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His films are like watching living Magical Realist paintings. There is a significant following of women that find Pinhead incredibly sexy. Visually well done and the effects are of course brilliant and not CGI. But it is the modern rational in opposition with the irrational and unexplainable that makes it so compelling and perverse. Whether you are in, out, or in the act of falling in either direction in respect to Christianity, this movie will shove you in a different direction. It is like a horrific summary of the Western psyche’s battle between faith in faith and faith in science. The direction is so masterfully dry and bleak that the feeling is that there is none in either. The baptism scene showing the pure of the faith and the horror of the mafia is classic. Coppola’s daughter, a director in her own right( ( Lost in translation) was the baby in that scene. The courtroom scene where the lawyer leaves and all the afro-american folks who had to stay up in the balcony, stand to honor him is very moving. I also like the way the director used simple shots and techniques showing shadow and emotion with close ups of hands as in the fight scene with jim, boo and mr yuell and with boo and jim as he lays in the bed. The power of Rome and the life of Christ all intertwined in Ben Hur’s struggle in life. Again along with spectacular camera work as in the chariot scene, the director uses simple yet very powerful angles to convey very powerful emotion, as in when ben is marched off to the ships and encounters jesus and when in turn Ben hur meets christ on his way to calvary. Simple shots, close up of hands, low camera angles. John Wayne and John Ford and Utah’s monument valley— enough said. Also in the quiet man director John ford also does a masterful job in bringing the townspeople in that little irish village alive. That other italian director, oh yeah martin produces this film like a zen koan, with artsy style and grace, yet very moving and powerful. Only our boy martin could show the devastation of Tibet at the hands of the chinese with peaceful floating musical pieces and slow camera movements. His total creativity in camera movement and angles is an art form. I also like those B 1950 Edgar Allen Poe films, like The Raven cause they are all Poe masterpieces dealing with horror within the mind.

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These transcripts (a sample is currently circulating the room, it has not yet reached the back row) are apparently formatted like screenplays: Man 1: Cold on set. Man 2: Sweater? In this way, Bereyter said, he excavates a parallel script, an underscript, hidden between the lines of Hitchcock’s original: it is as though all this dialogue has secretly been printed there in invisible ink, and the lip reading is like a lemon he is squeezing over it. Or better, he said, as if this dialogue were a message in a bottle. That is how he came to explicate the Clegg epigraph on the whiteboard: it is as though these extras, he said, have stuffed their messages into the bottles of various backgrounds, and it is only by reading their lips that we can uncork them. Since the lights were still on at that point, I was able to jot down the word bottle in my notebook. Only five minutes into the presentation, and already I had caught him in his first mistake. For although the movie can be said to form a kind of ontological bottle, encapsulating its characters, it is the deaf person (in Clegg’s epigraph) who is bottled: by reading the extras’ lips, it is not so much? ? r not only? ? hat we rescue messages from their bottle; but rather, we invite them ( slowly but surely, in Clegg’s phrase) to enter the bottle that we ourselves (the deaf moviegoers, in Chion’s phrase) are trapped inside. If the background bottle is nestled inside the Vertigo bottle, then both are wedged within the Wolfsegg bottle, I thought to myself, sitting silently in my desk chair, alone at the back of the room. It is a mise en abyme of bottles, I thought, circling the word bottle in my notepad. He began his lecture by bragging about his felicitous invention of white dialogues. It may come as a surprise to some of you, he said, but I discovered them quite by accident. Late one night, while rewatching Vertigo for my dissertation, I spotted an extra I had never noticed before. The scene (which he proceeded to screen for us) occurs twenty minutes into the film (not long after the scene at Ernie’s, in fact): in it, Kim Novak visits a florist, a dowdy and somehow stern-looking woman in a blue dress. Bereyter confessed that he had watched this scene countless times beforehand, without ever registering the florist. He saw Novak mutter something to the woman, and he saw the woman nod in return.

