56ο Γυμνάσιο Αθήνας. (το αρχείο είναι προσχέδιο. Δεν έχει ολοκληρωθεί ακόμα)
Ταινίες μικρού και μεγάλου μήκους, ντοκιμαντέρ, διαφημίσεις, βίντεο και σειρές στην τηλεόραση πλάνα των οποίων έχουν σχέση με την περιοχή των Αμπελόκηπων Αθήνας.
Ομάδες Περιβαλλοντικής για την περιοχή των Αμπελοκήπων Αθήνας καθώς και η Συντακτική και Φωτογραφική Ομάδα του Εργαστηρίου Πληροφορικής (2011-2019)
This one sentence document does not provide enough context or information to create an accurate 3 sentence summary. The document contains only the word "Lorem" which is placeholder text and does not convey any meaningful information that could be summarized.
56ο Γυμνάσιο Αθήνας. (το αρχείο είναι προσχέδιο. Δεν έχει ολοκληρωθεί ακόμα)
Ταινίες μικρού και μεγάλου μήκους, ντοκιμαντέρ, διαφημίσεις, βίντεο και σειρές στην τηλεόραση πλάνα των οποίων έχουν σχέση με την περιοχή των Αμπελόκηπων Αθήνας.
Ομάδες Περιβαλλοντικής για την περιοχή των Αμπελοκήπων Αθήνας καθώς και η Συντακτική και Φωτογραφική Ομάδα του Εργαστηρίου Πληροφορικής (2011-2019)
This one sentence document does not provide enough context or information to create an accurate 3 sentence summary. The document contains only the word "Lorem" which is placeholder text and does not convey any meaningful information that could be summarized.
The document is dated December 19, 2015 but does not provide any other context or details. It simply lists the date with no other information given. In just one sentence, the document date is December 19, 2015 but there is no other substantive content provided.
A empresa de tecnologia anunciou um novo smartphone com câmera avançada, tela grande e bateria de longa duração por um preço acessível. O aparelho tem como objetivo atrair mais consumidores para a marca e aumentar sua participação no competitivo mercado de smartphones.
This one sentence document does not provide enough context or information to create an accurate 3 sentence summary. The document contains only one word - "Lorem" - which is not meaningful on its own.
Alguém encontrou cuecas no chão e começou a especular sobre a idade e identidade da dona, embora admita não ter certeza sobre esses detalhes. No final, a pessoa tem certeza que as cuecas não pertencem a nenhuma mulher de sua igreja local.
This document discusses perspectives on media globalization and cultural imperialism. It summarizes the debate between those arguing for homogenization of culture through Western media dominance, and those pointing to examples of multi-directional cultural flows and hybridization. While some regional media have risen, most large regional producers have been acquired by transnational giants, indicating the power of large corporations. The growing size and influence of a small number of multinational media conglomerates raises concerns about a new form of imperialism making many nations subsidiary to the media products of the most powerful countries and companies.
The document discusses different perspectives on the nature and role of the Internet. It first compares the Internet to the Netherlands and a hammer, suggesting the Internet is more like a cultural forum where users negotiate culture production, unlike a hammer which is just a tool. Second, it discusses whether the color of a computer plastic matters, arguing aesthetics likely only influence participation, not skills. Finally, it describes how the Internet organizes routines more accurately and binds people in time and space through services like online banking and weather updates from anywhere.
The document discusses challenges in using the internet to construct a solidary community and ways to address them. Some key problems identified are: members becoming too reliant on the virtual environment and comfortable within it, replacing real experiences with virtual ones that lack physical sensations, and using the internet to escape real problems rather than solve them. To address these challenges, the document suggests facilitating offline meetings and events to encourage real-world interaction, and using the online community to support real-world action and problem-solving rather than as an escape.
Internationalisation of media industries and sense of spaceNikos Koulousios
This document argues that the internationalization and conglomeration of media industries does not have a positive effect on our sense of place and belonging. It contends that as media ownership becomes more concentrated, content will become more uniform, potentially threatening diversity and local identities. While international media can foster a global communicative space, without common political and social systems, it will be difficult to establish a shared identity. The trend towards media conglomeration risks the creation of a homogenized global cultural identity driven by profit motives, rather than diversity and local distinction.
The document discusses a project by a group of communication advisors to increase awareness and interest among students aged 18-25 in the Netherlands to choose Malaysia as a travel destination.
The group conducted a survey of 150 students to understand their travel preferences and perceptions of Malaysia. The survey found that most students were not well-informed about Malaysia's tourism offerings.
To address this, the group is organizing an event showcasing Malaysian culture through activities like martial arts demonstrations and traditional dances. The goal is to stimulate students' interest in visiting Malaysia and help the Malaysian Tourist Promotion Board penetrate this market segment.
