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Marion Cotillard

Marion Cotillard (born 30 September 1975) is a French actress. She has appeared in independent films and blockbusters in both European and Hollywood productions and her accolades include an Academy Award from two nominations, a British Academy Film Award from two nominations, two César Awards from eight nominations, a European Film Award from two nominations, a Golden Globe Award from four nominations, a Lumières Award from two nominations and a Chopard Trophy. She became a Knight of the Order of Arts and Letters in France in 2010 and was promoted to Officer in 2016, the same year she was named a Knight of the Legion of Honour. She has served as a spokeswoman for Greenpeace since 2001. Cotillard was the face of the Lady Dior handbag from 2008 to 2017, and since 2020, she has been the face of the fragrance Chanel No. 5.

Cotillard started acting as a child in theatre and TV films. At the age of 17, she had her first English-language role in the TV series Highlander (1993), and made her feature film debut in The Story of a Boy Who Wanted to Be Kissed (1994). Her breakthrough came in the successful French film Taxi (1998), which earned her a César Award nomination for Most Promising Actress. She made her Hollywood debut with a small role in Big Fish (2003); won her first César Award for Best Supporting Actress for A Very Long Engagement (2004), and had her first major English-language role in A Good Year (2006).

For her portrayal of French singer Édith Piaf in La Vie en Rose (2007), Cotillard won her second César Award, a BAFTA Award, a Golden Globe Award, a Lumières Award and the Academy Award for Best Actress, becoming the first and (as of 2024) only actor to win an Academy Award for a French-language performance, and also the second actress to have won this award for a non-English language performance. Cotillard earned several critics' awards for The Immigrant (2013) and Two Days, One Night (2014), three more Golden Globe nominations for Nine (2009), Rust and Bone (2012), and Annette (2021), and received a second Academy Award nomination for Best Actress for Two Days, One Night in 2015, her second nomination for a French-language film, becoming one of only seven actors to receive multiple Academy Award nominations for non-English language performances. She has continued to star in major English-language films such as Public Enemies (2009), Inception (2010), Contagion (2011), Midnight in Paris (2011), The Dark Knight Rises (2012), Macbeth (2015), Allied (2016), Annette (2021), and Lee (2023).

Since 2005, Cotillard has been playing Joan of Arc on stage in several countries in the oratorio Joan of Arc at the Stake. She has also narrated several documentaries and provided voice acting for the animated films Happy Feet (2006), The Little Prince (2015), April and the Extraordinary World (2015), Minions (2015), Charlotte (2021), and The Inventor (2023). Her other notable French, Belgian and Canadian films include La Belle Verte (1996), Pretty Things (2001), Love Me If You Dare (2003), Dikkenek (2006), Little White Lies (2010), It's Only the End of the World (2016), and Little Girl Blue (2023).

Early life
Cotillard was born on 30 September 1975 in Paris, and grew up in Alfortville, in the southern suburbs of Paris, where she lived with her family in a flat on the 18th floor of a tower block until she was 11 years old, when her family moved to the small commune of Aulnay-la-Rivière in the Loiret department in north-central France. She grew up in an artistically inclined household. Her mother, Niseema Theillaud, is an actress and drama teacher. Her father, Jean-Claude Cotillard, is an actor, teacher, former mime, and theatre director, of Breton descent. She has two younger twin brothers, Quentin and Guillaume, a writer and a sculptor. The family later moved to La Beauce, a town near Orléans, where her father set up his own theatre company.

Cotillard's father introduced her to cinema, and as a child she would mimic Louise Brooks and Greta Garbo in her own bedroom. She began acting during her childhood, appearing in one of her father's plays. At the age of 3, she appeared on stage for the first time opposite her mother.

At the age of 15, Cotillard entered the in Orléans. She graduated in 1994 and then moved to Paris to pursue an acting career.

In order to pay her bills in her teens, she started making key-chains in her own factory at home and sold them at candy stores.

Cotillard speaks French and English fluently. She learned English at the age of 11. She started learning Spanish at school but then abandoned it. Years later, she began studying the language again after watching Lovers of the Arctic Circle (1998) by Julio Medem, which is one of her favorite films. She also started learning Danish because she wanted to work with director Thomas Vinterberg after watching his 1998 film The Celebration, but that did not work out.

Early work
In 1982, at the age of 7, Cotillard made her on-screen debut in the short film Le monde des tout-petits, directed by Claude Cailloux and broadcast by the French TV channel TF1. The following year, she appeared in another short film for TF1, Lucie, also directed by Cailloux. In 1991, she appeared in a TV spot against alcoholism titled "Tu t'es vu quand t'as bu?" ("You've seen yourself when you're drunk?"), launched by the French Committee for Health Education.

After small appearances and performances in theatre, Cotillard had occasional, minor roles in television series such as Highlander in 1993, where she had her first English-speaking role aged 17. Her career as a film actress began in the mid-1990s, with minor roles in Philippe Harel's The Story of a Boy Who Wanted to Be Kissed (1994), which was her feature film debut at the age of 18, and in Arnaud Desplechin's My Sex Life... or How I Got into an Argument, and Coline Serreau's La Belle Verte, both released in 1996. Also in 1996, she had her first leading role in the television film Chloé, directed by Dennis Berry and opposite Anna Karina, with Cotillard starring as a teenage runaway who is forced into prostitution.

In 1998, she appeared in Gérard Pirès' action comedy Taxi, playing Lilly Bertineau, the girlfriend of delivery boy Daniel, played by Samy Naceri. The film was a box office hit in France with over 6 millions tickets sold, and Cotillard was nominated for a César Award for Most Promising Actress. She reprised the role in Taxi 2 (2000) and Taxi 3 (2003).

In 1999, Cotillard ventured into science fiction with Alexandre Aja's post-apocalyptic romantic drama Furia. That same year, she also starred in Francis Reusser's Swiss war drama film War in the Highlands (La Guerre dans le Haut Pays), for which she won the Best Actress Award at the 1999 Autrans Mountain Film Festival.

In 2001, she appeared in Pierre Grimblat's romantic war drama film Lisa, playing the title role and younger version of Jeanne Moreau's character, alongside Benoît Magimel and Sagamore Stévenin. She also starred in Gilles Paquet-Brenner's drama film Pretty Things (Les Jolies Choses), adapted from the work of feminist writer Virginie Despentes, portraying twins of completely opposite characters, Lucie and Marie, for which she earned a second César Award nomination for Most Promising Actress. In 2002, Cotillard starred in Guillaume Nicloux's thriller A Private Affair (Une Affaire Privée), in which she portrayed the mysterious Clarisse.

2000s: Transition to Hollywood and breakthrough
Cotillard started the transition into Hollywood when she obtained a supporting role in Tim Burton's 2003 fantasy comedy-drama film Big Fish, in which she played Joséphine, the French wife of Billy Crudup's character, William Bloom. The production, her first English-language film, allowed her to work with well-established actors such as Helena Bonham Carter, Albert Finney, Ewan McGregor, Jessica Lange and Allison Lohman. Big Fish was a critical and commercial success, and marked a turn in Cotillard's career, who was unhappy with her career in France at the time for not getting good roles, and considered taking some time off until she got the role in Big Fish. She next starred in Yann Samuell's 2003 French romantic comedy film Love Me If You Dare (Jeux d'enfants), as Sophie Kowalsky, the daughter of Polish immigrants who lives in France and begins playing a game of dares with her childhood friend, portrayed by Guillaume Canet. The film was a box office hit in France with over 1 million tickets sold.

In 2004, she won the Chopard Trophy of Female Revelation at the Cannes Film Festival, narrated the children's audio book Cinq Contes Musicaux Pour les Petits ("Five Musical Tales For the Little Ones") by Isabelle Aboulker, and had supporting roles in Jean-Pierre Jeunet's A Very Long Engagement (Un Long Dimanche de Fiançailles), as the vengeful prostitute Tina Lombardi, a femme fatale who goes on a killing spree to avenge her lover's death, for which she won a César Award for Best Supporting Actress, and in Lucile Hadžihalilović's mystery thriller Innocence as the ballet teacher Mademoiselle Éva; both films were acclaimed by critics.

In 2005, Cotillard starred in six films: Steve Suissa's Cavalcade, Abel Ferrara's Mary, Richard Berry's The Black Box (La Boîte Noire); Rémi Bezançon's Love Is in the Air (Ma vie en l'air), Fabienne Godet's Burnt Out (Sauf le respect que je vous dois), and Stéphan Guérin-Tillié's Edy. In May 2005, Cotillard portrayed Joan of Arc for the first time in the Orléans Symphonic Orchestra's production of Arthur Honegger's oratorio Joan of Arc at the Stake at the Palais des Sports d'Orléans, in Orléans, France. She reprised the role several times when performing the oratorio in different countries in the following years.

In 2006, the actress took on significant roles in four feature films, including Ridley Scott's romantic dramedy A Good Year, in which she had her major English-language role up to that point, Fanny Chenal, a French café owner in a small Provençal town, opposite Russell Crowe as a Londoner who inherits a local property. She played Nadine in the Belgian comedy Dikkenek, alongside Mélanie Laurent, and the role of Nicole in Fair Play. She also played Léna in the satirical coming-of-age film Toi et moi, directed by Julie Lopes-Curval, for which she learned how to play the cello for her role.

