American Honey (UK/USA: Andrea Arnold, 2016)

"AMERICAN HONEY will make you feel dirty. Not because it features several scenes of barely clothed young people grinding up against each other (though they are designed to arouse, successfully) but because director Andrea Arnold is so fascinated with the sheer amount of grime, filth and decay that, in her vision at least, constitute the American South. It's there that the British filmmaker chronicles the exploits of Star (Sasha Lane), orphan to a meth-head mother, and her merry band of youthful delinquents (including Shia LaBeouf, at his rattiest) who eke out a living selling – of all things – magazine subscriptions… It's bold, captivating cinema, with a soundtrack that threatens to never leave your head." - Barry Hertz, The Globe and Mail

American Honey  (UK/USA: Andrea Arnold, 2016: 163 mins)

American Honey Critics Round Up (Ongoing Archive)

Anderson, Barry, et al. "The Andrea Arnold Connection (2006 - 2016)." Illusion Travels by Streetcar #131 (January 4, 2017)

Arnold, Andrea. "American Honey." IndieWire Filmmaker Toolkit (September 2016)

---. "On American Honey and Preserving Mystery in Film." Fresh Air (September 29, 2016)

Brody, Richard. "American Honey's Silent Youth." The New Yorker (October 5, 2016)

Chang, Justin. "Andrea Arnold's American Honey is an Indelible Epic of the Open Road." The Los Angeles Times (September 29, 2016)

Gleiberman, Owen. "What American Honey Catches (Beautifully) About the Kids: They’re Not All Right." Variety (October 23, 2016)

Kermode, Mark. "American Honey: A Magical Mystery Tour of the US." The Guardian (October 16, 2016)

Koski, Genevieve, et al. "My Own Private Idaho / American Honey (Pt. 1)." The Next Picture Show #49 (November 1, 2016)  ["This week, we’ve all come to look for America, and we’re looking for it in a pair of road movies about underprivileged outsiders and the dreams that keep them hustling from place to place. Inspired by Andrea Arnold's sprawling new AMERICAN HONEY, we look back at Gus Van Sant's 1991 indie-punk-surrealist-fantasy-coming-of-age mishmash MY OWN PRIVATE IDAHO. In this half, we attempt to wrangle IDAHO's many moving parts, admire and mourn its central performances, and share some crazy (or not so crazy??) fan theories."]

---. "My Own Private Idaho / American Honey (Pt. 2)." The Next Picture Show #50 (November 3, 2016) ["We return to the road in our two-part exploration of America and self, jumping to the current day with Andrea Arnold's sprawling, music-packed AMERICAN HONEY, a film with some of the same concerns as MY OWN PRIVATE IDAHO, but a much different stylistic approach. In this half, we talk over how the two films handle matters of poverty, style, infatuation, and "the other America."]

McGoff, Jessica. "Andrea Arnold's Women in Landscapes." (Posted on Vimeo: September 2016)

Robey, Tim. "American Honey - Shia LaBeouf has never looked worse or acted better." The Telegraph (October 13, 2016)

Scott, A.O. "Youthful Recklessness Finds Adventure on the Road in American Honey." The New York Times (September 29, 2016)

Sims, David. "American Honey is a New Indie Classic." The Atlantic (September 29, 2016)

Suzanne-Mayer, Dominick. "American Honey: Andrea Arnold's Tale of Wandering Youth is Striking and Immediate." Consequence of Sound (September 28, 2016)

Tallerico, Brian. "American Honey." Roger Ebert (September 30, 2016)

Whitehouse, Matthew. "Andrea Arnold: How We Cast American Honey." i-D (October 17, 2016)

The Fits (USA: Anna Rose Holmer, 2015)

The Fits (USA: Anna Rose Holmer, 2015: 72 mins)

Dargis, Manohla. "In The Fits, A Graceful Tale of a Girl Who Follows Her Own Beat." The New York Times (June 2, 2016)

