanized, and the majority of both the Estonians and the Latvians belong to the Lutheran church. However, most Lithuanians, associated historically with Poland, are Roman Catholic.
The vast majority of ethnic Estonians, Latvians, and Lithuanians live within the borders of their respective states. In all three countries virtually everyone among the titular nationalities speaks the native tongue as their first language, which is remarkable in light of the massive Russian immigration to the Baltic states during the second half of the 20th century. Initially, attempts to Russify the Baltic peoples were overt, but later they were moderated as Russian immigration soared and the sheer weight of the immigrant numbers simply served to promote this objective in less-blatant ways. Independence from the Soviet Union in 1991 allowed the Baltic states to place controls on immigration, and, in the decade following, the Russian presence in Baltic life diminished. At the beginning of the 21st century, the titular nationalities of Lithuania and Estonia accounted for about four-fifths and two-thirds of the countries’ populations, respectively, while ethnic Latvians made up just less than three-fifths of their nation’s population. Around this time, Poles eclipsed Russians as the largest minority in Lithuania. Urban dwellers constitute more than two-thirds of the region’s population, with the largest cities being Vilnius and Kaunas in southeastern Lithuania, the Latvian capital of Riga, and Tallinn on the northwestern coast of Estonia. Life expectancy in the Baltic states is comparatively low by European standards, as are the rates of natural increase, which were negative in all three countries at the beginning of the 21st century, owing in part to an aging population. Overall population fell in each of the Baltic states in the years following independence, primarily because of the return emigration of Russians to Russia, as well as other out-migration to western Europe and North America. In some cases, Russians took on the nationalities of their adopted Baltic countries and were thus counted among the ethnic majorities.
After the breakup of the Soviet Union, the Baltic states struggled to make a transition to a market economy from the system of Soviet national planning that had been in place since the end of World War II. A highly productive region for the former U.S.S.R., the Baltic states catered to economies of scale in output and regional specialization in industry—for example, manufacturing electric motors, machine tools, and radio receivers. Latvia, for example, was a leading producer of Soviet radio receivers. Throughout the 1990s privatization accelerated, national currencies were reintroduced, and non-Russian foreign investment increased.
Agriculture remains important to the Baltic economy, with potatoes, cereal grains, and fodder crops produced and dairy cattle and pigs raised. Timbering and fisheries enjoy modest success. The Baltic region is not rich in natural resources. Though Estonia is an important producer of oil shale, a large share of mineral and energy resources is imported. Low energy supplies, inflationary prices, and an economic collapse in Russia contributed to an energy crisis in the Baltics in the 1990s. Industry in the Baltic states is prominent, especially the production of food and beverages, textiles, wood products, and electronics and the traditional stalwarts of machine building and metal fabricating. The three states have the highest productivity of the former constituent republics of the Soviet Union.
Shortly after attaining independence, Estonia, Latvia, and Lithuania abandoned the Russian ruble in favour of new domestic currencies (the kroon, lats, and litas, respectively), which, as they strengthened, greatly improved foreign trade. The main trading partners outside the region are Russia, Germany, Finland, and Sweden. The financial stability of the Baltic nations was an important prerequisite to their entering the European Union and the North Atlantic Treaty Organization in 2004. Estonia, Latvia, and Lithuania each adopted the euro as its common currency in 2011, 2014, and 2015, respectively.
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https://draw-down.com/products/works-and-words
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Works and Words
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This publication is an unedited reprint of the catalog originally published by De Appel in 1980 as a follow-up to the international art manifestation Works and Words. The event sought to break with the one-way traffic of Western artists traveling to the East by inviting artists from Eastern Bloc countries to Amsterdam.
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Draw Down
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https://draw-down.com/products/works-and-words
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This publication is an unedited reprint of the catalog originally published by De Appel in 1980 as a follow-up to the international art manifestation Works and Words.
The event sought to break with the one-way traffic of Western artists traveling to the East by inviting artists from Eastern Bloc countries to Amsterdam. The invited artists, theoreticians, film-makers, and art historians represented a broad spectrum of practices, theoretical approaches, and developments. The project resulted in an active exchange of ideas, new insights, and collaborations.
Participating artists included Franklin Aalders, Jaroslav Andel , Gabor Attalai, Zoran Belic, Jerzy Beres, Gabor Body, Branko Bubenik, Michel Cardena, Nusa and Sreco Dragan, Lubomir Durcek, Miklos Erdely, Ivan Ladislav Galeta, Tomislav Gotovac, Frank Gribling, Buky Grinberg, Vladimir Gudac, Tibor Hajas, Zlatko Hajdler, Janusz Haka, Karoly Halasz, Agnes Hay, Vladimir Havrilla, Nan Hoover, Sanja Ivecovic, Servie Janssen, Zoltan Jeney, Gyorgy Jovanovic, Cezary Jaworski, Jacek Jozwiak, Szigmond Károlyi, Karoly Kelemen, Michal Kern, Milan Knízák, Tomislav Kobija, Julius Koller, Mirko Komosar, Tomasz Konart, Jiri Kovanda, Harrie de Kroon, Zofia Kulik, Pawel Kwiek, Romuald Kutera, Przemyslaw Kwiek, KWIEKULIK, Natalia LL, Andrzej Lachowicz, Dusan Makavejev, Ivan Martinac, Dalibor Martinis, Raùl Marroquin, Dora Maurer, Antoni Mikolajczyk, Karel Miler, Jan Mlcoch, Teresa Murak, Vjekoslav Nakic, Mihovil Pansini, Aldo Paquola, Andrzej Paruzel, Sef Peeters, Vladimir Petek, Sandor Pinczehelyi, Reindeer Werk (Dirk Larsen & Tom Puckey), Jaroslav Richtr, Józef Robakowski, Vinco Rozman, Tomasz Sikorski, Petr Stembera, Mladen Stilinovic, Peter Timar, Teresa Tyszkiewicz and Zdzislaw Sosnowski, Goran Svob, Janusz Szczerek, Istvan Sziranyi, Rasa Todosijevic, Endre Tot, Janos Toth, Sava Trifkovic, Ulay, Jiri Valoch, Ante Verzotti, Janos Veto, Zbigniew Warpechowski, Ryszard Wasko, Albert van der Weide, and Dobroslav Zbornik.
Edited by Josine van Droffelaar and Piotr Olszanski
Designed by Piotr Olszanski
Published by De Appel and Roma Publications, 2018
Softcover, 92 pages, b&w illustrations, 8.26 × 11.75 inches
ISBN: 978-9-49-281129-5
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http://awards.bafta.org/award/1997/childrens/www.bafta.org/guru
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Children's in 1997
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BAFTA Guru
BAFTA Guru is BAFTA’s content hub for career starters packed full of inspirational videos, podcasts and interviews. Whether you’ve taken your first steps in the industry or are just starting out, you’ll find plenty here to motivate and help you along the way.
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https://www.tiktok.com/discover/Jason-Massey%3Flang%3Den
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https://soundeffects.fandom.com/wiki/Romuald_the_Reindeer
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Romuald the Reindeer
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2024-07-12T14:06:28+00:00
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Romuald the Reindeer is a children's animated series, created by Robin Lyons and Andrew Offiler, and co-produced by Siriol Productions and La Fabrique for EVA Entertainment, Les Films du Triangle, Videal, France 3, and Media Affiliates, in association with BBC and ZDF. It aired on the BBC on 24...
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en
|
https://static.wikia.nocookie.net/soundeffects/images/4/4a/Site-favicon.ico/revision/latest?cb=20210601183607
|
Soundeffects Wiki
|
https://soundeffects.fandom.com/wiki/Romuald_the_Reindeer
|
Romuald the Reindeer is a children's animated series, created by Robin Lyons and Andrew Offiler, and co-produced by Siriol Productions and La Fabrique for EVA Entertainment, Les Films du Triangle, Videal, France 3, and Media Affiliates, in association with BBC and ZDF. It aired on the BBC on 24 September 1996 and focuses on the adventures of a Christmas reindeer named Romuald, a character who had previously appeared in Siriol Productions and La Fabrique's thirty-minute specials Santa and the Tooth Fairies and Santa's First Christmas and an episode of their television series Tales of the Tooth Fairies. The series ran for a single season, consisting of thirteen ten-minute episodes.
Summary[]
TV Show Intro[]
Sound Effects Used[]
Sound Ideas, CARTOON, BELL - ALARM BELL: CLANGING (Heard once in "Music Maestro".)
Image Gallery[]
Romuald the Reindeer/Image Gallery
Audio Samples[]
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dbpedia
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2
| 88
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https://www.abebooks.com/9790006531646/Zoo-piano-Romuald-Twardowski/plp
|
en
|
At the Zoo (for piano)
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At the Zoo (for piano) by Romuald Twardowski - ISBN 13: 9790006531646 - Bärenreiter
|
en
|
https://www.abebooks.com/9790006531646/Zoo-piano-Romuald-Twardowski/plp
|
Synopsis
A piano is a welcome visitor at the zoo. You don't have to be a lion of the keyboard to play this little collection. Antelope, reindeer, and elephants cluster around the young pianist.
The kangaroo takes bold leaps, the bear ambles with measured gait at a comfortable maestoso , the crocodile slithers in a smooth legato, and the beaver baffles the eye with dexterous nibbles. The player rides horseback on a pony with tiny staccato leaps, and grasshoppers set accents of their very own.
Each of these charming pieces poses a special technical task that young players can master playfully, almost effortlessly. Dry études become a thing of the past. Even the colourful illustrations by Marcin Bruchnalski reflect the character of the music.
Publisher ID: BA8125
"synopsis" may belong to another edition of this title.
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https://www.goldposter.com/movie/799729/
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Romuald the Reindeer (1996)
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2020-03-16T23:09:35+00:00
|
Romuald the Reindeer,
|
en
|
GoldPoster
|
https://www.goldposter.com/movie/799729/
|
series
6.5 (11)
Country: France, UK
Genres: Animation
Release: 1996-09-24
Director: N/A
Writers: Robin Lyons , Andrew Offiler
Language: English
Stars: Nigel Planer , Mollie Sugden , Kenneth Waller , Jonathan Kydd , Christian Rodska , Emma Wray , Arthur Smith , Howell Evans , Julie Higginson
Runtime: 10 min
Awards: N/A
AKA: Romuald the Reindeer , Romuald the Reindeer (United Kingdom) , Romuald the Reindeer (Italy) , Renifer Romuald (Poland)
Plot: The animated adventures of a young reindeer, his family and friends.
IMDB:tt0274064
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https://www.imdb.com/title/tt0274064/
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Romuald the Reindeer (TV Series 1996)
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1996-09-24T00:00:00
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Romuald the Reindeer: Created by Robin Lyons, Andrew Offiler. With Nigel Planer, Mollie Sugden, Kenneth Waller, Jonathan Kydd. The animated adventures of a young reindeer, his family and friends.
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en
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IMDb
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https://www.imdb.com/title/tt0274064/
|
The animated adventures of a young reindeer, his family and friends.The animated adventures of a young reindeer, his family and friends.The animated adventures of a young reindeer, his family and friends.
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dbpedia
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https://www.themoviedb.org/tv/37765-romuald-the-reindeer%3Flanguage%3Den-US
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en
|
Romuald the Reindeer
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Romuald the Reindeer was a 1996 animated series, created by Robin Lyons and Andrew Offiler, and produced by Siriol Productions and La Fabrique. It focuses on the adventures of a Christmas reindeer named Romuald, a character who had previously appeared in Siriol productions/La Fabriques' thirty minute specials Santa and the Tooth Fairies and Santa's First Flight. The series ran for a single season, consisting of thirteen ten-minute episodes.
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de
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The Movie Database
|
https://www.themoviedb.org/tv/37765-romuald-the-reindeer
|
Romuald the Reindeer was a 1996 animated series, created by Robin Lyons and Andrew Offiler, and produced by Siriol Productions and La Fabrique. It focuses on the adventures of a Christmas reindeer named Romuald, a character who had previously appeared in Siriol productions/La Fabriques' thirty minute specials Santa and the Tooth Fairies and Santa's First Flight. The series ran for a single season, consisting of thirteen ten-minute episodes.
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5671
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dbpedia
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https://www.berlinale.de/en/archive/yearbooks/2012.html
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en
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Berlinale
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Berlin International Film Festival - official website
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“This was one of the best Berlinales in years, perhaps the best of the Kosslick era. Everything was just right: there were strong films and the film market was the best attended since its creation. Ticket sales reached a new record.” – Peter Zander, Berliner Morgenpost, 19.02.2012
Following the intoxicating transformations and revolutions of the previous year, global politics were marked by a somberness in 2012. The crises in finance and in the Arab world proved to be permanent, the euro had to be saved month after month, and the hopes linked to the Arab Spring were overshadowed by current events in Syria: “In Syria the Arabellion isn’t confined to one spring. In Syria the bloodbath is stretched over the entire year,” wrote Tomas Avenarius in the Süddeutsche Zeitung two days before the beginning of the festival. In the midst of this climate of disillusionment, the cinema illusion machine was ruptured in the form of the 62nd Berlinale, which was highly praised by critics and audience alike, a festival which knew how to dream and provide a new perspective on the pressing political events in the world.
The actresses of the opening film: Diane Kruger, Virginie Ledoyen, Léa Seydoux
The 2012 opening film came from France: In Les Adieux à la Reine (Farewell My Queen) the old master Benoit Jacquot depicted daily life amidst the royals in the final days of the French Revolution of 1789 and the slowly growing unrest in Versailles in light of the news of the people’s rebellion. Parallels to the current political upheaval were swiftly drawn. On February 10, 2012 Wenke Husmann wrote on zeit.de: “Basically what we’re seeing is an analysis of the end of a form of government, as it continues to happen today.”
