30 November 2020 20:01

MediAvataar's News Desk

MediAvataar's News Desk

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Based on the book by best-selling author Robert Harris

Based on the international bestseller by Robert Harris. It is Autumn 1938 and Europe stands on the brink of war. Adolf Hitler is preparing to invade Czechoslovakia and Neville Chamberlain's government desperately seeks a peaceful solution. With the pressure building, Hugh Legat, British civil servant, and Paul von Hartmann, German diplomat, travel to Munich for the emergency Conference. As negotiations begin, the two old friends find themselves at the centre of a web of political subterfuge and very real danger. With the whole world watching, can war be averted and, if so, at what cost?

The film is now filming in Germany and will shoot in the UK. Netflix will release the film in 2021.

Robert Harris added: "It's great to see an actor of Jeremy Irons's stature playing Neville Chamberlain. This will be the first time a major movie has gone beyond the cult of Winston Churchill and tried to show Chamberlain in a more sympathetic light."

Director: Christian Schwochow (The Crown, Bad Banks)

Writers: Ben Power (The Lehman Trilogy, The Hollow Crown)

Producer: Andrew Eaton (The Crown), Turbine Studios

Cast: Jeremy Irons (Neville Chamberlain), George MacKay (Hugh Legat), Jannis Niehwöhner (Paul Hartman), Sandra Hüller (Helen Winter), Liv Lisa Fries (Lenya), August Diehl, (Franz Sauer), Erin Doherty (Pamela Legat), Martin Wuttke (Adolf Hitler)

A video essay that explores Irish political struggles through a rich and varied cinematic history.

“The history of cinema appears to be easy to do, since it is after all made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened. In “normal” history, one can’t project, because it’s not projectable; one has to codify in one form or another, write, make manuscripts; whereas here it would seem that all one has to do is reproduce”

–Jean-Luc Godard

“I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.”

–James Joyce

The legacy of colonization still lingers over the economic, geographical, and political relationship between Ireland and the United Kingdom, yet the colonial crimes committed by the Empire on Irish soil remain largely undigested. The details of the Great Famine and the atrocities committed by the Black and Tan soldiers are unlikely to be found on any school curriculum in the UK, and, despite repeated calls from residents of Northern Ireland, a truth recovery process to uncover the role that the British government played in the Troubles has been repeatedly stalled by Westminster. If the representation of Irish identity on screen remains largely dominated by British cultural forces, The Rising of the Moon draws on a rich repository of indigenous counter-images to challenge simplistic portrayals that tend towards either sentimentalization or vilification.

Growing out of an era of immense technological and political transformation, the silent Irish cinema of the early 20th century defined itself through its revolutionary vigor, its engagement with national identity, and its distinction from Englishness. The first wave of revolutionary cinema produced in the years that preceded signing of the Anglo-Irish treaty, films such as Rory O’More (1911), For Ireland’s Sake (1914) and Knocknagow (1918), sought to contextualize the contemporaneous political upheaval within a grand lineage of Irish resistance. The archetype of the martyred revolutionary was a particularly prominent one, a figure whose refusal to passively accept injustice would typically result in them being brutally suppressed by the British authorities. Using stories of past insurgences as allegories for current political battles was an artistic strategy bound to a Republican movement that sought to mobilize the public by establishing a continuity between contemporary hardship and centuries of oppression inflicted by colonial rule.

The signing of the Anglo-Irish Treaty in December 1921 brought an end to the War of Independence and acknowledged the existence of the Irish Free State but, rather than ensuring peace and prosperity, marked the beginning of further division. The Treaty, devised by the British government led by Prime Minister David Lloyd George, determined that the South would become a 26 County Free State with dominion status, while the 6 counties of the North would remain under British rule. Although the Treaty narrowly passed through Irish parliament, the legitimacy of the vote was contested due to the threat of further, more aggressive British military action being implemented in the country if the terms were not agreed to. Hostilities between those who supported the Treaty and those who opposed it erupted into a civil war that lasted until a ceasefire was negotiated in May 1923. The issues of independence and partition remained contentious, however. Instability in Northern Ireland erupted into armed warfare in the late 1960s, with the 50th anniversary of the 1916 Rising serving as the catalyst for widespread reflection regarding the legacy of the War of Independence and the possibility of re-unification. The decades of violence which followed were memorably captured in features including: Alan Clarke’s Contact (1985), an unflinching portrayal of the brutality inflicted on civilians in Northern Ireland by British paramilitaries; Elephant (1989), an attack on the failure of the British government to acknowledge the horrific effects of partition and the decades of conflict that it spawned; and Marcel Ophüls’ A Sense of Loss (1972), an invaluable document of the suffering experienced during the period that granted a voice to pro-Republican politicians and academics whose views would not be broadcast on mainstream television. Although the Good Friday Agreement heralded a substantial step towards harmony, it would be naïve to believe that the permanent stability has been established in the region. Elements of cultural segregation remain, the scars of the past still haunts communities, and many victims of violence have yet to receive closure. With Britain’s exit from the European Union on the horizon and the implementation of a hard border between Ireland and Northern Ireland a tangible possibility, tensions within the region are on the rise, and its future seems uncertain.

