Jacques Rivette (; 1 March 1928 – 29 January 2016) was a French film director and film critic most commonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including L'Amour fou (1969), Out 1 (1971), Celine and Julie Go Boating (1974), and La Belle Noiseuse (1991). His work is noted for its improvisation, loose narratives, and lengthy running times.

Inspired by Jean Cocteau to become a filmmaker, Rivette shot his first short film at age twenty. He moved to Paris to pursue his career, frequenting Henri Langlois' Cinémathèque Française and other ciné-clubs; there, he met François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol and other future members of the New Wave. Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as John Ford, Alfred Hitchcock and Nicholas Ray – and was deeply critical of mainstream French cinema. Rivette's articles, admired by his peers, were considered the magazine's best and most aggressive writings, particularly his 1961 article "On Abjection" and his influential series of interviews with film directors co-written with Truffaut. He continued making short films, including Le Coup de Berger, which is often cited as the first New Wave film. Truffaut later credited Rivette with developing the movement.

Although he was the first New Wave director to begin work on a feature film, Paris Belongs to Us was not released until 1961, by which time Chabrol, Truffaut and Godard released their own first features and popularised the movement worldwide. Rivette became editor of Cahiers du Cinéma during the early 1960s and publicly fought French censorship of his second feature film, The Nun (1966). He then re-evaluated his career, developing a unique cinematic style with L'amour fou. Influenced by the political turmoil of May 68, improvisational theatre and an in-depth interview with filmmaker Jean Renoir, Rivette began working with large groups of actors on character development and allowing events to unfold on camera. This technique led to the thirteen-hour Out 1 which, although rarely screened, is considered a Holy Grail of cinephiles. His films of the 1970s, such as Celine and Julie Go Boating, often incorporated fantasy and were better-regarded. After attempting to make four consecutive films, however, Rivette had a nervous breakdown and his career slowed for several years.

During the early 1980s, he began a business partnership with producer Martine Marignac, who produced all his subsequent films. Rivette's output increased from then on, and his film La Belle Noiseuse received international praise. He retired after completing Around a Small Mountain (2009), and it was revealed three years later that he had Alzheimer's disease. Very private about his personal life, Rivette was briefly married to photographer and screenwriter Marilù Parolini during the early 1960s and later married Véronique Manniez.

Biography

1928–1950: Early life and move to Paris
Jacques Pierre Louis Rivette was born in Rouen, Seine-Maritime, France, to André Rivette and Andrée Amiard, into a family "where everyone is a pharmacist". According to childhood friend André Ruellan, Rivette's father was a skilled painter who loved opera. His younger sister said that their home in Rouen was next to a cinema theatre, where she remembered watching Pathé Baby's Felix le Chat cartoons with Rivette and their grandparents. Rivette, educated at the Lycée Pierre-Corneille, said that he briefly studied literature at the university "just to keep myself occupied". Inspired by Jean Cocteau's book about the filming of Beauty and the Beast (1946), Rivette decided to pursue filmmaking and began frequenting ciné-clubs. In 1948, he shot his first short film, Aux Quatre Coins, in Rouen's Côte Sainte-Catherine section. The following year, he moved to Paris with friend, Francis Bouchet, because "if you wanted to make films it was the only way". On the day of his arrival, he met future collaborator Jean Gruault, who invited him to see Les dames du Bois de Boulogne (1945) at the Ciné-Club du Quartier Latin. Éric Rohmer, whose film criticism Rivette admired, gave a talk at the screening.

Although Rivette submitted his film to the Institut des Hautes Études Cinématographiques because it "was the kind of thing that would have pleased my parents", he was not accepted by the school. He took courses at the Sorbonne, but began frequenting screenings at Henri Langlois's Cinémathèque Française with Bouchet instead of attending classes. At the Cinémathèque, Rivette, Claude Chabrol, Jean-Luc Godard, François Truffaut, Suzanne Schiffman, Gruault and Bouchet were immersed in films from the silent and early "talkie" eras that they were previously unfamiliar with. He and this group of young cinephiles became acquainted as they customarily sat in the Cinématographique's front row for screenings; Rivette met Truffaut at a screening of The Rules of the Game (1939), and often sat next to Godard for several months without ever speaking to him before the latter introduced himself. Rivette was active in post-screening debates, and Rohmer said that, in film-quiz competitions at the Studio Parnasse he was "unbeatable". Rivette credited Langlois's screenings and lectures for helping him persevere during his early impoverishment in Paris: "A word from you saved me and opened the doors of the temple". Unlike his contemporaries, Rivette attended screenings at the Cinémathèque well into the 1970s.

He and his friends also attended screenings at the Ciné-Club du Quartier Latin, which was run by Rohmer. Although Rivette began to write film criticism in 1950 for the Gazette du Cinéma, founded by Rohmer with Bouchet as his assistant, the magazine ceased publication after five issues; Rivette said that being a critic was never his aim, but called it "a good exercise". That year he made his second short film, Le Quadrille, produced by and starring Godard, who raised the money by stealing and selling his grandfather's collection of rare Paul Valéry first editions. Rivette described Le Quadrille as a film in which "absolutely nothing happens. It's just four people sitting around a table, looking at each other." According to film critic Tom Milne, it had "a certain hypnotic, obsessional quality as, for 40 minutes, it attempted to show what happens when nothing happens". When the film was screened at the Ciné-Club du Quartier Latin, Rivette recalled, "After ten minutes, people started to leave, and at the end, the only ones who stayed were Jean-Luc and a girl." Later calling it Lettrist, he said that Isidore Isou, the founder of Lettrism, considered the film "ingenious".

1950–1956: Film criticism and Le Coup du berger
After casual acquaintanceship and collaboration, Rivette and his fellow cinephiles became close friends in September 1950 at the Festival Indépendant du Film Maudit (Independent Festival of Accursed Film), a film festival in Biarritz produced by film critics Jacques Doniol-Valcroze, André Bazin and members of Objectif 49 (a group of avant-garde artists). Rivette, Godard, Truffaut and future cinematographer Charles Bitsch, arriving at the gala event in casual dress, were refused entrance by the doorman until Cocteau allowed them to enter. Openly antagonistic to members of Objectif 49, they loudly criticised the festival. The evening cemented the group's friendship, earning them a reputation of bohemian "young Turks" and troublemakers. Chabrol, Grualult, Rohmer, and Jean Douchet also attended and roomed together at the Biarritz Lycée dormitory for the festival. Rivette criticised the festival in the November issue of Gazette du cinéma, calling Objectif 49 arrogant and claiming a victory over them. He was quickly considered the leader of the group, whom Bazin called the "Hitchcocko-Hawksians." Rivette and his new friends bonded by spending whole days watching repeated screenings of a film and walking home together talking about what they had seen.

In 1951, Bazin founded a film magazine, Cahiers du Cinéma, and hired most of the "Hitchcocko–Hawksians"; Rivette began writing for the magazine in February 1953. Rivette championed Hollywood directors such as Howard Hawks and Fritz Lang and international directors such as Roberto Rossellini and Kenji Mizoguchi. He was highly critical of established qualité française  directors, writing that they were afraid to take risks and were corrupted by money. According to Cahiers writer Fereydoun Hoveyda, early contributors to the magazine were politically right-wing except for Pierre Kast and Rivette. In early 1954, Rivette and Truffaut (nicknamed "Truffette and Rivaut") began a series of interviews with film directors whom they admired. The interviews, influential on film criticism, were recorded on a Grundig portable tape recorder weighing over  which was never used by journalists. Although most entertainment reporting was limited to sound bites or anecdotes from film actors, Rivette and Truffaut became acquainted with the directors they interviewed and published their in-depth interviews verbatim. From 1954 to 1957, Cahiers du Cinéma published a series of interviews with noted film directors including Jacques Becker, Abel Gance, Hawks, Alfred Hitchcock, Fritz Lang, Jean Renoir, Roberto Rossellini and Orson Welles.

While he wrote criticism, Rivette continued his filmmaking career; during the summer of 1952, he made his third short film, Le Divertissement. Charles Bitsch called it "a Rohmer-esque Marivaudage between young men and women." Rivette, an assistant to Jacques Becker and Jean Renoir, was a cinematographer on Truffaut's short film Une Visite (1954) and Rohmer's short Bérénice (1954). Eager to make a feature film, he talked about elaborate adaptions of works by André Gide, Raymond Radiguet and Ernst Jünger. With financial support from Chabrol and producer Pierre Braunberger, Rivette made the 35mm short film Le Coup du Berger (1956). Written by Rivette, Chabrol and Bitsch, the film is about a young girl who receives a mink coat from her lover and must hide it from her husband; spoken commentary by Rivette describes the action like moves in a chess game. Jacques Doniol-Valcroze and Jean-Claude Brialy appeared in the film, with Godard, Truffaut, Bitsch and Robert Lachenay as extras. Shot in two weeks in Chabrol's apartment, the budget went entirely to purchasing film stock. It was distributed by Braunberger in 1957. Truffaut called Le Coup du berger the inspiration for him, Chabrol, Alain Resnais and Georges Franju to make their first films: "It had begun. And it had begun thanks to Jacques Rivette. Of all of us, he was the most fiercely determined to move." Rohmer praised the film's mise-en-scene and wrote that it had "more truth and good cinema than in all the other French films released in the past year."

1957–1961: Paris Belongs to Us and the French New Wave

In 1957, Italian neorealist director Roberto Rossellini announced that he wanted to produce a series of films about life in France. Several members of the French New Wave submitted scripts that would become their first films, including Chabrol's Le Beau Serge (1958), Rohmer's Sign of Leo (1959) and Truffaut's The 400 Blows (1959). Rivette was eager to make a film with Rossellini's help and met him along with co-writer Gruault to discuss the Cité Universitaire as a "melting pot of cultures and ideas" in Paris. Rossellini suggested that they research the project; shortly afterwards, they received ₣100,000 for their script, entitled La Cité, but Rossellini abandoned the project and went to India to make a film of his own.

Rivette and Gruault revised their story based on Rossellini's critique, and wrote Paris Belongs to Us. Its title is a play on Charles Péguy's quote, "Paris belongs to no one." With borrowed equipment, a loan of ₣80,000 from Cahiers du Cinéma and short film-reel ends provided by Chabrol, the silent film was shot in the summer of 1958 and sound was added the following year. Among Rivette's filming locations were the roof of the Théâtre Sarah-Bernhardt, the Rue des Cannettes, the Place Sorbonne and the Arts bridge. He struggled to finish the film and find distributors.

In Paris Belongs to Us, Anne (Betty Schneider), a young Parisian student rehearsing for a production of Shakespeare's Pericles, deals with the sudden death of the play's composer, a missing tape recording of its musical score, a secret society seeking world domination, an eccentric, paranoid American journalist, the suicide of the play's producer and the mysterious death of her brother. Chabrol, Godard, Jacques Demy and Rivette appear in minor roles.

Le Beau Serge and The 400 Blows were successful, and at the 1959 Cannes Film Festival, Truffaut and Chabrol used their fame to promote Paris Belongs to Us and help Rivette finish the film. According to Truffaut, who obtained funds for its completion, "The release of Paris nous appartient is a score for every member of the Cahiers du cinéma team". He helped Rivette premiere it at the Studio des Ursulines on 16 December 1961, followed by a run at the Agriculteurs cinema in Paris. Although reviews of the film were mixed, it was praised by L'Express. Pierre Marcabru of Combat said, "The connection between image and sound has never been so striking, evocative or necessary", and Jeander of Libération praised the film's depiction of "the moral and intellectual confusion of these young people who are repressed by their epoch for more than their elders". Rivette, who later said "It's the film of a sixteen-year-old child, but maybe its naïveté is where its strength lies", won the Sutherland Trophy for best first film from the British Film Institute.