At the opening gala festival director Dieter Kosslick and Anke Engelke, who again provided lively moderation for the opening night, introduced the members of the International Jury 2012. The English filmmaker Mike Leigh assumed the presidency of the jury, and was joined by renowned personalities, such as the American actor Jake Gyllenhaal, the actress and singer Charlotte Gainsbourg and the winner of the Golden Bear 2011, Asghar Farhadi.
Surprising and surprised winners
When, ten days later, following a strong, much-praised Competition, the Jury again took the stage in the Berlinale Palast to present the awards, Mike Leigh and his co-jurors surprised both the audience and the critics. Favourites like Christian Petzold’s Barbara (Silver Bear – Best Director), Bence Fliegauf’s Csak a szél (Just The Wind) (Jury Grand Prix – Silver Bear) and Miguel Gomes’ Tabu (Alfred Bauer Award) had already received their honours before the announcement of the main award, while the Golden Bear went to the great Italian directors Paolo and Vittorio Taviani. In Cesare deve morire (Caesar must die), they tell of the unbroken power of art – inmates in an Italian prison stage Shakespeare’s Julius Caesar, through which they gain another perspective on their own lives.
All were pleased over the joy of the Congolese actress Rachel Mwanza, who unexpectedly won the Silver Bear for Best Actress for her performance as a child soldier in Rebelle (War Witch) by Kim Nguyen. She made her way to the stage overjoyed – as did the male recipient: Mikkel Boe Følsgaard received the Silver Bear for Best Actor in Nikolaj Arcel’s historical drama En Kongelig Affære (A Royal Affair). The co-production from Zentropa also secured a second award: Nikolaj Arcel and Rasmus Heisterberg took the Silver Bear for the Best Script. The German cameraman Lutz Reitemeier was honored for his exceptional artistic work in Bai lu yuan (White Deer Plain) directed by Wang Quan'an. And, as if the jurors had already sensed the partially critical reaction to their main decision in advance, they presented an additional special prize not foreseen in the festival statutes: the French-born and Swiss-raised Ursula Meier received a Silver Bear for her film L’enfant d’en haut (Sister), which had been discussed as a possible candidate for the Golden Bear in the run-up to the awards ceremony.
The pleasure of the audience
The Berlinale again lived up to its reputation as the world’s biggest audience festival, which could be seen not just in the ticket sales statistics, but also every day on and around the Red Carpet. The enthusiasm of Berliners knew no limits and they were rewarded with countless stars. Shah Rukh Khan caused a near state of emergency at the premiere of Don – The King is Back (director Farhan Akhtar) in the Friedrichstadt-Palast. To name a few more who came: Diane Kruger, Juliette Binoche, Salma Hayek, Antonio Banderas, Clive Owen, Isabelle Huppert, Andie MacDowell, Michael Fassbender, Keanu Reeves – a non-stop flow of celebrities. They were only trumped by the buzz surrounding the young actor Robert Pattinson, whose new haircut dominated the headlines for days. Expectedly, the critics distanced themselves from the sensationalism and were simply thankful for the good films that they could enjoy beyond the tabloid chatter: “The Competition impressed with world premieres and many thematically and artistically relevant films – as unknown as many of the names might still be. Such talents become big names through clever festival programmers, smart juries – and passionate audiences (Jan Schulz-Ojala, Tagesspiegel, 20.02.2012).
February 14 saw frenetic celebration of one of the most outstanding actresses in the world of film: Meryl Streep received the Honorary Golden Bear for her lifework. The supposedly so-critical members of the journalistic class gave presents to the American during the afternoon Press Conference for The Iron Lady, while she nonchalantly spoke about Margaret Thatcher’s accomplishments in the struggle for women’s liberation. The spread of unscrupulous neo-liberalism as the one and only valid global ideology seemed to be forgotten amidst Streep’s charm, which enchanted the fans on the Red Carpet that evening. Jake Gyllenhaal, who has been befriended with Streep’s son since childhood, held the laudatory speech and a deeply moved Meryl Streep accepted the award. Shortly after the Berlinale she was slated to receive the Oscar for her Thatcher portrayal in Phyllida Lloyd’s film. The Homage was also dedicated to the American actress and showed a selection of her works.
In 2012 the Berlinale Cameras went to the central founding father of new German film, Haro Senft, the revolutionary of cinema sound Ray Dolby and the Studio Babelsberg, which celebrated its 100th birthday. This was also the occasion to honour the Brandenburg studio with a small retrospective – ten films from ten decades of studio history.
A new venue
The Berlinale was able to win a new venue in 2012 – the Haus der Berliner Festspiele. The possibilities of the building were tested with film talks which took place following each film screening. The series began with a bombshell: Angelina Jolie presented her directorial debut In the Land of Blood and Honey and brought Brad Pitt along for the premiere – the Haus der Berliner Festspiele was packed to the hilt. After the screening the American filmmaker discussed her motives and techniques with Jasmila Žbanić (Golden Bear 2006 for Grbavica). The following days saw further highlights with Werner Herzog, Keanu Reeves, Javier Bardem and others on the programme. The format for the events was deliberately kept open with discussions between filmmakers, audience discussions, expert discussions – whatever fit best to the film of the evening.
"Berlinale Goes Kiez", the special series that was launched for the 60th Berlinale and has since brought the Flying Red Carpet to neighborhood repertory cinemas, continued to be a huge success in 2012 and the cinema operators enjoyed sold-out theatres.
In Panorama, the Finnish, partially crowd-funded Iron Sky by Timo Vuorensola caused a stir in the media. A group of Nazis escapes to the dark side of the moon in 1945 in order to try to conquer the world in 2018 – trash and exploitation with Götz Otto and Udo Kier. But the Panorama 2012 focused on the Arab Spring and made its contribution to the thematic focus of the Berlinale 2012. With films such as The Reluctant Revolutionary, the opening film of Panorama Dokumente, in which the British filmmaker Sean McAllister travels to Yemen in order to portray the country’s last tour guide and stumbles with his protagonist into the beginning of the Yemeni Arabellion. Romuald Karmakar threw the perspective of the democracy movements in the Arab world back towards Germany and with his purist cinematic documentation screened at an event in the Haus der Kulturen der Welt, showed how people, fascinated by faraway revolts perhaps forget how much freedom is endangered in their own countries. Christina Bylow wrote in the Berliner Zeitung on February 15, 2012, that Angriff auf die Demokratie – Eine Intervention (Attack on Democracy. An Intervention) was an "Outcry that was long overdue." Apart from genre movies and political films, the queer memory – always a core part of the Panorama – formed the third pillar of the programme.
Presenting his film Puthisen Neang Kongrey in Berlin: the Cambodian director Ly Bun Yim
Strong entries in the sections
As in 2011, intergenerational conflict was a central theme in the Forum. The section focused on the blind spots of global image-making, with an emphasis on the tsunami and ensuing nuclear accident in Fukushima. Three films from three different directors, each who approached the invisible heart of the disaster. Praise was heaped upon the small series dedicated to the nearly extinguished Cambodian filmmaking of the 1960s and early 1970s. Christoph Terhechte’s team managed to bring viewable prints of three works to Berlin. They were shown as representatives of an entire generation of Cambodian filmmakers that was nearly totally annihilated when the Khmer Rouge took power. Andreas Busche wrote in the tageszeitung on February 2, 2012: “What was shown on the screen couldn’t be outdone in terms of creativity, folkloric curiosity and primitive fantasy in the most beautiful sense […]. When, later in the night, the lights went on in the cinema, we felt as if we had just awoken from a dream.” The praise was all the more beautiful since the Cambodian cineastes of that time effectively refused to give in to demands for faster, more precise reports and political engagement.
With Ang Babae sa Septic Tank (The Woman in the Septic Tank), the Forum displayed a good measure of self-irony: What does a Filipino film need to be shown at the Berlinale? A trash dump, starving kids and a story of abuse! No sooner said than done! The Forum did in fact invite the director Marlon N. Rivera and his team to Berlin. “The subject is the exploitative mechanism of the global festival circus, which is thoroughly capable of controlling the image production of countries that are marginal in terms of the film industry, until the next ‘young, wild cinema’ is discovered in a far-flung corner of the world and the caravan moves on.” (Alexandra Seitz, Berliner Zeitung, 13.02.2012).
The Generation section entered its 35th year well and section head Maryanne Redpath was happy that its second year in a dedicated venue, namely the Haus der Kulturen der Welt, was as successful as its premiere in 2011. Thematically, many of the films dealt with departures from rigid structures and paths toward one’s true self – which can sometimes be found by returning to one’s roots.
In Perspektive Deutsches Kino the winner of the Dialogue en Perspective award, This Ain’t California by Martin Persiel pleased audiences and critics alike: “With music by Alphaville, Anne Clark, Trentemoeller, Picturebooks and Die Ärzte, the film is a riveting look back to a past, which says much about the lives of young people in the GDR. Martin Persiel never betrays his material, because the authenticity of the overall image stands above the authenticity of the individual image,” wrote Torsten Körner in the Tagesspiegel (11.02.2012). Section director Linda Söffker was able to successfully make it through her second year in the position – which she beforehand openly described as the more difficult of the two. The tendency to invite less projects from film schools and more independent productions continued to leave its mark. Perspektive Deutsches Kino celebrated a premiere with the series "Made in Germany – Reden über Film", which extended the discourse about filmmaking in Germany beyond the audience discussions following festival screenings.
The Retrospective 2012 was dedicated to the (nearly) forgotten German-Russian film studio Mezhrabpom, the "Red Dream Factory" – also the title of the accompanying publication. Following the return of an already canonized auteur – Ingmar Bergmann – in the Retrospective 2011, the critics praised the newly awakened ambitions of the festival organizers: "This unknown chapter in film history lies at the center of this year’s Berlinale Retrospective – the first in a long time that has contributed to film-historical research." (Gerhard Midding, Die Welt, 10.02.2012)
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
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en
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Environment, Studies in honour of Romuald Schild – Archeobooks
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Archeobooks
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https://www.archeobooks.com/products/man-millennia-environment-studies-in-honour-of-romuald-schild
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ISBN: 978-83-89499-42-4
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dbpedia
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https://kids.kiddle.co/Calon_(TV_production_company)
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en
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Calon (TV production company) facts for kids
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Learn Calon (TV production company) facts for kids
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en
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/images/wk/favicon-16x16.png
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https://kids.kiddle.co/Calon_(TV_production_company)
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Calon (Welsh for 'heart') is the trading name of Mount Stuart Media Ltd., a British animation television production company based in Cardiff, the capital of Wales, which primarily produced animation series in Welsh for S4C. The company was formerly known as Siriol Animation and Siriol Productions.
History
Calon was set up following the management buy-out from Entertainment Rights of Siriol Productions, when Entertainment Rights moved its head office to London. Most members of staff stayed in Wales to help re-establish Siriol as an independent production company. The deal included all rights to current productions and a few older titles, but the rights to most of the older series are now held by Entertainment Rights.
The company eventually employed over 40 people and was a developer of talent in the Welsh animation industry for more than 30 years. Calon continued working on animation production, but expanded into live-action content for both the UK and international markets, and to co-produce with major networks outside the UK.
In March 2009, the company re-acquired its animation catalogue from S4C International.
In July 2010, the company filed for voluntary liquidation when hoped-for investment to expand the company failed to materialise. Shortly afterwards it was Incorporated into Mount Stuart Media Ltd.
Productions
Two series of Hana's Helpline were produced for Five's Milkshake block for preschool children in co-production with S4C and German broadcaster ZDF. One series of Igam Ogam was made for S4C, Five, ZDF Enterprises and the Gaelic Media Service on BBC Alba, and also a puppet series called The Zoo Factor for CBBC. Calon's live action drama credits included Help! I'm a Teenage Outlaw for ITV and Nickelodeon. In 2011, ITV asked Calon to create a new sitcom for the channel, and Calon worked with The Osmonds on develop a film based around the wild west.
Help! I'm a Teenage Outlaw (adventure game show)
Bobinogs (season 3)
Hana's Helpline
Psi-5 (pilot film; 2007)
U-Chronia (pilot film; 2009)
Igam Ogam (2009–2013)
The Zoo Factor (2011)
Captain Morten and the Spider Queen (2018) (film)
Sali Mali (December 2020 – present) (season 2)
Hana's Helpline
Hana's Helpline is a stop-motion animation series for pre-school children, about Hana, a duck who runs a telephone helpline for animals with problems. The principal voices are provided by Arabella Weir, Jonathan Kydd, Joanna Ruiz, Boyd Clack and Caroline Harker with most of the other voices being provided by children.
There are 52 episodes, each 10 minutes long. Its first broadcast was in Wales under the Welsh title Holi Hana, on 2 April 2007. Its first English broadcast was on Five on 12 June 2007. It has also been broadcast in a selection of other countries - for example it began broadcasting on TVB Pearl, starting 10 May 2007. Books are available from Random House Children's Books from January 2008. A line of character toys was also developed by Golden Bear Toys along with the first DVD of the show which was released in November 2007. A second compilation was released in Spring 2008.
Siriol Productions
Siriol Productions (also known as Dave Edwards Studio, "Siriol" means 'cheerful' in Welsh language) was founded in 1982 by Mike Young, his wife Liz, animator Dave Edwards and producer Robin Lyons and based in Cardiff. The company was originally created when the three men approached the newly formed Welsh TV channel S4C and secured a commission to produce an animated series of SuperTed (which Mike Young created). With support from S4C, the partners set up an animation studio, Siriol Animation. SuperTed was a highly successful with the company winning a prestigious BAFTA award in 1987. The show first aired in 1982 and started airing on S4C in Wales and on the BBC elsewhere in the UK. It also ran for one season and 37 episodes.