The Rising of the Moon is an audio-visual exploration of the Irish struggle for independence as it has been mediated through cinematic images. Adopting a method of archaeological montage inspired by the work of Jean-Luc Godard, Harun Farocki, and Chris Marker, it locates rhymes and echoes between audio-visual material accumulated from over a century of Irish filmmaking. Issues of martyrdom, emigration, rural dispossession, social alienation, cultural memory, and economic inequality, rise to the forefront of this excavation as it assembles fragmentary citations into intricate constellations of sound and image. The cinematic representation of four significant periods in the history of Irish independence are reflected upon in particular: the rebellion of 1798, the 1916 Easter Rising, the war of independence, and the Northern Irish Troubles. By locating these associations, The Rising of the Moon constructs a non-linear and interstitial form of historical perception wherein struggles from various eras parallel one another and past events interpenetrate with the present moment. The associative interweaving of audio-visual material launches an investigation into the socio-political development of Ireland, and, reflexively, into the potential for cinema to function as a tool for performing historical thought.


UFC® and ESPN+ announced that The Ultimate Fighter, the longstanding reality television series will return in March 2021, exclusively on ESPN+.

The Ultimate Fighter 29 (TUF 29) will feature athletes from the men’s bantamweight (135 lbs.) and middleweight (185 lbs.) divisions. Casting is open through Friday, Nov. 13 with applications available for download at ufc.com/TUF. Team coaches for TUF 29 will be announced at a later date.

The iconic reality series has introduced a wide array of fans – from die-hard to brand new – to UFC and served as a springboard for the career of numerous fighters who went on to be UFC champions, contenders and stars, including: Kamaru Usman, Tony Ferguson, T.J. Dillashaw, Rose Namajunas, Michael Bisping, Nate Diaz, Michael Chiesa, Al Iaquinta, Kelvin Gastelum, Forrest Griffin, Rashad Evans, Uriah Hall and Conor McGregor, who was a coach in TUF 22.

In addition to TUF 29, ESPN+ will also be a new destination for fans to re-watch all 28 previous seasons of TUF, available on a date to be announced soon.

Casting for TUF 29 will be remote for the first time with no physical tryouts. Finalists will be selected by late November 2020.

WHO: Male bantamweight (135 lb.) and middleweight (185 lb.) athletes

WHEN: Now through Friday, Nov. 13

WHERE: Remote Casting Only. Application Available at ufc.com/TUF

TUF joins a lineup of original and on-demand content on ESPN+ that includes: Dana White’s Contender Series, the four-part documentary UFC Fight Island Declassified, Ariel & The Bad Guy, Detail: Daniel Cormier, UFC Destined, UFC Unlocking Victory, UFC Embedded, UFC Reloaded, UFC Top 10, and a library of recent events, great title fights and classic UFC.

Pine Labs, one of Asia’s leading merchant commerce platforms today announced the coming on board of Silicon Valley product leader and former executive member of Square, Gokul Rajaram as an advisor.

With over two decades of experience in product development and management, Gokul Rajaram has worked for companies like Square, Facebook, and Google. He currently serves on the board of Coinbase, Pinterest, The Trade Desk, in addition to being on the executive team at DoorDash since November 2019. Prior to DoorDash, he worked as the Product Engineering Lead at Square from 2013 – 2019. From 2010 to 2013 Rajaram served as Product Director of Ads at Facebook, where he helped the company transition its advertising business to become mobile-first. During his initial career, he worked with Google on their Google AdSense program as a Product Management Director. Gokul Rajaram also serves as a Chairman of the Board at the Course Hero, a leading EdTech platform in the United States.

