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Described as \"a self-portrait in 154 songs\", The Lyrics: 1956 to the Present spans McCartney's eight decades of songwriting - as a teenager, a member of the Beatles, his time with rock band Wings and as a successful solo artist.

Chigbo, Onyinyechukwu Nneamaka and Fitton, Daniel Bowen ORCID: 0000-0002-2300-5432 (2014)An exploration of the effects of enforced collaborative agreement on teenagers' gameplay experience. In: CHI'14 CHI Conference on Human Factors in Computing Systems, 26 April - 1 May 2014, Toronto, Canada.

Fitton, Dan, Bell, Beth, Read, Janet C ORCID: 0000-0002-7138-1643, Iversen, Ole, Little, Linda and Horton, Matthew (2014)Understanding teen UX: Building a Bridge to the future. In: 32nd Annual ACM Conference on Human Factors in Computing Systems, CHI EA 2014, 26 April 2014 through 1 May 2014, Toronto, ON; Canada.

Fitton, Daniel B., Horton, Matthew and Read, Janet C ORCID: 0000-0002-7138-1643 (2014)Scaffolding design sessions with teenagers: The PDA approach. In: 32nd Annual ACM Conference on Human Factors in Computing Systems, CHI EA 2014, 26 April 2014 through 1 May 2014, Toronto, ON; Canada.

Mcallister, Annemarie ORCID: 0000-0003-0615-3262 (2014)The Alternative World of the Proud Non-Drinker: nineteenth-century public displays of Temperance. Social History of Alcohol and Drugs, 28 (2). ISSN 1930-8418

With World Cinema offering some of the best films, I was disheartened to see such small audiences in the cavernous Eccles for films like Emir Kusturica’s magical delirium of gypsy madness Black Cat, White Cat. or Tom Tykwer’s witty, propulsive Run Lola Run, especially when movies that seemed to have little reason to be at Sundance, such as Fox’s big-budget black-humored Ravenous drew packed houses. But then just as I often feel trapped in the future at Sundance – knowing that five years from now, unable to sleep, I will be clicking through the same unmemorable, no-budget pics on the Sundance Channel – Ifind something wonderful and unique. From abroad, there was Japanese director Kore-Eda Hirokazu’s haunting and serene Afterlife, Gaspar Noe’s corrosive French drama I Stand Alone and John Curran’s engaging, if ultra-quirky, Australian romance Praise. Young American filmmakers also showed up with some idiosyncratic films. The Midnight selection held one of the other big sales, the clever, jagged horror film The Blair Witch Project. Known for its films rather than sales, the Frontier section presented a glimpse of visually strong American work. Julian Goldberger’s distinctively crafted Trans provides an episodic portrait of the nocturnal wanderings of a young juvenile delinquent in Ft. Myers, Florida. Another look at young men was James Herbert’s Speedy Boys, a study of the naked and the nude with his protagonists lounging about as if in a narcotized version of pretty-boy gay porn. In Dresden, Ben Speth creates a lovingly photographed love letter to contemporary Manhattan and an utterly modern woman.

There was a special tribute to beat artist Alfred Leslie whose 1959 short Pull My Daisy (co-directed with Robert Frank and written by Jack Kerouac) is considered an underground classic. Leslie was present to introduce his films and take questions from the audience. In his The Last Clean Shirt (1964), a man and a woman get into a car, tape an alarm clock to the dashboard, and drive around with the woman talking continuously in an unknown language. This same action is repeated three times with different stream-of-consciousness subtitled narrations by poet Frank O’Hara. O’Hara’s writing brings a smartness to such silliness with lines like, \"Our culture is embarrassed by its propensity to entertain.\" Birth of a Nation (1965), originally 120 minutes, was nearly totally destroyed in a fire, yet Leslie recovered fourteen minutes of the charred footage and recontructed the remaining pieces a few years ago. What remains is artist Willem de Kooning as Captain Nemo and actor Patrick McGee reading from the works of Marquis de Sade as two men and a woman tumble about in a freeform orgy.

The most notable panel was \"Farewell to the Forty Deuce,\" a personal look at the sleazy days of 42nd Street before it got sanitized by politicians washing their hands in the pockets of real estate developers. Presented by June Lang and Jeff Krulik, panelists included Frank Henenlotter, director of the feminist classic, Frankenhooker, who presented clips from Something Weird’s video archive of rare ’50-’60s sex loops; Josh Alan Friedman, author of Tales of Times Square, who reminisced about the heyday of exploitation films, and exchanged teenage sneaky peaky stories with Henelotter; and Uncle Lou Amber, chauffeur to the strippers who had nothing but kind words to say about all the women he drove to oblivion. June Lang presented clips from her forthcoming documentary Farewell to the Deuce featuring Allen Ginsburg, porn maven Al Goldstien, and the cheeky Quentin Crisp who slyly proclaimed, \"pornography is the endeavor to sell sex for more than it’s really worth.\" But the panel, and possibly the whole festival could be summed up by the awe I felt sitting behind Rudy Burckhardt as his films Square Times and Sodom and Gomorrah played on screen. His camera penetrated the faces of the hookers and patrons from the ’60s, while lingering on storefront windows with signs such as, \"we give plaid stamps.\" Yes, 42nd Street once was this sexy place where it was okay to bring the wife and kids, and here was this artist who brought that history to my eyes; an old-timer who’s still making art, who’s survived it all in spite of the odds.

The International Competition, restricted to first- and second-time filmmakers, offers the Golden Alexander, a grand prize worth about $45,000, for best full-length film, which went to Yoichiro Takahashi’s unhurried teens-in-summer story, Fishes in August. (The lead’s sexual frustration sometimes matches one’s own in wanting the summer to turn to another season, another mood.) The Silver Alexander, worth about $27,000 prize was shared by Petr Zelenka’s ambitious slice of surrealism, Buttoners, from the Czech Republic, and The Flight of the Bee, a story of a poor teacher who digs a public latrine to embarrass a rich neighbor, by co-directors Jamshed Usmanov from Tajikistan and Korean Byoung Hun Min. Samira Makhmalbaf’s The Apple got a special mention, and a Special Artistic Achievement Award went to Kwangmo Lee’s affectingly written coming-of-age story, Spring in My Hometown. The Best Director nod went to Constantine Giannaris for From the Edge of the City. The inspiredly loopy God’s Got My Number, tracking the antics of a shy would-be womanizer by France’s Bruno Podalydes won the Heineken Audience Choice Award. 59ce067264

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