Following its success with SuperTed, the company was commissioned by S4C to produce another series called Wil Cwac Cwac which was based on a series of children's books that were first published in Wales in the early 1930s about a little duckling who is always naughty and lives in a farm village with his family and friends. This, in turn was followed by further commissions from S4C for half-hour specials created for the animated series Fox Tales. Lyons and Young have also been involved in working on a children's stop motion animated series, Fireman Sam in 1987, except it was produced by Prism Art and Design Ltd and Bumper Films. In its early years, the studio worked exclusively for S4C, and Robin Lyons (managing director) decided to broaden its customer base and to move into co-productions to form Siriol Productions in 1988. In 1989, Mike Young left the company and moved to the United States to set up his own company, Mike Young Productions. Young also teamed up with Hanna-Barbera to develop a cartoon called Fantastic Max (which was originally called Space Baby) and to create a sequel series to SuperTed entitled The Further Adventures of SuperTed.
Moving into co-productions has proved successful for Siriol, resulting in productions such as The Princess and the Goblin an 80-minute film co-produced by Hungary's Pannonia Film Studio and Under Milk Wood, a 50-minute TV special using the 1950s voice recording by Richard Burton. These productions have enabled Robin Lyons to develop extensive contacts throughout the animation industry, both with broadcasters such as the BBC and ITV, and with other leading animation studios.
In 1989, Siriol, together with three other animation studios in France, Germany and Belgium formed its own distribution company, EVA Entertainment, headed up by Steve Walsh, the former head of co-productions at Goldcrest Films. Its co-productions were grouped under the EC's CARTOON programme as part of its MEDIA initiative. EVA was the first grouping company established under this initiative. The group set up co-productions with major European broadcasters, typically with the BBC in the UK, FR3 and Canal+ in France and ZDF and WDR in Germany. It also made co-productions with other European partners as well as with US and Canadian co-producers.
In 1995, EVA received a substantial private investment and attracted two top executives from BBC Children's International, Mikael Shields and Tony Stern. EVA Entertainment has made many series and specials, (the group's major productions were controlled creatively by Siriol) which were sold to over fifty different countries on five continents, including Robert Creep, Tales of the Tooth Fairies, Billy the Cat (the group's largest project) and Romuald the Reindeer. The later two programmes were produced by Robin Lyons. When EVA was sold to Pearson PLC, Siriol formed other alliances with Scottish Television and SKD Media Plc.
In 1998, Siriol was brought over by Sleepy Kids (renamed Entertainment Rights in 2000), with Lyons expanding his role within the new company. In 2005, a management buyout led by Lyons took place for Siriol Productions, and was renamed Calon.
Siriol set up two subdivisions. The first was Blunt Pictures, which produced animation aimed at older audiences. Blunt Pictures has produced a short film for Channel 4, Dee’s Dish of the Day and developed the series, Stonehouse Reunion for Channel 4 and Days of Deliverance for S4C. Blunt has also developed a low budget feature, 360, which has attracted funding from the Film Panel of the Welsh Lottery, and several web-based animation projects including Once Upon A Morgue and Deadenders. The second subdivision was a web design subdivision called Piczled, which has designed the official Basil Brush website and theme park attractions for Chessington World of Adventures in Surrey and Alton Towers in Staffordshire. Piczled has also worked on other websites such as those for Siriol and Entertainment Rights.
Production
Animation services
Knife and Wife
Knife and Wife is a British one-off half-hour animated Comedy programme screened on Channel 4 in December 2001. It was created by Blunt Films, the adult animation division of Siriol and written by Paul Rose.
The voice of Knife was provided by former Monty Python member Terry Jones, whilst the part of his wife, Janine was voiced by actress Jessica Stevenson. Kevin Eldon, Ruth Jones, Paul Putner and Brian Murphy also did voices for the series. The programme was part of the Channel 4 Comedy Lab try-out project, which had spawned several successful series including Trigger Happy TV and That Peter Kay Thing. No full series followed.
Kalisto Ltd
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https://www.cambridge.org/core/journals/british-journal-of-nutrition/article/periodic-fluctuations-of-gut-regulatory-peptides-in-phase-with-the-duodenal-migrating-myoelectric-complex-in-preruminant-calves-effect-of-different-sources-of-dietary-protein/61C0B16AADBC24DD984D7524D8BE8762
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en
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Periodic fluctuations of gut regulatory peptides in phase with the duodenal migrating myoelectric complex in preruminant calves: effect of different sources of dietary protein
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Periodic fluctuations of gut regulatory peptides in phase with the duodenal migrating myoelectric complex in preruminant calves: effect of different sources of dietary protein - Volume 79 Issue 3
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Cambridge Core
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https://www.cambridge.org/core/journals/british-journal-of-nutrition/article/periodic-fluctuations-of-gut-regulatory-peptides-in-phase-with-the-duodenal-migrating-myoelectric-complex-in-preruminant-calves-effect-of-different-sources-of-dietary-protein/61C0B16AADBC24DD984D7524D8BE8762
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Abstract
Core share and HTML view are not available for this content. However, as you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
Four preruminant calves with implanted electrodes in the duodenum and a catheter in the external jugular vein were used for investigation of plasma gut regulatory peptide profiles during different phases of migrating myoelectric complex (MMC) in the small intestine. The effects of different dietary proteins on the rhythmic activity of gut peptides and gastrointestinal motility were compared. In particular, the effects of skimmed-milk protein (retaining physiological patterns of abomasal clotting, and abomaso-intestinal digesta flow) v. fish protein (devoid of clotting activity and modifying the digesta flow) were studied. In calves fed on the milk diet, plasma concentrations of pancreatic polypeptide, motilin, secretin, cholecystokinin (CCK) and somatostatin, but not vasoactive intestinal polypeptide or gastrin, fluctuated in phase with the duodenal MMC in the preprandial period. Feeding transiently affected the intestinal MMC and abolished the peptide fluctuations in a specimen-specific manner. In contrast, calves fed on the fish-protein diet showed more profound changes in intestinal MMC. In these animals the MMC-related fluctuations were significant only for plasma CCK. In conclusion, the source of dietary protein has an impact on the physiological endocrine function of the small intestine. Observed fluctuations of plasma gut regulatory peptides seem to be secondary to duodenal motility cycles.
Type
Animal Nutrition
Copyright
Copyright © The Nutrition Society 1998
References
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https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
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en
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Rudolph Mascot Costume for Christmas Events
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Rudolph the reindeer mascot costume for events and promotions. Handcrafted design, high quality materials.
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https://www.netjuggler.net/En/buy/rudolph-reindeer-mascot.html
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This Rudolph the reindeer mascot from Santa Claus is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Rudolph the Reindeer Mascot
The Rudolph the Santa Claus reindeer mascot is a charming and attractive costume, perfect for livening up your end-of-year events and parties. Representing the famous reindeer with its dark and light brown coat, majestic antlers and iconic red nose, this mascot will bring the magic of Christmas to all your festive occasions, such as Christmas markets, parades and commercial events.
NetJuggler analysis of the Rudolph the Reindeer Mascot
I find this Rudolph mascot particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its soft touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Target audience and uses of Santa's Rudolph the Reindeer mascot
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Personalize your mascot!
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
About the Manufacturer of the Rudolph the Christmas Reindeer Mascot
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
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https://en.wikipedia.org/wiki/Tales_of_the_Tooth_Fairies
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Tales of the Tooth Fairies
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No.TitleOriginal air date1"Mission: Toothbrush"7 September 1993 ( )
The Tooth Mice are sent in bad weather to deliver toothbrushes to twins with bad teeth.
2"The Silver Sleighbell"14 September 1993 ( )
The Tooth Mice deliver to an eskimo sleighbells for his dog sled, aided by the clumsy reindeer Romuald.
3"The Golden Scissors"21 September 1993 ( )
The Tooth Mice deliver to a girl named Fabienne a small pair of scissors.
4"Flying Feathers"28 September 1993 ( )
The Tooth Mice procure a goose feather to substitute a feather pen for a fountain pen specially for a girl named Anna.
5"A Proud Candle"5 October 1993 ( )
The Tooth Mice venture in a flooding storm to give a boy named Vincent a special flashing candle, with help from a stray cat named Rammy.
6"Magic Chimes"12 October 1993 ( )
The Tooth Mice pick a rare bluebell flower for a girl named Sophie, almost getting caught by an owl, but rescued by Arthur.
7"Jonathan Loses His Tooth"19 October 1993 ( )
The Tooth Mice bring an absent-minded boy named Jonathan a special diary, and in the process get the tooth mouse teacher her job back.
8"Stolen Present"9 November 1993 ( )
As the Tooth Mice try to deliver a whistle for a boy named Fabian, it is taken by Ronald Rat, but Arthur helps them recover it.
9"The Bell Doll"16 November 1993 ( )
Gisele does not return from her tooth exchange job, so Arthur delivers a bell doll to a girl named Emily and rescues Gisele from a cage.
10"The Book of Leaves"23 November 1993 ( )
As the Tooth Mice deliver a leaf book to a girl named Sandree, Marad the Buzzard captures Gisele, but Gisele soothes her to sleep with the book.
11"Mr. Sun, Mrs. Rain"30 November 1993 ( )
The Tooth Mice bring a girl named Audrey a comb, but have trouble as Audrey's pet cat shows up.
12"Sky Scraper"7 December 1993 ( )
The Tooth Mice go to the 60th floor of a sky scraper to bring a boy named Charles a clockwork bird, running into Roland Rat on the way.
13"Cat's Enough"14 December 1993 ( )
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[] |
[] |
[
""
] | null |
[] |
2001-02-08T00:00:00
|
/favicon.ico
| null |
Ends 9.00.
Spider
Animated antics with the eight-legged character.
(R)
7.05 Polka Dot Shorts
Adventures in the polka-dot land of Roo.
(R)
7.15 The All-New Popeye Show
Three more misadventures with the spinach-guzzling sailor.
(R)
7.35 Rugrats
Animated double bill with the cute youngsters.
(R) (S)
8.00 Blue Peter
Children's magazine, presented by Konnie Huq, Liz Barker, Matt Baker and Simon Thomas.
(Shown yesterday at 5pm on BBC1)
(S) (W)
8.25 Monster Rancher
When their plane breaks down, Genki and his friends end up in an area controlled by arch baddie Pixie.
(S)
8.50 Romuald the Reindeer
Animation. Romuald becomes completely addicted to his computer game.
(Repeated at 1pm)
(R)
Twelve years ago a small patch of a strange gigantic seaweed appeared off the coast of Monaco.
Despite warnings from a marine biologist about its high toxicity, the seaweed was ignored by local authorities, and has now mutated into a phenomenon known as the "killer algae" which is choking all indigenous life. This documentary examines how a supposedly harmless plant has become a potential threat to global marine life.
See Choice.
(S) (W)
Killer algae websites - Webwatch: page 42
(Repeats are not indicated)
Open Science
12.30 What Have the Sixties Ever Done for Us?
12.40 Background Brief: Impact - Planet Earth
1.00 Final Frontier
1.30 Background Brief: First Came Dolly
1.45 What Have the Eighties Ever Done for Us?
2.00 Stress
(S)
2.30 Looking Glass World
(S)
3.00 Samples of Analysis
(S)
Curriculum Development
3.30 Explicit Learning Plus: Listen to This - the Pupil's Perspective
Languages
4.00 Get By in French: Part 1
Working In the Arts
5.00 Career Development
Open University
6.00 Restoring the Balance
(S)
6.30 Brief Encounter
(S)
Ends 7.00am.
|
|||||
5671
|
dbpedia
|
2
| 51
|
https://ouci.dntb.gov.ua/en/works/7qpbjjN9/
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en
|
The migration of Late Pleistocene reindeer: isotopic evidence from northern Europe
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[] |
[] |
[
""
] | null |
[] | null |
uk
|
/static/favicon.61ae30b5ede9.png
|
http://ouci.dntb.gov.ua/en/works/7qpbjjN9/
|
Assessment of Diagenetic Transformations in Bioapatite for the Determination of the 87Sr/86Sr Isotope Ratio: A Case Study on an Early Iron Age Human Tooth from the Sargat Culture
D. V. Kiseleva, M. V. Chervyakovskaya, V. S. Chervyakovskii, T. G. Okuneva, N. G. Soloshenko, V. A. Bulatov, M. A. Grachev, M. K. Karapetyan, S. V. Sharapova, E. S. Shagalov
|
||||||
5671
|
dbpedia
|
0
| 88
|
https://robinlyons.co.uk/television-animation/
|
en
|
Television Animation – Robin Lyons
|
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[] |
[
""
] | null |
[] | null |
en
|
https://robinlyons.co.uk/television-animation/
|
Television Animation (as Producer)
SuperTed (1982 -1986) was the reason why Robin Lyons fell in love with animation. Having ghost written the SuperTed books for its creator, Mike Young, Robin helped found Siriol Animation in Cardiff to make the animated series for the Welsh language channel, S4C. He wrote all 36 episodes of the series made in the UK, directed the voices and produced the third series. 36 episodes were made in all. They were sold all over the world.
The series won a BAFTA for Best Animated Film and was heavily merchandised. It still has a cult following today.
Wil Cwac Cwac (1982 – 1986). At the same time as making SuperTed Siriol Animation made 30 x 5 minute episodes of Wil Cwac Cwac, a series based on characters from the classic Welsh album, Llyfr Mawr Y Plant. The series was directed by Beth McFall, written by Urien William and narrated by Myfanwy Talog. Hugely popular with Welsh speaking audiences, Wil Cwac Cwac was a commission from S4C and sold to more countries than SuperTed though it had less merchandising success. Robin Lyons was the Producer of all three series.
