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saved souls
Originally uploaded by giefferre

one thousand thousand years the world again / six bell'inganno
that my soul /
and give me my time good company /



[...] I looked at a weeping Mirror snow /
I saw that I laughed /
I saw that I was leaving from the back /
I salute you from the countries of tomorrow

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The mask.

The Mask.
Originally uploaded by giefferre

It is said that everyone wears a mask. What is yours?

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(RI) SCREENING NIGHT - Blade Runner

time I saw a version of Blade Runner that I had never seen, that of 2007, the Final Cut.

I would single out only a few points, because words can not express all the beauty of this powerful film .

remember that, as part of a proposed project, Blade Runner, I was rejected, I had to analyze a film that had the characteristics of the postmodern or post-classical and Blade Runner had not: was " only "a movie classic. Without going into the matter, we can say that, yes, basically the story is classic, but the postmodern there. It is in the composition of the image and experience that it knows how to live.

Blade Runner wraps, is a sort of concert film (for Jullier is the film of 'hic et nunc , that lives its own life, which embraces the audience with sounds and technologies unheard of) . Every sense is stim Olate to explode up forcefully in the brain.

Blade Runner and heard the booming sound, the music powerful, epic beats the distilled wisdom.

And Blade Runner is seen: and it is not only for the continued staging of the eye. The eye, in itself, is only a reflection, a repetition of what the film represents. It is the viewer's eye to be stimulated through a precise formal composition, stately, elegant, perfect. Blade Runner is light, lights of all colors, dazzling lights, stunning, enchanting. Lights that move rhythmically, who build the space, which orchestrate the movements.

lights they create. E-destroying shadows. Blade Runner is also haze, smoke, fire, fog and obfuscation. Our eye is constantly over-excited to be repulsed at the same time in the shadows, in what is difficult if not impossible to see. Moreover, we viewers are not replicating. We ... we have not seen things that we could not even imagine. We see and often not enough and we give importance to what we watch. The only tool that enhances the ability to see and which gives importance to the visible and the cinema.

Cinema replica pictures, plays the saw.

So, that's all eyes constantly staged in the film, divorced from the person eyes, eyes gouged out, blind eyes, artificial eyes and doll eyes, find their culmination, their raison d'être of the protagonist absolute of the film: Roy Batty. How can we not love the dramatic and lyrical perfection of the surrogate? The surrogate has a soul: in fact, probably did not have their own. The replicant - naked, wet and bleeding - all live on his skin and this feels and knows. It is his wonderful poetry that gives ultimate meaning to all:

" I've seen things you people would not believe ...

Attack ships on fire off the shoulder of Orion ... I watched
beams glitter in the dark near the Tannhäuser Gate
... All those ... moments will be lost in time like tears in rain ...
.

Time to die ... "

see and experience. I closed my eyes, there is nothing. The film sees the film lives and makes us live. The cinema, although a car , gives us the deep meaning, lyrical, dramatic, wild, mythical, simple and emotional life.

Never as in this case the form and content (if there is ever content) coincide. And probably, never as in Blade Runner, Scott has shown a formal consciousness so high.

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INLAND EMPIRE - pt. 2

macrosequenza The second begins with the slow fading king of the screen from black to bright colors, tremely vivid example of a tree. We are probably on Sunset Boulevard or in some v ia adjacent Mullholland Drive, or perhaps more precise mind, Inland Empire. Los Angeles. Hollyw ood. The style of the villas is the realm of cinema, just as we have learned from previous Lynch film. A strange and disturbing lady (the adjective worrying for Lynch, not is never often enough) go to one of these villas - excessive, baroque - and knocks on the door.

finally enters the scene, the protagonist of the story ia, actress Nikki. It is she who receives the strange Mr. to his house and offers her a coffee. The shot c Lynch he creates for this sequence is very special. The image is distorted from or create a slight fish eye, in addition to the light is so strong that in some places seems to burn framing. Likely that the lights "fired" may have meant to say: "Actually, really, REALLY A '." It cries to reality, have created a distinct contr do asto the first macroseque nza, but the impression is that and reality, with light, color, wide angle and close-ups excessive, is outshone by surreality .