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But as incumbent city clerk, Winfrey had a particular advantage in targeting these voters, too. The clerk’s office mails out absentee ballots to those who request them, and sends out ballot applications to those who've asked to be on the permanent absentee voter list. The clerk can also distribute, separately and at taxpayer rather than campaign expense, neutral voter information via billboards or mailers that also has the virtue of indirectly reminding voters of her incumbency. Winfrey had billboards up about new voting machines, for instance, that weren't campaign ads. Absentee voters are accustomed to seeing the clerk’s face on some sort of material that reinforces the idea of her incumbency, and that could be persuasive. “It’s an unfair advantage, but the law has worked that way for a while and Gilchrist should have been prepared for it,” said Morrow. “Apparently, he wasn’t. Meanwhile, Gilchrist’s focus on Election Day was also a remarkable success. He won 100 more precincts than Winfrey did and, earned a 10-point margin of the votes cast on Election Day, largely by running up vote totals in high-turnout areas of the city. He bested Winfrey by more than 23 points in dozens of precincts, and in the highest turnout sections of the city, he beat her by more than 50 points. In the two highest-turnout precincts, where about 40% of voters turned out in Sherwood Forest, Palmer Woods and Green Acres, Gilchrist won 75% of the vote. Gilchrist performed very strongly in the city's more fortunate areas, too. He racked up double-digit margins in precincts along the riverfront, in Indian Village, Palmer Woods, Sherwood Forest, University District and Rosedale Park. Gilchrist took a majority of votes in his home neighborhood of Corktown, with 79% of the vote. In essence, Gilchrist did just about everything right. And on Election Day, he got his voters to the polls, and got extremely high voter response in places where people turned out. The pattern of his support even matched what Winfrey got in 2005, when she unseated former clerk Jackie Currie. Winfrey won Election Day and lost the absentee votes, but didn't lose badly enough among absentees to cost her the election. Gilchrist either didn't connect with the absentee voters he approached, or their attachment to Winfrey was so strong (because she was the incumbent, perhaps) that his outreach didn't matter. The anomaly of his loss is poignant in terms of city history, but that's likely no consolation to Gilchrist, or his supporters.

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The division of the country into linguistically demarcated subunits is, in fact, part and parcel of the 35 E. Unlike those of Burma, the states of India have real and explicitly-perhaps too explicitly-spelled out constitutional powers in every field from education and agriculture to taxation and public health, so that the political process centering around the state assemblies and the formation of state governments is far from being an inconsequential matter. It is on the state level that perhaps the bulk of the bitter hand-to-hand clashes that form the everyday substance of Indian domestic politics are coming to take place, and where the adjustments of parochial interests are coming to be effected, insofar as they are effected at all. Most observers put it down, rather without analysis, to Nehru's charismatic force as a nation alist hero. His position as apostolic heir to Gandhi and avatar of inde pendence bridges the gulf between his own cosmopolitan intellectualism and the provincial horizons of the mass of his people. The Congress is Pandit Nehru and Pandit Nehru is Congress. The fears surrounding the succession problem, real enough when the above was written, proved to be baseless. In May 1 969, President Zakir Husein, a Muslim, died, threatening the Hindu-Muslim under standing within India and precipitating a showdown between Mrs. Gan dhi and the traditional Congress bosses, which Mrs. Gandhi decisively won. Though faced with continued upheaval on the state level, Mrs. Gandhi won a decisive victory in the general elections of March 1 971, capturing undisputed control of the government. The Bangladesh revolt, perhaps the most dramatic, and certainly the most successful, pri mordial separatism in the new states so far, broke out later in the year, followed by Indian intervention and the short, successful war with Paki stan. With all this, the Congress' ability to keep India's multiple priar Ambed kar, Thoughts on Linguistic States, p The Chinese attack may, of course, provide an even more powerful cement than Nehru-a common enemy. 301 The Integrative Revolution Z93 mordial groups under control has surely at least temporarily increased. Indeed, the Bangladesh example may prove a two-sided one for India in the long run, not only in Bengal itself, but elsewhere: in February of this year (1972), the Dravidian Advancement Party launched a campaign for Tamil Nadu, an autonomous Tamil state in South India, drawing an open parallel with Bangladesh and accusing Mrs. Gandhi of behaving like General Y ahya Khan. Thus, though the increased strength of the Congress central government has for one moment somewhat cooled down India's multifront war against primordialism, it has very far from ended it. LEBANON Lebanon may be-as Phillip Hitti has pointed out-not much larger than Yellowstone Park, but it is a good deal more astonishing. Seats in the parliament are allotted on a strictly sectarian basis according to demographic proportions that are fixed by law and that have remained essentially unchanged in the five elections held since independence.