Sion Blewyn Coch/ Sion The Fox/ Fox Tails (1986 – 1988). After Wil Cwac Cwac Robin Lyons wrote and produced three half hour specials based on another character from Llyfr Mawr Y Plant, Sion Blewyn Coch. These were a commission from S4C and directed by SuperTed director, Dave Edwards. In English these were called A Winter Story, Easter Egg and Turkey Love. They were known collectively as Fox Tails.
Gerald Of Wales (1988) was a half hour special commissioned by S4C and Cadw (Historic Welsh Monuments) to celebrate the 800th anniversary of Gerald Cambrensis’ travels around Wales to drum up support for the crusades. The original material may be dry but the comic, child-friendly script, narrated by Max Boyce and animated in simple 2D, was anything but. Robin Lyons was the producer and contributed gags to the script.
Space Baby (1988) was a half hour pilot made for Hanna Barbera and was the last production of Siriol Animation. Written by Robin Lyons and Judy Rothman and produced by Robin the pilot was made into the series Fantastic Max by Hanna Barbera. By this time Siriol Animation was no more and Robin had no involvement in the series.
After Space Baby the directors of Siriol Animation went their separate ways and Robin Lyons formed Siriol Productions which made the features “The Princess And The Goblin” and “Under Milk Wood”. Shortly afterwards Robin Lyons created the studio grouping, EVA, with Jean-Francois Laguionie from La Fabrique (France), Pierre Levie from Sofidoc (Belgium) and Jürgen Egenolf from Egenolf und Jeske (Germany). This group made several coproductions and Robin Lyons coproduced (with Jean-François Laguionie) the special Santa and The Tooth Fairies (1991), the series Tales of the Tooth Fairies (1993 – 4) and the Channel 4 special Robert Creep: A Dog’s Life (1994) which was co-written by Robin Lyons and Andrew Offiler. These were all projects shaped creatively by La Fabrique.
Kersplat! (1991) was a live action series about comics for Channel 4 coproduced with Red Rooster. Robin Lyons and Andrew Offiler wrote the scripts and Siriol was the coproducer.
Santa’s First Christmas (1992) was a special also made with the EVA studio grouping but was very much a Siriol production. Written by Robin Lyons and Andrew Offiler and produced by Robin Lyons it was a coproduction for S4C, BBC, and WDR.
Romuald The Reindeer (1996) was a character that appeared in both Santa’s First Christmas and Santa and the Tooth Fairies. Robin Lyons and Andrew Offiler created a series for him which was made with the studio grouping but led creatively by Siriol. Nigel Planer was the voice of Romuald and Nigel’s brother Roger wrote the scripts and music. The series was shown on S4C and BBC in the UK and was nominated for a BAFTA award in 1996. Robin Lyons was the producer.
Billy The Cat (1996 – 1998) was a series based on the Belgian graphic novels by Stephen Desberg and Stéphane Colberg. The first series was produced by Robin Lyons and was made through the grouping but also with a Canadian coproducer. At 26 x 26′ this was the biggest series ever undertaken by Siriol Productions. Animation was done in Wales, France, Spain, Poland and Canada. The series was an international success but had little exposure in the UK. Siriol was not able to raise money in the UK and withdrew from the second series.
After Billy The Cat EVA, the studio grouping, started to disintegrate. Egenolf und Jeske had already become Cologne Cartoon and later became JEP Animation. Jean-François Laguionie left La Fabrique to concentrate on animated features. Pierre Levie continued working with Sofidoc until shortly before his death in 2010 at the age of 93.
From 1993 Siriol Productions had been working with DIC and Scottish Television (STV) on a series called The Hurricanes (1993-1997) and following the break-up of EVA it solidified its relationship with STV by selling it a minority stake in the company. With STV Siriol produced two series for ITV.
The Blobs (1997-8) was based on books published by Beano publisher D C Thomson and was about blobs of paint. Siriol made two series, both produced by Robin whose daughter Stella appears in the title sequence. The series was shown on ITV and S4C in the UK.
Meeow (1999-2000) was based on the Maisie books by Aileen Paterson and followed the adventures of the adventurous cat MaisieMac. If Wil Cwac Cwac was the most Welsh production Robin produced Meeow was the most Scottish. Narrated by Stanley Baxter it was immensely popular in Scotland in both English and Gaelic. Robin was the producer.
After Meeow! Siriol Productions severed their links with STV and made their first stop-motion series.
Hilltop Hospital (1999 – 2001). After SuperTed, Hilltop Hospital is probably the most successful animated series produced by Robin Lyons. Based on the books by Nicholas Allan, the series was coproduced with French studio, Folimage, and had an all star voice cast that included Brian Murphy, Celia Imrie, Kevin Whately and Paul Shane. It was sold extensively internationally and won several awards including Best European series at Cartoons On The Bay and in 1999/2000 a BAFTA for Best Preschool Animation. The series was made for ITV, France TV and ZDF.
The Drums Of Noto Hanto (2000) was a 15 minute film commissioned as part of S4C’s Tales of the World series. The story of how frantic drumming kept at bay marauding invaders was directed by Les Orton and produced by Robin Lyons.
Knife and Wife (2001) was a half hour Comedy Lab for Channel 4. Written by Paul Rose the film had voices by Ruth Jones, Terry Jones, Brian Murphy, Kevin Eldon and Jessica Stevenson. Robin Lyons was the producer.
Sali Mali (2001 – 2003) was a series simply animated in 2D animation based on the iconic Welsh language books by Mary Vaughn Jones. Narrated by Rhys Ifans and with a song sung by Cerys Matthews the series was shown on S4C in Welsh and Channel 4 in English. Robin Lyons was the producer.
Fireman Sam (2003-2004). Robin set up a studio in Cardiff to produce what proved to be the last series of Fireman Sam made in stop motion animation. This was a revival of the series made by Bumper Films in the 1980’s. The series was sold successfully around the world but the rights owner, Hit Entertainment, decided to switch to computer generated animation when creating further series. Robin was nominated for a BAFTA for this series in 2003/2004.
Between 2003 and 2006 Robin produced two series of Bobinogs for BBC Wales. This was a simple, educational series for young children which enjoyed some success. It was directed by Mike Price.
Between 2003 and 2006 Robin Lyons produced two series of Bobinogs for BBC Wales. This was a simple, educational series for very young children which was very successful. It was directed by Mike Price.
During this period Siriol Productions was sold to Sleepy Kids plc which rebranded as Entertainment Rights plc. Robin Lyons was a director of this company but bought his company back in 2005 and rebranded it as Calon. The rejuvenated Calon made some live action programming for S4C – Bytis (Mascot and Me) Llew ap Blew and Camelot Codebreakers – before landing a live action network drama commission for Children’s ITV.
Help! I’m a Teenage Outlaw (2005 – 6) was initially a comic take on the story of the Welsh outlaw Twm Sion Cati and was developed by Robin’s niece, Holly Lyons. When it became clear that there was no appetite for the series in Wales the idea was broadened out and Holly brought in her husband, Andy Watts to help with the writing. The series was coproduced with CITV and Nickelodeon and shot in the Czech Republic. Robin Lyons was Executive Producer.
Psi – 5 (2007) was a standalone episode pilot made for S4C in an adventurous photo-montage style. Despite a good critical response on broadcast money was never found to make the series. Robin Lyons was the producer.
Hana’s Helpline (2007 – 2009) marked a return to stop-motion animation. A series about an agony aunt duck, Hana’s Helpline continued where Hilltop Hospital left off, using simple child-friendly comedy to tackle the day to day problems faced by children about to go to school. Whereas Hilltop Hospital dealt with everything from wetting the bed to organ transplants Hana’s Helpline had episodes about bullying, adoption and moving house. Hana’s Helpline sold around the world and won two BAFTA Cymru awards and a Broadcast award for Best Children’s programme. It was made for S4C, Channel Five and ZDF. Robin Lyons was the producer.
Zoo Factor (2010) was a puppet show initially developed for S4C but ultimately commissioned by CBBC. It was made in coproduction with Telegael in Ireland and marked the beginning of a relationship that continued with the second series of Igam Ogam, 390 and the feature Captain Morten and The Spider Queen. The puppetry was shot in Telegael’s studio in Connemara. The series was a parody of talent shows such as the X Factor but with a cast of animals. The head judge assessed most acts on the basis of whether they might be good to eat. Robin Lyons was Executive Producer.
Igam Ogam (2010 -11) (2013 -14) was produced in two 26 episodes with a gap in between. Made for S4C, Channel Five and ZDF the first series benefited from funding from European and Welsh government that was not available for the second series. Eventually Robin accepted an invitation from Telegael to set up a stop motion series in Connemara and the balance of the funding was found through sources in Ireland. Robin Lyons was the producer.
390 (2016) exists both as a series of short episodes and a half hour special. It is the brainchild of Italian animator Giovanni Scarfini with whom Robin worked for several years developing the concept which is about the kind of gadgets advertised in comics. The series was funded mainly by France TV’s web division with help from S4C, Samka Productions and Robin’s long term collaborators, Telegael. Robin produced the series which consists of a 6 x 3 min serial and six spoof advertisements for gadgets.
After 390 Robin’s focus has been on animated features and also on writing.
In 2020 Robin produced another series of Sali Mali updating the iconic Welsh figure and introducing other characters from the same stable. These include Tomos Caradog and Jaci Soch. The series was made entirely in Wales by artists working at home during the Coronavirus lockdown.
At present Robin’s focus is primarily on animated features, but he is developing two series for television: a comedy for 7-10 year olds called #NostoppingNora and an adaptation of the book Something Different
|
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3
| 6
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https://genome.ch.bbc.co.uk/search/0/20%3Fq%3DRomuald%2BThe%2BReindeer
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en
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BBC Programme Index
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https://genome.ch.bbc.co.uk/favicon.ico
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https://genome.ch.bbc.co.uk/favicon.ico
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2019-12-27T13:00:00+00:00
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/favicon.ico
| null |
Martin guides us through his favourite music from the 1970s. With tracks from Nick Lowe, The Specials, Minnie Ripperton and Blondie. Show more
On a biting December night, Jim Lloyd enthrals Ambridge residents with the story of a family who dare to direct their future when they wish upon a bewitched monkey’s paw. Show more
Alistair McGowan stars as a host of famous people in this new comedy about a man who spends his life on the road, daydreaming about the brilliant life that he's never had. Show more
Wiley challenges you to do the alphabet over a different beat!
Shaun talks to Sarfraz Manzoor about his new live show inspired by Bruce Springsteen, and how his memoir was turned into last year's comedy film 'Blinded By the Light'. Show more
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https://www.linkedin.com/posts/pierre-moysan_cephalosporin-penicillin-makingadifference-activity-7148338290516029440-jych
|
en
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Pierre MOYSAN on LinkedIn: #cephalosporin #penicillin #makingadifference #frenchfab #togetherwecan…
|
https://media.licdn.com/dms/image/v2/D4D22AQFE9tzV6aZ2KQ/feedshare-shrink_800/feedshare-shrink_800/0/1704296645834?e=2147483647&v=beta&t=Ri4WUhnIhgz55hc-dKdvBlWjKEswf0QySzWzEXvbT9I
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https://media.licdn.com/dms/image/v2/D4D22AQFE9tzV6aZ2KQ/feedshare-shrink_800/feedshare-shrink_800/0/1704296645834?e=2147483647&v=beta&t=Ri4WUhnIhgz55hc-dKdvBlWjKEswf0QySzWzEXvbT9I
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[
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[
"Pierre MOYSAN"
] |
2024-01-03T15:44:18.147000+00:00
|
Injecting future ! is the name we are giving to our ambition 2030 PANPHARMA.
A major focus for achieving this ambition is the industrial transformation that…
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en
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/posts/pierre-moysan_cephalosporin-penicillin-makingadifference-activity-7148338290516029440-jych
|
Injecting future ! is the name we are giving to our ambition 2030 PANPHARMA. A major focus for achieving this ambition is the industrial transformation that we began in 2021. After the visit of the construction site of our new vial line in Trittau (Germany) we took the opportunity of the budget review in Luitré (France) to visit the facility and the new building with Marie Helene Dick- Madelpuech and a several members of the Group's management team. Again a real satisfaction to see this investment of more than 28 million euro becoming reality, providing us with ultra-modern equipment to improve our performance and increase our capacity so that we can continue to "Act together, every day, to guarantee patients reliable access to essential medicines". We started the visit by the #cephalosporin line that just restarted after the installation of several new equipements and we then visited the new building where the new #penicillin line will be implemented. The full line was delivered just before Christmas, not by Father Christmas and his reindeer but 7 trucks fully loaded ! Thank you to the full project team lead by Aurore Renin for their dedication and determination to deliver the key steps now in 2024 that will be again a busy year. Thanks also to all the teams working on this critical multidisciplinary project. Join us if you want to make a difference ! #makingadifference #frenchfab #togetherwecan #bpifrance #investirlavenir #francerelance
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https://www.donsmaps.com/polishsite.html
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en
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Venus figures from Wilczyce 10
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Venus figures from Petersfels
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Back to Don's Maps
Back to Venus figures from the Stone Age
Venus figures from Wilczyce 10
The material on this page comes mostly from Boroń et al. (2012) except where otherwise indicated
Translation: Don Hitchcock
Venus figures in flint from Wilczyce, Poland, circa 15 000 BP
Photo: Boroń et al. (2012)
Located on the Sandomierz plateau in southern Poland, the Wilczyce site was discovered in 1994 during a prospecting campaign carried out as part of the Polish Academy of Sciences project 'Polish Archaeological Photography'. The site is located on a slope dominating the valley of the river Opatówka.