Lynch turns the film into digital. In an interview of the few years ago the director had claimed to love dirty especially the quality of the digital image dirty because he intrigues a lot. You see perfect catkins that the images lack the emulsion of the film, and Lynch does something that very few r Iusco to do with turning a semi-professional digital camera. Usually tends to create a clear duality: the reality of a digital camera vs the fake film. Lynch smentisc and this dichotomy, because the imm agin building with the digital age has little to do with the sense of reality. What appears to be the preferred means of cinema to give us back the much loved elusive reality, Lynch becomes a way to build, once again, a reality inexorably altered.

In this mixture of blinding light, and Nikki the new neighbors have a dialogue to say the least over the top. The old lady tells Nikki that he wanted the story of the child came out re coming out to play and that created a glare and create evil. And then again: he tells the little girl who went outside to play and that he believed to be in the market, but it was in the street near the market square, the one that leads into the palace ... Nikki does not understand and the lady seems to say that these are things that happen. There is a firm but also fascinating contradictions and will return later in this sequence: remember fut uro.

Mrs. know it all shows that the film N ikki is going to turn. Already know that Nikki will play the role that the film is about the marriage and that inside there is a brutal murder - "A brutal murder of shit". Nikki does not know, indeed not remember what will happen. In fact, the closest he insisted: "If it was tomorrow, she would be sitting on that couch." The woman pointed a finger toward the couch, in front of her and Nikki. With a directorial continuity, spatial and temporal co so simple as outside the Normally, Lynch goes tomorrow. Overnight, Nikki is on the couch with her friends and gets a call from his agent: he got the part.

At this point, our protagonist meets the director and actor with which to play, the beautiful Devon. Devon, famous lover, was put in guard from friends and agents not to try with Nikki. And her husband, who has much the air of a powerful mobster, the open threat treatment: Nikki is committed and the bond of marriage is important.

Nikki and Devon meet in Hollywood, "where stars produce the dreams and the dreams manufacture the stars." The short circuit is about to take life. At the first rehearsal of "On High in Blue Tomorrows" (translation: "The dark sky el Tomorrow") played by Oscar Devon and Nikki, do not read the script and she, in the middle of the party, when to cry, cry really. But the two actors are interrupted by a shadow that draws their attention: it seems that someone is going around for the set. Devon chasing shadows, but could not find - "He disappeared do you can not disappear," he says and that is behind the thin wall of a house in the set. It is at this point, when the strangeness is heavy, the director explains to the two actors of the dark sky of tomorrow is a remake of a Polish movie, "47", that was never finished because during processing the protagonists were murdered.

And, in the middle of a movie that seems to be ... "Normal," Lynch enters a scene incomprehensible. We are inside a police station. The detective interrogates a woman sloppy and visibly suffering. The woman confessed to killing a person with a screwdriver, but does not know who this person is. As soon as the will will know. The woman raises her shirt and stuck a screwdriver in the side.

disoriented and disturbed back to Nikki and Devon, in the roles of Sue and Billy, they continue to shoot their film. Suddenly snaps something in the movie and head to Nikki. In front of the fireplace talking to Devon / Billy: "I think my husband knows about us ... kill you. " Followed by a short pause: "Good God, it seems a dialogue taken from our script!" The problem is that they are turning and the dialogue is a dialogue of the film, not reality. The director stops the shooting: "What happened?" He asks. Nikki thinks talk of betrayal that maybe Devon is taking shape, he thinks that his life is equal to its films, but she is in the film.

Something cracks. O overlap. Again. The scene after a blue scene, Nikki / Sue and Devon / Billy are doing sex. Nikki's husband discovers them and light them. But Nikki talk and says he recalls something that will happen tomorrow.