Cotillard was chosen by director Olivier Dahan to star as French singer Édith Piaf in his biographical film La Vie en Rose before he had even met the actress, after he noticed a similarity between Piaf's and Cotillard's eyes. It was dubbed "the most awaited film of 2007" in France, where some critics said Cotillard had reincarnated Édith Piaf to sing one last time on stage. During the film's premiere at the 2007 Berlin International Film Festival, Cotillard was in attendance and received a 15-minute standing ovation. Hollywood talent agent Hylda Queally signed Cotillard shortly after the premiere at the festival. La Vie en Rose was a box office hit in France, with more than 5 million admissions, and made US$86 million worldwide on a US$25 million budget. Cotillard became the first actress to win a Golden Globe for a non-English language performance since 1972 (when Liv Ullmann won for The Emigrants), and also the first person ever to win a Golden Globe for a (Comedy or Musical) non-English language performance. On 10 February 2008, Cotillard became the first French actress since Stéphane Audran in 1973 to be awarded the BAFTA Award for Best Actress in a Leading Role. At the Academy Awards, she won Best Actress, becoming the first woman and second person (after Adrien Brody in The Pianist six years earlier) to win both a César and an Oscar for the same performance. Cotillard is the second French actress to win this award, and the third overall to win an Oscar, after Simone Signoret in 1960 and Juliette Binoche in 1997. She is the first Best Actress Oscar winner for a non-English language performance since Sophia Loren in 1961. She is also the first and (as of 2024) only winner of an Academy Award for a French-language performance. On 23 June 2008, Cotillard was one of 105 individuals invited to join the Academy of Motion Picture Arts and Sciences.

Following her Oscar win, Cotillard continued her Hollywood career and starred alongside Johnny Depp and Christian Bale in the role of Billie Frechette in Michael Mann's Public Enemies, released in the United States on 1 July 2009. Later that year, she appeared in Rob Marshall's film adaptation of Nine, the musical based on the 1963 Federico Fellini film 8½. As Luisa Contini, the wife of Guido (Daniel Day-Lewis), Cotillard performed two musical numbers: "My Husband Makes Movies" and "Take It All." Time magazine ranked her performance in Nine as the fifth best female performance of 2009, behind Mo'Nique, Carey Mulligan, Saoirse Ronan and Meryl Streep. She won the Desert Palm Achievement Actress Award at the 2010 Palm Springs International Film Festival – her second prize from the festival – and was nominated for a Golden Globe for Best Actress in a Motion Picture – Musical or Comedy for her work in Nine. Cotillard appeared on the cover of the November 2009 issue of Vogue with her Nine co-stars, and on the magazine's July 2010 cover by herself.

2010s: Established actress and continued acclaim
Cotillard was the Honorary President of the 35th César Awards ceremony, held on 27 February 2010. She played Mal Cobb, a projection of Dom Cobb (Leonardo DiCaprio)'s deceased wife, in Christopher Nolan's film Inception, released on 16 July 2010. Nolan described Mal as "the essence of the femme fatale", and DiCaprio praised Cotillard, saying "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character." The film made US$825 million in worldwide box-office receipts, and Cotillard and DiCaprio's pairing in Inception ranked eighth on the Forbes list of "Hollywood's Top Earning On-Screen Couples." That same year, she also starred as Marie, an environmentalist, in Guillaume Canet's drama Little White Lies (Les petits mouchoirs).

In 2011, Cotillard co-starred in Woody Allen's Midnight in Paris as Pablo Picasso's fictionalized mistress, Adriana, with whom Owen Wilson's character, Gil, falls in love. The film grossed $151 million worldwide on a $17 million budget. That same year, she also appeared alongside Kate Winslet, Jude Law, Gwyneth Paltrow and Matt Damon in Steven Soderbergh's thriller Contagion; and had the top rank on Le Figaro's 2011 list of the highest-paid French actors of 2010, the first time in nine years that a female had topped the list. She also tied with Kate Winslet as the highest-paid foreign actress in Hollywood. In 2012, Cotillard was ranked ninth on the list of the highest-paid French actresses in 2011, and portrayed Miranda Tate (alongside her Public Enemies co-star Christian Bale) in Christopher Nolan's Batman feature The Dark Knight Rises.

Cotillard next portrayed an orca trainer who loses her legs after a work accident in Jacques Audiard's romantic drama Rust and Bone (De rouille et d'os), costarring Matthias Schoenaerts. The film premiered in the main competition at the 2012 Cannes Film Festival and received a 10-minute standing ovation at the end of its screening. Cotillard received rave reviews for her performance, and Cate Blanchett wrote an op-ed for Variety describing the film as "simply astonishing" and stating that "Marion has created a character of nobility and candour, seamlessly melding herself into a world we could not have known without her. Her performance is as unexpected and as unsentimental and raw as the film itself." She earned a fifth César Award nomination, a fourth Screen Actors Guild Award nomination, a third Golden Globe nomination (her first for Best Actress – Drama), and her second Critics' Choice Award and Lumières Award nominations. James Kaelan of MovieMaker magazine wrote that it was a travesty that Cotillard was not nominated for an Academy Award for Rust and Bone. Cotillard also received several other honors and career tributes in 2012, at the Telluride Film Festival, Hollywood Film Festival, AFI Fest, Gotham Awards, and Harper's Bazaar Awards.

In 2013, Cotillard was named Woman of the Year by Harvard's student society Hasty Pudding Theatricals, and Le Figaro also ranked her the second highest-paid actress in France in 2012 and the seventh highest-paid actor overall. In May 2013, she appeared with Gary Oldman, her co-star in The Dark Knight Rises, in the controversial music video for "The Next Day" by David Bowie. Cotillard had her first leading role in an American movie in James Gray's The Immigrant as Polish-born Ewa Cybulska, who emigrates hoping to experience the American dream in 1920s New York. James Gray wrote the script especially for Cotillard after meeting her at a French restaurant with her boyfriend. Cotillard had to learn 20 pages of Polish dialogue for her role, and Gray stated that she is the best actor he's ever worked with. Her performance was widely acclaimed, and she was awarded the New York Film Critics Circle Award, the National Society of Film Critics Award, the Toronto Film Critics Association Award and was nominated for an Independent Spirit Award for Best Actress in 2015. She starred in Guillaume Canet's Blood Ties in 2013 with Clive Owen, Billy Crudup and her Rust and Bone co-star Matthias Schoenaerts; and had a cameo in Adam McKay's comedy film Anchorman 2: The Legend Continues, acting opposite Jim Carrey in the battle scene between rival news teams. In December 2013, Cotillard was a member of the 13th Marrakech Film Festival jury presided by Martin Scorsese.

In 2014, she starred in the Dardenne brothers drama Two Days, One Night (Deux jours, une nuit), as Sandra, a Belgian factory worker who has just one weekend to convince her co-workers to give up their bonuses so that she can keep her job. The film premiered in the main competition at the 2014 Cannes Film Festival and earned a 15-minute standing ovation, with Cotillard's performance praised as "a career-high performance", and favored to win the festival's Best Actress prize,   which ended up going to Julianne Moore for Maps to the Stars. Several critics' awards followed, as well as a European Film Award for Best Actress, a second Academy Award nomination, making Cotillard the first actor to be nominated for a Belgian film, and a sixth César Award nomination. Her performances in both The Immigrant and Two Days, One Night shared the fourth spot on Time's list of Best Movie Performances of 2014. In November 2014, Cotillard participated on Comedy Central's All-Star Non-Denominational Christmas Special, in a duet with Nathan Fielder on the Elvis Presley song "Can't Help Falling in Love".

In 2015, Cotillard took on the role of Lady Macbeth in a film adaptation of William Shakespeare's play, directed by Justin Kurzel and starring Michael Fassbender in the title role. The film premiered at the Cannes Film Festival and Cotillard's performance earned her a nomination for the British Independent Film Award for Best Actress, and high praise from critics, particularly for her "Out, Damned Spot" monologue. Variety critic Guy Lodge remarked: "Her deathless sleepwalking scene, staged in minimalist fashion under a gauze of snowflakes in a bare chapel, is played with tender, desolate exhaustion; it deserves to be viewed as near-definitive." That same year, she starred in the New York Philharmonic's production of Arthur Honegger's oratorio Joan of Arc at the Stake, and voiced the roles of The Rose in both the English and French versions of Mark Osborne's The Little Prince, Scarlet Overkill in the French version of Minions; and April, the title character in the French-Canadian-Belgian 3D animated film April and the Extraordinary World (Avril et le Monde Truqué). In 2016, Cotillard played Gabrielle, a free-spirited woman in a convenience marriage in Nicole Garcia's romantic drama From the Land of the Moon (Mal de Pierres), an adaptation of the bestselling Italian novel Mal di Pietre by Milena Agus, which marked her return to French cinema after 2012's Rust and Bone, and earned her a seventh César Award nomination. She also played the role of Catherine, the sister-in-law of a gay playwright (portrayed by Gaspard Ulliel), who returns home to tell his family that he is dying in Xavier Dolan's Canadian-French co-production It's Only the End of the World (Juste la fin du Monde). Both films premiered in main competition at the 2016 Cannes Film Festival, to polarized reactions from critics. It's Only the End of the World was a box office hit in France with over 1 million tickets sold. Also in 2016, Cotillard starred opposite Brad Pitt in Robert Zemeckis's Allied, a spy film set in World War II in which she played Marianne Beausejour, a French Resistance fighter. While critical reviews were mixed, Stephanie Zacharek of Time magazine wrote that "Pitt and Cotillard give sturdy, coded performances that feel naturalistic, not phony: They understand clearly that their chief mission is to tap the tradition of melodrama, and they take it seriously. Somehow, almost incomprehensibly, it all works. Allied looks old but smells new, and the scent is heady." The film grossed US$120 million worldwide. That same year, Cotillard reteamed with Macbeth director Justin Kurzel and co-star Michael Fassbender in the film adaptation of the video game Assassin's Creed.