The programmed excavation revealed that the remains of the Magdalenian were present only in the layers of the filling of an ice wedge*. The excavation as well as the archaeological prospecting have delivered a total of 50 objects of flint identified as figurines, 31 of which with worked surfaces (finished objects).
Photo and text: Boroń et al. (2012)
ice wedge*: Large masses of ice growing in thermal contraction cracks in permafrost. In periglacial conditions, alternating freeze and thaw can lead to the formation of vertical, narrow, and deep wedges of ice in gravels. After melting, these tend to fill with sediment, forming a cast of the ice wedge seen as dark bands, easily confused with manmade features, in aerial photographs. Casts of fossil ice wedges are one of the few true indicators of former permafrost conditions.
Photo: Lachenbruch (1962)
Proximate source: http://hosho.ees.hokudai.ac.jp/~tsuyu/top/dct/geogr.html
Text: http://www.archaeologywordsmith.com/
This group also includes fragmentary objects and 19 unfinished objects. The statuettes were most often made from splintered shards, more rarely from blades. Their length varies between 18 and 83 mm. They were divided into two groups, according to the position of the buttocks: the first - in right profile, that is to say, buttocks to the right - has 27 specimens, the second - in left profile. We also noted 4 objects of this type identified in the osseous artefacts of Wilczyce. Two female figures are in right profile, one in left profile and the fourth seems to represent a pregnant woman.
( note that English speakers would normally identify a figurine with buttocks which are on the right of the sculpture as being in left profile, that is, you are looking at the left side of the person portrayed, and vice versa - Don )
Ice wedge deposit in the floor of the excavation.
Photo: J. Fiedorczuk, H. Królik
Source and text: Boroń et al. (2012)
4. Wilczyce 10: figurines in order of size, and fragments.
In this group of objects, 31 specimens are whole or fragmentary and can be considered finished objects, with the contour and profile completed, 19 are either in the process of being made (the first roughouts could be identified) or are scraps due to accidents during manufacture.
In fact, the presence in situ of evidence of the different stages of manufacture makes it possible to propose with confidence that these objects were made at the site.
Photo: M. Gmur
Drawings: E. GumiÅska
Source and text: Boroń et al. (2012)
The figurines were mostly shaped from chips (39 in total) and more rarely, from blades. The presence or the absence of cortex does not seem to have played a role in the preferential choice of one of these two types of raw material, as well as the orientation of the raw material during the cutting phase.
On the figurines, the percussion bulb Is located on the distal (feet), proximal (head) or lateral (near the buttock) portion of the object. The use of retouching to 'sculpt' these figures is the defining technique of this series.
Indeed, one can observe on these parts abrupt, semi-abrupt, even grazing retouches (on the upper face). Retouching can be total and invasive, or partial. In the latter case, retouching then only corrects the defects of the initial morphology of the selected medium. In all cases, one notices that the part worked with the most care is always the buttock.
The lower part of the body is rounded or tapering, the thighs never being represented. As a general rule, the pattern of manufacture of the statuettes hardly varies: breasts are barely sketched in by a notch in the upper part of the stone, the enlarged buttocks are accentuated in its lower part, the reverse faces of the figures are flat or slightly concave.
Photo: M. Gmur
Drawings: E. GumiÅska
Source and text: Boroń et al. (2012)
Chipped stone female figurines (style Lalinde/Gönnersdorf) from Wilczyce, Poland Photo: Romuald Schild, photo credit Dagmara Manka
Source: http://archaeology.about.com/od/artandartifacts/ig/Wilczyce-Figurines/Chipped-Stone-Female-Figurine-.htm
Carved Bone Female Figurine (style Lalinde/Gönnersdorf) from Wilczyce, Poland
Photo: Romuald Schild, photo credit Dagmara Manka
Source: http://archaeology.about.com/od/artandartifacts/ig/Wilczyce-Figurines/Chipped-Stone-Female-Figurine-.htm
The specimens with buttocks to the right are often characterised by the rounded shape of the edge at the bottom of the figure, on the opposite side to the buttocks as shown here. A piece belonging to this type, but carved out of agate, was discovered on the site of Weiler bei Bingen (Schmid, 1972). ( see the text and image below )
The statuettes of Wilczyce can be divided into three groups according to their metric criteria: the most numerous are the figurines whose length varies between 40 and 65 mm and the width is between 23 and 44 mm. The second group, less numerous, consists of specimens of more slender form, with length 70 to 83 mm, and width 26 to 36 mm. Finally, the third group, which is more marginal, comprises small plates 27 to 39 mm long and 15 to 20 mm wide.
Photo: M. Gmur
Drawings: E. GumiÅska
Source and text: Boroń et al. (2012)
The Weiler bei Bingen (Weiler near Bingen) venus figurine.
The colour of the translucent agate is light grey with slightly pronounced darker transverse stripes. At the top there is a section which is yellow.
The almost flat undersurface has a slightly rough surface, as is common when working agate.
Photo and text: Schmid (1972/1973)
Two varieties of flint were selected to cut Wilczyce figurines: 'Chocolate' flint and Turonian flint, raw materials commonly used for the domestic production of tools. The map at left shows the probable sources for these flints.
'Chocolate' flint is one of the regional stones whose outcrops were to be found in the region of the ÅwiÄtokrzyskie Mountains (Schild 1971, p 41, fig 13), at a distance of 70 to 100 km from the site. The length of the objects cut in this material varies between 27 and 79 mm, with a clear predominance of the parts in the range of 35 to 55 mm. In the diagram (figure 8a), the large differences between the length / width parameters give a very dispersed image of this set.
The Turonian flint is of local origin with deposits less than 20 km from the site (Fiedorczuk and Schild 2002 ).
Photo and text: Boroń et al. (2012)
Bone and ivory figurines
Four such objects were identified in the Wilczyce bone artefacts. The first figure (length 9.2 mm, width 3.2 mm) is made of ivory (fig. 9a). It was reconstituted in the laboratory by the efforts of Dr. Jan Fiedorczuk who, in his work, showed persistence and great patience. According to the typology of the statuettes, it belongs to the group in right profile, with the gluteus on the right. It was shaped from a plaque cut from a mammoth tusk.
Two other pieces have been carved into long bone (compact tissue). One of them (7.4 mm long, 2.4 mm wide) belongs to the group of figures with a gluteus on the right (fig. 9b) and the other (9.4 mm long; Width 2.6 mm) to that with gluteus on the left (fig. 9c).
Photo: M. Gmur
Drawings: E. GumiÅska
Source and text: Boroń et al. (2012)
The last piece, in ivory, is unique not only in its length but also in its form. It is, remarkably, a figurine of which one side is straight. On the opposite side, at the top, the breasts are scarcely visible, a strong constriction is observed in the middle part, while the bottom of the piece again assumes a bulging shape.
Reassembled from several small pieces during its reconstitution in laboratory, the object remains badly damaged. The length of the reconstituted fragment is 22 cm. The piece was cut in a flat plate of ivory (mammoth tusk).
The archaeozoological study of the bone remains at the site revealed that, apart from the tusks, no other element of a mammoth skeleton was identified. This suggests that the residents of this Magdalenian site obtained this valuable material by collection from a found skeleton rather than by hunting.
Drawing: E. GumiÅska
Source and text: Boroń et al. (2012)
Spatial distribution of the discovered figurines.
Analysis of the spatial distribution of the finds makes it possible to distinguish three zones of concentration of this type of objects: the first in the northern part of the site, the second in its central part and the third in its southern part. This last area is unfortunately damaged by more recent occupations and the former water reservoir/pond.
The objects uncovered from these three places have no great stylistic differences. Each of the three zones hasdelivered figurines with buttocks on the right and buttocks on the left. The most numerous group was exhumed in the central part of the site, which seems to correspond to the longest of the Magdalenian occupations, evidenced by the presence of rich lithic and bone material.
These three concentrations of figurines could correspond to different phases or episodes of occupation of the Wilczyce site by the Magdalenians.
Photo and text: Boroń et al. (2012)
Ice wedge emplacements, with the location of the child skeleton also found at the site, as well as the ivory figurine.
Drawings: E. GumiÅska
Photo and text: Boroń et al. (2012)
References
Boroń T., Królik H., Kowalski T., 2012: Les figurines féminines magdaléniennes du site de Wilczyce 10 (district de Sandomierz, Pologne), in: Clottes J. (dir.) 2012, Lâart pléistocène dans le monde, Actes du Congrès IFRAO, Tarascon-sur-Ariège, septembre 2010 â Symposium 'Art mobilier pléistocène'.
Fiedorczuk J., Schild R., 2002: Wilczyce â a new late Magdalenian site in Poland, in: Eriksen B., Bratlund B., Recent studies in the Final Palaeolithic of the European plain, proceedings of a UISPP Symposium, 14-17 October 1999, p. 91-100. Ã rhus : Aarhus University Press. (Jutland Archaeological Society Publications ; 39).
Fiedorczuk J., Bratlund B., Kolstrup E., Schild R., 2002: Late Magdalenian feminine flint plaquettes from Poland in: Eriksen B., Bratlund B., Antiquity, 81 (2007), pp 97â105
Lachenbruch A., 1962: Mechanics of thermal contraction cracks and ice-wedge polygons in permafrost, Geological Society of America, Special Paper, 70: 69 pp.
Schild R., 1971: Lokalizacja prahistorycznych punktów eksploatacji krzemieniaczekoladowego na pólnocno-wschodnim obrzeżeniu Gór ÅwiÄtokrzyskich, Folia Quaternaria, 39, p. 1-61.
Schmid E., 1972: Eine jungpaläolithische frauenfigur aus achat von weiler bei bingen, Aartär (, 23/24, p. 175-180.
Schmid E., 1972/73: Eine jungpaläolithische Frauenfigur aus Achat von Weiler bei Bingen, Quartär, Vol. 23/21, 1972/73
|
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5671
|
dbpedia
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2
| 13
|
https://www.goldposter.com/movie/799729/
|
en
|
Romuald the Reindeer (1996)
|
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] |
[] |
[] |
[
"Romuald the Reindeer",
"Romuald the Reindeer Movie Posters",
"poster gallery",
"Poster"
] | null |
[] |
2020-03-16T23:09:35+00:00
|
Romuald the Reindeer,
|
en
|
GoldPoster
|
https://www.goldposter.com/movie/799729/
|
series
6.5 (11)
Country: France, UK
Genres: Animation
Release: 1996-09-24
Director: N/A
Writers: Robin Lyons , Andrew Offiler
Language: English
Stars: Nigel Planer , Mollie Sugden , Kenneth Waller , Jonathan Kydd , Christian Rodska , Emma Wray , Arthur Smith , Howell Evans , Julie Higginson
Runtime: 10 min
Awards: N/A
AKA: Romuald the Reindeer , Romuald the Reindeer (United Kingdom) , Romuald the Reindeer (Italy) , Renifer Romuald (Poland)
Plot: The animated adventures of a young reindeer, his family and friends.
IMDB:tt0274064
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5671
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dbpedia
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1
| 4
|
https://mediatoon-distribution.com/en/programme/romuald-le-renne-2/
|
en
|
Romuald Le Renne
|
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] |
[] |
[] |
[
""
] | null |
[] |
2022-04-11T13:08:53+00:00
|
en
|
Mediatoon Distribution
|
https://mediatoon-distribution.com/en/programme/romuald-le-renne-2/
| |||||||
5671
|
dbpedia
|
2
| 72
|
https://www.avid.wiki/Macrovision
|
en
|
Macrovision
|
[
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] |
[] |
[
""
] | null |
[
"Audiovisual Identity Database"
] |
2024-08-12T20:06:25+00:00
|
en
|
Audiovisual Identity Database
|
https://www.avid.wiki/Macrovision
|
Background
Macrovision is a copy-protection system from the company Macrovision Solutions Corporation, first used on the 1985 VHS/Betamax/LaserDisc of The Cotton Club. On July 16, 2009, the company changed its name to Rovi. On September 8, 2016, Rovi acquired TiVo and changed its name to the latter. Until the 1997 VHS release of Keys to Tulsa, Macrovision didn't use an animated logo, just warning screens.
Logo (September 2, 1997-2007)
Visuals: On a black background, a pink metallic triangle with "cp" on it (which stands for "copy protected" or "copy protection") zooms out and rotates from the bottom left to the center. Some clouds and sandy dunes are reflected onto the triangle, which shines, causing it to turn gold. Then a flash appears on the center to swallow the triangle up in order to serve room for the logo, and "MACROVISION QUALITY PROTECTION" (in Eurostile LT Std Condensed font) zooms out, with a smaller triangle next to it. An upside-down triangle replaces the V in "MACROVISION", and after it zooms out, the triangle shines with a "ping" and the text "QUALITY PROTECTION" starts to glow. In the background of the triangle and "MACROVISION", there is what appears to be a background of a desert and a cloudy sky (and if one watches closely, a watery oasis near the bottom of the desert as the text zooms out).
Trivia: Although this logo did appear at the end of the UK DVD release of Makaton Nursery Rhymes, the disc itself isn't actually copy-protected. The logo's inclusion is most likely a mistake considering that Universal released it to the format.
Variant: A French version exists where it fades in on the finished logo with the triangle stuck on the light and the text and the quality protection text blacked out and is replaced by "Protection de la qualite". This can be seen on the VHS release of The Eighth Day.
Technique: CGI.
Audio: A mellow synth tune (composed in E major), ending with a held-out note (composed in C♭ major).
Audio Variants:
From 2003-05, a silent version was used on VHS (the DVD counterparts all had the theme). This has been spotted on the 2003-05 VHS releases of Hulk, Love Actually, Along Came Polly, and Friday Night Lights.