In fact, she tomorrow is in the street behind the market. He has just been shopping and parked in front of the studios. Pavilion on a strange law written AXX ° NN with an arrow. Nikki follows the arrow and enter the second macrosequenza slips alienating and paradoxical in the third. Nikki is in the studios, in their studios and watch what you have already lived through the trials during which she cried. The shadow is you. And Devon chases her. Nikki, terrified, seeking help from Billy, do not in Devon. He took refuge in the house, the one where the shadow had disappeared. And there is trapped. Look out the window and there is no set, but a real garden.

trapped.

macrosequenza The latter is a kind of bridge. Its task is to reassure the viewer takes him into a fictional world almost "normal", with a comprehensible story and characters defined, but at the same time it is a reality full of cracks and fractures. The most important overlap begins to be seen. The one between reality and fiction. And they all play Nikki on the person of that superimposes itself to their character and vice versa, creating a short circuit which leads to the inevitable frenzy of the overlap in the following sequence, the longest, most complex, but also the most attractive.

Lynch deliberately plays with the film and the profilmic (which, however, is part of the film ...!): us viewers have already figured out that Devon is going to try it with Nikki, so we expect that at any moment the other they fall in something. When Lynch assembles scenes from the dark sky of tomorrow does not tell us who are part of the film in the film. So for a few moments, we ask: is the true betrayal or betrayal fake? Only in the final scene and stop yelling, when the set is staged, we understand that it is the darkness of the sky tomorrow we're seeing. But doubt remains. It is on this question, who is who, what is what, when and where we are, Lynch based his entire film, especially this part, the second, who wants to be the simplest, but actually has quite a few disturbing elements .

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Last night I dreamed you, damn it. I did not think could happen in reality since the night my brain activity is the most stupid charging batteries. Yet it happened. And I have to find the right time and the strength to tell you what I blend in the brain before it's too late. Damn. Cat. Snow.

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Italian among Italians. Stranger among strangers. Outside the home, air, notes of distant places, oriental melodies that intertwine with the breath of the city. His name is Muhammad Imran

.

comes from afar. From remote places, where to live has completely different meaning to how it is usually understood. Provided there is a norm in this world.

Walk, Muhammad, walking time, eight miles a day between come and go, always without complaint. Never a word.

Anything to get away from that hiss.

The bombs are like the dark when you take a child. The fear is you sewed him forever.

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INLAND EMPIRE - pt. 1

difficult if not impossible to explain a world another. Difficult if not impossible to describe it. A world another and yet there does not exist. I feel the most sensitive, the most daring him live, the most ge nial tell him. There are times when one gets the impression that everything vanishes, that at any moment the hyperbolic doubt take over and that the walls of reality around us sgretolino. When this happens, when the reality falters and falls ono ghosts, there are only two possibilities. Crazy. Or walk through this world in a cheerful, the most alienating of the most strategic lunate, the most oppressive. Because if one thing is certain, is that leaving out a reality enters into force for another, and defeat this' ultimate reality, there is always another one just around the corner. The reality - or worlds - fit into each other. You lose the entry, exit and you lose all of a sudden triggered another trap, one slips into another tunnel. You can not do anything else.

Reasoning in this way is to have more horizons to explore, in front of you do not have a single, unique and closed on reality, but a network of solutions to slip into at will. This means continuing to live in the grip of mental trip or simply coincides with creativity. The eyes are crossed, the brain goes to mush. You have to have very firm not to be devoured by what, around us (in us) seems more imminent than ever.

So. So what remains is to transform the uncontrolled orgasm in fictional multiverse way to go. On the street by c rear.

When you have things in hand, everything and walking become more goggled p iacevolmente goggled. Turns uncontrolled in his mind with the assurance that the output, somewhere, at any time and way, we can crearcela us.

INLAND EMPIRE is a film of nearly three hours. It is impossible or broken. We must water the brain and eyes slowly for three hours, binge. But INLAND EMPIRE is a film? Or is it something else? Someone will say, incomprehensible. Forced. Too long. Useless.

Yet in front of a Lynch film is not can not stay and do not think you can always yell ò to useless, the forcing, the inability to communicate something.

We all look at film, different genres, disparate stories, but watching movies. Hobby, study, cinephiles. Any reason is good to watch a movie.

We all have a mind. The unconscious mind is controllable. Frighteningly uncontrollable.

