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  Club Quarters Downtown, a 280-room, private, first-class business hotel, is located in the Wall Street area of Manhattan. By special arrangement with NYU, it offers moderately priced, quality accommodations for University-affiliated guests. Features include a customized NYU floor and lounge decorated to highlight the University's presence in New York. Rates are well below those for comparable accommodations in Manhattan. On weekends, visitors are welcome to use Club Quarters Midtown. Near Fifth Avenue, it is close to shopping, Broadway theatres, and Rockefeller Center
  

There are limited lodging options in the immediate NYU area, so you may want to consider staying further uptown, or even outside of the city.

The most convenient bus lines to NYU are the M1, M2, M3, M5, M6, M8, M10, and the M21. Nearby subway lines include the A, B, C, D, E, F, or V to West Fourth St., the 1 or 9 to Christopher St., the N or R to Eighth St., or the 6 to Astor Pl.
No matter where you stay, we hope you enjoy your visit to New York University and take advantage of the wonderful resources the City has to offer.

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  Best Western Seaport
  33 Peck Slip at Front St.NY, NY 10038-1706(212) 766-6600
  The Carlton on Madison Ave
  22 East 29th StreetNew York, New York 10016(212) 532-4100
  Clarion Collection The Solita Soho Hotel
  159 Grand Street (between Lafayette & Centre St )(212) 925-3600
  Four Points by Sheraton Manhattan Chelsea
  160 West 25th Street (between 6th & 7th Ave)(212) 627-1888
  Gramercy Park
  2 Lexington Ave. at 21st St.(212) 475-4320
  Holiday Inn Downtown
  138 Lafayette Street New York, New York 10013
  
  

Dear Ladies and Gentlemen, we are glad to invite you and your guests to one of the most famous hotels of Moscow and Russia - 30 storeyed building of the Ukraina Hotel Complex which is the monument of history and culture. It was opened in 1957 and is situated on the bank of the Moskva River in front of the House of Russian Government in the administrative and business center of the city.
The guests of the Hotel have at their disposal 1017 comfortable rooms for 1630 persons (15 suites, 68 two rooms apartments, 530 doubles and 404 singles), four spacious halls of the largest in Moscow restaurant "Ukraina" with Russian, Ukrainian and European cuisine; restaurants "Invino" and "Atlantic", bar "Der Arts". The Business Center is opened 24 hours, offering various facilities for businessmen (fax, Internet, international telecommunication, computers, two conference halls on 90 and 180 persons equipped for simultaneous interpreting). For guests' convenience - boutiques, sauna, drug store, air ticket cash desk, exchange bank, barber's salon, first-aid station, tailoring and dressmaking establishment, laundry. The guests may

travel on the Internet. Ours is a company created and operated by experts. From the smallest inns to the world's largest resorts, hotels.com is, hands down, the best place to plan, shop and book your stay. Through our easy-to-use website, travelers can book with confidence because we know hotels inside and out. Be a part of the fastest growing segment in travel today. Now is a great time for you to join our team of experts and take your career to. the next levelThe issues in law are sometimes hard to discern. Reading the LII helps me keep abreast of things and in a manner I can understand.
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The Japanese archipelago, home to over 125 million people, is an incredibly diverse region, both in terms of flora, fauna and geography. Stretching from the Arctic Circle to the subtropics, Japan consists of four main islands and almost 4000 smaller ones. Throughout, Japan amazes visitors with its extensive cultural diversity and amazing peoples, one of world’s most industrious and resourceful. A visit to Japan, especially its big cities, can almost seem like a journey to an exotic fantasyland, with its ultra-modernity, space-age transit and cutting edge technology prowess.Sporting the world’s most densely populated metropolises, Japan boasts beautiful a countryside, majestic mountains, sparkling lakes and magnificent shorelines. Being part of the Pacific ‘Ring of Fire’ volcanic region, Japan has its share of earthquakes and volcano activity. All this activity has played no small part in the country’s plethora of hot springs, geological formations and urban development. So many earthquake disasters have forced Japanese cities to rebuild over and over again, leading to so much of its modern look today.There’s so much to do today in Japan, one of the world’s most advanced democracies. Whether one comes for the food, for the culture, or for the entertainment, Japan has it all. All major urban areas boast museums, galleries, zoos, and plenty of activities to keep the young and old alike busy and having fun. Japan is home to some of the most remarkable indoor adventure attractions, from enclosed ski areas that are open year round to water parks complete such as Ocean Dome in Miyazaki.Accommodation is vast and varied all over Japan, with every kind of choice, from super luxury resorts on the coasts to sleek modern hotels that tower over Tokyo. Hotels in Japan trend toward expensive, and are full most of the year, so make certain you book early for the best selection.