On 30 January 2017, Cotillard was honored with a special award for her career at the 22nd Lumières Awards in France. In 2017, she also starred in Guillaume Canet's satire comedy Rock'n Roll, and in Arnaud Desplechin's drama Ismael's Ghosts (Les Fantomes d'Ismaël), alongside Mathieu Amalric, Charlotte Gainsbourg and Louis Garrel. The Hollywood Reporter, in its review for the former film, asserted that "Cotillard offers up such a sincere performance that you can't help but laugh".

In the 2018 drama Angel Face (Gueule d'ange) by director Vanessa Filho, she portrayed Marlene, a woman who suddenly chooses to abandon her daughter for a man she has just met during yet another night of excess. The film premiered in the Un Certain Regard section at the Cannes Film Festival.

In 2019, Cotillard was a member of the jury of the Chopard Trophy at the 2019 Cannes Film Festival. That same year, she reprised the role of Marie in Little White Lies 2, sequel to 2010's Little White Lies directed by Guillaume Canet.

2020s: Current work
In 2020, Cotillard voiced the fox Tutu in the comedy film Dolittle, directed by Stephen Gaghan.

In 2021, she starred as opera singer Ann Defrasnoux alongside Adam Driver in the musical film Annette directed by Leos Carax, which earned her a Golden Globe nomination for Best Actress in a Motion Picture – Musical or Comedy. The songs "So May We Start" and "We Love Each Other So Much", performed by Cotillard and Driver, were released as singles. Cotillard produced the documentary Bigger Than Us, directed by Flore Vasseur, which explores the social movement of young people fighting for change in the 21st century. The documentary was released in France on 22 September 2021 following its world premiere at the 2021 Cannes Film Festival, and it was nominated for a César Award for Best Documentary Film in 2022.

Cotillard voiced German artist Charlotte Salomon in the French version of the animated biographical film Charlotte, directed by Eric Warin and Tahir Rana, which follows the last 10 years of Salomon's life, a Jewish woman who struggled with depression amid World War II and the Holocaust while exiled in the South of France. Cotillard was also an executive producer on the film that made its world premiere at the Toronto International Film Festival in September 2021. In October 2021, Cotillard played the stylist Kim Randall in La Vengeance au Triple Galop, a comedy TV film for France's Canal+, directed by Alex Lutz and Arthur Sanigou.

Cotillard made her third collaboration with director Arnaud Desplechin in the film Brother and Sister (Frère et Sœur), which follows two siblings, Alice and Louis, played by Cotillard and Melvil Poupaud, who are forced to reunite after the death of their parents following two decades of shared silence. The film premiered in the main competition at the 2022 Cannes Film Festival in May 2022. During the 2022 Cannes Film Festival, Cotillard launched alongside filmmaker Cyril Dion and producer Magali Payen her new production company, Newtopia. The company's central aim is to create content around issues such as environmentalism, science, society, health, geopolitics, feminism and gender "that imagine a better future for the world based on ecologically sustainable and socially fair practices". In June 2022, Cotillard played Joan of Arc in the oratorio Joan of Arc at the Stake directed by Juanjo Mena at the Teatro Real in Madrid, Spain. She also voiced Coco Chanel in Rencontre(s), a 15-minute immersive virtual reality project directed by Mathias Chelebourg, which premiered at the 79th Venice Film Festival in September 2022. In 2023, she appeared in the Apple TV+ climate-change anthology series Extrapolations, and played Cleopatra in Guillaume Canet's adventure comedy film Asterix & Obelix: The Middle Kingdom. She also voiced Louise de Savoy in The Inventor, a stop-motion animated film about the life of Leonardo da Vinci, written and directed by Jim Capobianco, and portrayed Solange d'Ayen, the fashion editor of French Vogue magazine in the World War II biographical drama Lee, directed by Ellen Kuras and starring Kate Winslet as photographer Lee Miller. Cotillard portrayed French writer and photographer Carole Achache in the docudrama Little Girl Blue, directed by Carole's daughter, Mona Achache, which had its world premiere at the 2023 Cannes Film Festival in the Special Screenings section. Cotillard's performance in the film was praised by critics, with Time Out calling her "illuminating"; Libération calling her "impeccable"; and The Hollywood Reporter writing that her performance is "a full-on Method immersion that climaxes with a wrenching breakdown scene that seems to close some kind of gap between the two women." She earned her eight César Award nomination for Best Actress for Little Girl Blue at the 2024 César Awards, becoming the first actress to be nominated for a documentary film.

In December 2023, Cotillard was a member of the jury of the Prix André Bazin by French film magazine Cahiers du Cinéma.

In May 2024, Cotillard narrated the documentary ''Olympics! The French Games'', directed by Mickaël Gamrasni, which premiered at the 2024 Cannes Film Festival.

In June 2024, Cotillard reprised her role as Joan of Arc in the oratorio Joan of Arc at the Stake in Berlin with the Berlin Philharmonic.

Upcoming projects
In June 2023, it was announced that Cotillard would star in Lucile Hadzihalilovic's new film, La Tour de glace, their second collaboration after Innocence (2004).

In June 2024, it was reported that Cotillard will join season 4 of the Apple TV+ series The Morning Show, and that she will play the role of Celine Dumont, who is described as "a savvy operator from a storied European family".

In December 2024, Cotillard will reprise her role as Joan of Arc in the oratorio Joan of Arc at the Stake in Paris at the Paris Philharmonic Hall.

Music
Cotillard sings, plays guitar, bass guitar, keyboard and tambourine. She co-wrote and performed the song "La Fille De Joie" for her 2001 film Pretty Things (Les Jolies Choses), in which she played a singer and also performed the song "La Conne" for the film. Canadian singer Hawksley Workman said in interviews about his album Between the Beautifuls that he worked and wrote songs with Cotillard while they both were in Los Angeles during the 2007–2008 movie awards season. In 2008, she co-wrote and performed the song "The Strong Ones" with Hawksley Workman for Olivier Dahan's short film for Cartier's Love range. In 2010, Cotillard recorded the songs "Five Thousand Nights" and "Happy Crowd" with the French Rock band Yodelice for their album "Cardioid". She also went on tour with the band in different cities in France and Belgium, under the pseudonym "Simone", which is her maternal grandmother's name. In the same year, she appeared in the music video "More Than Meets the Eyes" by Yodelice.

Cotillard recorded the song "The Eyes of Mars" with the band Franz Ferdinand especially for Dior. In 2012, she wrote and performed the song "Lily's Body" for the fourth episode of the Lady Dior Web Documentary with the same title, and in 2014, Cotillard wrote and performed the song "Snapshot in LA" alongside John Cameron Mitchell, Metronomy's Joseph Mount and Villaine. She also wrote and co-directed the video for the song, made for Lady Dior's advertising campaign "Enter the Game – Dior Cruise 2015".

On 3 February 2024, Cotillard performed at the benefit concert "Jane Birkin by Friends" in tribute to actress Jane Birkin at the Olympia in Paris, whose profits were donated to French charity Restaurants du Cœur.

 * Singles

Philanthropy
In addition to her film work, Cotillard is active in philanthropy, environmental and social activism, and has participated in campaigns for environmental protection, in particular Greenpeace, for whom she nearly quit acting to join and has been a member of and acted as a spokesperson since 2001. In 2003, she volunteered to have her home tested for toxic chemicals as part of the Greenpeace's Vacuum Clean the Chemical Industry campaign. She is also Greenpeace's Ocean Ambassador; the patron of Maud Fontenoy Foundation, a non-governmental organization which is dedicated to teaching children about preserving the oceans; and the ambassador of, a French association that supports indigenous peoples for their rights and the preservation of their cultures and the Amazon Forest they inhabit. She supports The Heart Fund, an international public charity that is a pioneer in technological innovation to combat cardiovascular diseases in children, and is also a member of World Wide Fund for Nature, and the Nicolas Hulot Foundation, which supports environmental initiatives in France and abroad to engage the ecological transition of our societies.

In 2005, she contributed to Dessins pour le climat ("Drawings for the Climate"), a book of drawings published by Greenpeace to raise funds for the group, and in 2010, she traveled to Congo with Greenpeace to visit tropical rainforests threatened by logging companies, it was shown in the documentary The Congolese Rainforests: Living on Borrowed Time. In 2009, Cotillard was one of many celebrities to record a cover version of the song Beds are Burning by Midnight Oil, in support of TckTckTck and climate justice. In the same year, Cotillard designed her own doll for UNICEF France campaign "Les Frimousses Font Leur Cinéma", that was sold to help vaccinate thousands of children in Darfur. In 2011, she publicly supported Chief Raoni in his fight against the Belo Monte Dam in Brazil and signed his petition.