Davis, Saela, et al. "The Fits and The Witness." The Close-Up (June 1, 2016) 

DiRosso, Jason. "The Fits - review and interview with director Anna Rose Homer." The Final Cut (May 20, 2016)

Esposito, Scott. "Some Thoughts on Anna Rose Holmer's The Fits." Conversational Reading (May 29, 2017)

The Fits Critics Round Up (Ongoing Archive)

"The Fits (Anna Rose Holmer interview) // Andrzej Zulawski's Cosmos." The Playlist (July 2016)

Judah, Tara. "The Fits: Gender, Sports, and Stereotypes - Standing Out and Fitting In." BFI (February 27, 2017) ["An 11-year-old girl toys with swapping rounds in the ring for synchonised dancing in Anna Rose Holmer’s debut film, which explores how our ideas of our gender are formed as we grow up."]

Kempenaar, Adam and Josh Larsen. "2016 Golden Brock Preview Special." Filmspotting (November 17, 2016)

Lizmchege. "The Fits : A coming of age meditation on belonging and Black female freedom." Come the Revolution (March 16, 2017)

McAmis, John. "The Fits (2016) by Anna Rose Holmer." The Cinematary (August 12, 2016)

Schager, Nick. "Sundance Review: The Fits." Variety (January 19, 2016)

White, Patricia. "Bodies That Matter: Black Girlhood in The Fits." Film Quarterly 70.3 (Spring 2017)

Beyoncé: Formation (USA: Melina Matsoukas, 2016)

Beyoncé: Formation (USA: Melina Matsoukas, 2016: 5 mins)

Als, Hilton. "Beywatch: Beyoncé’s reformation."  The New Yorker (May 30, 2016)

Barco, Mandelit del and dream hampton. "Beyoncé's Formation is a Visual Anthem." All Things Considered (February 8, 2016)

Choi, Hannah and Leah Donnella. "Not Ready To Stop Obsessing Over Beyoncé And Formation? We Got You." Code Switch (February 9, 2016)

Ghogomu, Mbiyimoh. "Dear Black America, Please Quit Giving Beyoncé a Pass on Formation." The Higher Learning (February 19, 2016)

Guo, Jeff. "The strange contradiction in Beyoncé’s new song Formation." Wonkblog (February 9, 2016)

Hobson, Janell. "Visualizing Music: Representing Black Culture, Community, And Politics." AAIHS (February 16, 2016)

Harris, Brandon. "Here's the Problem with Beyonce's Formation Video." IndieWire (February 13, 2016)

hooks, bell. Black Looks: Race and Representation. South End Press, 1992.

Jouelzy. "Cultural References and Critique of Beyoncé's Formation." (February 11, 2016)

Lewis, Shantrelle. "Formation Exploits New Orleans' Trauma." Doublex (February 10, 2016)

McFadden, Syreeta. "Beyoncé's Formation reclaims black America's narrative from the margins." The Guardian (February 8, 2016)

Menne, Jeff. "Post Fergusson Hollywood." Jump Cut #57 (Fall 2016)

Platon, Adelle. "Beyonce Responds to Formation Criticism: 'Anyone Who Perceives My Message As Anti-Police Is Completely Mistaken.'" Billboard (April 5, 2016)

Wuthering Heights (UK: Andrea Arnold, 2011)

Wuthering Heights (UK: Andrea Arnold, 2011: 129 mins)

Anderson, Barry, et al. "The Andrea Arnold Connection (2006 - 2016)." Illusion Travels by Streetcar #131 (January 4, 2017)

Antunes, Luis R. "Adapting with the Senses: Wuthering Heights as a Perceptual Experience." (Posted on Vimeo: 2016)

Belcher, David. "Brontë’s Lovers, Facing Even More Storms." The New York Times (September 28, 2012)