For this, we have all the subtle fear that the mind can create something autonomous, living independently of us en utrendosi of our reflection.

aside for a moment to put the Italian side of titolino INLAND EMPIRE, "The empire of the mind." Saying "The empire of the mind" on INLAND EMPIRE is quite simplistic and does not resolve the issue. If anything, we might venture with "Empire of the cinema", but I think INLAND EMPIRE - "A woman in trouble" (the same as Lynch points out) is more than enough.

Inland: Inland. Empire: Empire. In this film you can not gloss over the names, on the puns, the translations, the texts music. Every word leads to another, each space or leads to another, although far away and (apparently) no real continuity. A door that opens to a world leading, cross it, until there is a window that opens, leading to a world, cross it and then again, there is a door ...

... and you are trapped.

And although the movie is confusing and meaningless, is behind Order a scary and crazy.

We can divide the film into three parts over the end credits (which have a key role). You can even say that it is, in nearly three hours of film, three macrosequenze. Very long and fragmented, but still logically three sequences.

First we deduce a plot (f bears Lynch would not be happy to know ch and someone tells the story of his film ...): there is an actress, Nikki Grace, who is engaged for a movie. The movie wears a curse: it seems that the actors who interpret something could happen very ugly. On the set of the film, Nikki (who is married to a jealous man Polish) meets Devon, a talent like bell'attore notes Torie (Justin Theroux, who played the director in Mullholland Drive) and, apparently, among the two become something. Something I try to keep illegal and (maybe, but it is not known with certainty) is discovered by her husband. In short, Inland Empire is about a betrayal. But there is a problem. One day on the set, our actress - who has already impressed by the person who must act and legends that revolve around you - is lost in the theater pose. Enter one of the houses in the theater and it remains trapped. From this point on, the house of the set becomes a true home and our will to live actress and a life, indeed, more lives, which revolve all rno act a betrayal, an old Polish history, the film.

If you need to track the carrier INLA nd Empire, it should be found in the superposition. All overlaps with everything. Spaces, characters, doors with windows, the ages, the jokes. The fiction overlaps with the reality and the swallows. The digests and the answer out. But it is no longer the reality that we could claim to know the beginning.

The first part consists - a prologue explaining the whole film - is already a waltz of overlap. The film begins in black and white, c ' is a corridor and two people, a man and a woman. Of them can see everything except the face, which is blurred, seems to have been erased by a rubber blow: those two can be anyone. The two characters speak in Polish and one of them is a strange exchange: strange because redundant, but that at the same time to understand the situation well. "You know what whores do?" "Fucking. I want to fuck? " "Take off your clothes." She strips and adds a little later, in what appears to embrace an out of focus: "I'm afraid."

Something tells us that everything should remain illegal. A moment later the joke "I'm afraid," the picture is done in color. In a room decorated in a way very similar to the previous one (the one in which they are man and woman) is a girl naked, covered only by a blanket, watching TV and crying. The television, however, is no signal. At times the images seem very fast (the film images that will be).

The TV tunes soon on a strange play. Lynch enters the television and shows us, with one fix, always the same, the play in which they are acting in rabbits. The set is sparse, it is a room of a faded blue, there is an ironing board, sofa and TV (the room, leather, reminiscent of Diane in the kitchen of Mullholland Drive). A bunny in a dressing gown stretches, while the other is sitting on the couch. Enter the door a male rabbit in a suit and tie, and the audience applauds as if it were on the scene, the undoubted star of the company. The three rabbits provide each other jokes and rambling the public acts accordingly. Between what he says and what a rabbit another says that there is absolutely no logical sense. And the audience burst into loud laughter as worrying for no reason. "Today he did not call anybody," says the rabbit, and the audience down to laugh. The rabbit comes out of the door through which he had entered.

A new room. Decorated in a very similar way to the hotel room where the two had met to make love and where she watched TV. In this room enter the rabbit. The room is lit, the rabbit disappears. Show two men who, in Polish, have a strange dialogue: "Would you come?" - "Yes" - "Seeking an entry. One entry, you know? " - "Yes, I understand." - "Well. It is fortunate that she understands. " And so on.

men disappear. Back in the rabbit.

Dark room. End of first part consists.