In 2012, Cotillard was featured on Kate Winslet's book "The Golden Hat: Talking Back To Autism", with celebrity self-portraits to raise awareness and support for autism launched by Winslet's Golden Hat Foundation. In 2013, she caged herself near Paris's Louvre museum to demand the freeing of 30 Greenpeace activists jailed in Russia over an Arctic protest. She entered the cage and held a banner proclaiming "I am a climate defender".

In February 2014, she signed The Tiger Manifesto, a campaign calling for an end to everyday products being manufactured through forest destruction. Launched by Greenpeace, the campaign is encouraging consumers to demand products are forest and tiger-friendly, particularly in Indonesia, where the Sumatran tiger is on brink of extinction. In May 2014, Greenpeace released the animated video The Amazon's Silent Crisis, narrated by Cotillard. The video highlights the troubling illegal logging that threatens the Brazilian Amazon.

On 26 February 2015, she went to the Philippines along France's then-President François Hollande and actress Mélanie Laurent, to participate on a forum and encourage faster and more determined action on the global challenge of climate change. At the 2015 Cannes Film Festival, director Mark Osborne revealed that Cotillard used to visit Children's Hospitals and play The Rose (from the book The Little Prince) for the kids, years before she voiced the character in the 2015 film The Little Prince, directed by Osborne.

Cotillard was the ambassador of "1 Heart 1 Tree", an art project that fights climate change through its Plant for the Planet reforestation program. On 29 November 2015, The Eiffel Tower became a virtual forest with trees and words encouraging environmental activism projected onto it every evening. Cotillard and UN Secretary-General Ban Ki-moon inaugurated the light installation on the eve of the official opening of the COP21 conference. She also donated her shoes to be displayed among an installation of over 10,000 shoes at the Place de la Republique in Paris. The installation replaced a giant march for climate change which was forbidden by French authorities following the deadly attacks in the capital on 13 November, which cost 130 lives. It was a way of showing the determination of protesters in their fight against climate change, and allowed them to still send a strong message on the eve of the U.N. climate conference (COP21).

On 10 December 2015, Cotillard voiced the French version of the short film Home, made by Conservation International (CI). The short film debuted at the United Nations Momentum for Change Awards ceremony at the climate negotiations (COP21) in Paris. It was the latest addition to CI's award-winning Nature Is Speaking short film series. "Home" was produced to remind negotiators and world leaders at the climate talks of our common duty – how to care for the Earth that cares for us all. "This Earth is our shared home, our only home. The time to safeguard its future – and with it our own future – is right now," said Cotillard.

In 2018 she signed a letter calling for strong action to stop climate change and biodiversity loss.

In 2019, she signed the petition Résister et créer ("Resist and Create"), created by the movement On Est Prêt along with Cyril Dion to challenge the world of cinema at a time of mobilizations for the climate.

She is a supporter of the French gender equality group Collectif 50/50. On 12 May 2018, Cotillard was one of the 82 women who marched up the stairs to the Cannes Film Festival to protest gender inequality in the film industry.

In March 2020, Cotillard participated on a PSA from the Columbia University Mailman School of Public Health to help educate people on COVID-19 and encouraged them to listen to the health experts to avoid spreading the virus.

In October 2022, Cotillard and other French actresses publicly cut locks from their hair in a video shared on social media with the hashtag #HairForFreedom in support of Iranian protesters following the death of Mahsa Amini, who was arrested for allegedly violating the Islamic Republic of Iran's dress code by not wearing the hijab. In December 2022, Cotillard signed an open letter demanding the release of Iranian actress Taraneh Alidoosti, who had been arrested for standing in solidarity with imprisoned Iranian filmmakers who protested against the Iranian regime. Alidoosti was released on bail in January 2023.

Advertising campaigns and endorsements

In 2008, Cotillard was chosen by British fashion designer John Galliano to be the face of French fashion house Dior's handbag, "Lady Dior", and starred in a series of short films situated in different cities to promote the handbags, portraying the fictional character created by Galliano: Lady Noire Affair (in Paris) directed by Olivier Dahan; Lady Blue Shanghai, directed by David Lynch; Lady Rouge (in New York City), directed by Jonas Akerlund; Lady Grey London, directed by John Cameron Mitchell and co-starring Ian McKellen and Russell Tovey, and L.A.dy Dior (in Los Angeles), also directed by Mitchell. This campaign also resulted in a musical collaboration with Scottish rock band Franz Ferdinand, where Cotillard provided the vocals for a composition performed by the group, entitled "The Eyes of Mars", for the Lady Rouge campaign.

In 2012, Cotillard starred in the web-series Lady Dior Web Documentary and wrote and performed the song "Lily's body" for one episode. That same year, she also designed her own handbag for Dior, the "360° bag". Cotillard also appeared on the cover of the first issue of Dior Magazine in September 2012. In 2014, she wrote and co-directed alongside Eliott Bliss, a music video for her song "Snapshot in LA", especially for Lady Dior's campaign "Enter The Game – Dior Cuise 2015". Cotillard's contract with Dior ended in 2017.

In May 2013, Cotillard became the first actress to walk the red carpet of the Cannes Film Festival wearing the initial models from the Chopard Green Carpet Collection. In 2015, she designed a bracelet for Chopard's Green Carpet Collection made of ethical Fairmined-certified gold.

In 2020, Cotillard designed her own sustainable jewelry collection for Chopard entitled "Ice Cube Capsule". She designed seven items curated from Fairmined-certified ethical gold and diamonds. The collection was unveiled on 29 September 2020 during Paris fashion week.

On 17 February 2020, Cotillard was announced as House ambassador and the new face of the Chanel No. 5 fragrance. Her first commercial for Chanel No. 5 was released on 29 October 2020. It was directed by Johan Renck and featured Cotillard dancing in the moon with French ballet dancer Jérémie Bélingard while singing a cover of Lorde's "Team".

Personal life
Cotillard was a vegetarian for twelve years during her youth, but she said she had to give up after falling ill because back then she had no idea about nutrition and just quit eating meat overnight and did not know she had to get protein from other sources to avoid a deficiency, which hurt her a lot physically.

In the late 1990s, Cotillard was in a relationship with French actor Julien Rassam. She had a long-term relationship with French actor Stéphan Guérin-Tillié from 2000 to 2005, with whom she co-starred in the short films Quelques jours de trop (2000) and Heureuse (2001), in the 2001 TV series Les redoutables, and in the 2005 feature films Cavalcade and Edy. She dated French singer Sinclair from 2005 to 2007.

Since October 2007, Cotillard has been in a relationship with French actor and director Guillaume Canet. They had been friends since 1997, and co-starred together for the first time years later in the 2003 film Love Me If You Dare. The couple are not married. Though since 2010 Cotillard has been spotted wearing a diamond solitaire on her left hand — a present from Canet — they are not engaged either. In 2014, Cotillard denied being married to Canet, referring to him as "my boyfriend" in interviews. In 2011, they had their first child, a son, Marcel, and in 2017, their second child, a daughter, Louise was born.

Cotillard lives in Paris with Canet and their children.

In January 2018, Cotillard told The Hollywood Reporter that with her then 6-year-old son entering school and a newborn daughter, she would be slowing down her filming schedule for the time being. In a May 2023 interview with British magazine A Rabbit's Foot, she explained that she slowed down in order to protect her children, as she rarely chooses "lighthearted stories" and her roles were preventing her from living her life fully, citing La Vie en rose (2007) and Macbeth (2015) as examples of that. "There are two kinds of actresses: those who burn themselves out, and those who manage to put the character aside and come home in the evening. Today, I'm halfway there. Since becoming a mother, I have put boundaries to protect my children", she said.

In the media
As of 2024, Cotillard has appeared on more than 300 magazine covers around the world, such as Vogue, Elle, Marie Claire, Variety, Harper's Bazaar, Vanity Fair, Madame Figaro, Glamour, W, Porter, The Hollywood Reporter and Wall Street Journal Magazine. She was the first actress on a Vogue Paris September cover in five years with her September 2010 cover, and was named "Woman of the Decade" by Vogue Paris on their list of the "40 Women of The Decade" in 2010. In August 2012, Cotillard was featured in three major magazine covers: the American Vogue, Vogue Paris and Marie Claire UK. She was also featured on the cover of the first issue of Dior Magazine in September 2012.

Cotillard was named "The Most Beautiful Face of 2013" by The Independent Critics List of the 100 Most Beautiful Famous Faces From Around the World, and ranked as one of the most "Beautiful Famous Faces" for 16 consecutive years. She was ranked No. 47 in 2017, No. 36 in 2016, No. 18 in 2015, No. 14 in 2014, No. 1 in 2013, No. 2 in 2012, No. 7 in 2011, No. 12 in 2010, No. 15 in 2009, No. 4 in 2008, No. 3 in 2007, No. 8 in 2006, No. 17 in 2005, No. 35 in 2004, No. 20 in 2003, and No. 31 in 2002.

In 2012, Cotillard was named "The World's Sexiest Woman" by the Hungarian magazine Periodika. In 2013, she was ranked No. 13 on Empire Online's list of the "100 Sexiest Movie Stars", was No. 12 on French magazine Slates list of the "100 Most Influential Women of France", No. 68 on Total Films list of "Top 200 Performances of All Time" for her performance in La Vie en Rose, and named "Best Dressed Star of 2013" by the British Grazia magazine.