Despite being the first of his friends to begin work on a feature, Chabrol, Truffaut and Godard had their feature-film debuts distributed before Rivette in what the French press called New Wave cinema. Rivette later compared the New Wave to impressionist painting; the availability of paint in tubes, which allowed artists to paint outdoors, was similar to technological advancements enabling filmmakers to shoot in the streets. Technical innovations such as faster film stock and the portable Nagra sound recorder became available after the director finished Paris Belongs to Us.

1962–1967: Editor of Cahiers du cinéma and The Nun controversy

After the financial failure of Paris Belongs to Us, Rivette unsuccessfully pitched a film adaptation of Denis Diderot's novel  to producer Georges de Beauregard. Undaunted, Rivette and co-writer Gruault began writing the script. In 1962, Rivette suggested that Godard's wife, Anna Karina, would be perfect in the lead role. Godard agreed, but de Beauregard and producer Eric Schulmberger rejected the idea after a Commission de Controle (the French censorship board) review said that it would be banned.

Godard and Karina received funding from theatrical producer Antoine Bourseiller to produce a stage version of . Rivette directed and Godard produced the three-hour play, which opened at the Studio des Champs-Élysées on 6 February 1963 and closed on 5 March. Although the production was a financial failure, it received good reviews and Karina won several awards for her performance; Lotte Eisner called it "the most beautiful theatre I have seen since Bertolt Brecht". Rivette's staging, in the classical style of Marivaux, was intentionally simple. He and Gruault continued reworking the film script (which was finally passed by the censorship board), but Bourseiller could not afford to produce a film version, so the project was shelved.

After André Bazin's death in 1958, Rohmer became editor-in-chief of Cahiers du cinéma. By 1962, Rohmer was often at odds with his staff for not promoting New Wave filmmakers. After several financial failures, the directors wanted better publicity, with Cahiers an "instrument of combat" of the New Wave. Rohmer profiled New Wave filmmakers in the December 1962 issue before his June 1963 resignation, when Rivette became his successor. Rohmer later said that the pressure to leave Cahiers was the best thing that ever happened to him as a film director.

Under Rivette's leadership, Cahiers changed from a nonpolitical film magazine to a Marxist journal examining the relationship between politics and modern culture. Unlike Rohmer, Rivette allowed writers such as Michel Delahaye and Jean-Louis Comolli to publish articles gravitating towards politics and philosophy and not necessarily related to film. They wrote pieces on Martin Heidegger and Louis Althusser and interviewed non-filmmakers such as Roland Barthes and composer Pierre Boulez. Rivette and Delahaye's 1963 interview with Barthes is considered the turning point for Cahiers as a magazine analyzing film from a semiotic perspective. Rivette was an ambitious and financially irresponsible editor; shortly after an expensive, 250-page double issue on American films, Cahiers needed financial help. It was bought by teen-magazine owner Daniel Filipacchi, and its style became "splashier" and more youth-oriented. Rivette remained editor until April 1965, and was replaced by Jean-Louis Comolli and Jean Narboni. He contributed articles to the magazine until 1969.

Immediately after Rivette left Cahiers, Beauregard was ready to make The Nun (1966) and Rivette and Gruault again revised their script. Rivette called the script a record of the stage play, with a "highly written texture". On 31 August 1965, the censors told Beauregard that the film "run[s] the risk of being totally or partially cut". Beauregard ignored the warning, and Rivette began shooting in October. The film was controversial before its completion; members of the Catholic Church in France began a letter-writing campaign in opposition, and pressurised Paris police commissioner Maurice Papon and Minister of Information Alain Peyrefitte to take action. Both said they would ban it.

Rivette finished The Nun in 1966. Although it was approved twice by the censorship board in March, new Minister of Information Yvon Bourges overrode the approvals in April and banned the film. In response, Beauregard began a public campaign in its defense; many journalists, including Godard and Chabrol, wrote editorials demanding the film's release. A "Manifesto of the 1,789" in support was signed by Jacques Prévert, Raymond Queneau, Marguerite Duras and several major French book publishers, and many Catholic priests and nuns denounced the ban's effect on freedom of speech. Rivette told Le Figaro Magazine, "It was as though they had guillotined us", and in Rouen his father André vehemently defended the film against the city's efforts to ban it.

Godard wrote a lengthy editorial criticising Minister of Culture André Malraux. Shortly afterwards, Malraux publicly defended The Nun, allowing it to premiere at the 1966 Cannes Film Festival, where it was not subject to censorship. At Cannes the film was critically praised, and Beauregard later successfully sued the censorship board. French President Charles de Gaulle called the controversy "silly", and ordered newly appointed Minister of Information Georges Gorce to lift the ban. The Nun was finally released on 26 July 1967, with the publicity helping make it Rivette's only hit film to that point. Although it received many good reviews, Guy Daussois of Le Populaire said that it was "marked by a schematisation and over-simplicity that is rarely encountered, with absolutely no human depth".

The Nun starred Karina as Suzanne Simonin, as a young woman forced into a convent by her family, who is physically and psychologically tortured. She attempts to escape while dealing with her hateful mother, an empathetic mother superior, an indifferent attorney, a lesbian nun and a sympathetic-but-lustful monk. According to Rivette, "The shooting of  was difficult ... I was troubled because we had done the piece before as a play with the sentiments, rehearsals, etc, and I realized when I shot the film that since the people were doing the same text, the same words, my mind was wandering and I was no longer listening to the words". Karina described Rivette's direction as hyperactive; he was constantly "darting in and out of all corners ... always looking at this or that detail."

After the controversy surrounding The Nun, Rivette made a series of documentaries on director Jean Renoir for the French television series Cinéastes de notre temps which aired in 1966 as Jean Renoir, le patron. Around this time, Rivette and Gruault worked on a script for The Taking of Power by Louis XIV; Rivette decided that he did not want to direct another costume drama, and Rossellini directed the film in 1966.

1968–1972: Political activism and cinematic style
In February 1968, Henri Langlois was ousted from the Cinémathèque Francaise by Malraux and Minister of Cultural Affairs Pierre Moinot; a government-appointed board of directors assumed control, and Rivette and his old friends reunited to fight for Langlois' reinstatement. With the Cahiers du Cinéma office as their headquarters, current and former staff members, including Rivette, Truffaut, Godard, Rohmer and Chabrol, began mass letter-writing and telephone campaigns to recruit support. Within days, filmmakers from around the world announced that they would halt screenings of their films unless Langlois was reinstated. Journalists from Le Monde and Combat expressed support, and on 12 February several hundred members of the film industry protested outside the Cinémathèque. Two days later, a protest by over 3,000 people was met by club-wielding police. Rivette spoke at a press conference and led a charge past one of the police barricades, briefly entering the Cinémathèque with Anne Wiazemsky. In March 1968, Rivette was appointed to an advisory committee, and the following month Langlois was reinstated in the Cinémathèque.

The protests led to the creation of the Etats généraux du cinéma Francais, a committee of film-industry workers who wanted more freedom to make films and less control by the Centre national de la cinématographie. At a May meeting attended by Rivette, the committee called for a strike by film-industry workers and a shutdown of the 1968 Cannes Film Festival in solidarity. Rivette called Truffaut at Cannes with the news, and Truffaut, Godard and other directors stopped the festival. In Paris, the Etats généraux du cinéma Francais organised mass street protests as part of the May 68 protest movement.

Rivette's next film was L'amour fou (1969). Frustrated by filmmaking convention, he wanted to create an improvisational atmosphere. Rivette dispensed with a script, shot list and specific direction, experimenting with scenarios and groups of actors. On a limited budget, he shot the film in five weeks. After seeing performances by director Marc'O's experimental-improvisational theatre group, Rivette cast Marc'O actors Jean-Pierre Kalfon and Bulle Ogier as the leads; other Marc'O performers appeared in supporting roles. According to the director, he cast Kalfon because of his dissimilarity to Rivette since he was self-conscious about the character's autobiographical aspects.

The film has several layers, including a theatrical group rehearsing a production of Jean Racine's Andromaque; a TV documentary crew filming the making of the play in 16mm, and a backstage story about the relationship between the stage director (Kalfon) and his wife and lead actress (Ogier). The film ends with an hour-long argument between Kalfon and Ogier, during which they destroy their apartment and its contents. Kalfon was allowed to direct the stage play during filming. Rivette cast André S. Labarthe as the director of the TV crew after working with him on Cinéastes de notre temps, allowing him to direct the 16mm footage. Rivette and cinematographer Alain Levent then filmed the stage performers and TV crew in 35mm from a distance without intervening. The film was entirely improvised, including the scene in which Kalfon and Ogier destroy their apartment (which had to be done in a single take for budgetary reasons). Released in 1969, the 252-minute film received positive reviews. L'amour fou gave Rivette his second Sutherland Trophy from the British Film Institute.

The director found his cinematic style during the making of this film. According to Rivette, "With improvisation, you automatically listen" and an author is an "analyst, a person who must listen to what the people say—all words are important. You must listen to all and not have any preconceived ideas as a director". Invigorated by his new filmmaking technique, Rivette invited over forty actors (including Jean-Pierre Leaud, Juliet Berto, Michael Lonsdale and Bulle Ogier) to each develop a character for a new film without a plot or interaction with each other. He then developed the basic structure for what would become Out 1 (1971). From April to June 1970, Rivette shot over 30 hours of 16mm footage as his cast improvised a story involving conspiracy theories and theatrical rehearsals.

Out 1 starred Jean-Pierre Leaud as Colin, a Parisian con artist who pretends to be a deaf-mute and begins receiving anonymous messages referring to Lewis Carroll's The Hunting of the Snark and Honoré de Balzac's Histoire des Treize (The Thirteen). Colin becomes obsessed with the messages, and begins to believe that a Utopian secret society like the one in Balzac's short story is contacting him. He is led to a boutique and meets Frederique (Juliet Berto), a young thief. Colin and Frederique use stolen letters to track down what they believe is the secret group, Thirteen, at a house where two groups of actors are rehearsing productions of Aeschylus's Prometheus Bound and Seven Against Thebes.

Out 1 was shown only once in its 760-minute original version at the Maison de la Culture in Le Havre, on 9–10 September 1971. Over 300 people attended the weekend-long premiere, and Martin Even of Le Monde called it a "voyage beyond cinema" because most of the audience had traveled from Paris to see it. Originally intended as a 12-part television broadcast, the Office de Radiodiffusion-Television Francaise refused to purchase it. With help from Suzanne Schiffman, Rivette spent over a year editing a 260-minute version entitled Out 1: Spectre and released in 1974. Out 1 was highly praised, and become a cult film. Because it was notoriously difficult to see in its entirety, and critics Jonathan Rosenbaum and Dennis Lim have called the film a "Holy Grail" for cinephiles. The first revival screening of the original version was at the Rotterdam Film Festival in February 1989. It was finally shown on French TV during the early 1990s and was first shown in the US at the Museum of the Moving Image in December 2006 to a sold-out audience.

1973–1982: Fantasy films and nervous breakdown

During the summer of 1973, Rivette attempted to make Phénix, a film about the early-1900s Paris theatrical world which would have starred Jeanne Moreau. Due to budgetary constraints, he was forced to abandon the project. Rivette then made his most critically acclaimed film, Céline and Julie Go Boating (1974). "Aller en bateau" ("go boating") is French slang for "caught up in fiction" or "taken for a ride". Rivette met with friends, actresses Juliet Berto and Dominique Labourier, to develop two characters and created a plot and script with collaborator Eduardo de Gregorio. He later said that during this pre-production period, he "never had as much [fun]. I don't believe I ever laughed as much". Unlike his previous two films, Rivette did not use improvisation during the filming and said that the plot was carefully constructed in advance.