This "small" that Lynch gives us a glimpse of his film. In ten minutes the viewer's brain starts to move and already threatens to go to mush if it were then the director attacks the beginning of a "real movie". Already here, are brought to light all the issues that come into play during the three hours. First, the consequential between spaces that, logically, should not be continuous. The assembly and staging allow us to combine logical and spatial locations that would otherwise be incompatible. From the TV screen goes to the theater with the rabbits and the rabbits will go to a lounge where two men discuss the fact that they are seeking input. Lynch does not hide his game at all: the cinema can take us where he wants. To get from one place to another do not have to walk through wide spaces actually exist, but simply put them together through the mind - that is, through a process of association of ideas that is paid by the assembly. The mind, if left unbridled, can really go where it wants. As the cinema.

Rabbits are the key to prime the whole movie. The three scary clothes and humanized animals appear something other than us. Yet they are there for an audience. Literally trapped for the public, freak trapped, imprisoned. Bunnies can not do anything but act. And maybe read too bad, but they ... stage they are animals and can only do what they do, pray always, forever. And when you end up starting over. Bunnies will return with continuity throughout the film and help to make the puzzle whole (but also brilliant, in some ways) of Lynch.

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"The journey is' fatal to prejudice and narrow-mindedness, and many people have a pressing need to undertake it. A broad overview of men and things can not be acquired vegetating in a small plot of land for life. "

Mark Twain

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CRUEL & ME & DAPHNE GUINNESS

I Cruella + Demon + Daphne Guinness
I am tempted to finish the term with = LOVE


damn elementary and middle schools (even more if someone was a hopeless case) who have passed a ' ancient legend, the equation:
data of those individuals X and Y (usually two are still at a certain age because there are few who think they already elected to a menage a trois) and added consecuenzialmente Z (?) in order to obtain a result? " Choice-a-(but yes, come on! Opinions math! Let us make questionable, which, moreover, was to develop Einstein's theory of relativity, c'est tout relatif! I know, that logic has difficulty), although often not very creative way the decision always falls on a = LOVE.
Good. I Apure that my brain is contaminated. It should be de-purato. From this nonsense in the first place.
Why? Why so much evil in the world? Why such great stupidity?


digression. We were left me, dear Cruella and Daphne Guinness. Yes, everyone knows who is Daphne Guinness. So no matter if it says.
So this post is my personal dump of the day, hideous boredom and bitter faffing around.
We stayed at three. Three Brigan ....
So this is more or less the kind of mental connections that take root in the soil more fruitful idleness black.
I really have something in common with the two girls (and the thought flashed through my mind that are totally hopelessly obsessed with analogies. ... They are analogous-patic?) But right now I'm passing, even going around the subject because are attracted by false lights, I see that the evil characters "real" (like Cruella DeVil, a name, a declaration of intent), or suspected, and also apparently as Daphne that probably is not but to me, for an assessment of the purely aesthetic seems all right, are the ones who really attract me. Compensation unconscious? I need to absorb a principle to be able to live peacefully, that is no longer living with my right hand bitch, cynical, exploitative, sadistic, vicious, acid, sly, cruel, shameless, hostile, scary, ruthless, treacherous, turbulent, infamous, brutal, savage, cruel, criminal, caustic, bilious, immoral!
Why I feel all these things are more or less pronounced, but I can not be dissociated from a lingering, nagging sense of guilt.
Bitch bitch I want to be and are not shackled by my own actions.
E 'false lights because at some point you off and you find yourself in the dark. If you're lucky



BLACK BLACK BLACK

BLACK

BLACK BLACK BLACK



Otherwise draws you into a morass which sink unconscious, killed by your own curiosity.


Good. I think the value of symbols, to be able to live a principle (and is not intended as a principle ideal, as a life consecrated to a cause, but it is almost Platonic idea, like death, as the joy, the strength ) through an allegory the same. I live and I try to harmonize my cruelty representing it, like a play on stage.
I am in a certain way to move the steps toward acceptance of what is not fully alive, of what frustrates me. How does the magic then, according to the laws that govern the behavior of objects from the talismans pentacles, salt, blood, colors, numbers. Symbolically, in fact. By analogy then ...
(now I lost the thread. Desperation)
And here's the order in which it reveals the keynote speech.
Cruella Demon and Daphne Guinness are my sisters because we have hair bicolor.
may seem silly the whole matter up here? Indeed, anything can. Do not rule it out.

