In the Mood for Love

------------------------------------------------- Everyday life and culture The modernist movement caused vast changes in societies in which it took place. With the introduction of industrial developments, the American people started to enjoy the outcome of the new modernist era. Everyday life and culture are the areas that reflected the social change in the habits of the society. Developments that occurred with modernism influenced American people life standards and gave way to new style of living

Literature For Olive A History of French Literature From Chanson de geste to Cinema DAVID COWARD © 2002, 2004 by David Coward 350 Main Street, Malden, MA 02148-5020, USA 108 Cowley Road, Oxford OX4 1JF, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of David Coward to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval

Biographie de Ray Charles Ray Charles Robinson surnommé "The Genius" (le génie), est un chanteur compositeur arrangeur et pianiste américain dont la carrière fut riche en différents styles musicaux : le jazz, le gospel, le blues, le rhythm and blues et le style qu'il créa : la soul, à l'origine de beaucoup de styles musicaux actuels. Ray Charles est né dans une famille très pauvre d'Albany, en Géorgie;et a été élevé par sa mère à Greenville en Floride.. Il eut une enfance difficile; en effet

exemple sur la question du rapport de la fiction au réel dans le chapitre « Fiction, réalité, vérité ») ou résolument plus subjective (ainsi quand il fait l’éloge dans le chapitre « Le film-culte » de deux de ses films préférés : Dead again et In the mood for love). Ces passages peuvent sembler moins lumineux que ceux consacrés au « combat de Jacob » (chapitre I) menés par Bresson, Tarkovski, Buñuel ou au « scintillement de la grâce » (chapitre VI) dans l’œuvre de Kubrick ou de Pialat. Ils témoignent

it slip? His palms are sweaty, knees weak, arms are heavy Theres vomit on his sweater already, moms spaghetti Hes nervous, but on the surface he looks calm and ready To drop bombs, but he keeps on forgettin What he wrote down, the whole crowd goes so loud He opens his mouth, but the words wont come out Hes chokin how, everybodys jokin now The clocks run out, times up over, bloah! Snap back to reality oh, there goes gravity Oh, there goes rabbit, he choked Hes so mad, but he

*** - CHIC – LE FREAK ** - DEPECHE MODE – JUST CAN’T GET ENOUGH ** - DEPECHE MODE – TAINTED LOVE *** - DONNA SUMMER – HOT STUFF ** - EARTH WIND AND FIRE – SEPTEMBER *** - IMAGINATION – JUST AN ILLUSION *** - INDEEP – LAST NIGHT A DJ SAVED MY LIFE ** - JIMMY SOMERVILLE – YOU MAKE ME FEEL ** - JOHN TRAVOLTA – YOU’RE THE ONE I WANT GREACE **** - KOOL AND THE GANG – CÉLÉBRATION *** - KOOL AND THE GANG – SHE’S SO FRESH ** - LAURA BRANIGAN – SELF CONTROL * - LIPPS INC – FUNKYTOWN ** - MICKAEL

Part 1 The first part role is to build up a landscape and present the characters. The scene takes place in a car driving on a long flat road! There are 2men in the car! The driver who is also the narrator (it’s a first person narrative) and the 2nd one is a boy,he must be a hitch-hiker because he has a bag and the driver asks him if he’s “going far”!he has just picked him up ! They‘re talking about a murderer they have just heard about in the news on the radio! The murderer is referred to as a

University of Texas Press Society for Cinema & Media Studies Luis Buñuel and Pierre Louÿs: Two Visions of Obscure Objects Author(s): Katherine Singer Kovács Source: Cinema Journal, Vol. 19, No. 1 (Autumn, 1979), pp. 87-98 Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies Stable URL: http://www.jstor.org/stable/1225422 Accessed: 13/01/2010 18:13 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at

ESUG Toulouse 1, Toulouse. • Abeles H.F. et Porter S.Y. (1978), The Sex-Stereotyping of Musical Intruments, Journal of Research in Music Education, 26, 65-75. • Aiello J., DeRisi D., Epstein Y. et Karlin R. (1977), Crowding and the Role of Interpersonal Distance Preference, Sociometry, 40, 3, 271-282. • Airut J.P. (1998), La musique fait-elle vendre ?, L.S.A., 1598, 56-57. • Alpert J. et Alpert M. (1990), Music Influences on Mood and Purchase Intentions, Psychology and Marketing, 7, 2, 109-133.

know, know I ain't got the time And if my daddy thinks I’m fine They tried to make me go to rehab I won’t go, go, go I’d rather be at home with Ray I ain’t got seventy days Cos there’s nothing,there's nothing you can teach me That I can’t learn from Mr Hathaway Didn’t get a lot in class But I know it don’t come in a shot glass They tried to make me go to rehab, I said no, no, no Yes I've been black and when I come back, you'll know know know I ain't got the time And if my daddy thinks