In 2014, she was described as "the great silent film actress of our time" by British film critic Robbie Collin from The Daily Telegraph, for her ability to show emotions only with her eyes and facial expressions, although she has never appeared in a silent film, and was named "The Most Bankable French Actress of the 21st Century" for her films having accumulated more than 37 million ticket sales in France from 2001 to 2014. She ranked No. 18 on British GQ magazine's list of "The World's 20 Coolest Women" in 2014, and was chosen as one of the 'Best Film Femme Fatales' by Harper's Bazaar in 2014, for her performance as Mal in Inception.

In April 2016, Vox.com analysed the actresses who have starred in the best reviewed films ranked by average Metacritic rating, and Cotillard was No. 3 with an average score of 68. Cotillard ranked second on Google's "Most Searched Actresses of 2016".

In 2017, she was featured on the official poster of the 42nd César Awards in a still from the 2013 film Blood Ties.

The ivory Jean Paul Gaultier gown Cotillard wore at the 80th Academy Awards on 24 February 2008 is regarded as one of the greatest Oscar dresses of all time.

In 2020, Vogue ranked Cotillard number fourteen of "The most beautiful French actresses of all time".

In October 2021, a book entitled Le traître et le néant (English: The traitor and the nether) by two journalists from Le Monde, Gérard Davet and Fabrice Lhomme, was published in France. The book claimed that French president Emmanuel Macron had declared: "She pisses me off, Cotillard" (French: Elle me fait chier, Cotillard). Jean-Marc Dumontet is cited as eye-witness. This statement was in response to Cotillard's 2018 criticism of Macron's politics, especially environmental ones, when she stated in Le Parisien: "My faith in politics has been really undermined. He's making promises to have a good image and then behind [our backs] not keeping them at all. I find that unbearable."

In 2023, she was featured on the official poster of the 48th César Awards in a still from the 2021 film Annette, and also in an animated poster featuring Cotillard singing in the film.

In popular culture
Cotillard was mentioned in "Trivia", an episode of The Office that aired in January 2012. Her 2001 film Les Jolies Choses, was the final answer to a trivia contest. Unlikely contestant Kevin Malone (portrayed by Brian Baumgartner) answers correctly and wins the contest. He credits Cotillard's multiple nude scenes in the film for his quick recall.

Cotillard has had a look-alike puppet in the French television show Les Guignols de l'info since 2013.

In July 2014, a sample of Cotillard and Leonardo DiCaprio's dialogue in the train scene from Inception ("You're waiting for a train..."), was featured on the song "Far Away" by nExow at minute 03:28. Brazilian brand Chara Rial also named a Mocassin shoes after her in 2014. In April 2015, the French rap band Columbine released a song titled "Marion". During the chorus, they sing "Je t'aime, t'es belle comme Marion Cotillard" ("I love you, you're as pretty as Marion Cotillard", in French).

In the TV Land sitcom Hot in Cleveland (2014; season 5, episode 12: "I Just Met the Man I'm Going to Marry"), Wendie Malick's character is presenting the Oscars nominees for Best Actress in a Supporting Role in a mise-en-abîme scene and declares "Marion Cotill..., you know the French chick who gets nominated for everything."

On 11 April 2015, Cecily Strong debuted her recurring Saturday Night Live impersonation of Cotillard as a respected and dedicated actress debating the place of women in the film industry for the Lincoln Center for the Performing Arts in "Actress Round Table" and "Hollywood Game Night" sketches (Season 40, Episode 18). Other appearances as Cotillard include: Season 42, Episode 1, 8 and 20 as well as Season 43, Episode 3.

Filmography

As of 2024, Cotillard's films have grossed more than $3.7 billion at the worldwide box-office and have sold more than 75 million admissions in France.

Voice work
Cotillard has narrated several documentaries and dubbed several animated films in France and in the U.S., and also dubbed in French all of her roles in English-language films.

Accolades

Among other awards, Cotillard has received an Academy Award for Best Actress, a Golden Globe Award, a BAFTA Award, two César Awards, a Lumières Award and a European Film Award. She has also won a New York Film Critics Circle Award, a National Society of Film Critics Award, and a Los Angeles Film Critics Association Award for Best Actress, the critics' awards trifecta. Cotillard, Isabelle Adjani, and Isabelle Huppert are the only French actresses to win the New York Film Critics Circle Award for Best Actress.

In March 2010, Cotillard was made a Chevalier (Knight) of the Ordre des Arts et des Lettres (Order of the Arts and Letters) by the French government for her "contribution to the enrichment of French culture". She was promoted to Officier (Officer) on 10 February 2016.

On 14 July 2016, Cotillard received France's highest honor – she was named a Knight of the Legion of Honour. She was among 650 names from the worlds of politics, culture, sport and public life published in the government's official journal for Bastille Day.

title: Marion Cotillard


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Robert Scholes

Robert E. Scholes (1929 – December 9, 2016) was an American literary critic and theorist. He is known for his ideas on fabulation and metafiction.

Education and career
Robert Scholes was born in Brooklyn, New York in 1929. After taking his A.B. at Yale University in 1950, he served as a gunnery officer in the U. S. Navy from 1952-1955. He received his Ph.D. from Cornell University in 1959, and he taught at the University of Virginia and the University of Iowa, before joining the Brown faculty in the Departments of English and Comparative Literature in 1970. After his retirement from full-time teaching in 1999, Professor Scholes was appointed Research Professor of Modern Culture and Media.

With Eric S. Rabkin, he published the 1977 book Science Fiction: History, Science, Vision, which considerably influenced science fiction studies. In it, they attempt to explain the literary history of the genre, but also the sciences such as physics and astronomy.

Scholes became well known as a cogent guide to literary theory and semiotics as they became influential in U.S. literary studies in the 1970s and 1980s. His 1982 book Semiotics and Interpretation was praised in the Times Literary Supplement as offering "a clutch of examples of semiotics usefully and intelligently applied, which Scholes's patient, cheerful tone and his resolutely concrete vocabulary manage to combine into a breezily informative American confection."

Scholes held honorary doctorates from Lumière University Lyon 2, France, (1987) and SUNY Purchase (2003). He was a president of the Semiotic Society of America (1989–1990) and of the Modern Language Association of America (2004). In 1998, he was elected a fellow of the American Academy of Arts and Sciences.

Scholes served most recently as the director of the Modernist Journals Project. In his collaboration with Clifford Wulfman, Modernism in the Magazines: An Introduction (2010), Scholes offered a primer on early twentieth-century magazines, with particular attention given to the relationship of advertising to editorial content.

In his books The Rise and Fall of English and English after the Fall, Scholes sought to critically evaluate the status of English as a field of study. He was a fierce proponent of abandoning a restrictive definition of literature and reorientating the study of English around the concept of 'Textuality'. By expanding the field of study and emphasizing the importance of both reading and writing when teaching students, he sought to revitalize English into a discipline which could be useful in the twenty first century.

Works

 * Approaches to the Novel (1961), editor
 * The Cornell Joyce Collection: A Catalogue (1961), editor
 * The Nature of Narrative (1966) with Robert Kellogg
 * The Fabulators (1967)
 * Elements of Poetry (1969)
 * Structuralism in Literature (1974)
 * Structural Fabulation: An Essay on Fiction of the Future (University of Notre Dame Press, 1975)
 * with Eric S. Rabkin
 * Fabulation and Metafiction (1979)
 * Semiotics and Interpretation (1982)
 * Textual Power (1985)
 * Protocols of Reading (1989)
 * In Search of James Joyce (1992)
 * Elements of Fiction (1995), translation of a work first published in Japanese
 * The Rise and Fall of English: Reconstructing English as a Discipline (1998)
 * The Crafty Reader (2001)
 * Paradoxy of Modernism (2006)
 * Modernism in the Magazines: An Introduction (2010) with Clifford Wulfman
 * English after the Fall: From Literature to Textuality (2011)

Documentary film

 * Andries van Dam: Hypertext: an Educational Experiment in English and Computer Science at Brown University. Brown University, Providence, RI, U.S. 1974, Run time 15:16,, Full Movie on the Internet Archive

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Robert Scholes


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Juggernaut (Star Trek: Voyager)

"Juggernaut" is the 115th episode of the science fiction television series Star Trek: Voyager, the 21st episode of the fifth season. This episode features several guest stars as the Malons, a species introduced in this season's first episode ("Night"), and focuses on B'Elanna (played by Roxann Dawson).

In the episode, aliens are having trouble with their spacecraft, and the crew of the USS Voyager needs to help. Solving the problem turns out to have some unexpected difficulties.

This episode has a story by Bryan Fuller, and is directed by Allan Kroeker.

Plot
As Tuvok attempts to teach B'Elanna Torres meditation to calm her violent tendencies, Voyager detects escape pods from a damaged Malon freighter. As they rescue two surviving Malons, they learn that the freighter, transporting deadly theta radioactive waste, is set to explode in a few hours, which would destroy everything within three light years. Unable to clear the potential explosion in time, Captain Kathryn Janeway orders Voyager towards the freighter, anticipating bringing the ship's containment system back on line to contain the explosion in time.

The surviving Malons, Fesek and Pelk, work with Voyager's crew to determine how to effect repairs as fast as possible. Most of the decks of the Malon freighter are flooded with radiation, and to reach the control deck, they will need to evacuate the radiation from each deck prior to it. Chakotay, Torres, and Neelix join Fesek and Pelk on the freighter. As they work, Pelk is attacked and killed by some creature, which Fesek claims is "the Vihaar", a type of legend among Malons. Torres is angered to learn from Fesek how little Malons value life, but keeps her anger in check.

