Frank Erwin Center
"...Another problem is scant historical information about why there is a conflict in the first place. Aside from a few short sentences at the beginning of the film, there is no mention of how the League of Nations (controlled by Great Britain and France, the leading colonial powers of the time), after World War I, carved up the former Ottoman Empire (which is now Israel, the West Bank, the Gaza Strip, and Jordan) and placed it under semi-colonial control of the British..."
"...Starring: Catherine Deneuve, Henri Marteau, Vincent Perez, Linh Dan Pham and Jean Yanne. In the last year or so, French cinema has taken a retrospective look at its country's colonial legacy in Southeast Asia through such films as The Lover and (the not-yet released in the U.S.) Dien Bien Phu..."
"...From the first scene, that familiar stately, umberish radiance fills the screen with the M-I promise of aesthetic refinement through well-crafted middlebrow entertainment. But as director Merchant -- normally the team's producing half -- unfolds his soap opera-ish tale of class conflict and resentment in the post-Colonial India of the early 1950s, it becomes all too clear that what we're watching is, all pretenses aside, nothing but tarted-up melodrama..."
"...Obama's fist-bump terrorism victim would have choice words for Perry, Singapore may get a little less colonial, and 'ex-gay' reparative therapy claims another victim, as your AggreGAYtor takes to feeling queer and gay...."
"...Rockwell plays Victor Mancini, a man of many hats, all of them off-putting. He’s a sex addict who goes to a recovery group mostly to score fresh meat; a medical-school dropout who pays the bills as a Colonial America re-enactor, with a sideline scam as a choking victim in restaurants; and an unloved, oft-abandoned son who's trying to lay the cute doctor (Macdonald) attending his Alzheimer's-addled mother (Huston)..."
"...Water, which examines the second-class status of women in traditional Hindu society, concludes director Mehta’s “elemental trilogy” (the other two films in the series are Fire and Earth). Although the story is set in colonial India of 1938 and coincides with Gandhi’s rise to power, the film paints a picture of religious fundamentalism that remains intrinsically unchanged despite secular social advances that have occurred during the intervening decades..."
"...Nevertheless, Project A -- Part II manages to provide opportunities for a number of excellent gags, with the eternally bemused Chan acting more like a refugee from an early Chaplin film than any of the martial arts ubermensches we have here in the West. As Dragon Ma, Chan is a maverick coast guard officer in turn-of-the-century Hong Kong, a time when British colonial rule all too often meant the victimization of ordinary citizens by bribe-taking toadies and well-intentioned Brits who just didn't get it..."
"...Starring: Smita Patil and Naseeruddin Shah. This 1989 film is set in 1940s colonial India and tells the story of the women of a particular village's rebellion against male tyranny...."
"...He also has a way with stereotypes. As with Driving Miss Daisy, the racial stereotypes presented are somewhat cliched, though Mister Johnson's setting in British colonial Africa in the 1920s makes the portraits understandable..."
"...Texas Lady Democrats team up, India may yet break colonial rule, and John Cornyn's opponent serves up serious weird, as your AggreGAYtor hangs with Gandalf...."
"...Earlier this year, the Museum of Fine Arts-Houston put on "The Grandeur of Viceregal Mexico," a terrific show of Spanish colonial art from Mexico's renowned Museo Franz Mayer, which houses one of the best collections of its kind. That show whetted my appetite for more such work..."
"...Still, his participation is based on personal vengeance rather than political ideology. And here's where the movie begins taking the shape of Braveheart: The Colonial Years -- the story of a man who fights to avenge a dead family member and goes on to become a great patriotic leader of his people and mythic bogeyman to his opponents..."
"...Gourmet American food seems like a modern concept and a hard one to stake original claim to. We may be tempted to credit contemporary chefs with creating the genre of American Gourmet, but, in fact, today's top menus, filled with everything from wild game to rustic berries and oysters offered any which way are sometimes inadvertent recastings of classic -- even Colonial -- American food..."
"...In October of this year, the San Antonio museum opened a new 30,000-square-foot addition to house the 2,500 pieces in the collection. The Rockefeller Center, the first state-of-the-art facility in the nation devoted to Latin American art, includes an orientation gallery with six computer stations that run programs about the collection and Latin America, an atrium, and four galleries for pre-Columbian, Spanish colonial, folk, and modern art, each of which has distinct features that elegantly showcase and complement the works...."
"...What better exploration of narratives told and bought than that of branding? Throughout the space, the artists work in these terms, creating mini-curricula, vignettes, slogans, and punchy designs, but in Colonial Bread Meets Natives/Pan Colonial Encuentra las Indígenas, the use of branding as device is brilliant and unmistakable. From a pedestal, a Colonial Bread lunch box and thermos confronts a poster filled with black and white graphic renderings of indigenous foods..."
"...The Comanche Empire is a hugely important documentary survey of the Comanche Nation, as known from documentary sources between the late 17th and the late 19th centuries. For these two centuries, author Pekka Hämäläinen has repositioned Comancheria as a Central North American empire, rather than painting them as peripheral colonial hangers-on, noble savages, or unknowable illiterates...."
"...Throughout the summer and fall of 2006, the southern Mexican state of Oaxaca was on fire. Death squads, the pistoleros of a despised governor, rolled through the cobblestone streets of this colonial state capital, peppering with automatic-weapon fire the flimsy barricades erected by masked rebels..."
"...The next three books further delved into Seton's fine sense of history. The Winthrop Woman (1958) crossed from Puritan England to Colonial America..."
"...The film's premise itself brings the issue to the fore, telling the story of a fairly ordinary (if louder than average) family reversing the American immigrant experience, and revealing some of the imperial and colonial tensions in our relationship to the world that we could probably stand to consider more closely. And the relationship is complex and reciprocal..."