Filled with references to Alice in Wonderland, Jean Cocteau and Marcel Proust, Céline and Julie Go Boating begins when Julie (Labourier), and Céline (Berto) meet by chance and become friends. They begin to visit a mysterious "House of Fiction" where the same melodrama (based on two short stories by Henry James) plays out every day, ending with the murder of a young girl by the enigmatic Sophie (Marie-France Pisier). Shot in five weeks during the summer of 1973, Céline and Julie Go Boating won the Special Jury Prize at the 1974 Locarno International Film Festival. It was produced by Barbet Schroeder and distributed by Les films du losange. Jonathan Rosenbaum praised it, writing that he knew "many women who consider Céline et Julie vont en bateau their favourite film about female friendship".

Rivette then conceived and obtained funding for a series of four films, Scènes de la vie parallèle. Each film would revolve around two female leads. Part one was to be a love story, part two a fantasy, part three an adventure and part four a musical comedy. According to Rivette, his intention for the film series was "to invent a new approach to film acting where speech, pared down to essential phrases, precise formulas, would play the role of poetic punctuation. Neither a return to silent cinema nor a pantomime, nor choreography: something else, where the movements of the bodies, their counterpoint and inscription in the space of the screen, will be the basis of [a] mise-en-scene." The tetralogy, reflecting the political situation in France, including the conservative backlash after May '68 and the election of Valéry Giscard d'Estaing, would be tied together by improvised musical scores. Rivette collaborated on the scenarios with de Gregorio and Parolini.

In Duelle (Une quarantaine) (1976), the Queen of the Night (Juliet Berto) battles the Queen of the Sun (Bulle Ogier) over a magic diamond which will allow the winner to remain in modern-day Paris. In Noroît (Une vengeance) (1976), the pirate Morag (Geraldine Chaplin) seeks revenge against the pirate Giulia (Bernadette Lafont) for killing her brother. Duelle was filmed in March and April 1975, and Noroît was shot at Brittany in May. De Gregorio saw Cyril Tourneur's The Revenger's Tragedy, and suggested it to Rivette. The script, written in 15th-century English, caused some difficulty for the actresses.

In August 1975, Rivette began filming part one of the series: Marie et Julien, a love story starring Albert Finney and Leslie Caron. After three days of shooting, Rivette broke down due to nervous exhaustion and production of the series was abandoned. Rivette later said that he "broke down physically.... I had overestimated my own strength." Although Marguerite Duras offered to finish the film, the actors refused to continue without Rivette. In 2003, he said that Marie et Julien was based on a true story of a woman who committed suicide. Rivette's musical-comedy fourth film would have starred Anna Karina and Jean Marais. Noroît premiered in London and was shown at the 1976 Cannes Film Festival, but was never distributed. It and Duelle received mediocre reviews, causing problems for Rivette with the series' producers. The director said that Susan Sontag enjoyed Noroît, and Jean Rouch recognised ancient African myths in its plot, where Rivette had included Celtic myths.

According to the director, it took over a year to recover from his breakdown. Producer Stéphane Tchalgadjieff had renegotiated the contract for the Scènes de la vie parallèle series to require only one more film, the intended first or fourth part. Rivette decided that he wanted to film both or neither and made an unrelated film, Merry-Go-Round (1981). Tchalgadjieff had told him that Maria Schneider wanted to make a film with him and actor Joe Dallesandro and Rivette agreed. Shot in 1978 but not completed until 1981, the film is a detective story about a missing sister and inheritance. Rivette relied on improvisation during its production, which he described after a few days as "going very badly". Although Schneider was also recovering from an illness and she and Rivette wanted to abandon the project, they were persuaded to continue by the cast and crew. Rivette said, "There were two people in poor health during filming, and there wasn't any money at all". Over a year after filming was completed, he added footage of the film's composers, Barre Phillips and John Surman, in performance despite its lack of relation to the plot or characters. Merry-Go-Round, theatrically released in 1981, received mediocre reviews.

In 1980, Rivette decided to remake Out 1. Ogier, the only original-cast member available for the project, and her daughter Pascale Ogier worked with Rivette on the characters as the director had done a decade earlier. With co-screenwriter Suzanne Schiffman they made the 30-minute short film Paris s'en va (1980) as a sketch for the eventual feature Le Pont du Nord (1982), which was distributed in 1982. Le Pont du Nord starred Bulle and Pascale Ogier as two women who meet and investigate a strange Snakes and Ladders-like map of Paris and a mysterious man named Max. Rivette had difficulty finding financing, with the Centre national de la cinématographie refusing three times to fund the film. The director accommodated his tight budget by making Bulle Ogier's character claustrophobic, because he could not afford many interior scenes. According to Rivette biographer Mary Wiles, as Paris Belong to Us is a reflection of France during the 1950s and Out 1 the 1960s, Le Pont du Nord completes a trilogy by reflecting the social and political milieu of 1970s France.

1983–1991: Partnership with Marignac and increased recognition
Rivette's difficulties in securing financial backing for his films during the late 1970s led him to a business partnership with Pierre Grise Productions and producer Martine Marignac (1946–2022). The company was the chief distributor and financier for all his subsequent films. Their first film, Love on the Ground (1984), again concerned a theatrical group and the blurring of fiction and reality. Geraldine Chaplin and Jane Birkin star as members of a theatrical troupe who are invited to appear in a new play resembling the real life of its director (Kalfon) and the mysterious disappearance of his wife.

In a break from his experimental, complex style, Rivette next adapted Emily Brontë's Wuthering Heights. Based on the novel's first part and set in 1930s southern France, Hurlevent starred three unknown actors: Fabienne Babe as Catherine, Lucas Belvaux as Roch (Heathcliff) and Oliver Cruveiller as Catherine's brother, William. Hurlevent, Rivette's first film in years without his usual troupe of actors and technicians and modeled on Balthus' India ink illustrations, was released in 1985.

Rivette received critical acclaim for his 1988 film La Bande des quatre (Gang of Four), about four drama students whose lives playfully alternate from theatre to real life and make-believe. According to the director, who wanted to make a film about young people working on a play, "The work is always much more interesting to show than the result". The film received an honorable mention at the 39th Berlin International Film Festival.

He enjoyed working with the four young actresses in La Bande des quatre so much, that Rivette returned to the theatre. The actresses had performed a scene from Pierre Corneille's Suréna in La Bande des quatre, so Rivette, the actresses and additional performers rehearsed Corneille's Tite et Bérénice, Jean Racine's Bajazet and a play by Pierre de Marivaux (which was eventually dropped "because he was too hard"). After several weeks of rehearsals, the actresses were ready to perform the two plays, which ran at the Théâtre Gérard Philipe in Saint-Denis from 18 April to 20 May 1989. According to Rivette, Corneille's play was more interesting for the actresses; he was "very deep. He's an author I find very dense, so full of history, of thought".

Saul Austerlitz called La Bande des quatre success "Rivette's second wind as a filmmaker"; it led to La Belle Noiseuse (The Beautiful Troublemaker) (1991), the most-acclaimed film of Rivette's later career. Loosely based on the Balzac short story "The Unknown Masterpiece", it depicts the relationship between reclusive, uninspired painter Frenhofer (Michel Piccoli), his wife and former model Liz (Birkin) and his new model, Marianne (Emmanuelle Béart). Marianne inspires Frenhofer to finish his long-abandoned magnum opus, La Belle Noiseuse, as Liz and Marianne's boyfriend become increasingly jealous. The four-hour film shows the painting's progress in real time, one brush stroke at a time, with hand close-ups by French abstract painter Bernard Dufour. According to Rivette, "We tried truly to make a film that did not talk about painting, but approached it". The film earned him the Grand Prix at the 1991 Cannes Film Festival and the Prix Méliès from the French Syndicate of Cinema Critics. It received five César Award nominations, including Best Picture and Best Director (Rivette's only nomination in that category). Shortly after its Cannes success, a two-hour version, La Belle Noiseuse: Divertimento, was theatrically released.

1992–2009: Later films and retirement
Rivette then made a two-part film about the life of Joan of Arc entitled Joan the Maiden: Joan the Maiden, Part 1: The Battles and Joan the Maiden, Part 2: The Prisons (1994). Rivette's film differed from well-known interpretations of Joan by Carl Theodor Dreyer and Robert Bresson, focusing on her popularity in France rather than her suffering and martyrdom. Loosely based on Rivette's  memories of Charles Péguy's books on Joan, the film was partially shot in his hometown of Rouen. Joan the Maiden, starring Sandrine Bonnaire, was released in 1994.

With its large budget, the film was not a financial success. Because of this, Martine Marignac wanted to make a quick, inexpensive film; Rivette, short of ideas, began assembling a cast. He contacted Nathalie Richard, Marianne Denicourt and Laurence Côte, who gave him an idea for a film about 1920s New York City taxi dance halls; this led to Up, Down, Fragile (1995). Richard, Denicourt and Côte star as three women struggling to overcome personal obstacles, with musical numbers at a mysterious nightclub commenting on their lives. In the film, a nod to 1920s and 1930s Hollywood backstage musicals, Anna Karina appears as a nightclub singer whose songs refer to her previous films with Godard. Up, Down, Fragile was screened at the 19th Moscow International Film Festival.

Rivette's film policier, Top Secret (1998), featured Bonnaire as a young scientist whose brother (Grégoire Colin) convinces her that their father was killed by Walser (Jerzy Radziwilowicz) and seeks revenge. Rivette said that the film, loosely based on the Electra myth, was influenced more by Jean Giraudoux's lesser-known play than on the classical versions by Aeschylus, Sophocles and Euripides. Top Secret pays tribute to Double Indemnity (1944), and biographer Mary Wiles saw influences from Hitchcock's Strangers on a Train (1951) and Vertigo (1958). Wiles called Rivette's three films with Bonnaire feminist, writing that they "reveal a deep personal connection with [Rivette]."

Va savoir (2001) starred Jeanne Balibar and Sergio Castellitto as a couple caught up in romantic farce as they attempt to stage Luigi Pirandello's Come tu mi vuoi and search for a missing manuscript. Rivette pays tribute to Howard Hawks' screwball comedies, and includes a reference to It Happened One Night (1934). The film's theatrical-director character, Ugo, intentionally resembles Gerard in Paris Belongs to Us. A longer version, Va Savoir+ was released the following year. According to Saul Austerlitz, it is "a stunning film, and is yet another peak in Jacques Rivette's exceptional career."

In 2002, Rivette published a book of scripts from three of his unmade films, including Marie et Julien. The script for Marie et Julien had never been completed, and the footage from the three days of shooting was lost; Rivette worked from "cryptic notes" taken by his assistant, Claire Denis, which cinematographer William Lubtchansky had kept for decades. His work on a readable script for the publication led him to resurrect the project. Rivette, Pascal Bonitzer and Christine Laurent collaborated on the script with the actors during production of the revised The Story of Marie and Julien (2003). Rivette cast Béart and Radziwilowicz in the lead roles, saying that it was "more interesting and more exciting" to work with actors with whom he had previously worked, and some dialogue in the original notes was unchanged. Although the film lacked the improvised musical score connecting the first two films, the Madame X character resembles the moon goddess and Marie the sun goddess. It premiered at the 2003 Toronto International Film Festival.