On some Universal Pictures UK DVDs the logo is out-of-sync with the music, with it starting as the triangle shines.
Availability:
Seen at the end of Universal Studios Home Entertainment DVD releases from 2000-2007, as well as most VHS releases from 2000-2006, and at the beginning of PolyGram Video/USA Home Entertainment VHS and DVD releases from 1997-2002 (although the DVD releases of Gosford Park, Maybe Baby and One Night at McCools have the logo at the end) except for the retail VHS release of Barney's Great Adventure, which doesn't use the logo, though it does appear at the beginning of the movie's demo VHS tapes and DVDs (including reprints).
Although the print logo appears on the packaging of every UK DVD released between 2000 and 2007, most DVD's released between 2000-2004 don't feature this logo, (except DVD's that have either the Deluxe Digital Studios or Warner Advanced Media Operations logos). However, Nearly all DVD's released between 2005 and 2007 do feature this logo.
It was also shown at the beginning of HBO Home Video VHS releases from 2000-2002, such as 61*, Band of Brothers, Do You Believe In Miracles?, and several volumes of The Sopranos.
It has also been spotted on Popular Mechanics for Kids and Mommy and Me DVDs, and even at the end of certain prints of Maisy Makes Music (which even has an MPAA "G" rating screen before it, despite being a TV show).
A few BBC Video UK VHS releases from 1999-2000 also use this logo at the beginning, such as My Friend Angelmouse, Only Fools & Horses: Mother Nature's Son, Tweenies: Animal Friends and Song Time!, Teletubbies and the Snow, Adventures with Romuald the Reindeer, Comedy Legends: Ronnie Barker, Dad’s Army: The Face on the Poster, and Gary Larson's Tales from the Far Side.
It was seen at the beginning of the 2004 U.S. DVD of Fangoria Blood Drive: Volume 1 from Koch Vision.
It was also seen at the beginning of numerous Canadian Alliance Atlantis DVDs from 2000-2005 (with the exception of New Line Cinema and Miramax Films releases).
It also appears on the 2001 VHS and DVD releases of WTC: The First 24 Hours and the Grizzly Adams Productions, Inc. VHS release of Millennium Fears: Fact or Fiction?.
It also appears at the beginning of UK DVDs from Carlton Video, such as Oliver Twist (1948), In Which We Serve, King of New York, The Red Shoes, The Ipcress File, A Town Like Alice, Porridge: The Movie, several Thunderbirds volumes and Capricorn One.
It also appears at the end of the 2005 DVD of Dan Zanes & Friends: All Around the Kitchen from Festival Five Records.
It appeared at the end of a December 2001 ABC Family (now Freeform) airing of Must Be Santa (1999).
The print logo appears on the back of Video Collection International and early 2 Entertain UK DVDs from 2000 to 2005, and Channel 4 UK DVDs from 2006 to 2009 but the on-screen logo doesn't appear on them.
It was seen at the beginning of the international PolyGram Video/Universal Pictures Home Entertainment VHS and DVD releases from 1998-2000.
It was also used as a GIF on an old version of the company's website.
It makes an appearance on the 2010 DVD release of It's a Very Muppet Christmas Movie, alongside the Deluxe Digital Studios logo.
Legacy: While Macrovision itself is regarded by a nuisance by A/V enthusiasts, this logo is nevertheless a favorite of many due to its calming music and nature.
See Also
|
||||||
5671
|
dbpedia
|
0
| 84
|
https://www.mutualart.com/Article/The-Top-Instagrams-from-Documenta14-/B7002125645866CB
|
en
|
The Top Instagrams from Documenta14
|
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[] |
[] |
[
""
] | null |
[
"MutualArt"
] |
2017-06-14T00:00:00
|
We take a look at this year's sprawling edition of the exhibition, as seen through the lenses of the world's leading curators, gallerists and museum directors
|
en
|
https://www.mutualart.com/Article/The-Top-Instagrams-from-Documenta14-/B7002125645866CB
|
We take a look at this year's sprawling edition of the exhibition, as seen through the lenses of the world's leading curators, gallerists and museum directors
1. Hendrik Folkerts, Curator for Documenta14
Documenta curator Hendrik Folkerts offered a preview of Maria Eichhorn's towering installation Unlawfully acquired books from Jewish ownership. The work is part of a project focused on the books and artworks looted by Nazis, considering issues of owernship and restitution.
2. Ann Gallagher, Curator of British Art at Tate
Ann Gallagher, Tate's Curator of British Art, shared work by award-winning French filmmaker Romuald Karmakar, whose installation takes over the entire Westpavilion of Kassel's 18th-century Orangerie. Films by the artist consider the collapse of the Byzantine Empire and the Fall of Constantinople — two events that shaped history.
3. Dea Vanagan, Director of Hauser & Wirth Somerset
Beau Dick hailed from a secluded village on Canada's northwest coast which, due to its isolated position, remained largely untouched by colonial authorities. Known as Gwa'yi to its residents, the region observes traditional ceremonies and modes of governance. Dick, who promoted the rights of Canada's indigenous peoples, became renowned as a master carver, creating works that appear 'alive'.
4. Adriano Pedrosa, Director Museu de Arte de São Paulo
Artist Ibrahim Mahama swathes buildings in sacks used to transport goods including coffee, rice, beans and charcoal from Asia to his native Ghana. The material is a record of a global journey, as well as a reference to its use in many parts of Western Africa, where jute is repurposed to form anything from curtains to items of clothing.
5. Iaroslav Volovod, Assistant Curator Garage Museum of Contemporary Art
Much-photographed, The Parthenon of Books by artist Marta Minujín is built from almost 100,000 currently or previously banned books, by authors from around the world. Constructed to replicate the first Parthenon of Athens, the installation is defiant, referencing the ideals of history's first democracy on the same site where the Nazis once burned 2000 books.
6. Klaus Biesenbach, Director MoMA PS1
7. Jens Hoffmann, Senior Curator at the Museum of Contemporary Art Detroit
Maria Hassabi's dancers move in slow contortions, using their bodies to create an ever-changing sequence of angles and curves. Entitled STAGING, the performance is set against an electric fuschia floor, and has had visitors to Kassel stopping in their tracks.
8. Stuart Comer, Chief Curator of Media and Performance Art at MoMA
A post shared by Stuart Comer (@stuartcomer) on Jun 9, 2017 at 8:15am PDT
Born in Beirut in 1978, Lebanese-Dutch artist Mounira Al Solh is presenting a series of portraits entitled I Strongly Believe in Our Right to be Frivolous. Each is born of the artist's encounters with Middle Eastern and North African migrants who had transitioned, or were in the midst of transitioning, from the status of refugee to citizen.
9. Polly Staple, Director of Chisenhale
It is hard to miss Banuce cennetoglu's BEINGSAFEISSCARY. Installed on the façade of a building in Kassel's Friedrichsplatz, the work takes inspiration from the graffitied wall of a university in Documenta's sister site, Athens. The artist has borrowed letters from Kassel's Fridericianum, one of the oldest museums in Europe.
10. Frances Morris, Director, Tate Modern
Tate Modern Director Frances Morris is one of several prominent institution heads to have shared images of Nisyros (Vivian's bedroom), an installation by Buenos Aires-born artist Vivian Suter. Housed in a glass pavilion, the work features paintings that hang from the ceiling, forming vibrant enclosures.
For more on auctions, exhibitions, and current trends, visit our Articles Page
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2022-07-10T20:11:13+00:00
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Discover (and save!) your own Pins on Pinterest.
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https://www.pinterest.com/pin/romuald-the-reindeer--317363105012122560/
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https://www.indiewire.com/awards/industry/annette-simon-helberg-interview-1234678334/
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‘Annette’: Simon Helberg Tapped Into the ‘Dangerous, Sexy, and Horrific’ for His Most Daring Role Yet
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2021-11-10T20:30:28+00:00
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The actor lied about his citizenship, taught himself how to conduct, and got cozy with a puppet for his turn in the Leos Carax musical.
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en
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IndieWire
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https://www.indiewire.com/awards/industry/annette-simon-helberg-interview-1234678334/
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[Editor’s note: The following article contains spoilers for “Annette.”]
There was nothing that could possibly stop actor Simon Helberg from starring in Leos Carax‘s daring movie musical “Annette.” Citizenship issues? Fixable. Doesn’t know how to conduct? He can learn. Have to act alongside a puppet? Wonderful. Might get drowned by Adam Driver during a pivotal scene? Bring it on. Not entirely sure about his character’s emotional state? Just refer to a picture of Peter Lorre.
Even now, nearly two years after wrapping production on the ambitious feature and four months after its divisive Cannes premiere, Helberg still slips into something of a fever when talking about the film, which sees him starring alongside Adam Driver and Marion Cotillard as a lovestruck conductor simply known as “The Accompanist.”
What was it that so captivated him about the film and the role? “Well, some kind of demonic possession or a desire to just torment and self-immolate,” he said during a recent interview with IndieWire. Long before Helberg nabbed the third lead in the film, he had been tracking the project, including in its earliest stages when other producers and stars were attached. But Carax couldn’t let it go, and neither could Helberg.
“Leos making a film is an event,” Helberg explained. “I didn’t really even read a script for a while, because it was under lock and key and everything about the whole project was very cryptic. Of course, once I read it, I was completely fascinated. It’s hard to even really draw any comparison between ‘Annette’ and other films. I’m all about having an experience, and this seemed like a pretty good one to risk my life and liberty for.”
Helberg eventually got hold of the script and filmed an audition to be sent to Carax. The tape came with an additional sweetener: Helberg, knowing that Carax was eager to kit out his production with a majority of European citizens in order to secure EU funding, added a note that he was in the process of becoming a French citizen. That was, mostly, a lie. (Helberg’s wife is a French citizen and their children attend a French school, so while he’s not entirely out of the French milieu, it was still a stretch.)
“I figured if I could win over Leos Carax, I would just become an honorary French citizen,” Helberg said. “In some ways, I think it actually worked. I got a response from this hermitic, enigmatic Frenchman who they thought might live in a cave without electricity somewhere. I didn’t even know if my audition tape could make it to him, but I knew I could at least do my part and play that song and put it out into the ether. He actually got back very quickly and he liked it. Well, put quotes around ‘like,’ but he responded.”
Helberg was overjoyed, even if he was getting a bit ahead of himself. “I ran right off to the consulate and I said, ‘Make me a French citizen!’ And the French don’t have the best sense of humor about that kind of thing,” Helberg said. “I just kind of worked and grinded and simultaneously was trying to get this passport while also trying to get the role. I didn’t even have the part for months on end.”
Eventually, Helberg met with Carax in New York City — “He was stoic and comically unimpressed and unmoved by my presence” — and then, well, just kept meeting with him. “He kept asking for more even though I didn’t feel like he wanted me to be in the film,” Helberg said. “I think ultimately, [he’d like if] he could make a film without actors, maybe that’s why there’s a puppet in the movie.”
Carax, he said, provided him with scant material beyond the script itself. One item that did stand out: a picture of the iconic actor Peter Lorre with the word “melancholy” written on it. Helberg, a self-professed “obsessive,” threw himself into preparation, gathering his own materials and notes and experiences to round out the somewhat enigmatic role. He purchased his own conductor’s baton from Amazon (it’s the same one he uses in the film), and as his dedication to the part grew, the “Annette” team offered him more assistance, including hooking him up with a variety of real-life conductors.
“I went to a dress rehearsal for ‘La Boheme’ and started reading about conducting technique and watching endless hours of different conductors and trying to absorb different styles,” he said. “I went into this sort of rabbit hole of the technique, the style, the aesthetic, and kind of the psychology of conductors. In the script, you just get lyrics and ‘He conducts’ as the stage direction. There’s not any indication about emotion or other action. ‘He conducts.’ Which is very easy to write and very hard to do.”
By the time production of the film began in Belgium in fall 2019, Helberg had steeped himself enough in the world of conducting that he felt somewhat confident in his two big conducting sequences. Carax, of course, had a few more tricks up his sleeve, including asking Helberg to conduct an actual orchestra in an “enormous three-tiered concert hall.” Oh, and that first sequence? He’d like it to be done in a single take.
“I knew at that moment that all that tireless, grueling work of drilling those pieces of music and trying to get my mind wrapped around conducting was really going to ultimately serve me,” Helberg said. “You have to have it somewhere in your back pocket, because by the time you’re on set, the amount that’s being asked of you is ultimately not going to leave room for trying to figure out how to access some kind of technique or how to remember new skills that you’ve acquired. You really have to have it baked into your DNA by that point.”
And yet, even when Helberg reflects on the experience, it’s with awe and reverence. Yes, it sounds hard, it was hard, but that’s also why it felt so damn good.
“I feel like that quality existed throughout the entire shoot, where it was these series of demands that we were being asked to accomplish, and they were next to impossible at times,” Helberg said. “Because of that, there was always a real vulnerability. You see that onscreen. You see that we are walking this high wire and it’s a long way to fall. You end up being very raw. That is a quality that is very compelling to watch and also very thrilling to be a part of.”
The inclusion of a puppet in the film — the eponymous Annette, a being that Helberg’s character needed to intensely bond with — was one of the few surprises the actor felt comfortable with from the start. She was in the very first script, he said, including appearing in a variety of pictures. That, Helberg thought, he could handle.
“Again, kind of a dangerous, risky choice, but just, yeah, go for it,” he said. “And so by the time I got to Brussels, there were some preliminary meetings, kind of figuring out hair and wardrobe and then there was, ‘Oh, the puppet would like to meet you.’ So I went into this dark corner room that was in the studio, and I met Annette and I actually was really surprisingly moved the first time.”
