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Peter Fonda: the elegant rebel who set the counterculture in motion

17 août, par Danny Leigh[ —]

Though born into Hollywood royalty, the charismatic actor sidestepped conventional leading man roles and installed himself at the epicentre of the 60s youthquake

In cinemas, the summer of 2019 has already been a strange reprise of August 1969, thanks to Quentin Tarantino’s Once Upon a Time … in Hollywood delighting crowds with a what-if vision of Tinseltown history. Amid the namedropping in the film, the lack of reference to Peter Fonda is telling. If the whole point of it is to present a Hollywood counterfactual, one where the hippies never took over the movie business, then Fonda – whose role in that true story was more pivotal than any other – is best written out altogether. It is, in fact, a tribute.

Related: Peter Fonda: a life in pictures

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Dora and the Lost City of Gold review – charming children’s adventure

17 août, par Simran Hans[ —]

This unlikely live-action reboot benefits from the sunny screen presence of Isabela Moner as the intrepid teen explorer

Nickelodeon’s Dora the Explorer, an educational animated series for children that ran from 2000 to 2006, shouldn’t work as a live-action Hollywood remake. Weirdly, this sprightly, self-aware action-adventure movie does. Director James Bobin and co-writer Nicholas Stoller launch with the cartoon’s memorably bouncy theme tune. Within minutes, a six-year-old Dora (Madelyn Miranda) is breaking the fourth wall and asking the audience if they can say “delicioso” (in the original TV show, Dora would teach viewers Spanish words and phrases). Dora’s simian compadre Boots is computer-animated and integrated into the film’s ever-so-slightly surreal live-action world without question.

Dora has grown up in the rainforests of Peru, home-schooled by her parents (a zoologist and an archeologist, played by Eva Longoria and Michael Peña respectively). They are explorers, the film insists, not treasure hunters, in one of its gentle swipes at colonialism. Now 16 years old, Dora (Isabela Moner) is being sent to the city, aka Los Angeles, to attend high school with her cousin Diego (Jeff Wahlberg) while her parents search for Parapata, the lost Incan city of gold. A relentlessly cheery brainiac with a propensity to burst into song, she soon earns the nickname Dorka, turning up to a themed school dance dressed as her “favourite star” – the sun. Moner is a magnetic, sunny screen presence. Seeing Dora navigate the wilds of high school would’ve been entertaining enough, but a kidnapping places her and her classmates back in the jungle.

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Acclaimed animator who created Roger Rabbit dies aged 86

17 août, par PA Media[ —]

Richard Williams, who worked on hit films such as The Pink Panther, won three Oscars and three Baftas

The acclaimed animator Richard Williams, who worked on hit films including Who Framed Roger Rabbit and The Pink Panther, has died.

The 86-year-old triple Oscar and triple Bafta winner, who was born in Toronto, Canada, and moved to Britain in the 1950s, died at his home in Bristol on Friday, his family announced.

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Easy Rider to Ulee's Gold: Peter Fonda's most memorable roles - video obituary

17 août[ —]

A look back at the most memorable roles of actor Peter Fonda, who died at the age of 79 on Friday. Fonda was a well known figure of the 1960s counterculture movement and earned an Oscar nomination for co-writing the classic 1969 road movie Easy Rider. In 1997, he was nominated for his performance as a Vietnam veteran and widowed beekeeper in Ulee’s Gold.

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Peter Fonda: a life in pictures

17 août, par Greg Whitmore[ —]

The actor best remembered for Easy Rider has died at the age of 79. Here we look back at his life and career

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Streaming: Netflix and the Obamas raise the stakes

https://www.theguardian.com/us-news/barack-obamaplay episode download
17 août, par Guy Lodge[ —]

Netflix gears up for awards season with a Sundance winner backed by Michelle and Barack Obama’s production company

As if it weren’t aiming to subsume the cinema market in other ways, Netflix now seems to be mirroring its seasonal release patterns as well. As in the blockbuster-crammed multiplexes, the summer has been a generally dry patch for the streaming network’s so-called “originals”: the offbeat independents and festival acquisitions that often fill these column inches. As the summer winds down, however, and the industry braces itself for awards season – yep, believe it or not, it’s a six-month red-carpet run – Netflix is beginning to give us the good stuff again.