Bradshaw, Peter. "Wuthering Heights: Andrea Arnold's adaptation of the Emily Brontë classic strips away all the period-drama cliches to create a passionate, elemental drama." The Guardian (November 10, 2011)

Film Scalpel. "Wuthering Heights: A Musical." (April 4, 2016)

Gilbert, Andrew. "Empty Hearths: Andrea Arnold’s Wuthering Heights." cléo 1.2 (July 25, 2013)

Gilmore, James and J.M. Olejarz. "Two Perspectives on Andrea Arnold's Wuthering Heights." Mediascape (October 12, 2012)

Lenten, Jessica. "Phenomenology and the films of Andrea Arnold." Real/Reel (August 1, 2012)

Mayer, Sophie. "The new Wuthering Heights does not ignore racism; it tackles it full on." The Guardian (December 8, 2014)

McGoff, Jessica. "Andrea Arnold’s Women in Landscapes: What does loneliness look like?" (Posted on Vimeo: August 2016)

Onanuga, Tola. "Wuthering Heights realises Brontë's vision with its dark-skinned Heathcliff." The Guardian (October 21, 2011)

Parker, Ben. "Wuthering Heights on Screen." Film Comment (February 22, 2017)

Prose, Francine. "The Taming of Wuthering Heights." The New York Review of Books (October 24, 2012)

Tafoya, Scout. "The Post-Punk Cinema Manifesto - Side A." (Posted on Vimeo: February 2017)

---. "The Post-Punk Cinema Manifesto - Side B." (Posted on Vimeo: February 2017)

Point Break (USA: Kathryn Bigelow, 1991)

Point Break (USA: Kathryn Bigelow, 1991: 120 mins)

Benton, Michael Dean. "Kathryn Bigelow's Wild Men: Gender in The Hurt Locker." North of Center (2008: Reposted on The Smirking Chimp, March 4, 2010)

Buckler, Dana. "Point Break (1991)." H.I.T.M? (August 9, 2016)

Cone, Stephen. "Why Point Break Still Delivers 25 Years On." Talk House (July 26, 2016)

Cumbow, Robert C. "Summer of '91: Kathryn Bigelow's Point Break." The House Next Door (July 13, 2016)

Ebert, Roger. "Point Break." Chicago Sun-Times (July 12, 1991)

Engle, John. "August and Everything After: A Half-Century of Surfing in Cinema." Bright Lights Film Journal #80 (May 2013)

Manzi, Anthony. "Point 'Heart' Break, or: Why Bodhi and Johnny Utah Just Want to Bang Each Other." Reel 3 (February 12, 2014)

Ogundare, Tope. "Male Love Through Female Eyes - Five films about men, each directed by a woman. What do we learn?" (Posted on Vimeo: 2016)

Page, Priscilla. "Point Break: Kathryn Bigelow's Subversive Surf Western." Birth. Movies. Death. (April 12, 2017)

Tobias, Scott. "The New Cult Canon: Point Break." The A.V. Club (December 23, 2010)

The Piano (Australia/New Zealand/France: Jane Campion, 1993)

"Since her indelible 1989 debut feature Sweetie, New Zealand–born Jane Campion has been one of the most distinctive talents in world cinema. The first woman awarded the Palme d‘Or at Cannes—for her Oscar-winning 1993 feature The Piano—Campion makes films that reflect a highly personal and idiosyncratic style, influenced by her background in anthropology and painting, and notable for their visual inventiveness, dark sense of humor, and complex depictions of women and sexuality. For four decades now, Campion has moved freely across genres—family melodrama, gothic romance, literary adaptation, farce, suspense-thriller—and also between cinema and television." - Film Society Lincoln Center (2017)




The Piano (Australia/New Zealand/France: Jane Campion, 1993: 121 mins)

Baughan, Nikki. "Where to Begin with Jane Campion." Sight and Sound (May 3, 2016)

Bihlmeyer, Jaime. "Jane Campion's The Piano: The Female Gaze, the Speculum and the Chora within the H(y)st(e)rical Film." Essays in Philosophy 4.1 (June 2002)

Bird, Carmel. "The Piano: An Essay on Jane Campion's Film, Pt. 1." and Part Two (ND)

Chu, Jaime. "What's Not To Touch: Jane Campion's Intimacies."  cléo 5.1 (2017)

DuPuis, Reshela. "Romanticizing Colonialism: Power and Pleasure in Jane Campion's The Piano." The Contemporary Pacific 8.1 (Spring 1996): 51 - 79.