angels

The opening scene itself is memorable. In it, Guido Anselmi is inside a car surrounded by traffic. He tries to get out but can't, frantically rapping on the window, unable to breathe. The occupants of the other cars stare expressionlessly at him. It's a brilliant symbol of the oppression of society and conformity. The allegory continues with him soaring into the sky and being a human kite, after which authority orders him to be brought back down to earth instead of being in the clouds. How repressive!
Guido is a film director in his stride who's onto a rough start with his current project. Yet his collaborator Daumier finds several flaws. There is no fundamental guiding principle, no philosophical premise, and ambiguous intention. One thing that Guido wants for sure is an angelic woman dressed in white, symbolizing innocence, purity, and salvation. Ironically, in the end, it is she identifies his problem for him. The reason why there isn't a coherent project going on is that the movie is more scenes from Guido's childhood, and many of those are played throughout the film. He wants to make a film that is honest, helpful to everyone, and that will bury everything dead in everyone. But does he really have anything to say? In the meantime, he is hounded by his producer to stick to schedule, hire actors, and start shooting.
He also has a mistress Carla, who's extravagant, sexy, a bit loquacious, being at an impasse in his marriage to Luisa. But it's the fantasy-world and the past that he retreats to in times of stress that's the real wonder here. We learn of his encounter with the hefty and sensuous Saraghina, who lives on the beach and who teaches the local Catholic school kids forbidden dances. The scene of having his own harem, full of the women whom he has encountered, is nothing more than a big booster shot to his male ego. I need to daydream something like that more often.
In the scene between Guido and the Catholic cardinal, I found a line there that reminded me why I quit going to church. Guido complains of not being happy. The cardinal replies, "Why should you be happy? That is not your task in life. Who said we were put on Earth to be happy?" He then quotes from Origenes: "There is no salvation outside the Church."
A question from Guido to Claudia, the stunning actress tapped to play his pure angel is also one to us all: "Could you choose one single thing and be faithful to it? Could you make it the one thing that gives your life meaning, just because you believe in it?"
Marcello Mastroianni is well-placed as Guido, as is Sandra Milo as Carla and Anouk Aimee as Luisa. Barbara Steele plays someone usually out-of-character compared to the horror films she did during this time, as Gloria, the poetic young fiancee of Guido's friend Mario. She has a wonderful line: "The cruel bees have sucked the life from these poor flowers."