Their next prestige season warms up with American Factory, a documentary that was one of the talking points of January’s Sundance film festival, winning the best director prize and prompting immediate Oscar speculation. Since its premiere in the snows of Park City, Utah, the film has acquired an additional, rather illustrious claim to fame. It was picked up by Higher Ground Productions, the Netflix-allied production company founded by Barack and Michelle Obama last year, and is the first film from their stable to premiere on the service (it hits the Netflix menu on Wednesday). Higher Ground, launched with a noble-sounding if rather vague mission to “harness the power of storytelling”, has its eye on major media domination. Alongside the Netflix partnership, they’ve also signed a deal to produce exclusive podcasts for Spotify.

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Art Spiegelman: golden age superheroes were shaped by the rise of fascism

17 août, par Art Spiegelman[ —]

Created in New York by Jewish immigrants, the first comic book superheroes were mythic saviours who could combat the Nazi threat. They speak to the dark politics of our times

Back in the benighted 20th century comic books were seen as subliterate trash for kiddies and intellectually challenged adults – badly written, hastily drawn and execrably printed. Martin Goodman, the founder and publisher of what is now known as Marvel Comics, once told Stan Lee that there was no point in trying to make the stories literate or worry about character development: “Just give them a lot of action and don’t use too many words.” It’s a genuine marvel that this formula led to works that were so resonant and vital.

The comic book format can be credited to a printing salesman, Maxwell Gaines, looking for a way to keep newspaper supplement presses rolling in 1933 by reprinting collections of popular newspaper comic strips in a half-tabloid format. As an experiment, he slapped a 10 cents sticker on a handful of the free pamphlets and saw them quickly sell out at a local newsstand. Soon most of the famous funnies were being gathered into comic books by a handful of publishers – and new content was needed at cheap reprint rates. This new material was mostly made up of third-rate imitations of existing newspaper strips, or genre stories echoing adventure, detective, western or jungle pulps. As Marshall McLuhan once pointed out, every medium subsumes the content of the medium that precedes it before it finds its own voice.

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Peter Fonda, celebrated actor known for Easy Rider, dies aged 79

17 août, par Guardian staff and agencies[ —]

Son of Henry Fonda and brother of Jane Fonda died after battling lung cancer, family says

The actor Peter Fonda has died at the age of 79 following a battle with lung cancer, his family has said.

Fonda, who co-wrote, produced and starred in the classic 1969 road movie Easy Rider, died peacefully at his home in Los Angeles on Friday, his family said in a statement.

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James Bond Aston Martin DB5 sold at auction for £5.2m

16 août, par Rupert Neate Wealth correspondent[ —]

Car was once owned by JCB billionaire and Tory party donor Lord Bamford

An Aston Martin DB5 used to promote the James Bond film Thunderball has sold for $6.4m (£5.2m) at the world’s biggest classic car auction in California.

The car, which was once owned by the British JCB billionaire and Tory party donor Lord Bamford, exceeded its auction estimate and became the world’s most expensive DB5.

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The Obamas' first film: will American Factory be the biggest documentary of 2019?

https://www.theguardian.com/us-news/barack-obamaplay episode download
16 août, par Cath Clarke[ —]

Produced for Netflix, this moving film reveals what happened when a Chinese company rescued a US factory – and ignited a fight for workers’ rights. We meet its makers

At the end of 2014, a Chinese billionaire named Cao Dewang bought the General Motors factory in Dayton, Ohio. His plan was to turn the closed plant into the US outlet of Fuyao, his global windscreen and automobile glass empire. This would involve bringing staff over from China to work side by side on the factory floor with their American counterparts, training them and creating around 2,000 jobs.

“We read it in the newspapers!” says Julia Reichert, mimicking the optimism the town felt. “The plant’s going to reopen! Somebody bought it. We’re manufacturing again. Wow!”

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