Ebert, Roger. "The Piano." Chicago Sun-Times (November 19, 1993)

Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)

Hopgood, Fincina. "Great Directors: Jane Campion." Senses of Cinema #22 (October 2002)

Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]

Klinger, Barbara. "The Art Film, Affect and the Female Viewer: The Piano Revisited." Screen 47.1 (2006): 19-41.

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Margolis, Harriet. "Introduction - 'A Strange Heritage': From Colonization to Transformation." Jane Campion's Piano. Cambridge University Press, 2000: 1-20.

Nayman, Adam. "The Unbound Discipline of Jane Campion." The Ringer (February 3, 2022)

Nelmes, Jill. "Case Study: The Piano (Jane Campion, 1993)." Routledge (ND)

Sobchack, Vivian. "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh." Senses of Cinema (April 2000)

Tims, Anna. "How we made: Michael Nyman and Jane Campion on The Piano." The Guardian (July 30, 2012)

Williams, Donald. "The Piano: The Isolated, Constricted Self." The Jung Page (October 27, 2013)

Woodhead, Hannah. "Why The Piano is the Greatest Film Directed by a Woman." BBC Culture (November 26, 2019)

Slurring Bee 3

Also need 15 absurd/quirky warm up questions

1st Round: warm-up question followed by a word
2nd Round: 3 words in succession for each contestant
3rd Round: Round-robin until we have a winner (keep track of last three - the order they come in)
3 mispelled words and a contestant is out

Pronouncer Information 1. Read carefully the Judges, Recorders, Spellers and Audiences information that is included in the Scripps pronouncers’ guide. 2. Familiarize yourself with all words on the confidential word list. Pronunciation is important. A meeting with the judges to insure pronunciation of words and procedures will be scheduled prior to the Bee beginning. 3. Speak clearly for contestants, judges and audience alike. Grant all requests to repeat a word until the judges agree that the word has been made reasonably clear to the speller. You may request the speller to speak more clearly or louder. 4. “Pace” yourself. You need time to focus attention on the pronunciation of the new word and the judges need a few moments between each contestant to do their tasks.

Speller’s Information 1. Each speller needs to focus on the Pronouncer, to aid his or her hearing and understanding of the context of the word. A speller may ask for the word to be repeated, for its use in a sentence, for a definition, for the part of speech, and for the language of origin. 2. Each speller should pronounce the word before and after spelling it. If the speller fails to pronounce the word after spelling it, the judge may ask if they are finished. If they say yes, the judge will remind the speller to remember to repeat the word the next time. (No speller will be eliminated for failing to pronounce a word.) 3. When a speller is at the podium spelling, the next speller should be standing at a marked location ready to proceed to the podium.

94) acerbic

95) nudnik

96) malleable

97) termagant

98) oeuvre

99) inanition

100) curtilage

101) hypothesis

102) autonomy

103) abdicate

104) slough

105) valedictory

106) nemophilist

107) penultimate

108) semblance

109) dilemma

110) catercorner

111) apartheid

112) soteriology

113) incoherent

114) oracular

115) alopecia

116) flibbertigibbet

117) supererogatory

118) ashwagandha

119) castigate

120) proximity

121) squinny

122) amalgamation

123) plagiarism

124) loquacious

125) foibel

126) moue






•  - See more at: http://www.justinrudd.com/adultbee.html#sthash.GXK6LRjc.dpuf

on 139 https://www.vocabulary.com/lists/144082

http://glowrockport.com/words.pdf

http://www.nationalseniorspellingbee.com/

Phoenix (Germany/Poland: Christian Petzold, 2014)

