AIM missions trips place an emphasis on evangelism. Benny uses revivals, crusades, and international mission trips to spread the Gospel of Jesus Christ to a lost world. We will continue to work diligently in calling men and women to repent of their sins and receive the Lord Jesus Christ into their hearts by faith.
The City, Refuse, Passion, and Death: On the Work of Filmmaker Dominic Angerame by Stefan Grissemann Since the s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy.
He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.
His films testify to an encyclopedic knowledge of film—and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience. His practical work in film is informed by essentially one principle: Dominic Angerame is a marginalized filmmaker.
Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: Angerame shows us a world at work, in transformation—and, at the same time, he brings out the hierarchies implicit in that world: The workers remain anonymous, and the masks they wear emphasize their lack of identity.
By stylizing the urban everyday, Angerame translates it back into its emblematic quality in a series of astonishing signs.
His film language follows—as in the fundamental cinematographic dramatization of white sun and black tar in Continuum, for example—a strict sensual order. The first film captures for one last time on film the emptied Embarcadero Freeway in San Francisco, which was damaged beyond repair in the earthquake, right before it was torn down.
Similar to the filmmaker Peter Hutton, Angerame stylizes his urban landscapes into half-abstract, extremely painterly compositions.
The ghostly calm that hovers over Premonition and the intense interest in construction details are reminiscent of the austere architecture films of Heinz Emigholz. Angerame films buildings, streets, and the construction of bridges by making them visually dynamic and rendering them strange in a sketchily, futuristic way: Small details of movement break out of the unmoving, solidified world of this film: The hyperrealistic soundtrack that Angerame employs in Premonition is calculated to irritate: The early El Train Film, for example, autobiographically motivated and already employing an advanced editing technique, deals with the utopia of continuous movement, of life as a journey.
In the mids, Angerame relates, he lived in northern Chicago right by the tracks, where he could always hear the trains: One can always make a film out of a pair of disposable objects.
With his film Hit the Turnpike! Angerame productively uses the detritus of his filmmaker correspondence in a moving collection of cryptic signs, signatures, and logos.
He then projects onto her body images from the location—not only artist studios, a train museum, and a police laboratory, but also of the largest toxic waste dump in the city.
In this ambience of shipyard work and industrial and possibly radioactive waste, Angerame creates a kind of music video in which all manner of strange and even improvised documentary events take place.
They found, Angerame writes in the notes to the film, no traces of radioactivity in their measurements. In A Ticket Home he works so quickly with concrete images that they morph into partial abstractions.
The film fastens onto figures and details:Persuasive films originally called documentary films until the term evolved to refer to all nonfiction films; the founding purpose of persuasive documentaries was to address social injustice, but today any documentary concerned with presenting a particular perspective on social issues or with corporate and governmental injustice of any kind.
Concerned Women for America - CWA is the nation's largest public policy women's organization. These women and men have joined together to protect, and promote Biblical values among all citizens thereby reversing the decline in moral values in our nation.
In the film, Thanos truly believes that he is doing the right thing, but since he is the villain everyone in the audience is theoretically supposed to be rooting for him to be defeated.
But instead of being universally hated, Thanos has become the big breakout star from this movie. Infinite Loop Films is an independent production group begun in in Northwest Tennessee.
It is primarily concerned with feature film production on digital media, though it will eventually expand to optical media as well.
Preston Rehabilitation Center: Drug Rehab #[ Preston Rehabilitation Center ]# Find Out How You Can Start Rehab Today! In making its story primarily about one white man’s redemption, the film falls back on a well-worn if still potent dramatic trope.