Daphne Guinness

Gareth Pugh and Daphne Guinness, in clothes Gareth P

Glenn Close plays Cruella

And now we bad or fake ones, in imaginary world, let us find our brother Sweeney Todd.

I say that these are delirium tremens lot

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HAMLICE - essay on the end of a civilization



Beautiful video of a show I let slip, IDOT, but I wish I could see it ...


I love the aesthetics of Hamlice, I saw many photos, some videos, and I was described by those who saw it.
E 'excessive, visually redundant, provocative. I like very
see men dressed as women, with their feathers, ruffs, frills, with shoes drag queen, and much makeup. The charm of the androgyne.

"From Hamlet to Alice in Wonderland, the tragedy of power in the anarchy of a building close to Carroll, his world and even further down, on a trip that you do not know the end. Transformation is the opportunity to escape their defined role for ever. The source is the reality of this company as a double basement offers a daily reflection on this issue. It 's like the spirit of the characters of Shakespeare might shy away from its social function. Thinking as spirits, in constant transformation, through books by other authors, moving away from that contained them as a immutable roles prison. What for others is the scene for us for these free spirits, life is denied. Try other words, other actions, another possibility, perhaps even unexpected, even yet imagined. "Being helpless, the unborn, not yet defined ...

There is a pond not far from here, in calm and windless sunny days with endless wonder reflects the nature overlooking the river banks, a 'double image, thinly veiled, far from the real, yet so true, but what happens when you pick up the wind and nothing is more in balance ... and the mirror shatters the calm and reassuring image is lost and the contours show a revolt elements ... "
Armando Punzo

eraritjaritjaka on Flickr (above)

videodilatte.com (below)

"Get more tea, 'said the March Hare in Alice serious.

"Actually I have not yet taken," said Alice so offended

"so that I can not take any more."

"You mean you can not take less," said the Hatter;

"if there was anything that you can not get something."

"No one asked your opinion," said Alice

"And now who is making observations?" the Hatter asked triumphantly on.

Alice did not know what to respond to this, so he used a bit of 'tea and bread and butter [..]

I was forgetting the most important thing, which elucidates on the speech Armando Punzo, the Compagnia della Fortezza is a theatrical group which includes the prisoners in the prison of Volterra

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FUCK

How do you express anger in words, how can you pass on a sense of destruction of words? I can not.
And if the person ... testadicazzo the fact that you start the nerve is the other side of the phone. You can not yell in your face, you can not imagine looking to fill it with punches, kicks in to pull his mouth to stop that vomiting of words, nonsense, nonsense, most of them spit in Sicilian (shit, speak my "language" if you want you hear, let me understand your reasons, EXPRESS! But this says a lot about real communicative intention and also on what was pressing its expression). They are too good, I simply laugh in his face, or rather, ridergli by phone.
Can I still hope that your fucking assumption leads him to create horrible situations, to feel bad, because who can pour out their frustration on treason for a kindly said NO, so elegant, sincere, is a shit person.
And I think he was drunk, depressed.
The nice what? I know that soon, the acquaintance with such air freak, funny, a person's heart. Yeah, sure.
I I hate assholes who try to make you feel numb and selfish, individualistic and cynical because you're going, why do not you problems rather than make excuses, avoid the dispassionately falsehood saying "no, I do not want," which put forward the mat universal " I never asked for anything. " Hypocrite is the second time I ask a favor, the first was not very recently and I accepted. Rather, according to this' point of view, I am that I apologized because I never asked for anything. Imagine, never ask a dick to anyone, I want to be independent and to succeed on its own, and I must say that it is convenient to the light of such blackmail.
So I know it is the law, people that underlie claims will always be disappointed, those who pour their anger and helplessness over others can not aspire to anything other than return receipts.
I let things take their course, he who sows the wind picks up a storm.
do not strangle me (I never will, but sometimes the thoughts are running in unexplored paths) I think his own hands.
Many disgusting things I can not do less than wish him ...

cordially fuck

Inrul:multicamera?mode=

Allegro in the meantime I wonder why I published this post. Then I can finally begin to think that truth is not so much. CONVERSATIONS WITHOUT RECIPIENT

you would not want to go on facebook!

which one?

respondez-vous s'il vu plait!

and how it works?

