One could also argue that women play a major role in the success of other top-ten grossing films like Dr. Zhivago and The Ten Commandments, with their significant and strong female roles. But how do we empower more women to direct, write, or star in such blockbuster movies? Further, how do we enable more women to found the next big media company, or come up with the next great tech innovation? My belief is that women can help themselves achieve these goals by adopting broad and ambitious visions. Further, these visions must be founded on a firm foundation of deep, humanistic knowledge, a willingness to step out from the pack and lead, and creativity in crafting epic, inspiring narratives. We need to become Renaissance women who are deeply knowledgeable in multiple areas, who can provide vision and leadership across a broad range of fields. We need more female polymaths who know a lot about a lot, emulating polymaths of the past like Aristotle, Hypatia, Da Vinci, Hildegard of Bingen, Ben Franklin, Marie Curie, Orson Welles, Simone de Beauvoir, or Steve Jobs. These individuals found commonalities between far-flung areas — science, art, philosophy, music, religion, medicine, diplomacy, movies, feminism, technology — and in the process created exciting new works that helped push civilization forward. Being a polymath also means being a cosmopolitan. The term cosmopolitan first arose in the Hellenistic Age in the 4th century B.C. It was in the wake of the conquests of Alexander the Great that the diverse peoples of the Mediterranean and Middle East began to apply Athenian ideals of reason and philosophic inquiry to their own lives. As a result, they began to think of themselves not just as the citizens of an individual city-state (or polis), but as citizens of the cosmos 0- literally cosmopolites — cosmopolitans. Being a cosmopolitan today means that one takes a humanistic delight in the many cultures and forms of knowledge around the world.
Now at Your Library: Streaming Movies, Music
While libraries are already loaning e-books, the move to streaming is part of a larger shift for them to remain relevant in a digital world. Libraries are “meeting patrons where they want to access content,” said Kirk Blankenship, Electronic Resources Librarian for Seattle Public Libraries, which is using the service called Hoopla. The service, from Ohio-based Midwest Tape, LLC, is also being used in Los Angeles, Salt Lake City, Topeka, Kan., and several others towns and cities nationwide. Hoopla launched in full in May with 20 library systems. As of early September, there are about 220,000 people using the app, said Michael Manon, Hoopla’s brand manager. The goal is to reach 100 library systems by year’s end. Libraries have always been a source of audiovisual entertainment. A 2012 Pew Research Center survey found that among patrons 16 years old and older, 40 percent visited libraries to borrow movies. Another 16 percent borrowed music. In the Seattle area, DVDs and CDs of popular titles can have queues of hundreds of people waiting to check them out. E-books have been offered for years now. “Public libraries do not have the budgets to compete with Amazon, Comcast, and Netflix and will not be able to pay a premium for online content,” Blankenship said, adding that DVDs will continue to be the best way to offer popular movies. Updating and maintaining that physical collection takes time and money. It also means libraries have to pay for the media upfront, while Hoopla allows them to pay per time a title is borrowed. Those costs depend on the type of media and its release date, and range from 99 cents to $2.99.
The most wanted missing movies
A Study In Scarlet (1914) Long before Cumberbatch and Downey Jr., A Study In Scarlet was the ever first film to adapt legendary detective Sherlock Holmes for the screen. Although 1900 super-short Sherlock Holmes Baffled had debuted a surreal vision of the sleuth, A Study In Scarlet marked the first appearance of the character as Sir Arthur Conan Doyle intended played by the interestingly named James Bragington in his first and only ever role. Never seen again after its initial release, its thought most prints of the movie may have been recycled for metal during Britains early war effort. Humour Risk (1921) One of the greatest comedy acts in American film history, The Marx Brothers, may (or may not) have had their earliest effort sabotaged from within. Eight years before the release of their first feature-length movie The Cocoanuts , 1921 silent Humour Risk saw a prototype set-up of the bumbling brothers playing entirely different personas. Following a disastrous preview screening, the only print then mysteriously went missing, spawning two theories concerning its fate. One explanation is the film may have been accidentally thrown away after it was left in the screening box overnight. The second: Groucho Marx purposely burned the negatives to prevent anyone else watching it. When asked about the movie years later, Groucho dismissed the question saying Forget about that one. A young Hitchcock on the set of The Mountain Eagle (Credit: BFI) The Mountain Eagle (1927) Dubbed the Holy Grail for film historians, The Mountain Eagle is the only missing movie to feature in Alfred Hitchcocks incredible back catalogue. Set in Kentucky (but filmed in Austria), the love triangle melodrama was the directors second ever attempt at movie making, but plagued by production problems (including a bout of altitude sickness for Alfred). The soon-to-go missing movie was then panned by critics upon release, with Hitchcock later describing the film as awful, adding that he was not sorry no surviving prints could be found. Still, with only a handful of production stills known to exist, The Mountain Eagle sits at the top of the BFIs infamous 75 Most Wanted list.