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By Mark Kermode

A popular movie critic offers a no-holds-barred account of all that's nice and all that's bad approximately cinema</B></B> Outspoken, opinionated, and hilariously humorous, the critic who carved out a occupation in print, radio, and tv dependent totally at the trust that The Exorcist is the best motion picture ever made and that the Pirates of the Caribbean films can be buried in a really deep gap the place they could by no means trouble somebody ever back tackles the genuine questions that critical filmgoers desire answered: What's incorrect with the trendy motion picture enterprise? How do we make it correct? If blockbusters earn cash irrespective of how undesirable they're, then why don't you make an exceptional one for a metamorphosis? How can 3-D be the way forward for cinema while it's been giving audiences a headache for more than 100 years? Why pay to observe movies in theaters which don't have a projectionist yet do have a fast-food stand? And, in a global in which intercourse and the town 2 was a success, what the hell are movie critics for? This hilariously forthright, enthusiastic examine the kingdom of movie at the present time will pride all movie obsessives.

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8. er n nd Vlgl'OU he ever con en .. u. 4 befordert eine eisenbahnschiene. an deren spitze ist ein computermonitor fest mit ihr verankert. 4 an das internet angeschlossen, dessen unterschiedliche datenstrome die skulptur bewegen. 4 bringt fOr augenblicke die skulptur zum stillstand. die gesamten datenstrome, dam it die konkrete bewegung der skulptur, quer durch den osterreichischen biennalepavillon, wird als statusinformation am obigen bildschirm angezeigt. 1. materialitat ein industriell gefertigtes forderband in augenhohe.

This gigantic aggregation of time points to the fact, that today's problems are too big to be mastered by any individual. with other words: internet is not a part of us anymore, but we have become part of internet. it is becoming obvious that internet is no longer in the tradition of conventional machines, that internet is the first out-of-human machine, a kind of meta-machine and that we are on the way to transgressing ourselves. ~~ Option. 1 of v nle cD ~ a. Q) E o h. s:. i v lUI Ion only. f r .

Bernardo, Sig. Pitteri Photos, Layout Photografer, Layout Markus Pillhofer, Tom Wiscombe Unser besondrer Special thanks Dank a Iso gil t t 0 allen KOnstlern all the artists PETER KOGLER PETER KOGLER ODER DIE VISUELLE LESBARKEIT DES RAUMES OR THE VISUAL LEGIBILITY OF SPACE Von Beginn der 80er Jahre an hat Peter Kogler eigenstandige Transformationen des Bildbegriffs und des Bildraums entwickelt. Die konzeptuellen Erfahrungen der Pop-Art der 60er Jahre im Umgang mit den Massenmedien, mit der Idee des Seriellen und mit neuen Reproduktions-Technologien hat er aufgegriffen und zur Idee des Moduls weiterentwickelt.

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