In 2007, Rivette made The Duchess of Langeais, a faithful adaptation of Balzac's novel, and the second of Balzac's trilogy, Histoire des treize, the introduction to which inspired Out 1. Jeanne Balibar and Guillaume Depardieu star as lovers in early 1823 Majorca who are involved in a tormented, frustrating relationship. The film premiered at the 2007 Toronto International Film Festival. In 2009, Rivette made 36 vues du pic Saint-Loup; Jane Birkin starred as a woman who returns to her childhood circus troupe after her father dies, and begins a romance with a wealthy Italian drifter (Sergio Castellitto). The film, which premiered at the 66th Venice International Film Festival, was the director's last.

Personal life

Rivette's early years in Paris were impoverished and he was known to live ascetically on minimal resources; Chabrol said that he was very thin and hardly ate, comparing his smile to that of the Cheshire Cat. Gruault described Rivette as "slight, dark-haired and [having] very lively dark eyes in an emaciated visage of a waxy pallor...add to that a forced, nervous smile of someone who has to make constant efforts to win acceptance by a society that he seemed to regard as irremediably hostile." His opinions were highly regarded among his peers and according to Douchet, "[Rivette] was the great talker. He was the group's secret soul, the occult thinker, a bit of a censor." Godard said, "I might like a film very much, but if Rivette said 'It's no good' then I would agree with him ... it was as though he had a privileged access to cinematographic truth." Truffaut considered Rivette his best friend, and they were frequently seen at screenings. Truffaut said that in the 1950s, Rivette was the only member of the group already capable of directing a feature film.

Rivette's friendship with Rohmer was complex due to Rivette's direct role in getting Rohmer fired from Cahiers du Cinéma. Rivette and Rohmer respected each other, but fought over Cahiers political and aesthetical positions and financial issues. They became close friends again after Rohmer became interested in Rivette's improvisational films, praising L'amour fou and acting in Out 1. Rohmer later called Out 1 "a capitol monument in the history of modern cinema, an essential part of the cinematic heritage." Rivette also admired Rohmer's films and called Les Rendez-vous de Paris (1995) a "film of absolute grace." Several Cahiers writers during the Rohmer-era disliked him, such as Douchet, Jean Domarchi, Fereydoun Hoveyda, Phillippe Demonsablon, Claude Beylie and Phillippe d'Hugues, who said that Rivette "had a Saint-Just side, he was an intransigent Jacobin who considered you a moron if you didn't agree with him. He determined what was moral and right, like a hall monitor." Antoine de Baecque wrote that these writers respected Rivette, but considered him "brusque, arrogant and dogmatic" and that he "did not hesitate to excommunicate adversaries or mediocrities." However Cahiers writers André Labarthe and Michel Delahaye praised him; Delahaye said that he "was the most brilliant, with a peerless charisma."

According to David Thomson, Rivette was "famous for having little or no home life, certainly not a private life that overlaps with his work. On his own, he would rather sit in the dark with another movie"; in 1956, he was described as "too aloof and forbiddingly intellectual". Bulle Ogier described Rivette as very secretive about his life: "I've no idea what he does. I only see him when we're filming" or when she bumped into him in public, although she felt close to him. According to Ogier, he had neuroses and anxiety which often prevented him from answering the phone, and talking about his personal life would be indiscreet and a betrayal. Laurence Côte said that joining Rivette's inner circle of trusted friends was difficult and required "a number of hurdles to overcome and to respect codes." Martine Marignac said that Rivette was very modest and shy, and that his circle of close friends grew used to not hearing from him for prolonged periods of time. Marignac also said that "He spends his life going to the movies, but also reading, listening to music. It is clear that the world of reality assaults him." Jonathan Romney reported that in the 1970s "Rivette sometimes went AWOL from his own shoots, he would invariably be found watching some rarity in one of the Left Bank art cinemas." Jean-Pierre Léaud, who described Rivette as a close friend, said that he "was the only person who saw everything in a film. And he transmitted everything he saw to us, setting in march our own aesthetic ideas". The director was the subject of a 1990 documentary, Jacques Rivette, the Night Watchman, directed by Claire Denis and Serge Daney. Travis Mackenzie Hoover wrote that the documentary portrays Rivette with "lonerish tendencies" and as "a sort of transient with no home or country, wandering about or loitering in public space instead of staking out some personal terra firma."

In 1960, he appeared briefly with girlfriend Marilù Parolini in Jean Rouch and Edgar Morin's cinéma-vérité documentary, Chronique d'un été. Parolini was a secretary at Cahiers and, later, an on-set still photographer for Rivette and other New Wave filmmakers. She and Rivette married, but they broke up shortly after the stage version of The Nun closed and eventually divorced. They continued a professional relationship; Parolini collaborated with Rivette on L'amour fou, Duelle, Noroît and Love on the Ground as a co-writer, and she took photographs on the sets of The Nun and Celine and Julie Go Boating. Parolini died in Italy on 21 April 2012.

On 20 April 2012, film critic David Ehrenstein posted online that Rivette had Alzheimer's disease. Bonitzer and Marignac later said that he began to feel the disease's effects during the negative experience of filming 36 vues du pic Saint-Loup. Shooting days were four hours on average and Rivette often lost track of what had already been filmed, which led to the shorter running time than his previous films. In the mid-2000s, Rivette met his second wife Veronique Manniez. They married shortly after he was diagnosed with Alzheimer's. Marignac said that, "Thanks to her, he avoided hospitals and was able to stay home." Rivette and his wife lived in the Rue Cassette section of Paris, where caregivers and doctors attended to him for the last eight years of his life.

Death
Rivette died on 29 January 2016 from complications of Alzheimer's disease at the age of 87, in his home in Paris. He was memorialised by President François Hollande as "one of the greatest filmmakers" and praised by Minister of Culture Fleur Pellerin. Members of the French film industry eulogised him; Serge Toubiana said "Rivette was undoubtly the most reflective, thoughtful, the most intellectual figure of the New Wave." Bulle Ogier wrote that Rivette's "body of work was inventive, researched and well structured. Nothing but making films interested him." Isabelle Regnier wrote about Rivette's secretive nature, observing that the mystery about his life "prevails in his grave." Cinémathèque française director Frédéric Bonnaud called Rivette influential and said that he always tried to invent a new kind of cinema with every film he made. Longtime collaborator Pascale Bonitzer said that "he was a bit of an outsider in the Nouvelle Vague and, at the same time, he was its soul, one of the most radical ones, and the most confidential." Jean-Michel Frodon said that he incarnated "the spirit of the New Wave." Hélène Frappat praise his use of mise en scène in regards to his portrayal of women. Martin Scorsese called him a fascinating artist who was "the most experimental of the French New Wave directors."

Richard Brody called Rivette "the most open and the most reticent of French filmmakers", claiming that all of Rivette's films "represent an effort to capture the fullness of an inner world, a lifetime's range of obsessions and mysteries." Unlike other obituaries that focused mostly on his filmmaking career, Brody praised Rivette for his influence on film criticism, singling out his 1961 article "On Abjection", a review of Gillo Pontecorvo's holocaust film Kapò. Brody called it "a touchstone for discussing any film in which atrocities are committed." In France, Jean-Marie Pottier also praised "On Abjection" as "one of the most famous texts in the history of the French cinephile." Other film critics to have previously praised the article include Serge Daney and Antoine de Baecque, and Godard's famous quote "tracking shots are a question of morality" was influenced by the article. Locarno Film Festival artistic director Carlo Chatrian wrote that Rivette "made the first and best attempt to transpose the ideas of André Bazin into critical writings" and praised such articles as "The Genius of Howard Hawks" and "Letter on Rossellini."

Rivette was buried on 5 February 2016 in the Montmartre Cemetery in Paris, not far from François Truffaut's grave. Bonitzer, Marignac and Narboni all spoke at the funeral. Rivette's sister and nephews also attended. Véronique Manniez-Rivette told the funeral goers that just as angels are said to sing during moments of silence at twenty minutes past the hour, Rivette had died at 12:20pm. The March 2016 issue of Cahiers du Cinéma was dedicated to him. In May 2016 the Cinémathèque française announced that Rivette's first three short films had been rediscovered by his widow and were being restored and then screened at the Festival Coté Court that June.

Works
Jacques Rivette filmography
Jacques Rivette bibliography
Themes and style in the works of Jacques Rivette

Notes

ReferencesNotesBibliography'

External links

jacques-rivette.com- a website devoted to Rivette's film and journalism careers
Biography on newwavefilm.com
sensesofcinema.com Great Directors article
Jonathan Rosenbaum: Jacques Rivette [chapter from Film: The Front Line 1983]
Edition de « De l'abjection » (1961) par Jacques Rivette, sur le site d'analyse L'oBservatoire (simple appareil).
Craig Keller obituary

1928 births
2016 deaths
20th-century French writers
21st-century French writers
Burials at Montmartre Cemetery
English-language film directors
Deaths from Alzheimer's disease
Deaths from dementia in France
Film theorists
French experimental filmmakers
French film critics
French film directors
French journalists
French-language film directors
French magazine editors
French male screenwriters
French screenwriters
French television people
French theatre directors
Lycée Pierre-Corneille alumni
Film people from Rouen
Writers from Paris
Cahiers du Cinéma editors

Jacques Rivette


Sarah Lois Harmer (born November 12, 1970) is a Canadian singer, songwriter and environmental activist.

Early life
Born and raised in Burlington, Ontario, Harmer gained her first exposure to the musician's lifestyle as a teenager, when her older sister started taking her to Tragically Hip concerts.

Career
At the age of 17, Harmer was invited to join a Toronto band, The Saddletramps. For three years, she performed with The Saddletramps while pursuing her studies in philosophy and women's studies at Queen's University.

After leaving The Saddletramps, Harmer put together a band of her own with several Kingston, Ontario musicians, and chose the name Weeping Tile. The band released its first independent cassette in 1994. Soon afterward, they signed to a major label, and the cassette was re-released in 1995 as Eepee. The band performed regularly on the rock club circuit and on campus radio with their subsequent albums, but never broke through to the mainstream, and broke up in 1998 after being dropped from their label.

Also in 1998, Harmer recorded a set of pop standards as a Christmas gift for her father. After hearing it, her friends and family convinced her to release it as an album, and in 1999 she released it independently as Songs for Clem. Harmer began working on another album, and in 2000, she released You Were Here. In 2001 she toured around Canada and the US in support of the album.

A poppier, more laid-back effort than her work with Weeping Tile, You Were Here was a commercial success, and led to the hit singles "Basement Apartment" and "Don't Get Your Back Up". The album also appeared on many critics' year-end lists, including TIME magazine, which called it the year's best debut album. It was eventually certified platinum for sales of 100,000 copies in Canada. Almost half of the album (including both of its major hits) consisted of songs she had previously recorded with Weeping Tile or The Saddletramps.

In 2002, her song "Silver Road" was featured as the lead track of the soundtrack of the film Men With Brooms.

In 2004, she released All of Our Names. The album included the singles "Almost", which made the top 20 on Canadian pop charts, and "Pendulums". All of Our Names won the JUNO Award for Best Adult Alternative Album, a new award category in 2005.

Her fourth album, I'm a Mountain, was released in Canada in November 2005 and in the United States in February 2006. It was nominated for the 2006 Polaris Music Prize, a jury-selected $20,000 cash prize for the Canadian album of the year. Also in 2005 she had an acting role in Anita Doron's film The End of Silence.

Harmer has also appeared as a guest vocalist on albums by other artists, including Blue Rodeo, Great Big Sea, Rheostatics, Bruce Cockburn, Luther Wright and the Wrongs, Loomer, Skydiggers, The Weakerthans, Neko Case, Great Lake Swimmers, The Tragically Hip and Bob Wiseman.