Commenting on Rajaram’s appointment, B Amrish Rau, CEO, Pine Labs, said, “It’s very exciting to have Gokul agree to extend his product expertise and support to us as we look to scale Pine Labs across the Asian markets. Gokul has been a friend and an informal advisor to me personally for quite some time now. His product experience will be invaluable around some of our exciting offerings like Pay Later, QR, and Loyalty.”

Rajaram holds a bachelor’s degree in Computer Science Engineering from the Indian Institute of Technology, Kanpur, where he was awarded the President of India's Gold Medal for being class valedictorian. He also holds an M.B.A. from MIT and a Master of Computer Science from the University of Texas at Austin.

Gokul Rajaram, Advisor, Pine Labs, said, “Indian payments is undergoing change, and this will have tremendous impact on how small merchants conduct their business. I am excited to help and guide Pine Labs as they go about their plans for merchant financial services and digitisation.”

- Over 18 million users in less than 9 months

- Acclaimed music composer Devi Sri Prasad launched the aha everywhere anthem

Since its launch in February 2020, aha, a 100% Telugu OTT streaming platform, is bringing in a new-wave of orange in entertainment for the Telugu-speaking audience, across the world. Regarded as the go-to destination for unmatched, premium Telugu content;the video streaming platform has become a household name across Telangana and Andhra Pradesh, and an absolute audience favourite within a few months of the launch. Splashing colours of enjoyment far and wide, aha seeks to regale its audience with a host of engaging, and exciting entertainment.

Owing to its wide content offerings, the streaming platform has already become a force to reckon with in the Telugu entertainment industry. Kick-starting with a series of originals consisting of fiction, non-fiction and exclusive movie premiers with more than 150 blockbuster films. Serving Telugu-speaking audiences across the world, aha, in a few months of its launch successfully acquired superhit films such as Colour Photo, OreyBujjiga, Bhanumathi& Ramakrishna. Staying true to its promise of being a premium destination for Telugu entertainment, it seeks to announce a massive line up of both original films as well as web series soon.

Showcasing the same excitement and celebration amongst its viewers, aha launched an exclusive high-spirited and foot-tapping brand anthem, Orange is the Colour of Entertainment | aha Everywhere. The song composed by Yashwanth Nag was released by celebrated Indian music composer, Devi Sri Prasad. Highlighting the platform’s richness and distinctiveness through its extensive content catalogue, the brand anthem testifies how aha is winning the audience’s hearts.

The core objective of the campaign is to welcome the festive cheer in every home while celebrating the array of content that resonates with the masses. It revolves around the underlying message of aha taking over Andhra Pradesh and Telangana and painting the town orange. The brand film has been conceputalised by team aha and created by PAD Integrated Marketing & Communications Pvt Ltd; directed by writer-filmmaker, Raghav Bhotika.

Sharing his thoughts, Ramu Rao Jupally, Promoter, aha, said, “We are overwhelmed by the incredible response to aha in less than just 9months of launch. With over 5 million downloads and 18 million unique visitors, we are one of the fastest-growing streaming platforms in India and our growth in terms of engagement, time spent, and subscriptions reflect this. We have a festive bonanza for audiences across the globe and through aha we want to cheer with wholesome family entertainment for Telugu-speaking audiences of all age groups across the country. The storyline, music, and color of the brand film drives home this very message. We want to thank the people of Andhra Pradesh and Telangana for their support and seek to be the one-stop 100% Telugu streaming platform filled with the regional nuanced flavor and vibe.”

Sharing his thoughts, Allu Aravind, Promoter, aha said, “aha seeks to serve its audiences with 100% premium Telugu content and we aim to make sure that for our audience Telugu entertainment is synonymous with aha. The brand anthem is a dedication to the Telugu people and an ode to my long-standing relationship with the people for over 30 years. This song encapsulates the spirit of aha from who we’re and what we want to be. We are excited to share the next leg of festive entertainment which kick-starts with an exciting Diwali Bonanza programming line-up. We are introducing a number of originals with some of the biggest stars and directors. Also planned is a special event featuring a special guest! We hope the audience continues to shower us with their love and support.”

Along with content being its key differentiator, aha focuses on affordability and accessibility. With its penetrative pricing strategy of ₹1 per day with the annual subscription of₹365, aha is topping the streaming game in the region. Following the festival bonanza, aha is offering a hundred rupee off for first-time subscribers.

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