(I put the word great because you're blind and you see so well.)

ooooohhh

as they say ... Well, AU CAZZ ATTACKED!

AQUALE? as an aquarium?

A-What ... but what is?

A-aAAAAHHHHH what you know but you cher!

what? movie or dick?

specific

NO

but you do not feel like sbobe diabetes ....

TUAILAIT GNU MUN AND ECLIPSE hours will turn BRICHIN DAUNI breaking down ...

indeed dawn, the breaking of the mentally handicapped ...

think better treasure

NO

UNFIT .... NUNN IS TRUE THAT YOU SAY IT. Not me. And I'm always right. TEL'HO THAT IS UNFIT AND HE IS UNFIT EVEN THEN ARE SPASTIC OK?? Harry WHAT? please repeat i think i have not listen at your words ...

Sticazzi so-called EH!

is a saying GNORRRI

sti cocks if I do not speak fluently the Inglese!

mmmmmm

Open up the brain, opened!!

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route =?'?? ljlpmkày WOOOOWWW GRASSSETTO NOW ALSO! JOY FOR YOUR EYES! He did everything SSSSSOLO! magic! MEUI

SIII

I want to see a movie that I've never seen

boh

mmmmm

else?

mmmmm

toma? Toma? Be

then you want to go on facebook all say it is an excuse CARRY OUT BITCH! vaccination you.

go .....

mapperchè? Huh?

and then if they wanted him tuailait should it? eh? eh? eh? eh? was veiled sarcasm

hours as angry or I'll only want hyenas autumn ... please do not ask for more clarification, because .... OOHOHOHOHOHOHO BRAVA! WE SEND YOU ALONE! AHAHAHAHAHAHAHA

Allegro cazzeggiano soliloquy afternoon.

fragmented as a phone stolen.

Making Imbeciles I sometimes stretches the nerves are always so laid, serious and angry that when I'm in the mood for bullshit I can give the best, even on ma soeur here is fiercely committed proposing improbable movie. ... Harry Potter? Do not make me sick, but definitely not! Then it's always good to put the record straight because injection of insulin, immediate hospitalization in the recovery room and forced expulsion for life from candy and similar to the single vision of a so-called "sboba" sentimentalist ... also please no. At issue is mental quell'harakiri subtly Mormon Twilight saga.

And to give each thing a semblance of sense, facebook is cited as a major indictment against the said sister, accused of being dependent and to find every excuse to perpetrate the crime again. I know that resist everything except temptation (mr.Wilde) I have kept safely away. To each his drug ...

At the end of this post, a Requiem for grammar, Amen ....

'm going to confess my sins in the mirror. and I lost good-naturedly. go in peace

PS: below the post is labeled as delirium tremens ... I do not think that is says a lot, makes it just a little 'more about what is

Body Fat Muscle Percent

poetic techniques - 1

Τέχνη ( techne ): art, cunning, artifice, craft, pr ofessione; art (as a complex of laws and rules), work, work.

Ποιέω ( poieo , which also poiesis, "poetry") making, manufacturing, building, work , fashion, dealing with art, compose, write, represent, present, poetically paint.

Symbol (by σύμβολον , "a sign of recognition" and συμβάλλω , "put together, unite, compare, interpret"): element Specifically, object, animal or person who is credited with possibility of a recall or mean value further, wider and more abstract than it normally is - DISC, Italian Dictionary Sabatini Coletti.

any artistic speak, that has always been a symbol of the "techniques" used the most. Through the creation of a symbol you can get to talk about something without tripping over too broad descriptions, in rounds of abstruse words or "because" that takes away the pleasure of artistic enjoyment.