In February 2007, Harmer received three Juno Award nominations. I'm a Mountain was nominated for Best Adult Alternative Album and her DVD Escarpment Blues won the JUNO Award for Best Music DVD. Harmer herself was also nominated for Songwriter of the Year for her work on "I Am Aglow", "Oleander" and "Escarpment Blues".

In 2010, Harmer released a fifth album, Oh Little Fire, which was nominated for three Juno Awards. The album signaled a shift toward a more rock-based sound.

In 2011, Harmer participated in the National Parks Project, visiting British Columbia's Gwaii Haanas National Park Reserve and Haida Heritage Site with Bry Webb, Jim Guthrie and filmmaker Scott Smith. She was also commissioned by CBC Radio 2 to write an original campfire song for the network.

On August 19, 2016, Harmer and Jim Creeggan appeared on CBC Radio's Q to perform a live cover of The Tragically Hip's "Morning Moon". That year Harmer also performed at the Edmonton Folk Music Festival.

In 2018, Harmer contributed the song "Just Get Here" to the compilation album The Al Purdy Songbook. In the same year, she performed at the Juno Awards of 2018 in a tribute to the late Gord Downie, performing a medley of "Introduce Yerself" and "Bobcaygeon" in collaboration with Dallas Green and Kevin Hearn.

Her newest album, Are You Gone, was released in February 2020 on Arts & Crafts. It was longlisted for the 2020 Polaris Music Prize, and nominated for Best Adult Alternative Album at the Juno Awards of 2021.

Activism

In 2005, Harmer co-founded PERL (Protecting Escarpment Rural Land), an organization which campaigned to protect the Niagara Escarpment from a proposed gravel development which would see some parts of wilderness near the escarpment removed. To support the organization, she and her acoustic band embarked on a tour of the escarpment, hiking the Bruce Trail and performing at theatres and community halls in towns along the way. A documentary DVD of this tour was released in 2006 as Escarpment Blues. Harmer also coauthored a book about the campaign, The Last Stand: A Journey Through the Ancient Cliff-Face Forest of the Niagara Escarpment, which was published in 2007. In October 2012, PERL won their case against the development.

Harmer has performed and canvassed in support of the NDP and politician Marilyn Churley, who also promoted the protection of the Niagara Escarpment. She has also performed in support of Ontario Green Party Leader and MPP Mike Schreiner.

On March 24, 2018, she joined the demonstration at Kinder Morgan's Burnaby Terminal to protest against the expansion of the Trans Mountain pipeline.

In February 2019, she spoke against the Ontario government's proposed Bill 66 at a Kingston City Council meeting.

In January 2022, Sarah helped launch the Reform Gravel Mining Coalition with co-chair Graham Flint. The RGMC seeks to reform the gravel mining industry in Ontario.

Family
Her niece Georgia Harmer, the daughter of Sarah's sister Mary with their former Weeping Tile bandmate Gord Tough, is a singer-songwriter whose debut album Stay in Touch was released in April 2022 on Arts & Crafts Productions.

Discography

Albums

Singles

In 2007, Harmer also reunited with Weeping Tile to record a song, "Public Square", for the Rheostatics tribute album The Secret Sessions.

Publications
Peter E. Kelly, Douglas W. Larson, Sarah Harmer, The Last Stand : A Journey Through the Ancient Cliff-Face Forest of the Niagara Escarpment, Natural Heritage Books, 2007,  (paperback).

References

External links

 www.sarahharmer.com

1970 births
Canadian alternative country singers
Canadian folk guitarists
Canadian women folk guitarists
Canadian folk singer-songwriters
Canadian pop guitarists
Canadian rock guitarists
Canadian women singer-songwriters
Canadian women rock singers
Juno Award for Adult Alternative Album of the Year winners
Living people
People from Burlington, Ontario
Queen's University at Kingston alumni
Musicians from Ontario
Writers from Ontario
Canadian environmentalists
Canadian women environmentalists
Zoë Records artists
Canadian women pop singers
20th-century Canadian women singers
20th-century Canadian guitarists
21st-century Canadian women singers
21st-century Canadian guitarists
Canadian folk-pop singers
Canadian folk rock musicians
Arts & Crafts Productions artists
20th-century women guitarists
21st-century women guitarists
20th-century Canadian singer-songwriters
21st-century Canadian singer-songwriters

Sarah Harmer


Monica Beurer (* 28. April 1961 in Bülach) ist eine freischaffende Schweizer Fotografin, Dozentin für Fotografie und Autorin. Sie publiziert seit dem Jahr 2009 unter dem Künstlernamen Monica Boirar.

Biographie

Monica Boirar absolvierte nach der Matura eine Ausbildung zur Lehrerin und arbeitete in diesem Beruf mehrere Jahre mit Kindern aller Stufen der Volksschule. In den 1980er Jahren war sie Mitwirkende in einem Kindertheater und schrieb als Co-Autorin drei Theaterstücke «Lisa Liza», «De Öpfelmaa» und «PingPongPinguin». Ende der 80er Jahre war sie Assistentin bei einem Werbe- und Modefotografen in Zürich und einer freien Fotografin. Anfang der 1990er Jahre begann sie als fotografierende und teils auch schreibende Journalistin für Zeitschriften zu arbeiten und spezialisierte sich auf Tanz- und Theaterfotografie, Porträt- und Reportagefotografie und begann mit der Realisierung von freien fotokünstlerischen Arbeiten. Bekanntheit erlangte sie durch die Ausstellung und den gleichnamigen ersten Fotoband «Carole – aus der Norm». Mit ihrem Lehrmittel «Fotografieren macht Schule» schrieb sie ein didaktisches Grundlagen- und Standardwerk für die Volksschule. Sie verfasste das Kindersachbuch «Fotografie» der Was ist Was-Reihe, das in mehrere Sprachen übersetzt wurde.

Im Rahmen einer Drittausbildung studierte sie an den Universitäten Zürich, Basel, Lausanne und an der Freien Universität Berlin. Sie erlangte die Abschlüsse «BA Bachelor of Arts in Social Sciences UZH» in Publizistik und «MA Master of Arts UZH» in Filmwissenschaft. Ihre Masterarbeit «Fotografinnen im fiktionalen Film – Visuelle Kommunikation und Intermedialität untersucht an vier Biopics» schrieb sie am Seminar für Filmwissenschaft der Universität Zürich im Rahmen des universitätsübergreifenden Studiengangs «Netzwerk Cinema». Als Dozentin für Fotografie lehrt sie seit Anfang der 1990er Jahre an mehreren Institutionen, Hoch- und Fachhochschulen, im Frühlingssemester 2008 und 2011 auch am Kunsthistorischen Institut der Universität Zürich im Fachbereich «Theorie und Geschichte der Fotografie». Seit dem Herbst 2011 arbeitet sie an ihrer Dissertation «Masters of Color Photography – Strategien der Farbgestaltung in der Werbe- und Industriefotografie (1950–1975) – Fotografologische Klassifizierungen an Bildbeispielen eines Schweizer Unternehmens für Farbfotografie, Dye Transfer und Fotolitho». Im Sommer 2014 gründete sie die Study F – Wissenschaftsverlag Fotografie GmbH. Von 2013 bis 2017 schrieb sie für das Schweizer Online-Magazin Fotointern Fachbeiträge zur Fotografie, mehrheitlich Leitartikel, so genannte Top Stories über Arnold Odermatt, Tina Modotti, Annie Leibovitz, Ernst Scheidegger, Sabine Weiss, Andy Warhol, Dada, Annelise Kretschmer, Robert Frank und andere. Sie ist die Initiantin und Mitbegründerin des Anfang 2017 ins Leben gerufenen Vereins Pro FomaSchu. Am 2. Juni 2018 startete das erste Projekt des Vereins, die Jubiläums-Grossgruppenausstellung «10 Jahre Fotografieren macht Schule» mit Bildern von 52 Mitwirkenden im Zeughaus Teufen in Appenzell Ausserrhoden. Die Wanderausstellung gastiert seitdem in der deutschsprachigen Schweiz. Als Begleitmaterial zur Ausstellung stellt der Verein für den Besuch von Schulklassen mediendidaktische Unterlagen nach Lehrplan 21 zur Verfügung.

Ausstellungen (Auswahl)

Einzelausstellungen

Gruppenausstellungen

Buchpublikationen

Zitate aus Rezensionen «Fotografieren macht Schule»
 Hans-Jürg Keller: «Das sehr praxisnahe, reich bebilderte Lehrmittel lädt mit vielen Informationen, Anleitungen und Aufgabenstellungen ein zum Entdecken, Sehen und fotografisch gestalten. […]  Die Schülerinnen und Schüler erwerben […] schnell wichtige fotografische Kenntnisse (…) erleben […] durch eigenes Handeln, wie man die vielseitige Wirklichkeit sehr einseitig darstellen kann. Monica Beurer ist mit dem […] Lehrmittel ein Standardwerk gelungen. […] Man merkt dem Buch an, dass die Autorin nicht nur eine hervorragende Fotografin ist, sondern auch über didaktisches Know-how verfügt. Ihre jahrelange Arbeit mit Schulklassen und angehenden Lehrerinnen und Lehrern ist in das Buch eingeflossen.»
 Anna Gripp: «Gerade wenn angesichts von […] Digitalkameras und Fotohandys immer mehr geknipst wird, macht es Sinn, schon frühzeitig, bei Kindern, auf das Potential des Mediums Fotografie hinzuweisen. […] Die Zürcher Fotografin Monica Beurer hat […] ein Lehrbuch konzipiert, das […] gestalterische Aspekte auf anschauliche Weise nennt und […] Aufgaben formuliert.»
 Feli Schindler: «Man möchte in der Tat wieder Kind sein und die spielerischen Experimente und Aufgaben, welche die Autorin im reich illustrierten Band […] vorschlägt, gleich selber anpacken, […] Lichtführung, Perspektiven oder Kompositionslehre werden lustvoll und ohne komplizierte Apparatetechnik vermittelt. Jede Übung […] zielt auf eine ausgezeichnete Sehschule für Gross und Klein.»

Auszeichnungen
 1986: Dramatikerförderung CH für das Theaterstück «Lisa Liza»
 1991: Ausgewählter Text des Schreibwettbewerbes «Zur Feier des Tages»
 1995: 1. Preis für Fotojournalistinnen von Emma und Leica, Köln, D
 1996: Kodak European Gold Award, Lausanne, Golden Circle 95, CH
 1997: Fotowettbewerb «Stadtmenschen» der Städte Krefeld und Venlo: Teilnahme an der Ausstellung
 1997: Kodak European Gold Award, Lausanne, Golden Circle 96, CH
 2002: SleepArtPhoto 2000, Bree, B, 2. Preis

Öffentliche Projekt- und Werkbeiträge
 1996: Cassinelli-Vogel-Stiftung, Zürich
 1996: Bundesamt für Kultur, Bern
 1998: Pro Helvetia, Zürich
 2009: Bundesamt für Kultur, Bern

Galerie Porträtfotografien

Weblinks

 Monica Beurer a.k.a. Monica Boirar, website
 Monica Beurer (Suchbegriff), in Swisscovery, dem schweizerischen Suchportal der wissenschaftlichen Bibliotheken
 Monica Boirar Beurer im Lexikon des Verbandes Autorinnen und Autoren der Schweiz AdS
 Monica Boirar (aka Beurer) beim Swiss Press Award
 Video zum Lehrmittel von Monica Beurer Boirar «Fotografieren macht Schule».