Amnesty International began as a campaigning organization in 1961 to achieve change through non-violent action. While some human rights victories have been achieved, violations continue around the world. The document outlines principles and steps for effective campaigning, including focusing objectives, maintaining credibility, relevance to issues, strategic timing, and commitment to see campaigns through. It provides guidance on locating responsibility, developing strategy, maintaining networks, correspondence, media outreach, interviews, and celebrating successes.
Interview with Gary Highland, AIA’s Director of Strategic CommunicationsNikos Koulousios
- Gary Highland, Director of Strategic Communications at Amnesty International Australia (AIA), was interviewed about AIA's communication strategy and their Asia Pacific campaign.
- AIA's communication strategy is formulated based on international priorities from Amnesty International, but AIA has autonomy to select local priorities like their current Asia Pacific campaign.
- AIA's objectives for public communication are to promote awareness of human rights issues, activate membership, influence government policies, and establish AIA as the prominent human rights organization in Australia.
1. O Z O N
ΤΕΥΧΟΣ 30-ΙΟΥΛΙΟΣ/ΑΥΓΟΥΣΤΟΣ 2005
I S S U E 3 0 - J U L Y / A U G U S T 2 0 0 5
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2. ΤΙ ”ΚΟΙΝΟ” ΕΧΟΥΝ ΕΝΑΣ ΙΣΠΑΝΟΣ
WEREWOLF, ΕΝΑΣ ΚΑΤΑΤΟΝΙΚΟΣ
MACHINIST, ΕΝΑΣ KUNG FU HUSTLE,
Ο ΕΞΟΡΚΙΣΤΗΣ, ΚΙ ΕΝΑ CYBERPUNK
ΦΑΝΤΣΜΑ ΣΤΟ ΚΕΛΙΦΟΣ; ΤΟ ΚΟΙΝΟ
ΤΟΥ 22OY
ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΟΥ
ΦΕΣΤΙΒΑΛ ΤΑΙΝΙΩΝ ΦΑΝΤΑΣΙΑΣ ΤΟΥ
ΑΜΣΤΕΡΝΤΑΜ.
Το 1984 στη λιλιπούτεια
Gotham City of Amsterdam η κρύπτη
άνοιξε και βγήκαν στο φως αιθερικά
λυκάνθρωποι και φρικιά, αιµοδιψείς
δολοφόνοι και ανυποψίαστα θύµατα,
cyberpunk κινούµεν σχεέδια και
παντός είδους µεταφυσικές
”εκποµπές”, για να γιορτάσουν µαζί µε
ενθουσιώδεις fans αυτό που τότε
ονόµαζαν το ”Weekend of Terror”.
Ακριβώς 21 χρόνια µετά, το
”Σαββατοκύριακο του Τρόµου”
µεγάλωσε κατά µια εβδοµάδα,
απέκτισε ως σπόνσορες την πόλη του
‘Αµστερνταµ και Ολλανδικό Υπουργείο
Πολιτισµού και τώρα φιγουράρει στη
λίστα της Ευρωπαικής Οµοσπονδίας
Κινηµτογραφικών Φεστιβάλ Φαντασίας
ως ”Amsterdam Fantastic Film
Festival”. Έδρα του Φεστιβάλ είναι
τώρα πια ο πολυκινηµατογράφος-
µουσείο Fimmuseum Cinerama, αλλά
ταινίες προβάλλονται και στο γνωστό
club-πολυχώρο Melkweg.
Το διαγωνιστικό πρόγραµµα άνοιξε η
πολυανανεόµενη, σκοτεινή, πώσικη
ταινία ”Night Watch” του Timur
Bekmambetov. Πρόκειται για το πρώτο
µέρος της δηµοφιλούς τριλογίας του
συγγραφέα Sergei Lukyanenko, που
διαφηµίστηκε ως η ρώσικη απάντηση
στο ”Matrix” και το ”Blade”. Η ταινία
είχε προταθεί και για Oscar Καλύτερης
Ξενόγλωσσης, βαβεύτηκε το 2005 µε
το Αργυρό Βραβείο
στο Βέλγικο Φεστιβάλ Φαντασιακού
Σινεµά και ο ”guru” Quentin Tarantino
την αποκάλεσε το νέο ”Lord Of The
Rings”. Ευρέως θα κυκλοφορήσει τον
ερχόµενο Σεπτέµβρη. Το κοινό όµος
το οποίο και ψήφισε απένειµε το Silver
Scream Award στο ”Kung Fu Hustle”
το οποίο προβλήθηκε ως sneak pre-
view χορίς κανένας να γνωρίζει τη
συµµετοχή του στο διαγωνιστικό µέρος
µέχρι τη µέρα της προβολής του. Η
ταινία του Stephen Chow είναι ένα
µείγµα κωµωδίας και πολεµικών
τεχνών και ο σκηνοθέτης
πρωταγωνιστεί, υπογράφει το σενάριο
και την παραγωγή.