The storyline itself is very simple. A famous director is preparing a new film, but finds himself suffering from creative block: he is obsessed by, loves, and feels unending frustration with both art and women, and his attention and ambition flies in so many different directions that he is suddenly incapable of focusing on one possibility lest he negate all others. With deadlines approaching the cast and crew descend upon him demanding information about the film-information that the director does not have because he finds himself incapable of making an artistic choice.
What makes the film interesting is the way in which Fellini ultimately transforms the film as a whole into a commentary on the nature of creativity, art, mid-life crisis, and the battle of the sexes. Throughout the film, the director dreams dreams, has fantasies, and recalls his childhood-and this internal life is presented on the screen with the same sense of reality as reality itself. The staging of the various shots is unique; one is seldom aware that the characters have slipped into a dream, fantasy, or memory until one is well into the scene, and as the film progresses the lines between external life and internal thought become increasingly blurred, with Fellini giving as much (if not more) importance to fantasy as to fact.
The performances and the cinematography are key to the film's success. Even when the film becomes surrealistic, fantastic, the actors perform very realistically and the cinematography presents the scene in keeping with what we understand to be the reality of the characters lives and relationships. At the same time, however, the film has a remarkably poetic quality, a visual fluidity and beauty that transforms even the most ordinary events into something slightly tinged by a dream-like quality. Marcello Mastroianni offers a his greatest performance here, a delicate mixture of desperation and ennui, and he is exceptionally well supported by a cast that includes Claudia Cardinale, Anouk Aimee, and a host of other notables.
I would encourage people not to be intimidated by the film's reputation, for its content can be quickly grasped, and when critics state the film requires repeated viewing what they actually seem to mean is that the film holds up extremely well to repeated viewing; each time it is seen, one finds more and more to enjoy and to contemplate. Even so, I would be amiss if I did not point out that people who prefer a cinema of tidy plot lines and who dislike ambiguity or the necessity of interpreting content will probably dislike 8 ½ a great deal; if you are uncertain in your taste on these points you would do well to rent or borrow the film before making a purchase. For all others: strongly, strongly recommended.


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  Fellini's 1963 semi-autobiographical story about a worshipped filmmaker who has lost his inspiration is still a mesmerizing mystery tour that has been quoted (Woody Allen's Stardust Memories, Paul Mazursky's Alex in Wonderland) but never duplicated. Marcello Mastroianni plays Guido, a director trying to relax a bit in the wake of his latest hit. Besieged by people eager to work with him, however, he also struggles to find his next idea for a film. The combined pressures draw him within himself, where his recollections of significant events in his life and the many lovers he has left behind begin to haunt him. The marriage of Fellini's hyperreal imagery, dreamy sidebars, and the gravity of Guido's increasing guilt and self-awareness make this as much a deeply moving, soulful film as it is an electrifying spectacle. Mastroianni is wonderful in the lead, his woozy sensitivity to Guido's freefall both touching and charming--all the more so as the character becomes increasingly divorced from the celebrity hype that ultimately outpaces him. --Tom Keogh Product DescriptionOne of the greatest films about film ever made, Federico Fellini's 8 1/2 (Otto e Mezzo) turns one man's artistic crisis into a grand epic of the cinema. Guido Anselmi (Marcello Mastroianni) is a director whose film-and life-is collapsing around him. An early working title for the film was La Bella Confusione (The Beautiful Confusion), and Fellini's masterpiece is exactly that: a shimmering dream, a circus, and a magic act. The Criterion Collection is proud to present the 1963 Academy Award® winner for Best Foreign-Language Film-one of the most written about, talked about, and imitated movies of all time-in a beautifully restored new digital transfer. Disc two features Fellini's rarely seen first film for television, Fellini: A Director's Notebook (1969). Produced by Peter Goldfarb, this imagined documentary of Fellini is a kaleidoscope of unfinished projects, all of which provide a fascinating and candid window into the director's unique and creative process Federico
  
  
  

  
  
  
  
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    Would you like to be familiar with the history of cinema, the most predominant and succesfull art-form of the 20th century? Does The extent of your film knowledge extends to watching Citizen Kane and "some of that old foreign movie". Well here's the place. I graduated with a degree in Film Studies from NYU, where I assisted teaching that class years later with the one of the most prestigious film professors in the country, Antonio Monda of NYU. Needless to say, I know my stuff. Since there are SOOOO many endless lists of films you need to see, and it's impossible to see all the great films, I will guide you with lists of the best films of world cinema from the early silent films to Mulholland Drive. It'll put you ahead of 90% of all other Film Majors and will impress all your art-house friends from school. I will begin writing lists of all the greats, so check up on my lists and keep in touch. If anyone would like opinions or advice on film or any inquiries, I respond to all e-mails at http://www.blogger.com/www.theonennes.com My personal 10 favorite films of all-time