Phoenix (Germany/Poland: Christian Petzold, 2014: 98 mins)

Abel, Marco. "The Cinema of Identification Gets on my Nerves: An Interview with Christian Petzold." Cineaste (2008)

---. “'Das ist vorbei': Untimely Encounters with Neoliberalism in Christian Petzold’s dffb Student Films." Senses of Cinema #84 (September 2017)

Abel, Marco and Jaimey Fisher. "Christian Petzold: A Dossier." Senses of Cinema #84 (September 2017)

Abel, Marco, Aylin Bademsoy, and Jaimey Fisher. "'Playing Innocent Would Have Meant Lying': From the Introduction to Christian Petzold: Interviews." Film International (June 29, 2023)

Dowd, A.A. "Phoenix is a postwar Vertigo, a noir psychodrama for the ages." AV Club (July 23, 2015)

Fisher, Jaimey. "Great Directors: Christian Petzold." Senses of Cinema #67 (July 2013)

Fischer, Robert, Jaimey Fisher and Christian Petzold. "The Cinema is a Warehouse of Memory: A Conversation." Senses of Cinema #84 (September 2017)

Hochhäusler, Christoph. "The Protestant Method." Senses of Cinema #84 (September 2017)

Hoberman, J. "Jewish Eyes Without a Face Haunt Christian Petzold’s Phoenix." Tablet (July 23, 2015) ["New German film is a devastating portrait of a ghostly young Eurydice, an Auschwitz survivor who refuses to stay in hell."]

Hoss, Nina and Christian Petzold. "On Phoenix." Current (April 27, 2016)

Kasman, Daniel. "Filming Around the World: A Conversation with Christian Petzold." Notebook (February 26, 2015)

Koresky, Michael. "Phoenix: Just Be Yourself." Current (April 27, 2016)

Lee, Kevin B. "Deceptive Surfaces: The brilliantly no-nonsense filmmaking of Christian Petzold." Keyframe (January 15, 2016)

Nayman, Adam. "The Face of Another: Christian Petzold's Phoenix." Cinema Scope #61 (2014)

Nehma, Farran Smith. "Conversations with Christian Petzold's Phoenix." Balder & Dash (August 11, 2015)

Newman, Nick. "Christian Petzold Talks Phoenix, Flipping the Vertigo Perspective, and Letting Go of Auteurism." Film Stage (July 30, 2015)

Paul, Jacob. "The Current Debate: Christian Petzold's Phoenix." The Notebook (April 27, 2016)

Phoenix Critics Round Up (Ongoing Archive)

Smith, Justine. "Video: Women of 2015, Trading Places." Keyframe (December 19, 2015)

Framing the Picture: Favorite Films of 2015 from Matt Marlin on Vimeo.

Red (Poland/France/Switzerland: Krzysztof Kieslowski, 1994)

Red (Poland/France/Switzerland: Krzysztof Kieslowski, 1994: 99 mins)

"A Splash of Red." Current (May 8, 2014)

Bradshaw, Peter. "Three Colours Trilogy: Decoding the Blue, White and Red." The Guardian (November 10, 2011)

Cummings, Doug. "Great Directors: Krzysztof Kieslowski." Senses of Cinema #27 (July 2003)

Ebert, Roger. "Red." Chicago Sun-Times (December 2, 1994)

Evans, Georgina. "Red: A Fraternity of Strangers." Current (November 15, 2011)

Hancock, James and Aaron West. "Krzysztof Kieslowski’s Three Colors Trilogy." Wrong Reel (June 8, 2016)

Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]

Kehr, Dave. "To Save the World: Kieslowski's Three Colours Trilogy." Film Comment (November/December 1994)