Einzelnachweise

Fotograf (20. Jahrhundert)
Fotograf (21. Jahrhundert)
Fotograf (Zürich)
Autor
Kinder- und Jugendliteratur
Schweizer
Geboren 1961
Frau

Monica Beurer


O Campeonato Asiático de Clubes de Voleibol Masculino de 2023 foi a 23.ª edição deste torneio organizado anualmente pela Confederação Asiática de Voleibol (AVC), que foi disputado entre os dias 14 e 21 de maio, na cidade de Manama, no Barém.

A equipe do Suntory Sunbirds conquistou o título asiático ao vencer o Jakarta Bhayangkara Presisi da Indonésia, tornando-se a primeira equipe japonesa a vencer o Campeonato Asiático de Clubes. O time catariano Police Volleyball Qatar assegurou o terceiro lugar na competição ao vencer o Shahdab Yazd do Irã. O oposto russo Dmitriy Muserskiy foi eleito o melhor jogador do torneio.

Formato de disputa
O torneio foi dividido em três fases: a fase preliminar, a fase classificatória e a fase final. A fase preliminar consistiu em um único turno, no qual todas as equipes do grupo se enfrentaram. As duas melhores equipes de cada grupo avançaram para os grupos E e F. Em seguida, os dois melhores colocados desses grupos disputaram as semifinais, enquanto as equipes restantes competiram pelas colocações do 5º ao 8º lugar. As equipes remanescentes foram classificadas nos grupos G e H, onde disputaram as colocações do 9º ao 16º lugar.

Critérios de desempate
 Número de vitórias
 Número de pontos
 Razão de sets
 Razão de pontos

 Partida com resultado final 3–0 ou 3–1: 3 pontos para o vencedor e 0 pontos para o perdedor.
 Partida com resultado final 3–2: 2 pontos para o vencedor e 1 ponto para o perdedor.

Equipes participantes
As seguintes equipes foram selecionadas a competir o torneio:

Fase preliminar
 As partidas seguem o horário local (UTC+3).

 Grupo A

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 Grupo B

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 Grupo C

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 Grupo D

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Fase classificatória
Os resultados e os pontos das partidas entre as mesmas equipes que se enfrentaram na fase preliminar serão levados em consideração para a fase classificatória.

 Grupo E

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 Grupo F

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 Grupo G

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 Grupo H

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Fase final
 13º – 16º lugar

 13º – 16º lugar

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 15º lugar

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 13º lugar

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 9º – 12º lugar

 9º – 12º lugar

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 11º lugar

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 9º lugar

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 5º – 8º lugar

 5º – 8º lugar

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 7º lugar

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 5º lugar

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 Semifinais

 Semifinais

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 Terceiro lugar

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 Final

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Classificação final

Premiações

Individuais
Os atletas que se destacaram individualmente foramː

Most Valuable Player (MVP)
  Dmitriy Muserskiy ()
Melhor oposto
  Amir Ghafour ()
Melhor levantador
  Masaki Oya ()
Melhor líbero
  Fahreza Rakha ()

Melhores ponteiros
  Mohammad Javad ()
  Alain De Armas ()
Melhores centrais
  Belal Abunabot ()
  Hendra Kurniawan ()

Ver também
 Campeonato Asiático de Clubes de Voleibol Feminino de 2023

Ligações externas

Campeonato Asiático de Clubes de Voleibol Masculino
Desporto no Bahrein em 2023
Asiático


İnneplihüyüğü, Adana ilinin Karataş ilçesine bağlı bir mahalledir.

Tarihçe
denize yakın olması nedeniyle oluşan kum tepeleri üzerinde bulunan innap dikenlerinin fazla olması nedeniyle mahallenin adı innaplıhüyüğü mahallesi olarak geçmektedir.

Coğrafya
Adana iline 50 km, Karataş ilçesine 53 km uzaklıktadır.

Nüfus

Dış bağlantılar
 Yerelnet

Karataş'ın mahalleleri

İnneplihüyüğü, Karataş


Campionatul Mondial de Fotbal din 2026 va fi cea de-a 23-a ediție a Campionatului Mondial de Fotbal.

Cea mai importantă competiție internațională de fotbal între țări și va fi găzduită de Canada, Mexic și Statele Unite în 2026. FIFA a primit 2 cereri de organizare a Campionatului Mondial de Fotbal din 2026 din partea următoarelor țări: Canada, Mexic, Statele Unite și Maroc; în cele din urmă primele 3 fiind câștigătoare pentru organizarea turneului. La data de 13 iunie 2018, la cel de al 68-lea Congres FIFA în Moscova, Canada, Mexic și Statele Unite au câștigat cu 134 de voturi, în timp ce Maroc a avut doar 65.

Acesta este primul turneu care se va organiza cu 48 de țări, până acum fiind organizat doar cu 32 de țări.

Legături externe

2026
Fotbal
Fotbal
Fotbal

Campionatul Mondial de Fotbal 2026


Thomas James "Tom" Gugliotta (født 19. december 1969, i Huntington Station, New York, USA) er en amerikansk tidligere basketballspiller (power forward) Han spillede 13 sæsoner i den nordamerikanske basketballliga NBA.

Gugliotta blev draftet til NBA i 1992 med det sjette valg i første runde. Han spillede for syv forskellige hold i ligaen, og blev en enkelt gang, i 1997, udtaget til NBA All-Star--kampen, en hædersbevisning for sæsonens bedste spillere. Inden sin professionelle karriere havde han spillet college-basketball for det traditionsrige North Carolina State-universitet.

NBA-hold
 1992–1994: Washington Bullets
 1994–1995: Golden State Warriors
 1995–1998: Minnesota Timberwolves
 1999–2004: Phoenix Suns
 2004: Utah Jazz
 2004–2005: Boston Celtics
 2005: Atlanta Hawks

NBA-statistikker
 Point: 9.895 (13,0 per kamp)
 Rebounds: 5.589 (7,3 per kamp)
 Steals: 1.079 (1,4 per kamp)

Titler
NBA All-Star
 1997 (repræsenterende Phoenix Suns)

Referencer

Eksterne henvisninger

Basketballspillere fra USA
Personer fra New York

Tom Gugliotta


Brezilya, Rio de Janerio'da en popüler iki plajdan biri Copacabana, diğeri Ipanema'dır. Copacabana'ya göre daha pahalı otellerin ve hareketli gece hayatının olduğu bir sahil şerididir.

Ipanema adı, Güney Amerika kıtasında Brezilya sahillerinde eskiden konuşulan 70 kadar yerli dilinden biri olan Tupicede "pis su" anlamına gelmektedir. Buradaki "pis" kelimesi suyun kirliliğini değil, sahillerin balık tutmaya elverişsizliğini anlatmak için kullanılmıştır. Zira buradaki kumun ve dalgaların özelliği dolayısıyla balıklar sahilden uzaklara kaçmaktadırlar.

Pek çok filmde ismi geçen Ipanema, özellikle Astrud Gilberto ve Stan Getz'in söylediği, sözleri Vinicius de Moraes'e bestesi Tom Jobim'e ait olan 'The Girl from Ipanema' (Garota de Ipanema) adlı parçası ile dünya çapında bir dönem ses getirmiş, keyifle dinlenen önemli klasiklerdendir.

Rio de Janeiro şehrindeki mahalleler
Brezilya'daki plajlar
Rio de Janeiro şehrindeki görülecek yerler

Ipanema


David van Kampen (født 17. februar 1933 i Leeuwarden) er en nederlandsk billedkunstner.

Van Kampen blev uddannet ved Rietveld Academy i Amsterdam. Han er en billedhugger og maler. Han bor og arbejder i sin hjemby Leeuwarden ().

Værker efter lokalitet
Burgum
 Organyske foarm út de prehistoarje (pleistoseen) Burgum (organisk form fra præhistorisk tid, pleistocæn)
Damwâld
 Gemeentlik monumint (1985), Haadwei (Kommunal monument)
Gerkeskleaster
 De Twilling (1982), Wigerathorp  (Tvillingen)
De Harkema
 De Mollefanger (1999), Nijkamp (mulvarpfangeren)
Huzum
 Túnker (1982) Huzum (gartneren)
Ljouwert
 Feekeaplju (1978), Snitserkade) (Bondemand)
Wolvegea
 Mins en dier (1968), Van der Sandeplein (mennesket og dyr)
Wâlterswâld
 Monumint foar de sûkereitylt (2004), Koaileane (Monument for cikorie dyrkning)

Eksterne henvisninger
 Officielle hjemmeside

Malere fra Nederlandene

David van Kampen


İslami Davet Partisi veya İslami Çağrı Partisi ( ), Irak'taki siyasi partilerden biridir. Irak Yüksek İslam Konseyi ile birlikte Şii Birleşik Irak İttifakı'nın iki ana partisidir. Ocak 2005 Irak seçimlerinde ve daha uzun vadeli Aralık 2005 seçimlerinde mecliste çok sayıda sandalye kazandı. Parti, İran-Irak Savaşı sırasında ve İran Devrimi'nde Ayetullah Ruhullah Humeyni'yi destekledi. Hala İran ile olan ideolojik farklılıklara rağmen Tahran'dan mali destek almaktadır.

Tarihi
1957'de, Şii lider Muhammed Sadık el-Kamûsî tarafından kuruldu. Onun ve partinin amacı ve İslami değerlere sahip, bilinçli siyasi mücadeleyle laikliği teşvik edecek bir hareket oluşturmak ve Irak'ta bir İslam devleti yaratmaktı. Kurulduğu dönemde Irak siyasetine laik Arap milliyetçiliği ve sosyalist fikirler hakim oldu. Muhammed Bekir Sadr - partinin filozof, teolog ve siyaset kuramcısı olarak kabul edildi - ruhani önder olarak ön plana olarak çıktı. Partinin ana hedeflerinden biri Saddam'ı yok etmek oldu. Parti, Vilayetü'l-Umme'ye (Ümmetin Yönetimi) dayalı siyasal ideolojinin temellerini ortaya koydu. Bu partiye benzer "ikiz" İslami Davet Partisi de, Muhammed Bekir El-Sadr'ın vizyonunu kabul eden Necef'te okumuş din adamları tarafından Lübnan'da kuruldu. El-Kamûsî de bu partide yer aldı ve "Hizbullah" olarak bilinen Lübnan'daki siyasi partinin lideri oldu.

Parti, 1970'lerde Şii ulema ve gençlik arasında güç kazandı. Askeri darbeyle gelen Irak hükûmetine karşı silahlı isyanı tahrik eden bir parti olarak rejimin istikrarını tehdit etti. 1970'lerde hükûmet, Şii dergi Risâletü'l-İslam ve birçok dini eğitim kurumunu kapattı. Hükûmet, ulusal askerlik hizmetini üstlenecek Iraklılar yükümlü bir yasa çıkardı. Baasçılar 1972 senesinden itibaren partinin üyelerini tutuklamaya başladı. 1974 yılında, 75 El-Davet üyesi tutuklandı ve Baasçı devrimci mahkeme tarafından ölüme mahkûm edildi. 1975 yılında hükûmet, "Marad El-Ras" olarak bilinen yıllık Kerbela-Necef alayını iptal etti. 1970'ler boyunca baskıcı tedbirlere maruz kalan parti tarafından hükûmete büyük ölçekli muhalefet olarak Marad El-Ras alayı yapıldı. Bir kısım parti üyesi sürgün edildi. Necef sürgünleri, İran'ın gelecekteki ruhani lideri olan Ayetullah Ruhullah Humeyni ile ilişki kurdu. Parti, 1980 yılında yasaklandı ve üyeleri Irak Devrim Komuta Konseyi tarafından gıyabında ölüm cezasına çarptırıldı.