During one deck evacuation, the deck they are on is exposed to the vacuum of space; Voyager is forced to transport Chakotay back but the others escape to the next deck. Torres continues to lead the group towards the control deck. Meanwhile, Tuvok offers Janeway a backup plan, nudging the trajectory of the freighter towards a nearby star, such that the theta radiation would be contained within its corona. The away team finally reaches the command center and attempt to reenergize the containment fields. They are attacked by the same creature that killed Pelk - the supposed Vihaar, in actuality one of the ship's Malon core workers heavily deformed by the theta radiation. He knocks Fesek and Neelix unconscious and attempts to alter the freighter's course. Torres becomes enraged and attacks the Malon, giving her enough time to secure the area and allow Voyager to transport her and the others aboard before the freighter explodes harmlessly within the star. Torres is commended for keeping her calm by the crew, but takes a moment for herself after exhibiting her bout of violence.

Reception
SyFy said this was the 18th best episode Bryan Fuller wrote for, but was unhappy with yet another episode about B'Elanna being angry and called this a "snoozefest". Den of Geek ranked it the 19th best Bryan Fuller episode, noting topics of anger, pollution and a focus on B'Elanna.

Releases
"Juggernaut" was released on LaserDisc in Japan on June 22, 2001, as part of 5th Season Vol. 2, which included episodes from "Dark Frontier" to "Equinox, Part I". The episode had two audio tracks, English and Japanese. This set had 6 double sided 12" optical discs giving a total runtime of 552 minutes.

"Someone to Watch Over Me" and "Juggernaut" were released together on one VHS tape.

On November 9, 2004, this episode was released as part of the Season 5 DVD box set of Star Trek: Voyager. The box set includes 7 DVD optical discs and the audio track includes a Dolby 5.1 Digital Audio format.

title: Juggernaut (Star Trek: Voyager)


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Wikipedia:Peer review/Lorcan Ua Tuathail/archive1

Lorcan Ua Tuathail
Hello everyone. Most of my areas of interest are in relatively obscure eras of Irish history, and, because of uncertain health, I would like as much help and peer review as possible; not just on this article, but them all. Very much looking forward to your comments (mostly!). Fergananim 21:06, 25 August 2005 (UTC)
 * Hello Fergananim. I took a look at the writeup and I found some of the sentences a bit unclear in the way they were written, so I attempted to do a little clarification. Please check and make sure those revisions are meet the intent. The page could use a slightly longer introduction that at least mentions that he was the Archbishop of Dublin for nearly two decades. The very last sentence mentions a "great many" miracles that occured by his intercession, but gives no specifics. Could this either be expanded or referenced? Also the page could do with some references for credibility. Are there any illustrations of this man? Pictures of staues? Paintings? Representations? That sort of thing. Finally, much of the article is concerned with the history of Lorcan, but less so with the man himself. Are there any personal details? Any of his writings? Thanks. — RJH 17:45, 27 August 2005 (UTC)
 * Hello RJ. Deeply appreciate the help. I agree on the introduction and will do so. As to the miracles I as yet have no specifics but will look them up. As far as I know there are no contempary illustrations of Lorcan, but it would not be hard to find a modern rendering. The trouble is I still don't know how to upload and insert illustrations, which has not helped the quality of my articles. And as to the man himself, point taken. Fergananim 18:27, 27 August 2005 (UTC)
 * Fergananim -- Image uploads are actually fairly easy. The hardest part is figuring out which copyright template to use. I go to the following page for uploads: Special:Upload, and to the following for the list of copyright templates: Image copyright tags. All of this is available under the Help link, along with information on image formatting, and so forth. — RJH 15:50, 29 August 2005 (UTC)

Extremely good article, but it needs images. Tasks you can do 20:31, 28 August 2005 (UTC)


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Brian Massumi

Brian Massumi (born 1956) is a Canadian philosopher and social theorist. Massumi's research spans the fields of art, architecture, cultural studies, political theory and philosophy. His work explores the intersection between power, perception, and creativity to develop an approach to thought and social action bridging the aesthetic and political domains. He is a retired professor in the Communications Department of the Université de Montréal.

Overview
Massumi was instrumental in introducing the work of French philosophers Gilles Deleuze and Félix Guattari to the English-speaking world through his translation of their key collaborative work A Thousand Plateaus (1987) and his book A User's Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari (1992). His 1995 essay "The Autonomy of Affect", later integrated into his most well-known work, Parables for the Virtual: Movement, Affect, Sensation (2002), is credited with playing a central role in the development of the interdisciplinary field of affect studies.

Massumi received his B.A. in Comparative Literature at Brown University (1979) and his Ph.D in French Literature from Yale University (1987). After a Mellon postdoctoral fellowship in the Stanford University Department of French and Italian (1987-1988), he settled in Montréal, Canada, where he taught first at McGill University (Comparative Literature Program) and later at the Université de Montréal (Communication Department), retiring in 2018. Massumi has lectured widely around the world, and his writings have been translated into more than fifteen languages.

Since 2004, he has collaborated with the SenseLab, founded by Erin Manning as an experimental "laboratory for thought in motion" operating at the intersection of philosophy, art, and activism.

Philosophy
Massumi situates his work in the tradition of process philosophy, which he defines broadly to encompass a range of thinkers whose work privileges concepts of event and emergence. For Massumi, this includes not only Alfred North Whitehead, the philosopher most closely identified with the term, but also Charles Sanders Peirce, Henri Bergson, Gilbert Simondon, Gilles Deleuze, and Félix Guattari, on all of whose work he draws extensively. He articulates process philosophy with William James's radical empiricism, which asserts the primacy of relation. This is the doctrine that relations are real, are directly experienced, and create their terms.

Massumi has also characterized his work as "activist philosophy" (a philosophy for which the ultimate concept is activity rather than substance ); "speculative pragmatism" (a philosophy for which present practice bears as much on future potential as on existing functions and known utilities  ); "ontogenetics" as opposed to ontology (a philosophy for which becoming is primary in relation to being ); and "incorporeal materialism" (a philosophy attributing abstract dimensions of reality to the body and matter itself  ).

Theory of power
Massumi's earliest work on the theory of power is two-pronged. On the one hand, it examines processes of power centralization tending toward the absolutist state, which he broadly defines as fascist. On the other hand, influenced by the work of Michel Foucault, it examines processes by which power effects are distributed throughout the social field, in particular through the mass production of what he termed "low-level everyday fear." After the 9-11 attacks on the World Trade Towers, his theories of distributed power focused on the doctrine of preemption promulgated by the George W. Bush administration to serve as the framework for the "war on terror."

Massumi argues that preemption is more than a military doctrine, but has engrained itself as an invasive mode of power operating in many forms throughout society. He sees this mode of power as paradoxically productive. He gives it the label "ontopower" (the power to bring to be). Ontopower, according to Massumi, is related to but distinct from disciplinary power and biopower as analyzed by Foucault. It is allied with Foucault's concept of "environmentalism." Massumi analyzes onto power as entwined with neoliberal capitalism. He argues that this entwinement makes the capitalist economy a direct power formation in its own right.

The idea that capitalist ontopower is a direct power formation that modulates the social field of emergence to capture becoming raises fundamental questions about what form political resistance and anticapitalist struggle can take. Massumi argues that there is no position "outside" capitalist power from which to critique or resist. The potential for political action nonetheless remains, but requires strategies of "immanent critique" that counter-modulate the social field of emergence. These forms of resistance occur at the "micropolitical" level. The word micropolitics does not refer to the scale at which action takes place, but rather to its mode.

Philosophy of experience
Massumi's approach to perception and the philosophy of experience is closely tied to his political philosophy through the theory of affect. Massumi famously distinguishes emotion from affect. Following Spinoza, he defines affect as "the capacity to affect and be affected." This locates affect in encounters in the world, rather than the interiority of a psychological subject. Emotion, he argues, is the interiorization of affect toward psychological expression. He locates affect as such in a nonconscious "zone of indistinction" or "zone of indeterminacy" between thought and action. This zone of indeterminacy is the "field of emergence" of determinate experience, but itself resists capture in functional systems or structures of meaning.

Affect's resistance to capture leaves a "remainder" of unactualized capacity that continues in the world as a "reserve" of potential available for the next determination, or "taking-form" of experience in definitive action, perception and emotion. Massumi refers to this remaindering of potential across an ongoing process of serial formation as the "autonomy" of affect

Affect is implicated in all modes of experience, including language experience, as an accompanying dimension of becoming. Conversely, all modes of experience are held together in the affective field of emergence in a state of "incipiency." The difference between modes of experience is not erased in this zone of indistinction, but is present "germinally" as a minimal differential. The modes of experience untangle from each other to come to expression divergently, actualizing different tendencies. The process of the taking-form of experience is "pulsed." Each definitive taking-form reemerges from the field of emergence after a lapse that Massumi identifies with the "missing half-second" in conscious experience experimentally verified by neuropsychologist Benjamin Libet. Quoting Whitehead, he maintains that "consciousness flickers" Between pulses, experience returns to immanence in the zone of indistinction of the field of emergence, where it is "primed" (energized and oriented) for a next taking-form. This occurs at the nonconscious level of "intensity" of experience.