Kiefer, Jonathan. "Kieslowski’s “Three Colors”: Just when it seemed that European cinema had become fossilized, the great Polish director created the slickest -- and loveliest -- concept album in art-film history." Salon (June 10, 2002)

Krzysztof Kieslowski Strictly Film School (Ongoing Archive)

Hancock, James and Aaron West. "Krzysztof Kieslowski’s Three Colors Trilogy." Wrong Reel (June 8, 2016)

Lustgarten, Abby. "10 Things I Learned: Three Colors." Current (November 29, 2011)

MacCabe, Colin. "Three Colors: A Hymn to European Cinema." Current (November 15, 2011)

McCalmont, Jonathan. "Three Colours: Red (1994) - Paths and Possibilities." Ruthless Culture (July 15, 2011)

Overstreet, Jeffrey. "#14: Three Colors Trilogy." Arts and Faith Top 100 Films (2011)

Reyland, Nicholas. "Three Colours: Shades of greatness to listen out for in Zbigniew Preisner's musical score." The Guardian (November 14, 2011)

Rosenbaum, Jonathan. "Kieslowski's Reel World." The Chicago Reader (December 15, 1994)

Sheldon, Matthew A. "Three Colors: Red (1994)." Classic Art Films (July 31, 2015)

Sigga. "Analysis of the symbolism in Kieslowski’s Three Colors: Blue, White and Red." Burusi (May 16, 2010)

"The Sonic World of Zbigniew Preisner and Krzysztof Kieślowski." Current (October 3, 2016)

Trinkle, Matt. "The Many Colors of Fate in Krzysztof Kieslowki's Three Colors Trilogy." Cinemablography (ND)
















br />

Slurring Bee 2

Also need 15 absurd/quirky warm up questions

Pronouncer Information 1. Read carefully the Judges, Recorders, Spellers and Audiences information that is included in the Scripps pronouncers’ guide. 2. Familiarize yourself with all words on the confidential word list. Pronunciation is important. A meeting with the judges to insure pronunciation of words and procedures will be scheduled prior to the Bee beginning. 3. Speak clearly for contestants, judges and audience alike. Grant all requests to repeat a word until the judges agree that the word has been made reasonably clear to the speller. You may request the speller to speak more clearly or louder. 4. “Pace” yourself. You need time to focus attention on the pronunciation of the new word and the judges need a few moments between each contestant to do their tasks.

Speller’s Information 1. Each speller needs to focus on the Pronouncer, to aid his or her hearing and understanding of the context of the word. A speller may ask for the word to be repeated, for its use in a sentence, for a definition, for the part of speech, and for the language of origin. 2. Each speller should pronounce the word before and after spelling it. If the speller fails to pronounce the word after spelling it, the judge may ask if they are finished. If they say yes, the judge will remind the speller to remember to repeat the word the next time. (No speller will be eliminated for failing to pronounce a word.) 3. When a speller is at the podium spelling, the next speller should be standing at a marked location ready to proceed to the podium.

47) burgeon

48) traipse

49) penchant

50)  sapiosexual

51) salmagundi

52) threnody

53) frangipani

54) pasteurization

55) contemporaneous

56) potpourri

57) oriflamme

58) philippic

59) pirouette

60) inveigh

61) ascetic

62) fuchsia

63) tourniquet

64) pergola

65) restaurateur

66) wainscoting

67) marjoram

68) avoirdupois

69) questionnaire

70) phlegm

71) dirigible

72) milieu

73) liqueur

74) acrimonious

75) chrysalis

76) myrrh

77) prepossessing

78) mayonnaise

79) hacienda

80) geranium

81) aesthetics

82) peregrinate

83) periphrasis

84) exegesis

85) hermeneutics

86) rebus

87) brachiate

88) baroque

89) lithotripsy

90) ekphrasis

91) cacography

92) hoodlum

93) syncretism