İran İslam Devrimi ve ABD Büyükelçiliği'nin bombalanmaması
Parti, İran İslam Devrimi'ni destekledi ve İran hükûmetinden desteğini aldı. İran-Irak Savaşı sırasında, Irak'ta Saddam Hüseyin'in Baas hükûmetine karşı İran destekli bir ayaklanma başlattı. 1979 yılında Davet, merkezini İran'ın başkenti Tahran'a taşıdı. Aralık 1981 yılında uluslararası saldırıların ilkini Irak'ın Beyrut Büyükelçiliği'ne yaptı. Davet partisinin, ABD'nin Kuveyt Büyükelçiliği'nin yanı sıra, İran'a karşı savaşında Irak'a yardım eden Fransa'nın askeri ve mali yardım sağlayan tesislerine  saldırılar düzenledi. Bombalama nedeniyle mahkûm olanlardan biri olan Cemal Cafer Muhammed, Başbakan Nuri El Maliki'nin koalisyon iktidarı kabinesi üyesi ve Irak parlamento üyesi oldu.

Bu işbirliğine rağmen, Sadr ve Humeyni'nin "İslam Cumhuriyeti" anlayışları keskin farklılıklar içeriyordu. Humeyni devletin güclü olması ile ulemanın dinlenmesi görüşünü ederken, El-Davet ümmetin dinlenmesinin desteklemiyordu. Bu anlaşmazlık, parti içinde ayrı bir grup olarak IDYK'nın oluşumuna yol açan bir etken oldu. Parti, 1980'lerde birkaç Sünni İslamcı grupla iletişim kurdu. 31 Mart 1980 tarihinde, Baasçı rejimin Devrim Komuta Konseyi, Davet Partisi'ne bağlı kuruluşların kapanması ve parti hedefleri için çalışan geçmişteki ve etkin üyelerini ölüme mahkûm eden yasa çıkardı. Bu yasadan sonra Irak rejimi acımasız bir tasfiye hareketi başlattı.

Batıda İran ile olan çatışması sebebiyle Irak'ı destekleyici olma eğilimi partinin İran-Irak Savaşı sırasında terör örgütü olarak görülmesine sebep oldu. Bu başka bir yerde, Batı ve Sünni hedeflere karşı cumhurbaşkanı, başbakan ve diğerleri gibi saldırılara karşı Irak'ta suikast girişimi bir dizi sorumlu düşünülmektedir. Parti 1980 yılında Tarık Aziz'e, 1982, 1987 ve 2002 yılında Saddam Hüseyin'e başarısız suikast girişimi gerçekleştirdi.

80'lerde Muhammed Bekir el-Sadr'a karşı
Iraklı Şiilerin önderi Muhammed Bekir el-Sadr, Havza öğrencilerinin Davet Partisi'ne katılmasını yasakladı. Parti bundan sonra Necef'te bulunan diğer dini liderlerden Ebu'l-Kasım El-Heyi'ye bağlılığını ilan etti.

1990'lar
Körfez Savaşı'ndan sonra, partinin ve Amerika Birleşik Devletleri'nin çıkarları birbirine daha yakın oldu. Parti bu yakınlığa dayanarak ABD'ye, iktidara geldiğinde, anayasal demokratik, çoğulcu bir Irak içinde insan hakları ve hukukun üstünlüğü" sözünü verdi. Davet Partisi Saddam Hüseyin'den  sonra Irak'ın nasıl yönetileceğine dair görüşler üzerinde Kürt partilerle anlaşmazlıklar yaşamasına rağmen 1992 ve 1995 yıllarındaki kongrelere katıldı.

2003 ABD İşgali
Partinin önde gelen yöneticilerinin büyük bölümü ABD'nin Irak'ı işgal etmesine kadar sürgünde kaldı. Bu dönemde bazı gruplar ilDYK'ye katıldı. Davet Partisi, diğer Şii Irak İslam muhalefet partilerinin aksine savaşa karşı bir tavır aldı. İbrahim El Caferi şahsen, 2003 Irak Savaşı nedeniyle İngiltere'de yapılan savaş karşıtı protestolara katıldı.

Kaynakça

Irak'taki siyasi partiler
Şii siyasi partiler
1958'de kurulan siyasi partiler

İslami Davet Partisi


تصفيات بطولة آسيا تحت 17 سنة لكرة القدم 1992

المجموعة 1

المجموعة 2

المجموعة 3

المجموعة 4

المجموعة 5
أقيمت جميع مباريات المجموعة في كاثماندو, نيبال

المنتخبات المتأهلة

  (المستضيف)

بطولة آسيا تحت 17 سنة لكرة القدم 1992
تصفيات بطولة آسيا تحت 16 سنة لكرة القدم
بطولة آسيا للناشئين تحت 16 سنة 1992


Silvia Pérez (Montevideo, 30 de mayo de 1962), es una periodista, autora, comunicadora y columnista uruguaya.

Biografía

Desde 1987 hasta 1992 trabajó en la radio Alfa FM en los programas "Primer plano" y "Sábados deportivos". Siempre se dedicó a la sección deportes y desde 1987 hasta 1994 trabaja en el informativo de Canal 5. Dedicada a la prensa deportiva escribe artículos para el suplemento deportivo Ovación del diario El País.

Integra el equipo de periodistas de Estadio Uno en Canal 5, clásico de la televisión del Uruguay que comenzó en 1970 y que dirige Julio Sánchez Padilla, siendo Pérez la única mujer que ocupó un lugar en la mesa de ese programa desde 2000. Además de Padilla y Pérez, el equipo se completa actualmente con Mario Bardanca y Axel Fucks.

Madre de tres hijos: Martina, Diego y Daniel. Forma parte como mentora de la organización Vital Voices.
En 2016, publicó el libro Peñarol campeón del mundo junto con Luis Prats, Pérez es la responsable de la entrevista a Néstor Goncalvez.

Libro
 2016, 1966. Peñarol campeón del mundo. (ISBN 9789974109735)

Referencias

Presentadores de televisión de Uruguay
Periodistas deportivos de Uruguay
Locutores de radio de Uruguay
Escritores en español
Nacidos en Montevideo
Periodistas deportivas
Mujeres periodistas de Uruguay

Silvia Pérez (periodista)


The Jackson Purchase, also known as the Purchase Region or simply the Purchase, is a region in the U.S. state of Kentucky bounded by the Mississippi River to the west, the Ohio River to the north, and the Tennessee River to the east.

Jackson's Purchase also included all of Tennessee west of the Tennessee River. However, in modern usage the term refers only to the Kentucky portion of the Jackson Purchase. The southern portion is simply called West Tennessee.

Geography
The Purchase comprised what is now eight counties, with a combined land area of 3,394.8 square miles (6,202.5 km2), about 6.03 percent of Kentucky's land area. Its 2010 census population was 196,365 inhabitants, equal to 4.53 percent of the state's population. Paducah, the largest city and main economic center, has just over 25,000 residents. The region's other two largest cities, Murray and Mayfield, have about 18,000 and 10,000 residents respectively. The main educational institution is Murray State University.

Counties
 Ballard County
 Calloway County
 Carlisle County
 Fulton County
 Graves County
 Hickman County
 Marshall County
 McCracken County

Economy
Though chiefly an agricultural economy, tourism is an important industry in the Purchase, focused chiefly on water-related activities at the TVA-created Kentucky Lake.  Together with the portion of the Tennessee River north of Kentucky Dam, it forms the eastern border of the Purchase.

History

Origin
The land was ceded after prolonged negotiations with the Chickasaw Indians in which the United States was represented by Andrew Jackson and Isaac Shelby, while the Chickasaws were represented by their chiefs, head men, and warriors including: Levi Colbert, his brother George Colbert, Chinubby, and Tishomingo.  On October 19, 1818, the two sides agreed to the transfer by signing the Treaty of Tuscaloosa.  The United States agreed to pay the Chickasaw people $300,000, at the rate of $20,000 annually for 15 years, in return for the right to all Chickasaw land east of the Mississippi River and north of the new state of Mississippi border.

After statehood
Although claimed as part of Kentucky at its statehood in 1792, the land did not come under definitive U.S. control until 1818, when General Andrew Jackson and ex-Kentucky governor Isaac Shelby, representing the United States federal government, purchased it from the Chickasaw Indians through several treaties, including the Treaty of Tuscaloosa.

Historically, this region has been considered the most "Southern" of Kentucky; having an agricultural economy tied to cotton plantations and the use of enslaved labor before the Civil War, the Purchase in the years after the war voted as the most staunchly Democratic region in Kentucky. For well over a century, it provided such overwhelming margins for Democratic candidates that Kentucky Democrats routinely called it the "Gibraltar of Democracy".  The most widely circulated newspaper and media outlet in the Purchase, The Paducah Sun, was once named the Paducah Sun-Democrat (see WPSD-TV). Due to changing demographics, most counties in the Purchase in the early 21st century have populations that are overwhelmingly white. Many African Americans left the area after the Civil War and in the Great Migration of the 20th century.

During the Civil War, the Purchase was the area of strongest support for the Confederate cause. On May 29, 1861, a group of Southern sympathizers from Kentucky and Tennessee met at the Graves County Courthouse in Mayfield to discuss the possibility of aligning the Purchase with West Tennessee. Most records of the event were lost, possibly in an 1864 fire that destroyed the courthouse. After the War the region heightened its sense of being "Southern".

In 1907, Fulton County judge Herbert Carr declared in a speech that the Mayfield Convention adopted a resolution for secession, and a historical marker in front of the courthouse also proclaims this as fact. But, the surviving records of the meeting, authored by a Union sympathizer, make no mention of this resolution. Historian Berry Craig states that the convention believed the whole of Kentucky would eventually secede and make unnecessary a separate resolution for the Purchase to break away.

Records do show that the convention adopted resolutions condemning President Abraham Lincoln for "waging a bloody and cruel war" against the South, urging Governor Beriah Magoffin to resist Union forces and praising him for refusing to answer Lincoln's call for soldiers, and condemning the provision of "Lincoln guns" to Union sympathizers in Kentucky. The convention nominated Henry Burnett to represent Kentucky's First District in Congress. The Mayfield Convention was a precursor to the later Russellville Convention, that formed the provisional Confederate government of Kentucky.

Since the late 20th century, the Purchase has voted for Republicans in national elections while giving higher percentages to candidates of the Democratic Party in state and local elections. This trend is similar to realignment among white conservatives in other parts of the South. , however, the region's delegation in the Kentucky General Assembly included both Republican Party and Democratic Party representatives. For the first time in history, that year the region elected Republicans for both of its two state senators.

The Purchase is within Kentucky's 1st congressional district. , 67% of all Purchase voters are registered Democrats and 27% of Purchase voters are registered Republicans. In keeping with the South generally, Purchase Democrats are more conservative than many in the national party. (see also Blue Dog Democrats).