In his later work, Massumi develops the concept of "bare activity"  to aid in the analysis of the affective field of emergence in which modes of activity that divergently express, for example as "mental" versus "physical,""action" versus "perception," or "rational" versus "emotional," are in what he calls a state of "mutual inclusion." (for which "co-motion," "superposition," and "reciprocal presupposition" are synonyms in Massumi's vocabulary). Mutual inclusion is the logic of immanence, which does not obey the law of the excluded middle.

The concept of mutual inclusion in bare activity has consequences for the theory of perception. It focuses the theory of perception on the interfusion of the senses (cross-modal relay or synesthesia) and "amodal perception" (experience that is not in any particular sense mode and is in that sense "abstract"). Massumi ties amodal perception to the "proprioceptive" experience of movement perception, and argues that the experience of movement is primarily in relation to objects.

Massumi's emphasis on amodal perception gives modes of abstraction ("nonsensuous perception") a direct role in the emergence of experience. This troubles the distinction between the concrete and the abstract. Massumi analyzes the constitutive role of abstract dimensions of reality in terms of the "reality of the virtual," expanding on Bergson's theory of the virtual as reinterpreted by Deleuze. He argues that the virtual, paradoxically, is itself actualized, in the form of a supplement of experience that he calls a "semblance." A semblance in Massumi's vocabulary is the direct experience of the abstract "dynamic form" of an event. It carries a sense of vitality ("vitality affect") uniquely associated with the event. This supplementation of sensuous experience constitutes a "surplus value of life."

Massumi's theories reject representational accounts of thought and perception, as well as any mind/body dualism. The latter is replaced by the integral event of "bodying," coinciding with the "movement of thought." His emphasis on the nonconsciousness of the field of experience challenges the model of cognition in favor of a theory of "direct perception." Direct perception, in his account, is performative and emergent. It expresses and transmits affective powers that exceed cognitive apprehension. Direct perception, or "pure" experience, is nevertheless addressable in a mode of awareness Massumi calls "thinking-feeling" (an embodied "affective attunement" to relation and potential that he glosses in terms of Peirce's logical category of abduction ).

Massumi argues that affect and direct perception are not confined to a human subject, but are "transindividual" and spread across the "nature–culture continuum." This qualifies his thought as a variety of panexperientialism, and distances it from phenomenology. In this connection, he has characterized his thought as an "extreme realism," by which he means a philosophy asserting the ultimate reality of qualities of experience, conceived as irreducible to either subjective qualia or objective properties, and as defying quantification.

Creativity
Massumi works from Whitehead's notion of "creative advance," according to which the world is in a perpetual state of emergence characterized by the continual variation of form. The speculative and pragmatic aspects of his thought come together around the notion that specific practices can be developed to further this creative movement.

In collaboration with Erin Manning, Massumi has developed a process-philosophical take on research creation. Research creation is a category in Canadian academia akin to what is called "art-based research" in Europe. Manning and Massumi extend the concept beyond the university and the specific domain of art. They advocate for an "ecology of practices" that explores how philosophical concepts formed in language can be "transduced" into other modes of experience in a way that furthers creative practice, and reciprocally, how the understanding that already imbues non-language based modes of experience can be brought to explicit expression in ways that further conceptual research. Through this two-way exchange, they see the potential to foster the emergence of new, nonstandard modes of knowledge that exceed disciplinary understanding and normative frames of perception. This affirmation of "minor" modes of thought and experience allies Manning and Massumi's vision of research-creation to the neurodiversity movement.

As Manning and Massumi understand it, the practice of research-creation is necessarily collective and relational, and thus carries a "proto-political" force of immanent critique. Manning's SenseLab is conceived as a laboratory for the collaborative exploration of research creation in its philosophical, aesthetic and political dimensions.

Early life
Massumi is the son of Rashid Massumi (Nain, Iran) from a first marriage to Elsie Szabo (Lorain, Ohio). Massumi's early childhood was spent between Lorain, Ohio and McLean, Virginia. His teenage years were spent in Scottsdale, Arizona, where he dedicated himself to ecological activism as part of the environmental movement of the early 1970s. His work with local and national environmental organizations on issues of wilderness preservation and land use, clean energy, and water conservation culminated in an internship in Washington, D.C., with The Wilderness Society, where he specialized on the issue of shale oil development.

Disillusioned with lobbying and traditional politics, Massumi later moved toward direct action in the context of the anti-nuclear movement of the late 1970s and early 1980s. During this period, he worked within a network of anarchist affinity groups called the Coalition for Direct Action at Seabrook (CDAS), an off-shoot of the Clamshell Alliance, on the organization of two occupation attempts of the Seabrook Nuclear Power Plant construction site. His particular area of focus was a planned prefigurative community, the Seabrook Freestate, that was established on squatted public land near the construction site in advance of the second occupation attempt to serve as a model for the anticipated occupation. Although these efforts failed, Massumi has remarked on the lasting influence that their model of direct action and direct democracy has had on his thinking.

Criticism
Most critical responses to Massumi's work focus on the 1995 essay "The Autonomy of Affect" and categorize him as an "affect theorist." The distinction he makes between affect and emotion, and his assertion that affect is "autonomous" in the sense that it extends beyond linguistic signification and resists cultural coding, are particular subjects of contention.

In an influential essay, Ruth Leys asserts that Massumi establishes a "false dichotomy" between mind and matter, and thinking and feeling, and disqualifies the first term of each couple. This separates the body from subjectivity, and plays into scientistic frameworks assimilating the body to inert matter. Leys argues that this undermines intentionality and rationality, which in turn makes it impossible to account for ideology or to programmatically resist it. Leys further argues that Massumi's account of the "missing half-second" negates free will.

Margaret Wetherell argues that Massumi draws too gross a demarcation between bodily experience and social action and establishes a starkly polarized distinction between controlled and autonomic processes. In Wetherell's opinion, Massumi detours the study of affect and emotion toward particular philosophical preoccupations in ways that are "radically unhelpful" and undermine a more judicious and "pragmatic" approach grounded in the social psychology literature.

Eugenie Brinkema, writing from a film theory perspective, similarly criticizes what she sees as Massumi's overreliance on the line of philosophical thinking about affect descending from Spinoza through Deleuze. She sees Massumi imposing a "split" between affect and emotion that cuts affect off from signification, leaving it merely "formless" and "outside structure."

Works as author

 * A User's Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari (MIT Press, 1992) (ISBN 0-262-63143-1)
 * First and Last Emperors: The Absolute State and the Body of the Despot (with Kenneth Dean; Autonomedia, 1993) (ISBN 0-936756-77-2)
 * Parables for the Virtual: Movement, Affect, Sensation (Duke University Press, 2002) (ISBN 0-8223-2897-6)
 * Semblance and Event: Activist Philosophy and the Occurrent Arts (MIT Press, 2011) (ISBN 0-262-13491-8)
 * Thought in the Act: Passages in the Ecology of Experience (with Erin Manning; University of Minnesota Press, 2014) (ISBN 0-8166-7967-3)
 * What Animals Teach Us about Politics (Duke University Press, 2014) (ISBN 978-0-8223-5800-8)
 * The Power at the End of the Economy (Duke University Press, 2015) (ISBN 978-0-8223-5838-1)
 * Politics of Affect (Polity Press, 2015) (ISBN 978-0-7456-8981-4)
 * Ontopower: War, Powers, and the State of Perception (Duke University Press, 2015) (ISBN 978-0-8223-5995-1)
 * The Principle of Unrest: Activist Philosophy in the Expanded Field (Open Humanities Press, 2017) (ISBN 978-1-7854-2044-3)
 * 99 Theses on the Revaluation of Value: A Postcapitalist Manifesto (Minneapolis: University of Minnesota Press, 2018) (ISBN 978-1-5179-0587-3)Online project.
 * Architectures of the Unforeseen: Essays in the Occurrent Arts (Minneapolis: University of Minnesota Press, 2019) (ISBN 978-1-5179-0596-5)
 * Couplets: Travels in Speculative Pragmatism (Duke University Press, 2021) (ISBN 978-1-4780-1466-9)
 * Parables for the Virtual: Movement, Affect, Sensation. Augmented twentieth anniversary edition. (Duke University Press, 2021) (ISBN 978-1-4780-1467-6)

Work as editor

 * Theory Out of Bounds University of Minnesota Press book series, 1993-2007. Co-edited with Michael Hardt and Sandra Buckley.
 * The Politics of Everyday Fear (University of Minnesota Press, 1993) (ISBN 0816621632)
 * A Shock to Thought: Expression After Deleuze and Guattari (Routledge, 2002) (ISBN 0415238048)
 * Technologies of Lived Abstraction MIT Press book series, 2009-2017. Co-edited with Erin Manning.
 * Thought in the Act Duke University Press book series, begun 2017. Co-edited with Erin Manning.
 * Immediations Open Humanities Press book series, 2015-2018. Edited by SenseLab.
 * Immediations (continuation) Punctum Books book series, begun 2018. Edited by SenseLab.
 * Animals, Animality and Literature , Cambridge Critical Concepts, ed. Bruce Boehrer, Molly Hand, and Brian Massumi (Cambridge University Press, 2018) (ISBN 978-1108429825)

Works as translator

 * The Postmodern Condition, Jean-François Lyotard, tr. Brian Massumi and Geoff Bennington (Minneapolis: University of Minnesota Press, 1984). (ISBN 978-0-8166-1173-7)
 * Noise: The Political Economy of Music, Jacques Attali (Minneapolis: University of Minnesota Press, 1985). ISBN 978-0-8166-1287-1)
 * Nomadology: The War Machine, Gilles Deleuze and Félix Guattari (New York: Semiotext(e), 1986). (ISBN 978-0936756097)
 * Heterologies: Discourse on the Other, Michel de Certeau (Minneapolis: University of Minnesota Press, 1986). (ISBN 978-0-8166-1404-2)
 * A Thousand Plateaus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari (University of Minnesota Press, 1987). (ISBN 978-0-8166-1402-8)

title: Brian Massumi


text:
Cuthbert Bullitt

Cuthbert Bullitt (c. 1740 – 1791) was an American colonial planter and lawyer from Prince William County, Virginia. During the American Revolution, he was a local and colonial politician, and voted against ratification of the U.S. Constitution at the Virginia Ratification Convention.