Τιµώµενοι γαι την προσφόρα
τους στο Φαντασιακό Σινεµά ήταν
φέτος δύο σκηνοθέτες: ο Ισπανός Paul
Naschy (Jacinto Molina Alvarez το
πραγµατικό του όνοµα), πρωτοπόρος
µάστορας του Ιβηρικού στιλ ταινιών
τρόµου, και ο 84χρονος µάγος του
Φαντασιακού Σινεµά, Ray
Harryhaussen, ο οποίος µας χάρισε τα
σουρεαλιστικά κινηµατογραφικά
κοµψοτεχνήµατα στις δεκαετίες του
‘60 και του ‘70, ”Jason and The
Argonauts” (1963) και ”The Golden
Voyage of Sinbad” (1974).
Αξιοσηµείωτη συµµετοχή στο
Πρόγραµµα Anime του Φεστιβάλ ήταν
το ”Ghost In The Shell 2: Innocence”,
η δεύτερη ταινία του Ιάπωνα ”enfant
terrible” σκηνοθέτη Mamoru Oshii. Το
φουτουριστικό anime µας µεταφέρει
στο 2032, όπου ο επιθεωρητής-cyborg
Batou αναλαµβάνει να ερευνήσει µια
πολιτικά ευάισθητη υπόθεση: gynoids,
θηλυκά ροµπότ που δουλεύουν στη
βιοµηχανία του σεξ, σκοτώνουν τα
αφεντικά τους.
Για περισσότερες πληροφορίες www.afff.nl
WHAT DO A SPANISH WEREWOLF, A
CATATONIC MACHINIST, A KUNG FU
HUSTLE, AN EXORCIST AND A CYBER
PUNK GHOST IN THE SHELL HAVE IN
COMMON? THE AUDIENCE OF THE
22ND
FANTASTIC FILM FESTIVAL.
FESTIVAL ΑΜΣΤΕΡΝΤΑΜ // AMSTERDAM
In 1984, in the liliputian Gotham
City of Amsterdam the cryt opened an
unearthly ceratures and vampires, werewolves
and freaks, bloodthirsty killers and unuspect-
ing victims, cyberpunk and animated charac-
ters and any sorts of supernatural ”projec-
tions” came to light, just to celebrate along
with the fervent fans, the so called ”Weekend
of Terror”. 21 years later, the ”Weekend of
Terror” last a week longer, is supported by
sponsors from Amsterdam and the Dutch
Ministry of Culture and is now on the list of
the European Fantastic Film Festivals
Federation as the ”Amsterdam Fantastic Film
Festival”. It’s hosted at the multiplex cinema-
museum Filmmuseum Cinerama, but movies
are also show at the famous club-multiplex
space Melkweg.
The contest program has opened
with the so much anticipated, dark, Russian
film ”Night Watch” by Timur Bekmambetov.
It’s the first part of the famous trilogy by
Sergei Lukyanenko that has been advertised
as the Russian versio of ”Matrix” and ”Blade”.
The film was nominated for a Foreign Film
Oscar, was awarded in 2005 with the Silver
Prize at the Belgian Fantasy Film Festival,
while the ”guru” Quentin Tarantino has called
it the new ”Lord Of The Rings”. It’ll be show
widely next September. But the audience has
voted and awarded the Silver Scream Award
to ”Kung Fu Hustle”, which was show as a
sneak preview, as no one was aware of its
participation at the contest until it was
screened. Stephen Chow’s flick is a mix of
comedy and martial arts and the director is
starring, while he’s also the script writer and
producer.
As for their contribution to Fantastic
Cinema, two directors were paid tribute to:
the Spanish Paul (Jacinto Molina Alvarez is his
rel name), a traiblazer master of the Iberian
horror movies style and the 84 year-old
Fantastic Cinema wizard Ray Harryhausen,
who has delivered us the surreal masterpieces
of the 60s and 70s ”Jason and The Argonauts”
(1963) and ”The Golden Voyage of Sinbad”
(1974).
A remarkable participation to the
Program Anime of the Festival was the ”Gost
In The Shell 2: Innocence”, the second flick by
the Japanese ”enfant terrible” director Mamoru
Oshii. The futuristic anime takes us to the
year 2032, when the cyborg-inspector Batou
takes on a politicaly delicate investigation: the
genoids, female robots working for the sex
industry, kill their bosses.
For more info www.afff.nl
Text & Phot : Νίκος Κουλούσιος // Nikos Koulousios
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