Notable people
Notable people from the region include:

 Alben W. Barkley, Vice President of the United States, 1949–1953, United States Senate Majority Leader, represented Kentucky in the U.S. Senate, 1927–1949 and 1955–1956, represented the First District in the United States House of Representatives, 1913–1927
 Julian Carroll, Lieutenant Governor of Kentucky, 1971–1974, and 54th Governor of Kentucky, 1974–1979
 Steven Curtis Chapman, Christian music artist
 Irvin Cobb, humorist and author
 Jackie DeShannon, singer/songwriter
 Steve Finley, major league baseball player, 1989–2007
 Joe Fulks, basketball player
 Noble Jones Gregory, represented the First District in the United States House of Representatives, 1937–1958
 William Voris Gregory, represented the First District in the United States House of Representatives, 1927–1936
 Robert H. Grubbs, Nobel Prize winner in Chemistry, 2005
 Carroll Hubbard, represented the First District in the United States House of Representatives, 1975–1992
 Frank Stubblefield, represented the First District in the United States House of Representatives, 1959–1974
 Lloyd Tilghman, Confederate general
 Harry Lee Waterfield, Lieutenant Governor of Kentucky, 1955–1959 and 1963–1967

References

Further reading
 Clark, Thomas D. "The Jackson Purchase: A Dramatic Chapter in Southern Indian Policy and Relations." Filson Club Historical Quarterly 50 (1976): 302–20.
 Davis, Darrell Haug. Geography of the Jackson Purchase (Kentucky Geological Society, 1923).
 Hoskins, Patricia. "'The Old First is With the South:' The Civil War, Reconstruction, and Memory in the Jackson Purchase Region of Kentucky." (PhD Auburn University 2009) online  bibliography pp 296–315.
 Kleber, John E. Ed. The Kentucky encyclopedia (1992) online
 Whitesell, Hunter B. "Military Operations in the Jackson Purchase Areas of Kentucky, 1862–1865," Register of the Kentucky Historical Society 63 (April 1965): 141–167.
 WPA, Kentucky: A Guide to the Bluegrass State  (1939); classic guide from the Federal Writers Project; covers main themes and describes every town and feature, with capsule histories online

External links
 Jackson Purchase Historical Society

Regions of Kentucky
History of Kentucky
History of United States expansionism
Andrew Jackson
1818 in the United States
1818 in Kentucky
Historical regions in the United States
History of Tennessee
Aboriginal title in the United States
October 1818 events
Regions of Tennessee
Chickasaw

Jackson Purchase


The treasurer of Australia, also known as the Federal treasurer or simply the treasurer, is the minister of state of the Commonwealth of Australia charged with overseeing government revenue collection, federal expenditure and economic policy as the head of the Department of the Treasury. The current treasurer is Jim Chalmers, who was appointed by Prime Minister Anthony Albanese in May 2022 following the 2022 Australian federal election.

The Treasurer implements ministerial powers through the Department of the Treasury and a range of other government agencies. According to constitutional convention, the Treasurer is always a member of the Parliament of Australia with a seat in the House of Representatives. The office is generally seen as equivalent to the Chancellor of the Exchequer in the United Kingdom or the Secretary of the Treasury in the United States or, in some other countries, the finance minister. It is one of only four ministerial positions (along with Prime Minister, Minister for Defence and Attorney-General) that have existed since Federation.

Duties and importance
The Treasurer is the minister in charge of government revenue and expenditure. The Treasurer oversees economic policy: fiscal policy is within the Treasurer's direct responsibility, while monetary policy is implemented by the politically independent Reserve Bank of Australia, the head of which is appointed by the Treasurer. The Treasurer also oversees financial regulation. Each year in May, the Treasurer presents the Federal Budget to the Parliament.

The Prime Minister and Treasurer are traditionally members of the House, but the Constitution does not have such a requirement. The tradition is due to the fact that under the constitution, appropriate bills have to originate from the House, and if the Treasurer is a senator, they would not be able to introduce the bills. This would also mean another minister would need to give the nationally televised budget speech and introduce the bills. While no Federal Treasurer has been a member of the Senate, New South Wales, Victoria, Tasmania and South Australia had state Treasurers who had served as members of the Legislative Councils, the states' upper houses.

The Treasurer is a very senior government post, usually ranking second or third in Cabinet. Historically, many Treasurers have previously, concurrently or subsequently served as Prime Minister or Deputy Prime Minister; two subsequently served as Governor-General. Service as Treasurer is seen as an important (though certainly not essential) qualification for serving as Prime Minister: to date, six Treasurers have gone on to be Prime Minister.

Paul Keating and Wayne Swan are currently the only two to have been named "Euromoney Finance Minister of the Year" by Euromoney magazine.

Since 1958, Treasurers in Coalition governments have often but not always been the deputy leader of the Liberal Party. In contrast, only four Labor Treasurers have also been the deputy leader of the Labor Party.

Related ministerial positions
Along with the Treasurer, other ministers have responsibility for the Department of the Treasury. The Treasurer together with these other ministers are known as the "Treasury Ministers". At present, the Treasury Minister positions are:
 Treasurer
 Assistant Treasurer
 Minister for Small Business

The work of the Department of Finance is closely related to the work of the Department of the Treasury, with the former responsible for budget formation and operational management of government finances. The ministers who have responsibility for the Department of Finance are:
 Minister for Finance
 Special Minister of State

Treasury portfolio
Eleven organizations nominally fall under the auspices of the Australian Treasurer.  The agencies undertake a range of activities aimed at achieving strong sustainable economic growth and the improved well-being of Australians. This entails the provision of policy advice to portfolio ministers who seek to promote a sound macroeconomic environment; effective government spending and taxation arrangements; and well-functioning markets. It also entails the effective implementation and administration of policies that fall within the portfolio ministers' responsibilities.

 The Department of the Treasury creates policies and reports for four output groups. These groups are macroeconomic, fiscal, revenue, and markets:
 Macroeconomic reports include: domestic economic policy advice and forecasting; and international economic policy advice and assessment.
 Fiscal reports include: budget policy advice and coordination; Commonwealth-State financial policy advice; and industry, environment and social policy advice.
 Revenue reports include: taxation and income support policy advice.
 Markets reports include: foreign investment policy advice and administration; financial system and corporate governance policy advice; competition and consumer policy advice; and actuarial services. In addition, the Royal Australian Mint is responsible for producing Australia's circulating currency.
 The Australian Bureau of Statistics is Australia's official statistical agency. Its reports are created for informed decision-making, research and discussion within governments and the community, based on the provision of a high quality, objective and responsive national statistical service. It principally relates to the production of economic, population and social statistics.
 The Australian Competition and Consumer Commission outputs are directed at enhanced social and economic welfare of the Australian community by fostering competitive, efficient, fair and informed Australian markets. It strives for compliance with competition, fair trading and consumer protection laws and appropriate remedies when the law is not followed; and competitive market structures and informed behaviour.
 The Australian Office of Financial Management manages the Commonwealth's net debt portfolio. Its reports on debt management directed at ensuring that the Commonwealth net debt portfolio is managed at least cost, subject to the Government's policies and risk references.
 The Australian Prudential Regulation Authority is the financial supervisor responsible for prudentially regulating the banking, other deposit-taking, insurance and superannuation industries. It aims at enhanced public confidence in Australia's financial institutions through a framework of prudential regulation which balances financial safety and efficiency, competition, contestability and competitive neutrality.
 The Australian Securities and Investments Commission (ASIC) is the independent government body that enforces and administers the Corporations Law and Consumer Protection Law for investments, life and general insurance, superannuation and banking (except lending). Its outputs aim at a fair and efficient financial market characterised by integrity and transparency and supporting confident and informed participation of investors and consumers. Outputs include: policy and guidance about the laws administered by ASIC; comprehensive and accurate information on companies and corporate activity; compliance, monitoring and licensing of participants in the financial system to protect consumer interests and ensure market integrity; and enforcement activity to give effect to the laws administered by ASIC.
 The Australian Taxation Office outputs are directed at effectively managed and shaped systems that support and fund services for Australians and give effect to social and economic policy through the tax, superannuation, excise and other related systems. Outputs include: shape, design and build administrative systems; management of revenue collection and transfers; compliance assurance and support - revenue collection; compliance assurance and support for transfers and regulation of superannuation funds compliance with retirement income standards; and services to governments and agencies.
 The Corporations and Markets Advisory Committee (CAMAC) creates reports directed at confident and informed participation of investors and consumers in the financial system. It makes recommendations to the responsible Minister on the Corporations Law, and produces an annual report. It publishes this annual report, along with other discussion papers and reports.
 The Inspector-General of Taxation is an independent statutory office to review systemic tax administration issues and to report to the Government with recommendations for improving tax administration for the benefit of all taxpayers.
 The National Competition Council is an independent advisory body for all Australian governments involved in implementing the National Competition Policy. Its outputs are aimed at the achievement of effective and fair competition reforms and better use of Australia's infrastructure for the benefit of the community. Outputs include: advice provided to governments on competition policy and infrastructure access issues; and clear, accessible public information on competition policy.
 The Productivity Commission contributes to well informed policy decision-making and public understanding on matters relating to Australia's productivity and living standards, based on independent and transparent analysis from a community-wide perspective. Outputs include or relate to: government commissioned projects; performance reporting and other services to government bodies; regulation review activities; competitive neutrality complaints activities; and supporting research and activities and statutory annual reporting.

List of Treasurers
The following individuals have been appointed as Treasurer of Australia:

 Treasurers Watson, Fisher, Scullin, Lyons, Fadden, Menzies, Chifley, Whitlam, Hawke and Morrison were also Prime Minister during some or all of their period as Treasurer.
 Morrison was appointed as Treasurer by the Governor-General on Morrison's advice in May 2021, with both Morrison and Frydenberg holding the position of Treasurer until May 2022. However, the appointment of Morrison was not made public until August 2022.

Living former treasurers

As of , there are ten living former treasurers of Australia, the oldest being Ralph Willis (served 1991, 1993−1996, born 1938). The most recent treasurer to die was Bill Hayden (served 1975) on 21 October 2023. The most recently serving treasurer to die was John Kerin (served 1991) on March 29, 2023.

List of Assistant Treasurers
The following individuals have been appointed as Assistant Treasurer, or any precedent titles:

List of assistant ministers for competition, charities and treasury
The following individuals have been appointed as Assistant Minister for Competition, Charities and Treasury, or preceding titles:

Former ministerial titles

List of ministers for competition policy and consumer affairs
The Competition and Consumer Act 2010 (formerly the Trade Practices Act 1974) is administered by the Treasurer through the Australian Competition and Consumer Commission, but was formerly administered by other ministers. The following individuals were appointed as ministers with responsibility for competition and consumer affairs matters:

References

External links

Lists of government ministers of Australia

Treasurer of Australia


Alfredo Cavero Piaggo (Lima, 16 de abril de 1923 - 18 de junio del 2008) fue un futbolista peruano. Se desempeñaba como defensa y es reconocido por ser el primer capitán en la historia del Sporting Cristal junto a Alberto Del Solar, en el primer campeonato de la institución rimense.

Muchas veces decía tener como apellidos "Cavero Mattos", siendo el segundo el apellido de la señora que lo crio en su niñez.

Trayectoria

Alfredo Cavero hizo su debut en el Sporting Tabaco en 1945. Luego jugó en la época del "Dorado" colombiano en el América de Cali en 1949 donde destacó junto a su compañero rimense Leonidas 'Tundete' Mendoza.

Regresó al Sporting Tabaco en 1953, fue uno de los que pasó a Sporting Cristal que participó en el torneo 1956, ese año se consolidó como baluarte en la defensa donde le dieron la capitanía (junto a Alberto Del Solar) por recomendación del experimentado Rafael Asca, a fines de ese año se consagró campeón.

Se retiró en 1958 para dedicarse al periodismo deportivo.

Clubes

Palmarés

Referencias

Enlaces externos
 Testimonio de Alfredo Cavero

Nacidos en Lima
Futbolistas de Perú
Futbolistas del América de Cali
Futbolistas del Club Sporting Tabaco
Futbolistas del Club Sporting Cristal en los años 1950
Futbolistas de Perú en el Campeonato Sudamericano 1957

Alfredo Cavero