2 (3-ounce) boxes lime gelatin
1 (16-ounce) carton cottage cheese
1/2 cup mayonnaise
1 (20-ounce) can crushed pineapple in pineapple juice
1 cup chopped pecans, more for garnish, if desired
Home » Archives for November 2010
Diposting oleh good reading on Selasa, 30 November 2010
Diposting oleh good reading on Senin, 29 November 2010
Mean choline intakes for older children, men, women, and pregnant women are far below the adequate intake level established by the [Institute of Medicine]. Given the importance of choline in a wide range of critical functions in the human body, coupled with less-than-optimal intakes among the population, dietary guidance should be developed to encourage the intake of choline-rich foods.I've dubbed beef liver the Most Nutritious Food in the World, Nature's Multivitamin, and I'll probably invent other titles for it in the future. Add yours to the comments.
Diposting oleh good reading
Leslie Nielsen and Anne Francis star in Forbidden Planet (Fred M. Wilcox, 1956) |
Diposting oleh good reading
Javier Casanova in Vainilla Chip (Erik Knudsen, 2009) Watch this film here (or here) and read Knudsen's article on his work |
Set in the small Cuban town of San Antonio de los Baños, just outside Havana, Vainilla Chip tells the story of an ordinary day for an elderly ice cream maker, Javier Rodriguez Casanova. An ordinary day which, like all the other ordinary days, has become painfully pierced by an acute sense of longing for his deceased wife.
This film is an intimate portrait of a hard working man in a contemporary Cuba far removed from clichés of The Revolution and romanticised memories of Cuban music. Vainilla Chip brings the musicality of one ordinary man’s life to the fore to reveal a universal struggle affecting many people across cultural and political divides. [Erik Knudsen]
We often hear that the power of films lays in their emotional impact. In recent years, some corners of film studies have been preoccupied with the investigation of the senses and the body, which could be related to the view of films in terms of emotions and affect. Much of the filmmaking process rests on creating and communicating this emotional power of the films. Instead of thinking, like Powdermaker did, that the film workers are collectively involved in story-telling, or like Bordwell, Thompson and Staiger, that they are preoccupied with the generation of a particular style of filmmaking, we would like to argue that films are collectively involved in generating, assembling and crafting the emotion of the film. [Graham Roberts and Dorota Ostrowska]
Diposting oleh good reading on Minggu, 28 November 2010
Diposting oleh good reading
Diposting oleh good reading on Sabtu, 27 November 2010
Diposting oleh good reading on Rabu, 24 November 2010
Diposting oleh good reading
Image from The Portraitist/Portrecista (Ireneusz Dobrowolski, 2005), Read Frances Guerin's essay on this film. |
The developments of new digital technologies and representational forms have revived interest between photography and cinema, an interest that is both creative and critical. Independent filmmakers are availing themselves of alternative exhibition formats and spaces for their work, and moving image experimentation is now commonplace in the fields of contemporary fine art, design, music, and theatre.
For this Special Issue of Screening the Past, guest editors Des O’Rawe and Sam Rohdie bring together a collection of original articles on the aesthetic and institutional relations between film, photography, and the visual arts, in particular writing that is attentive to cinematic forms and their reconfiguration within the contemporary visual arts.
Diposting oleh good reading on Selasa, 23 November 2010
Diposting oleh good reading on Senin, 22 November 2010
Diposting oleh good reading
Vertigo (1958) is the Hitchcock film in which the confusion of ontological registers—of reality with illusion—takes center stage. Indeed, it’s a case study of someone for whom this confusion is nearly pathological. The James Stewart character, Scottie, is duped by a performance with criminal intent, as he falls for a woman he believes to be Madeleine, but who in reality is a woman named Judy (played by Kim Novak) perpetrating a masquerade. Around this “false” Madeleine, a narrative is created that's designed to ensnare Scottie. The film concerns a mysterious case of “possession”—a staged fascination with death—played out in a series of silent tableaux, each of which aestheticizes and eroticizes the Madeleine figure. The film's narrative structure is circular and repetitive; it's been suggested that the film itself represents a distinct form of madness. "Vertigo is just a movie," writes Stanley Cavell in The World Viewed, "but no other movie I know so purely conveys the sealing of a mind within a scorching fantasy." What is the role of psychoanalysis in Hitchcock's work? Is psychoanalysis merely one "surface feature" of Hitchcock's work, as Richard Allen has suggested, subject to irony like all the others? What draws psychoanalytic critics to Hitchcock's work, and how, if at all, is this phenomenon related to its modernism? [Philoctetes Center]
Diposting oleh good reading on Minggu, 21 November 2010
Diposting oleh good reading on Sabtu, 20 November 2010
a retrospective dietary history (M. J. Konner, personal communication, 1971) indicated that the [San], in fact, consumed fairly large amounts of carbohydrate-rich vegetable food during the week before testing.However, the dietary history was not provided, nor has it been published, so we have no way to assess the statement's accuracy or what was meant by "fairly large amounts of carbohydrate-rich vegetable food." Given the fact that the San diet typically ranges from moderately low to very low in carbohydrate, I suspect they were not getting much carbohydrate as a percentage of calories. Looking at the nutritional value of the starchy root foods they typically eat in appendix D of The !Kung San: Men, Women and Work in a Foraging Society, they are fibrous and most contain a low concentration of starch compared to a potato for example. The investigators may have been misled by the volume of these foods eaten, not realizing that they are not as rich in carbohydrate as the starchy root crops they are more familiar with.
Diposting oleh good reading
Diposting oleh good reading
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