The symbol can be a double edged sword: int eressante and intelligent if not obvious, is poised on the invalidity of the message. It can easily lapse into something already v isto, can become a symbol of hard, empty form. We are used to assign a default symbol to a certain object, and when equality between the object and its meaning all too simplistically and free returns on books, movies and comic books, you risk losing all the potential of a similar device.

hours I will not elaborate in describing the aspects and implications of the symbol in art history, religion, philosophy and communication volumes and volumes would not suffice to exhaust the subject (also My limited knowledge does not allow me to venture into such a journey). What interests me is how, in the limited field of writing (and film), the technique that you choose to use is never an end in itself, but always a necessary means of reaching the sens o: the work is done and it works (the that set apart the etymology of "poetry"), it works just like a sword or a cloth is woven.

The symbol is not only a single object, a definite shape, a definite form. Sometimes the symbol is constructed in a rather broad: it can be a framework, a sequence, a sentence, a character, even a whole movie. For example, the zombie has often been used to symbolize the human condition subject society, devoid of thought and action and their dependents.

The task of the symbol (and other poetic techniques policies), in fact, conceal the mystery behind an accurate representation of which shape the aesthetic and complex work of art. If you do not act so, in fact, if the "mystery" and was not told or described poetically constructed, there would and more art, but a scientific treatise.

comes to my mind an image of Old Boy.

enigmatic, complex and emotionally charged at the same time, this shot is very explanatory and for the character, both for the entire film. Symbol of narcissism, unconditional love for themselves, want to be seen and be sentenced to not do so. Park Chan-wook sums up the whole movie in a few seconds of a short and intense sequence. It does not explain the complex tangle of history and does not describe, but narrates and constructs. This is what makes a work of art.

Exactly its important role, the symbol is used at every level of production, often to expedite the situation and with very little to say important things. Propose now a video from a television series, whose symbol sequence covers a period of four minutes. In this scene, discusses complex feelings and situations and impossible to tell with the words, a paraplegic boy wants to walk again and wants to do this as crowds there. He decides to go to Mexico and spend all the money in a transaction that has not allowed the United States, which provides for the planting of stem cells in the shark's spine. The guy knows how to run great risks, but his only goal is to walk again and be as before. However, his friends - in the grip of bigoted fury mystic and friend outspoken - they know that will not be so and that the operation will have disastrous consequences. The sequence (a real watershed for this story line) to address some important issues, such as the Renaissance, the skin change, accept it as it is, look at the world with new eyes.

How can we say this in a short time? Do not forget that the television series have a standard of about forty minutes per episode, and that in each episode are often followed the stories of many characters.

The cruise Jason

In the proposed sequence, the water is symbolic, the symbolic dive to Jason, his return to the surface hard and earn the shore - a new shore. The moment "different" is underlined by the change of music. You go from a music cruise (it is the "cruise drunk" to which the three friends are participating), a sudden silence during the serious talk that the three are at the entrance to the underground To Build A Home of Cinematic Orchestra. The second piece of music by a rhythm completely different to the scene and also has the task to come out next from reality and enter the space of reflection, opinion and emotion. The music of the Cinematic Orchestra is on the rise. And every action is perfectly highlighted by the Jason Music: music and character share the same rhythm. So, when Jason tries to rise, the purchasing power of music and the meaning of the scene, which closes gently with the blend of sound, leading to a very specific meaning and silently understood.

With the sheer force of arms, the boy is dragged on the sand and starts to laugh, it is here that concludes the most "symbolic" the whole sequence: immediately after you come back to reality next, the music will change again and Jason announce his decision to friends.

The sequence has a very classical system: in addition to directing dirty, which builds large fields in the space alternating close-up with a shaky camera, the dialogues and the composition modeled on the micro-writing the rules of classical American cinema. Including one thing: the classic movie in the first sequence offer all the main elements of the story, more or less explicit references to what will happen later. Even in the sequence proposed here, without the public being aware of the first vision, it is expressly anticipated that an element will be realized after a few episodes. Jason, provocatively and without any conviction, screams could do three things: to become immersed in the water head by some fanatic, to be healed by a shaman, or go with the first woman he meets on the street.

is one of three things will happen. This is a further confirmation of the strong symbolic value in this sequence: after the water and the re-emergence, the life of Jason actually going to change, not only for his will, but also for how the case will give new possibilities.