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If they'd wanted it to be unambiguous they could have made the hound use first person a third time. It boggles my mind you can even argue there's ambiguity. This is one of the least ambiguous things in GoT, like ever. If that were the case, The Walking Dead would be a higher quality show than GoT or Breaking Bad. But a show that has nuanced writing, filled with subtext and hidden meaning, will continue to deliver long after it's first aired. This is one of most least ambiguous things in GoT, like ever. Talking about quality of entertainment here, not quality of art. Unfortunately in the show he just kind morphed into a creepy stalker who lurked around in the shadows. I was led to believe he was still alive, barely, and qyburn experimented on him. I even explained again just a little while ago as one of my earlier ones got deleted. What has been left that's unspoken and off-screen, has been as important as what is said on-screen. Quite disappointing they made Tyrion think of this plan, but I guess they are portraying Tyrion as poor advisor. The level of incompetency they're displaying can only be the result of overwhelming arrogance. He's telling his brother that things between aren't finished. Less so the lack of rubble and smoothly paved walkway the undead army enjoyed crossing through where the wall had just stood. And the continual claims about said theory being the simple one, especially compared to the alternate that the Hound is referring to himself. Come on Fizbin. Just say it's insanity level ridiculous and everyone will move on. Now there's something epic happening pretty much every episode and people still complain. Not sure how the NK will control Gregor since he isn't dead.

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That's about it. To answer your question OP, while I wouldn't rate Interstellar as highly as you, I don't think there are many movies I've seen that are like it. Also a movie I can watch several times a year and always enjoy. When I say big, I mean it covers a shit load of stuff and goes outside of our Solar System. I haven't seen a space movie that satisfied me like Interstellar. I'm hoping the upcoming Amazon adaptation of Three Body Problem turns out well. If it captures the essence of the book, it'll be like Interstellar except better in every way. Sunshine is also great and similar in themes to Interstellar, with humans facing the sun dying and a last ditch effort to save it. Also 2010: The Year We Make Contact was a very enjoyable followup to 2001 imo. It's much more streamline and story focused and easier to digest vs 2001 which for some people can be good if you found yourself struggling to stay awake and follow 2001. Highly recommend it if you haven't gave it a watch before, even if you didn't enjoy 2001. There's also the classic Silent Running, Though it can be a little hokey (The robots especially lol) it was still a good movie I thought. Contact needs to be seen due to the the father-daughter connection through space and spirituality. Both crews plan to leave Jupiter separately when a launch window opens in several weeks, but Bowman appears to Floyd and says it is paramount that everyone leave within two days. Since neither ship could reach Earth with an early departure, they work together using the Discovery as a booster rocket for the Leonov, though it will mean the Discovery Template:'s and HAL's destruction. After completing 2010, EEG would become a part of Edlund's own effects company Boss Film Corporation. It was in the spring of 1968 that ''2001,'' Stanley Kubrick's half-satiric, half-reverent vision of the bland and depersonalized future of the human race was thrust at movie audiences accustomed to science-fiction movies containing gigantic bugs, decaying monsters or malevolent aliens. Though Mr. Kubrick and Arthur C. Clarke, the respected science-fiction author, who had co-written the screenplay, had envisioned a cinematic parallel to Homer's ''Odyssey,'' and though critics were divided in their opinions, there was no mistaking the reaction of audiences.

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