There were other surprises, too: Helberg was going to have to operate her during a few key scenes, and her French-speaking puppeteers (Romuald Collinet and Estelle Charlier) were eager to teach him how to do it. “There was something very striking and haunting and emotional about them handing her off to me, and not really being able to communicate with them in any language that I know and taking their baby and giving life to it and being somewhat responsible for it,” he said. “The tenderness and the precariousness of that was an incredible parallel for the dynamic and the relationship that I had with Annette in the movie.”
While The Accompanist is initially in (secret) love with Cotillard’s captivating opera star Ann Desfranoux, when tragedy strikes, much of his affection is transferred to the baby she’s left behind. Their bond puts him in direct opposition with Ann’s mercurial husband and Annette’s father, the outlandish standup comedian Henry McHenry (Driver). As Annette becomes a global star, The Accompanist fights to preserve her innocence, while an increasingly unhinged Henry becomes further divorced from reality.
Eventually, the pair face off in a shocking physical altercation, a single-take tour de force of choreography, action, and even singing (“Annette” is, after all, a musical). As with many of Carax’s other big demands, Helberg said the sequence was the product of ambitious dreaming, an experienced crew, and a generous amount of derring-do.
“It was all, again, just a surprise a minute,” Helberg said, reeling off the expectations for the sequence. “We were going to shoot it in one shot. There was a stunt man there who was handing me different pads for different parts of my body. We looked everywhere for an earwig that would go underwater. Well, we couldn’t find any that go underwater, which I can tell you why, it’s because nobody can sing underwater. This is not possible from a human standpoint. But they literally wanted me to be able to sing underwater or at least hear the music. And so then it became, ‘Well, can you get the earwig out of your ear in the middle of right before Adam throws you in the pool while we’re shooting a scene in one shot?'”
The results speak for themselves, and Helberg again only recalls the experience with exhilaration. What else is “Annette” but this kind of well-regulated madness?
“I think by that point, I had just come to expect and actually kind of welcome it, because it was very exhilarating and it becomes this amazingly primal kind of dance,” he said. “I felt the terror that I think was appropriate for that scene, even though I felt very safe, because Adam is very professional. When he pushes me or when he picks me up, it’s like he smothers me, almost like the way a boa constrictor would smother a rabbit or something. It had that electricity and it had that kind of fear and it had that sense of the unknown and it also had a real morbid playfulness to it, too. There’s something dangerous and sexy and horrific about the whole thing.”
That seems to be what gets Helberg going these days, and after more than a decade spent on the smash hit CBS sitcom “The Big Bang Theory” — which ended its run in 2019, after catapulting all of its stars into some of the highest pay grades in television series history — he’s absolutely looking to keep stretching his acting muscles.
“If ‘The Big Bang Theory’ gave me anything that I truly cherish, aside from the wonderful relationships and experiences throughout, it really is freedom, artistically and creatively,” he said. “I wouldn’t trade any of the time I spent on that show for anything. But for me, one of the best benefits is getting to spend months knocking on the door at the French consulate, trying to get in the next Leos Carax movie. The things I’ve gotten to do outside the show have all been, stylistically and creatively, the types of projects that I just gravitate towards more in my own, just in my own taste.”
Funnily enough, Helberg said, some of his most beloved big screen gigs came from directors — including the Coen brothers, Stephen Frears, and Carax — who had never even seen the series (Helberg suspects Carax had never even heard of it). “There isn’t even a hint of some kind of preconceived idea of who I am,” he said. “What’s fortunate about getting to then work with them and do those kinds of films is that afterwards, I think more people also might start to go, ‘Oh! Oh, yeah, he’s an actor who plays different characters.'”
So, what’s next? Helberg professes to have a soft spot for biopics, anything with a role he can really slip inside of. And while he admitted it would be “hard to top” the wild freedom of “Annette,” he thinks there can be more of that in his future.
“It’s exciting filmmakers, unusual stories, those are things that really appeal to me,” he said. “I’m interested in trying to show and access different parts of me that I haven’t been able to, that I haven’t had the opportunity to do yet. It’s really exciting to bite off something that you’re not really sure if you’re going to ultimately be able to succeed at, which is the way I have really felt, very much so, with the last couple movies, partially because I lied to get in the door. I didn’t know if I was actually going to be able to play the 10 pieces of opera and classical music for ‘Florence Foster Jenkins’ and I didn’t know if I was going to be able to get a French passport for ‘Annette.'”
He paused for a moment, and then added with a chuckle, “And so maybe I should keep lying. I think ‘always lie’ is the message.”
“Annette” is currently streaming on Amazon Prime Video.
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2020-04-18T20:29:55+00:00
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Apr 18, 2020 - Explore Favorite TV Programs's board "Romuald the Reindeer", followed by 907 people on Pinterest. See more ideas about reindeer, christmas, character.
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https://www.pinterest.com/hjriveramarte22/romuald-the-reindeer/
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https://www.barrrealtyauction.com/current-auctions/search/lots/online-sales/recently-completed/3/TA%3Fterms%3D%26dist%3D%26postal%3D%26page%3D557
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Auction Lots Recently Completed in All Categories
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[] |
[
"Search Lots",
"Lot",
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] | null |
[] | null |
The leading online auction platform. Search Barr Realty & Auction Company, Inc. for lots in our latest estate sales, estate auctions, foreclosure sales and liquidation sales.
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en
|
https://www.barrrealtyauction.com/current-auctions/favicon.ico
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https://www.barrrealtyauction.com/current-auctions/search/lots/online-sales/recently-completed/3/TA%3Fterms%3D%26dist%3D%26postal%3D%26page%3D557
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5671
|
dbpedia
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2
| 3
|
https://mediatoon-distribution.com/en/programme/romuald-le-renne-2/
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en
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Romuald Le Renne
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[] |
[
""
] | null |
[] |
2022-04-11T13:08:53+00:00
|
en
|
Mediatoon Distribution
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https://mediatoon-distribution.com/en/programme/romuald-le-renne-2/
| |||||||
5671
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dbpedia
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3
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https://www.tvtime.com/movie/6a717f67-c136-47f4-bc1e-5598250a2618
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[] |
[] |
[
""
] | null |
[] | null |
Up in the frozen north of Lapland, Santa Claus recalls how his work began, how he first decided to bring toys and joys to kids around the world, how he met his helper elves, his errant flying reindeer, and embarked on his very first night's work delivering presents around the globe.
|
en
|
/favicon.ico
|
TV Time
|
https://www.tvtime.com/movie/6a717f67-c136-47f4-bc1e-5598250a2618
|
No MovieRating
Animation , Family , Fantasy
Up in the frozen north of Lapland, Santa Claus recalls how his work began, how he first decided to bring toys and joys to kids around the world, how he met his helper elves, his errant flying reindeer, and embarked on his very first night's work delivering presents around the globe.
|
||||
5671
|
dbpedia
|
2
| 2
|
https://soundeffects.fandom.com/wiki/Romuald_the_Reindeer
|
en
|
Romuald the Reindeer
|
https://static.wikia.nocookie.net/soundeffects/images/2/2c/MV5BYTRjMWFkNzctMDQxOC00NTRiLWEyZjQtYTFjMWE1MzBjM2E5L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyNjg5MzE4NTA%40._V1_.jpg/revision/latest?cb=20221226041851
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[] |
[] |
[
""
] | null |
[
"Contributors to Soundeffects Wiki"
] |
2024-07-12T14:06:28+00:00
|
Romuald the Reindeer is a children's animated series, created by Robin Lyons and Andrew Offiler, and co-produced by Siriol Productions and La Fabrique for EVA Entertainment, Les Films du Triangle, Videal, France 3, and Media Affiliates, in association with BBC and ZDF. It aired on the BBC on 24...
|
en
|
https://static.wikia.nocookie.net/soundeffects/images/4/4a/Site-favicon.ico/revision/latest?cb=20210601183607
|
Soundeffects Wiki
|
https://soundeffects.fandom.com/wiki/Romuald_the_Reindeer
|
Romuald the Reindeer is a children's animated series, created by Robin Lyons and Andrew Offiler, and co-produced by Siriol Productions and La Fabrique for EVA Entertainment, Les Films du Triangle, Videal, France 3, and Media Affiliates, in association with BBC and ZDF. It aired on the BBC on 24 September 1996 and focuses on the adventures of a Christmas reindeer named Romuald, a character who had previously appeared in Siriol Productions and La Fabrique's thirty-minute specials Santa and the Tooth Fairies and Santa's First Christmas and an episode of their television series Tales of the Tooth Fairies. The series ran for a single season, consisting of thirteen ten-minute episodes.
Summary[]
TV Show Intro[]
Sound Effects Used[]
Sound Ideas, CARTOON, BELL - ALARM BELL: CLANGING (Heard once in "Music Maestro".)
Image Gallery[]
Romuald the Reindeer/Image Gallery
Audio Samples[]
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5671
|
dbpedia
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1
| 9
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https://bid.eastbristol.co.uk/past-auctions/sreas10883/lot-details/73a457e3-1319-45b9-a24c-b0d5011bfaad
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en
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ROMUALD THE REINDEER (1996) ARTWORK
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Auction Types:
LIVE AUCTION - this means that in-person bidding and viewing will available. Internet bidding will also be possible, as will absentee / commission bids and telephone bids.
LIVE BROADCAST AUCTION - this is an auction broadcast online-only. A live feed with show the auctioneer conducting the sale. Bidding can happen online, and absentee / commission and telephone bidding will be available. In-person bidding will not be available. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
TIMED AUCTION - a timed auction is an online-only auction, with bidders against a clock. When the timer runs down, the highest bidder wins (subject to any reserves). A bid within the last 10 minutes will reset the timer to 10 minutes, allowing bidders fair chance and to combat 'sniping'. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
Conditions of Sale
Auctioneum Ltd (trading as East Bristol Auctions) carries on business with bidders, buyers and all those present in the auction room and online prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. Definitions
In these Conditions:
(a) ‘Auctioneer’or ‘we/us’ means the firm Auctioneum Ltd or its authorised auctioneer, as appropriate;
(b) ‘Hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;
(c) ‘Terms of Consignment’ means the stipulated terms and rates of commission on which Auctioneum Ltd accepts instructions from sellers or their agents;
(d) ‘Total amount due’ means the hammer price in respect of the lot sold together with any premium. Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
(e) ‘sale proceeds’ means the net amount due to the seller, being the hammer price for the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
(f) ‘You’, ‘Your’ etc refers to the buyer as identified in condition 2;
(g) The singular includes the plural and vice versa as appropriate.
Information for buyers
2. Bidding Procedures and the Buyer
(a) Bidders are required to satisfy any security arrangements before entering the auction room to view or bid, and to register their particulars immediately on purchasing their first lot on the day.
(b) The maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer's absolute discretion by re-offering the Lot during the course of the auction or otherwise.
(c) Bidders shall be deemed to act as principals.
(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments
Bidding increments shall be at the auctioneer's sole discretion.
4. The Purchase Price
The buyer shall pay the hammer price together with a premium thereon of 21%+VAT (25.2% total) on the premium at the rate imposed by law.
ARTISTS RE-SALE RIGHT. Buyers of the re-sold art of living artists will be charged the royalty where applicable. Currently this is 4% on any item sold at 1000 Euros or over, diminishing from 50,000 Euros. VAT is not applicable on this charge. Further details can be obtained from artistscollectingsociety.org.
5. Value Added Tax
Valued Added Tax on the hammer price is imposed by law on all items affixed with an asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position)
6. Payment
We accept payment via the telephone and also provide a secure payment portal through our website for your own security. Bidders leaving successful commission bids with us via telephone or email should be aware that payment will be made via this service. Online bidders, whether live or by automated online commission can pay via these services also. We do not accept Credit Card payments over £200 in any instance, we also no longer accept Cheques as a form of payment. From January 1st 2024 we will no longer accept cash payments. Full payment terms can be found on your invoice.
(1) Immediately a Lot is sold you will:
(a) Give to us, if requested, proof of identity, and
(b) Pay to us the total amount due in case or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent whether expressed or implied.
7. Title and Collection of Purchase
Ample opportunity is given for inspection. Each purchaser, by making a bid for a lot, is deemed to have knowledge of all the Conditions of Sale and to have satisfied themselves as to the physical condition and accuracy of the description of the lot, including, but not restricted to, whether the lot is damaged, or has been repaired. No refund shall be granted on any lot for matters arising to condition.
Collection of won lots from our saleroom must take place within 5 workings days of the sale date unless there has been strict and written prior agreement. Please note that we do not have the capacity to store items for customers for more than this period of time without prior agreement. Uncollected items will be subject to storage charges of £5 per lot per day after the 5th working day. By agreeing to bid with us you agree to these terms and we reserve the right to charge for storage at our discretion by use of credit / debit card held on file, or upon collection by customer, or by telephone so as to release to carriers. If storage fees amount in value to more than the value of the lots purchase price and/or the low estimate, we the auctioneer take ownership of the lot(s) to recover the storage fees.
(1) The ownership of any Lots purchased shall not pass on to you until you have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you have purchased and paid for no later than five working days following the day of the auction after which you shall be responsible for any removal, storage and insurance charges.
(3) No purchase can be claimed or removed until it has been paid for.
8. Remedies for Non-Payment or Failure To Collect Purchase
(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we as agent for the seller shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise all or any of the following rights and remedies:
(a) To proceed against you for damages for breach of contract;
(b) To rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;
(d) To remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere, at the cost of £5 per lot per day;
(e) To deduct this cost from any registered credit or debit card submitted for registration at time of bidding
(f) To retain that or any other Lot sold to you until you pay the total amount due;
(g) To reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien on any of your property in our possession for any purpose.