Early and family life
Bullitt was born on his parents' plantation in Fauquier County, Virginia, and was descended from French Huguenots. His grandfather, Benjamin Bullett (so spelled at the time), was from Languedoc in southern France, and emigrated across the Atlantic Ocean to escape the religious restriction of Huguenots after the Edict of Fontainebleau. He settled in the Province of Maryland in 1685 and operated a plantation near Port Tobacco in Charles County. His son Benjamin married Elizabeth Harrison, descended from the First Families of Virginia. They had five children, including Cuthbert.

He and his brother, Thomas Bullitt, both settled in Prince William County and became locally prominent -- Cuthbert as a planter and lawyer and Thomas as a soldier who commanded local troops westward on military and exploratory journeys.

In 1760 Cuthbert Bullitt married Helen Scott (1739-1795), eldest daughter of Rev. James Scott (d.1782) of Dettingen parish, whose uncle Rev. Alexander Scott (1686-1733) of then-vast Overwharton Parish (now Aquia Church) had received considerable land in Fauquier and Prince William Counties from Lord Fairfax. Although two of her brothers drowned at sea, three continued the Scott family's military and legal traditions. James Scott became a Virginia legislator and Revolutionary soldier; Rev. John Scott (a Maryland Loyalist) later briefly served as rector of Dettingen parish and his son became state senator and judge John Scott (1781-1850): Gustavus Scott would become an early commissioner laying out the new federal city in the District of Columbia further upstream along the Potomac River. The Bullitts had six children: Alexander Scott Bullitt (who also served in the House of Delegates and became a pioneer settler in Louisville, Kentucky), Thomas James, Frances, Sarah, Helen, and Sophia.

Career
Bullitt developed his plantation, known as Mount View, on a peninsula where Quantico Creek enters the Potomac River. He also donated land which became the town of Dumfries, which was a port for shipping tobacco until it silted up after his man's lifetime.

On 24 September 1765 Bullitt shot and killed Virginia Burgess John Baylis in a duel. Baylis had insulted Bullitt's brother-in-law, then 18-year old John Scott. He was acquitted on grounds of self defense.

As the American Revolutionary War neared, Bullitt became active politically, as did his militia officer brother Thomas as well as his Scott in-laws, among others. Bullitt joined Prince William County's Committee of Safety as did Lynaugh Helm and Henry Lee III. In 1776 Prince William County voters elected Bullitt and Lee as the county's delegates to the fifth Virginia Revolutionary Convention. That meeting became a constitutional convention, producing an interim constitution used by the new Commonwealth for the next several years.

Serving the new state government, Bullitt became the Commonwealth Attorney (prosecutor) in Prince William County. He also served several terms part-time as one of Prince William County's representatives in the Virginia House of Delegates. Fellow legislators elected Bullitt a state court judge in 1780. He then let his eldest son Alexander Scott Bullitt gain legislative experience, but after his son relocated to Kentucky, Bullett resumed his part-time legislative service. His last quasi-legislative service was in 1788, when Bullitt represented Prince William county with William Grayson during the Virginia Ratifying Convention concerning the United States Constitution. Both Prince William County delegates conformed with fellow planter George Mason (who owned plantations and a ferry in Prince William County but represented Stafford County), and voted against ratification.

Bullitt patented 8000 acres on the north fork of Licking Creek in Kentucky in 1788. His name is spelled three ways in the 1787 state tax census. Nonresident "Cuthbert Bullet" owned land and no slaves in Botetourt County, Virginia (near his late brother's area of exploration); nonresident ""Cuthbert Bullitt" owned 19 enslaved people older than 16 and 25 under that age in Fauquier County (where he was born and his father had owned land), and "Cuthbert Bullett" owned five enslaved adults and nine children in Prince William County.

Death and legacy
Judge Bullitt died at his Mount View plantation in 1791. His will was dated May 16, 1791.

title: Cuthbert Bullitt


text:
WS-Transaction

WS-Transaction is a Web Services specification developed by BEA Systems, IBM, and Microsoft. The WS-Transaction specification describes coordination types that are used with the extensible coordination framework described in the WS-Coordination specification. It defines two coordination types: Atomic Transaction (AT) for individual operations, and Business Activity (BA) for long running transactions. Developers can use either or both of these coordination types when building applications that require consistent agreement on the outcome of distributed activities.

title: WS-Transaction


text:
William G. Bonelli

William George Bonelli (November 9, 1895 – November 21, 1970) was a California Republican politician and former member of the California State Board of Equalization who fled to Mexico to avoid arrest on a corruption indictment.

Biography
Son of a pioneer American family of Swiss-English descent, Bonelli was born in Kingman, Arizona and moved to Los Angeles in 1912. He entered the University of Southern California and received his bachelor of arts degree in 1916. He then served in the Aviation Section of the U.S. Army in 1918–19 and remained in the Reserve as a pilot until 1934.

Bonelli obtained his master of arts degree from Occidental College in 1923 and his law degree from Southwestern Law School in 1924; he was admitted to the California Bar in 1925.

He became a promoter of the Southern California aircraft industry and the Santa Clarita Valley. He purchased Hoot Gibson's rodeo venue in 1937 in Saugus, California and ran rodeos until a quarter-mile dirt track was built in 1939; it was later renamed Bonelli Ranch Stadium. It hosted a myriad of events showcasing midget cars and hot rods (roadsters). Later, the track was expanded to one-third mile. In 1954, the surface was paved and the name changed to Saugus Speedway. The paved track brought on the transition to stock cars, which was the primary format through 1995, when the track was closed.

Bonelli had two sons, Robert, of Phoenix, Arizona, and William Jr. of Saugus, California. He died November 21, 1970, in Mexico.

Academia
He was associate professor of political science at Occidental College for seven years, until 1929.

Los Angeles
Bonelli was elected to represent Los Angeles City Council District 14 in the May 1927 primary, winning the majority of votes over seven other candidates. He did not run for reelection in 1929, instead choosing to challenge John C. Porter in the mayor's race, which Porter won.

The youngest member at age 36 and a newcomer on the incoming 1927 City Council, Bonelli was chosen for the position of president of the council after it was determined that none of the other nominees — Charles J. Colden. Howard W. Davis and Frank L. Shaw — could attain a majority of votes. He was named on the 56th ballot of a council caucus.

Bonelli, who was seen as an opponent of the George E. Cryer administration, declared in his inaugural address after being elected president that the council should "use its efforts to prevent the police department from being swayed from its duty by 'outside control.'" Nevertheless, when Bonelli himself was running for mayor in 1929, he was criticized for sending an appeal for votes and an attack on Chief James E. Davis and the Police Commission in letters bearing his office title to two thousand members of the department.

As a council member, he was a supporter of a $6 million bond issue that would develop a city-owned airport on any one of the three sites — Mines, Vail and Sesnon — then under consideration.

Corruption
In 1931 he was elected to the California State Assembly from the 54th District, and from 1934 to 1938 was director of the State Department of Professional and Vocational Standards. He was then appointed to the State Board of Equalization, the state agency that approved liquor licenses. Bonelli was indicted by a Los Angeles grand jury in November 1939, along with six others, on charges of soliciting bribes in a $10 million "annual liquor license pay-off scandal."

A series of articles in the Los Angeles Mirror in 1953 accused Bonelli of a long involvement in kickbacks on liquor licenses, bribery and criminal associations.

Bonelli hired journalist Leo Katcher to ghost-write Billion Dollar Blackjack: The Story of Corruption and the Los Angeles Times (1954), in which Bonelli, as the ostensible author, defended himself and attacked the Chandlers. He also sued the Mirror for $1.15. million for libel; it had run front-page stories calling him the Liquor Czar. Facing an impending grand jury indictment, Bonelli found exile in Mexico where he spent the rest of his life. He tried numerous times to have the court case moved from Los Angeles County to San Diego County because he said he could never get a fair trial in Los Angeles County because it was under the control of the Times.

He had a running battle with the Los Angeles Police Department and Harrison Gray Otis's and Harry and Norman Chandler's Times — which he likened to "a black-jack, a bludgeon, a weapon to be used in behalf of their friends and against their enemies." In his book he accused the Times of all manner of malfeasance, from king-making and union busting to subverting laws, violating civil rights and "aligning class against class, race against race, in an attempt to make bigger profits for themselves."

He died a fugitive in Mexico on November 24, 1970.

title: William G. Bonelli