April 30, 2012
Directed by Steve Badham, 1985)Stars David Grant a Marcus, a young cyclist who dreams of winning a prestigious bike race in colorado, with a young kevin Costner supporting as his elder brother, a failed international. Also written by Tesich(Breaking Away) , this one uses cycling to explore the tensions within Marcus’s family. Great ’80′s soundtrack, the most fearsome beard in cycling ans fine location shooting from the coors classic. Badham was also responsible for the iconic disco film Saturday Night Fever.
( inspired the Hindi movie ‘Jo Jeeta woh Sikandar’ )
April 30, 2012
Breaking Away is a 1979 American film. A coming of age story, it follows a group of four male teenagers inBloomington, Indiana, who have recently graduated from high school. It stars Dennis Christopher, Dennis Quaid,Daniel Stern (in his first film role), Jackie Earle Haley, Barbara Barrie and Paul Dooley. The film was written by Steve Tesich (an alumnus of Indiana University) and directed by Peter Yates. Tesich would go on to script another cycling-themed film, American Flyers, starring Kevin Costner. The film was shot in and around Bloomington, Indiana and on the scenic campus of Indiana University.
The film won the 1979 Academy Award for Best Original Screenplay for Tesich, and also received nominations forBest Actress in a Supporting Role (Barbara Barrie), Best Director, Best Original Score and Best Picture. The film also won the 1979 Golden Globe Award for Best Film (Comedy or Musical).
The film is ranked eighth on the List of America’s 100 Most Inspiring Movies compiled by the American Film Institute(AFI) in 2006. In June 2008, AFI announced its “Ten top Ten”—the best ten films in ten “classic” American film genres—after polling over 1,500 people from the creative community. Breaking Away was acknowledged as the eighth best film in the sports genre
April 30, 2012
A Sunday in Hell (original title: En Forårsdag i Helvede) is a 1976 Danish documentary film directed by Jørgen Leth. The film is a chronology of the 1976 Paris–Roubaix bicycle race from the perspective of participants, organizers and spectators.
Paris–Roubaix is the most famous and usually the most dramatic of the spring classics. Much of the latter portion is over narrow, cobbled tracks that choke with dust on dry days and become slick and muddy in rain. For the riders it’s a challenge to keep going without puncturing or crashing.
The film captures not just the events of the 1976 edition but the atmosphere of a professional race. It begins by introducing the contenders: Eddy Merckx, Roger De Vlaeminck (the previous year’s winner), Freddy Maertens, andFrancesco Moser, each with their supporting riders (the domestiques), who are charged with helping their team leader win. The film gives views of the team directors, protesters (the race is halted for a while), spectators, mechanics and riders. As the cobbled section is entered the selection begins. Riders puncture, crash, make the wrong move – the race plays out. By the finish in the velodrome in Roubaix only a few are in with a chance. The winner is a surprise, but that is part of the appeal. Post-race the exhausted riders, mired in dirt, give interviews in the velodrome’s showers. They look like men who have been to hell and back
April 30, 2012
Bicycle Thieves (Italian: Ladri di biciclette), also known as The Bicycle Thief, is a 1948 Italian neo-realist film directed by Vittorio De Sica. It tells the story of a poor man searching the streets of Rome for his stolen bicycle, which he needs to be able to work. The film is based on the novel of the same name by Luigi Bartolini and was adapted for the screen by Cesare Zavattini. It stars Lamberto Maggiorani as the poor man searching for his lost bicycle and Enzo Staiola as his son.
It was given an Academy Honorary Award in 1950, and, just four years after its release, was deemed the greatest film of all time by the magazine Sight & Sound‘s poll of filmmakers and critics in 1952. The film placed sixth as the greatest ever made in Sight & Sound’s latest directors’ poll, conducted in 2002, and was ranked in the top 10 of the BFI list of the 50 films you should see by the age of 14.
The plot of the 2007 Tamil film, Polladhavan, which features Dhanush trying to find his stolen bike, was loosely inspired by Bicycle Thieves.
April 27, 2012
In the artistic work of Salvador Dali, it is possible to discover numerous sporting elements incorporated almost exclusively in the presurrealist and surrealist periods.
Dali’s affection for cycling is reflected in some of his pictorial works. In several of them, he represents a horde of cyclists, riding in various directions in a perspective of great depth ; the
cyclists — all bearded — carry different objects on their heads : round stones in “Illuminated Pleasures” (1929), long loaves of bread in “Babaouo” (1932), heavy stones that hold down the
ends of an ample wedding veil in the decor for the ballet “Sentimental Conversation” (1944) and strange tubers in “Surrealistic Gondola on Burning Bicycles” (1934). In other canvases — “The
Little Theatre” (1934), “Medium-paranoiac Image” (1935), “Perspectives” (1936), or “Hollywood” (1967) — it is possible also to observe among the characters a few cyclists crossing the
scene. In 1959, Dali painted one of the twentythree official postcards for the Tour de France.
April 27, 2012
Jean Metzinger, a sensitive and intelligent theoretician of Cubism, sought to communicate the principles of this movement through his paintings as well as his writings. Devices of Cubism and Futurism appear in At the Cycle-Race Track, though they are superimposed on an image that is essentially naturalistic. Cubist elements include printed-paper collage, the incorporation of a granular surface, and the use of transparent planes to define space. The choice of a subject in motion, the suggestion of velocity, and the fusing of forms find parallels in Futurist painting. Though these devices are handled with some awkwardness and the influence of Impressionism persists, particularly in the use of dots of color to represent the crowd in the background, this work represents Metzinger’s attempt to come to terms with a new pictorial language.
The question of whether the theoretical aspects of Cubism enunciated by Metzinger bore any relation to the development in science at the beginning of the twentieth century has been vigorously disputed by art critics, historians and scientists alike. Yet in Du “Cubisme” Jean Metzinger and Albert Gleizes articulate: “If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidian mathematicians; we should have to study, at some length, certain of Riemann’s theorems.”
There was, after all, little to prevent the Cubists from developing their own pictorial variants on the topological space in parallel to (or independently of) relativistic considerations. Though the concept of observing a subject from different points in space and time simultaneously (multiple or mobile perspective) developed by Metzinger and Gleizes was not derived directly from Albert Einstein’s theory of relativity, it was certainly influenced in a similar way, through the work of Jules Henri Poincaré (particularly Science and Hypothesis), the French mathematician, theoretical physicist and philosopher of science, who made many fundamental contributions to algebraic topology, celestial mechanics, quantum theory and made an important step in the formulation of the theory of special relativity.
April 27, 2012
Consider a man riding a bicycle. Whoever he is, we can say three things about him. We know he got on the bicycle and started to move. We know that at some point he will stop and get off. Most important of all, we know that if at any point between the beginning and the end of his journey he stops moving and does not get off the bicycle he will fall off it. That is a metaphor for the journey through life of any living thing, and I think of any society of living things. ~William Golding
(A metaphor is an equation where a simile is an approximation.)