(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions.
9. Third Party Liability
All members of the public on our premises are there at their own risk and must note the layout of the accommodation and security arrangements. Accordingly, neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. Commission Bids
Whilst prospective buyers are strongly advised to attend the auction personally or via an online bidding platform and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any neglect or default in so doing or failing to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of Title And Availability
The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is property authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.
12. Agency
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Descriptions
(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view, inspect and ask for written condition reports before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to the lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition, size or estimated selling price involve matters of opinion. Neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition, size or quality of lots, express, implied or statutory, and hereby excluded. All lots remain sold completely 'as is' - irrespective of any description, and no refund shall be issued on any lot where matters arising to condition are raised.
(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.
(3) Electrical items - any and all electrical items (including, but not limited to, lamps, toys, furniture etc) are sold as decorative 'antique' or 'curio' objects ONLY and must only be used after a qualified electrician / professional has inspected the item for safety. Auctioneum Ltd or its agents are not liable for any injury, damage or loss relating to use of any electrical item. Based upon guidance from Trading Standards, plugs, cables and power leads will be removed prior to sale. No guarantees, warranties or similar are implied nor given on the working ability or electrical safety of any item.
(4) Measurements and Sizes - any measurements or stated sizes should be assumed as 'approximate' where given, and buyers are specifically requested to check sizes match their expectations prior to bidding.
14. Online Bidding
Auctioneum Ltd offer catalogues across multiple online bidding websites. Each of these websites levies a different charge for this service and any prospective bidders are asked to satisfy themselves as to those charges on each specific website.
In completing the bidder registration on www.the-saleroom.com and providing your card details and unless alternative arrangements are agreed with Auctioneum Ltd you:
1. authorise Auctioneum Ltd if they so wish, to charge the card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com or other website, and
2. confirm that you are authorised to provide these card details to Auctioneum Ltd through www.the-saleroom.com (or other website) and agree that Auctioneum Ltd are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.
15. Anti-Money Laundering
Under the regulations set by the Financial Conduct Authority (FCA), Auctioneum Ltd is required to provide appropriate identity evidence for HMRC when transactions take place over £10000. This is to prove that all buyers seeking to purchase high value items from East Bristol Auctions are who they say they are.
Buyers registering to bid via saleroom.com and Auctioneum's own website will register to bid initially by entering an email address ( subject to validating) a current address of residence along with a valid debit or credit card that details will be matched against each other to verify your identity and to protect us from theft and fraud, complying with AML laws. Successful bidders of items over £10,000 using internet bidding will be sent an email after purchase asking for these, which includes details on what kind of documents we can accept. Please note, in some instances, if we are unable to verify your identity as a bidder on items of a value over £10,000, we will possibly not be able to process your bid and it may be cancelled as a result. Once your identity has been verified, we will inform you via email.
Buyers submitting telephone bidding requests and commission bids prior to the auction will also be subject to the above requirements and document requests prior to bidding thus satisfying both East Bristol Auctions and the current regulations for the Money Laundering Act .
Auctioneum Ltd will be required by law to meet current compliance requirements for example, under UK AML (anti-money laundering) HMRC laws, or individual countries customs laws and regulations and disclose this information
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CC BOX OFFICE®
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Romuald the Reindeer
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Romuald the Reindeer is a British children’s animated series created by Robin Lyons and Andrew Offiler. It was produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The show aired on BBC One in 1996 and revolves around the adventures of a Christmas reindeer named...
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en
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https://static.wikia.nocookie.net/international-entertainment-project/images/4/4a/Site-favicon.ico/revision/latest?cb=20210709131246
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The Dubbing Database
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https://dubdb.fandom.com/wiki/Romuald_the_Reindeer
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Romuald the Reindeer is a British children’s animated series created by Robin Lyons and Andrew Offiler. It was produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The show aired on BBC One in 1996 and revolves around the adventures of a Christmas reindeer named Romuald, a sullen teenage reindeer, as he navigates life's twists and turns. Alongside Romuald, there are other characters like his little sister Ulrika, his parents Harold and Hilda, and the local reindeer bullies Clint, Kirk, and Burt.
Cast[]
Character Actor
Romuald Haroldson
Nigel Planer
Ulrika Haroldson
Julie Higginson
Harold Haroldson
Jonathan Kydd
Hilda Haroldson
Emma Wray
Grandpa Ivy
Kenneth Waller File:Clint (Romuald the Reindeer).png
Clint
Arthur Smith File:Kirk (Romuald the Reindeer).png
Kirk
Jonathan Kydd File:Burt (Romuald the Reindeer).png
Burt
Christian Rodska
International versions[]
Dubs[]
Language Title Channels Danish Rensdyret Rumle DR1 (formerly) Estonian
(voice-over) Põhjapõder Romuald Kanal 2 (formerly) French Romuald
Romuald le grand renne
Romuald le renne France 3 (formerly)
Télétoon (formerly) German Romuald, das Rentier Der Kinderkanal (formerly)
ZDF (formerly)
ORF 1 (formerly) Hungarian Romuald, a rénszarvas TV1 (formerly) Irish Bómán TG4 (Cúla4 block, formerly) Italian Romualdo la renna RaiDue (formerly) Polish Renifer Romuald Canal+ (formerly)
Minimax (formerly) Scottish Gaelic Fionnlagh Fast BBC One Scotland (formerly)
BBC Two Scotland (formerly) Slovak Sob Romuald STV1 (formerly) Slovene Romuald TVS 1 (formerly)
Title translations[]
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PLANER, Nigel 1955(?) –
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PLANER, Nigel 1955(?)–
PERSONAL
Born February 22, 1955 (some sources say 1953), in London, England; son of George Victor and Margaret Lesley (maiden name Source for information on Planer, Nigel 1955(?)–: Contemporary Theatre, Film and Television dictionary.
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PLANER, Nigel 1955(?)–
PERSONAL
Born February 22, 1955 (some sources say 1953), in London, England; son of George Victor and Margaret Lesley (maiden name, Weeden) Planer; brother of Roger Planer (a writer); married Anna Lea, August 19, 1989 (divorced, 1994); married Frankie Park (an actress), April 3, 1999 (some sources cite 2000); children: (first marriage) Stanley; (second marriage) one son. Education: Attended University of Sussex; trained for the stage at London Academy of Music and Dramatic Art.
Addresses: Agent— Maureen Vincent, Peters, Fraser & Dunlop, Drury House, 34–43 Russell St., London WC2B 5HA, England.
Career: Actor and writer. Comic Strip (comedy group), founding member; also performed with Comedy Store. Appeared in commercials. Performed poetry readings in England.
Member: British Actors' Equity Association, Writers Guild of Great Britain, Musicians Union.
Awards, Honors: BPI Award, best comedy record, 1984.
CREDITS
Film Appearances:
Mansell, Yellowbeard, Orion, 1983.
Charlie, Brazil, Universal, 1985.
Gunter, The Supergrass (also known as The Comic Strip Presents the Supergrass ), New Line Home Video, 1985.
DHSS Manager, Eat the Rich, Columbia/TriStar Home Video, 1987.
Den, More Bad News, 1987.
Bernard, old man, and first camp actor, The Strike, 1987.
Grand Wazir, Carry On Columbus, Lauren Films, 1992.
Parkey, Clockwork Mice, 1995.
Car salesperson, The Wind in the Willows (also known as Mr. Toad's Wild Ride ), Columbia, 1997.
Taxi driver, Diana & Me, 1997.
Gerald, The Land Girls (also known as Trois Anglaises en campagne ), Gramercy, 1998.
Appeared as Darly Worthorne, Thunder Pants, Dragon Pictures.
Television Appearances; Series:
Member of ensemble, The Comic Strip Presents, Channel 4, 1983–1984, 1988–1990, and 1992–1993.
Neil Pye, The Young Ones, MTV, 1985.
Nigel Cochrane, Roll Over Beethoven, 1985–1986.
David Castle, King & Castle, BBC, 1986.
Ralph Filthy (Filthy Ralph), Filthy, Rich, and Catflap, BBC, 1987.
Title role, Nicholas Craig, the Naked Actor (also known as The Nicholas Craig Masterclass ), 1990.
Narrator and other voices, The Magic Roundabout (also known as The New Magic Roundabout ), Channel 4, beginning 1990.
Member of ensemble, The Comic Strip, BBC–2, 1990–1998.
Voice, Romuald the Reindeer, Fox Family Channel, 1998–1999.
Also appeared as Laurence Didcott, Bonjour la classe; narrator, Grizzly Tales for Gruesome Kids; and Lou Lewis, Shine On Harvey Moon.
Television Appearances; Movies:
Andrew Veitch, Number 27, BBC, 1988.
Paul Hockings, Frankenstein's Baby, BBC, 1990.
Himself, The Nearly Complete and Utter History of Everything, BBS, 1999.
Television Appearances; Miniseries:
Jeff, Blackeyes, BBC, 1989.
Antonio, The Marriage of Figaro, 1995.
Television Appearances; Episodic:
The Lenny Henry Show, 1984.
Bartender, "Madeleine," Happy Families, 1985.
Lord Smedley, Madame La Guillotine, and the Scarlet Pimpernel, "Nob and Nobility," Blackadder the Third (also known as The Black Adder ), BBC–1, 1987.
"Dangerous Liaisons," French and Saunders, 1990.
Inspector Hopkins, "The Golden Pince–Nez," The Memoirs of Sherlock Holmes (also known as Sherlock Holmes ), Granada, 1994.
The Good Sex Guide, 1994.
Shelford, "The Reconstituted Corpse," Jonathan Creek, 1997.
Gavin, "I Tell You It's Burt Reynolds," Paul Merton in Galton and Simpson's..., 1997.
Tim Goodman, "Four Men in a Car," The Comic Strip Presents, Channel 4, 1998.
Colin Boswell, "Look Again," The Bill, ITV1, 1999.
Tim Goodman, "Four Men in a Plane," The Comic Strip Presents, Channel 4, 2000.
Undertaker, "Dead Grandma," Baddiel's Syndrome, 2001.
Himself, Breakfast, BBC, 2001.
Himself, "New Years Compilation," I Love 1980's, BBC2, 2001.
Himself, "West End Theatre Special," The Weakest Link, BBC, 2002.
Dumbledore, "Harry Potter and the Secret Chamberpot of Azerbaijan," French and Saunders, 2003.
Guest on Saturday Night Live, LWT.
Television Appearances; Specials:
"A Night of Comic Relief 2," Comic Relief, 1989.
"Red Nose Day 3: The Stonker," Comic Relief, 1991.
Party in the Park 2002, Channel 5, 2002.
Television Appearances; Pilots:
Wake Up With..., 1994.
Baz Grimley, The Grimleys, ITV, 1997.
Television Appearances; Other:
Himself, Boom Boom, Out Go the Lights, BBC, 1981.
Neil, Comic Relief (also known as The Utterly Utterly Rude Video Live ), 1986.
John Peel, The Trials of Oz, BBC, 1991.
Jocelyn Pride, Cuts, YTV, 1996.
Sheldon Cohen, You Are Here: Whatever Happened to Baby Jo?, 1998.
Himself, Top Ten Comedy Records, 2000.
Also appeared in Two Lumps of Ice, BBC.
Stage Appearances:
Amos Hart, Chicago (musical), Adelphi Theatre, London, 1997.
Pop, We Will Rock You (musical), Dominion Theatre, London, 2002.
Also appeared in All's Well That Ends Well, Regents Park Theatre, London; in Angry Old Men; as Den Denis, Badnews Live, London production; as Che, Evita (musical); as George, Feel Good, London; as Frosch, Die Fledermaus, English National Opera; as Donny, High Life, Bush Theatre, London; as Nicholas Craig, I, an Actor; as Douglas Beachey, Man of the Moment, London; and in Nicholas Craig (solo show), Hampstead, England; appeared in productions at Globe Theatre, London; Leeds Playhouse, Leeds, England; Lyric Theatre, London; Oxford Playhouse, Oxford, England; and Young Vic Theatre, London; also performed at Edinburgh Festival, Edinburgh, Scotland, and Adelaide Festival, Adelaide, Australia.
Major Tours:
Toured as Den Denis, Badnews Live, and with the company of Comic Strip, international cities.
Stage Director:
Directed Neil, Edinburgh, Scotland, and tour of international cities; and Outer Limits, London production and touring production.
Radio Appearances:
Performed as narrator and other voices, Adrian Mole, BBC (England); in Gruesome Tales for Grizzly Kids; as Bilbo Baggins, The Hobbit, BBC Radio 4; in I, an Actor, BBC Radio 4; in Lord of the Rings, Radio 5; and in Nicholas Craig's Acting Masterclass, BBC; also guest on the Griff Rhys–Jones Radio Show.
RECORDINGS
Video Games:
Voices, Discworld II: Mortality Bytes! (also known as Discworld II: Missing Presumed...!? ), 1996.
Voice of zombie, Discworld Noir, Perfect Entertainment, 1999.
Albums:
Recorded two comedy albums.
WRITINGS
Television Episodes:
(With Doug Lucie) "Funseekers," The Comic Strip Presents, Channel 4, 1988.
Also writer for King & Castle, BBC, and Not the Nine O'Clock News.
Television Writing; Other:
Comic Relief (also known as The Utterly Utterly Rude Video Live ), 1986.
Other:
Neil's Book of the Dead, 1983.
I, an Actor, 1987.
A Good Enough Dad, 1992.
Let's Get Divorced, 1994.
Therapy and How to Avoid It, 1996.
Unlike Buddha, 1997.
The Right Man, 1998.
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