I don't think I'd have been able to write a TV series on my own. I wouldn't have had the nerve. It took us 10 years to finally get something on to the screen. Dolly I have known each other since we were four and been incredibly close since our 20s. When I moved to America to live with my husband we really missed each other and used writing as an excuse to run up big phone bills and buy flights to see each other.
We started adapting a short story about a disastrous skiing trip and spent hundreds of hours gossiping in coffee shops. The script got longer and more convoluted and scary until it looked like the one Jack Nicholson is writing in The Shining. Dolly and I had four children between us in the time it took to get something we'd written produced. But those 10 years served us well.
By the time we ditched the skiing script and finally came up with a good idea, we found we'd somehow learnt how to write together. It seems ridiculous now, but at first we were determined not to write something for ourselves to be in — we didn't want to come over as too self-involved, I guess.
As time went by we started to realise that it's hard enough to get work as an actor, and that if you're going to put all that effort into writing something you might as well write yourself a good part. We also realised that there are a lot of people doing things, not necessarily because they're better at them but because they've got the guts.
Once we decided we were going to write for each other, we soon came up with the idea of following two childhood best friends as one employs the other to be her personal assistant. Working with one another made us braver. You don't get lost in a mire of self-obsession and paranoia when you're in it together. And we were more exacting and demanding as a duo. Having another person there was liberating — it felt easier to be perfectionist because we gave each other the courage of our convictions.
Also, you are bolder about wanting the best when you want it not just for yourself but also for your closest friend, who you'd hate to let down. Being such good friends meant we didn't have to work hard at the friendship in the show. What I'm fascinated by is jealousy. It hasn't been examined enough on screen in a way that feels entirely truthful. It's such an embarrassing emotion that it's hard for us to be honest about it.
Jealousy between women is often seen as this vile, horrifying thing, like in Single White Female. Actually it's one of the most common feelings we all have — and it's sometimes especially intense towards the people you love the most and for whom you want the most.
When things go well for people you're close to it can be threatening for a moment, and we all hate ourselves for having that feeling. As a mother with a family, working in TV can be hard.
There's a shame involved in going off to work which I try and talk myself out of but is nonetheless always a little bit there. In recent months I've been shooting The Newsroomand it's long hours and a very demanding schedule. Even though my earnings from it help to support my family, I still struggle with the weird feeling that I'm indulging a hobby rather than doing a proper job, and that it might be better if I just stayed at home.
I certainly don't feel proud of this feeling. I hope my daughter will grow up to have the courage to write a TV show on her own if she wants to and to not feel too much unnecessary confusion about doing a great job while having a family at the same time.About popular culture, social fictions, and novels.
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She has published on these and. About popular culture, social fictions, and novels Download PDF.These are gorgeous Fashion Plates!!! I love 18th century fashion! Thanks for sharing! Thanks Pamela - I think these are a riot myself and it really brings to life just how wild the "olden days" could be.
Giggles, Evelyn. Hello, Gorgeous fashion plates!!! Beautiful colors!!!! Very nice work!!! Yes, it is true that it was not always the case! It has always intrigued me that even with this mode, the rules of etiquette were still so stilted.
Thank you so much for sharing such beautiful things. Thanks Sylvie - My guess is not many who have these plates would post them but I found them too intriguing especially where historical fashions were concerned to keep them hidden away. I thought it would be fun to explore this "naughtier" side of fashions since it is not widely known that exposing ones "charms" in such a way was a very acceptable fashion for the masses. One would think you would only see such fashions in brothels or a Cyprian's ball when in fact the general public including the aristocracy had no qualms in appearing in what we now view as a risque form of dress.
Yes, you are correct that it was more of a you can "look but not touch" rule. Since all other forms of etiquette were to be followed. I'm also going to guess that only married ladies and widows would have dared to bare this much in public.
I just can't picture a debutant being so bold but then again truth is often stranger than fiction. Grins, Evelyn. I just love your fashion plates! Court life must have been one big contest to see who could get the most attention!
If I remember my historical reading, poor Princess de Lamballe was the dear friend of Marie Antoinette who escaped with the Royal Family, disguised as a wealthy woman with children, and the king and queen were her servants.By William Brown. Drawing on a variety of popular films, including Avatar, Enter the Void, Fight Club, The Matrix, Speed Racer, X-Men and War of the WorldsSupercinema studies the ways in which digital special effects and editing techniques require a new theoretical framework in order to be properly understood.
Here William Brown proposes that while analogue cinema often tried to hide the technological limitations of its creation through ingenious methods, digital cinema hides its technological omnipotence through the use of continued conventions more suited to analogue cinema, in a way that is analogous to that of Superman hiding his powers behind the persona of Clark Kent.
For all practical purposes, the revolution is upon us, and we should therefore not shy away from discussion — wild speculation, even — about its impact on the art of cinema. Supercinema: Film-Philosophy for the Digital Age offers an original theoretical framework for understanding the spaces and times of contemporary digital cinema, together with the beings, or characters, that fill it, and our relationship both to them and to the images themselves.
This is not to say that Supercinema fails to draw upon previous theories of cinema, including theories of digital cinema. However, Supercinema does in certain respects sidestep some of the main arguments that have preoccupied theorists of digital cinema up until now — particularly the notion of indexicality, which I shall discuss below.
Presently, however, I shall explain what this book does.
If limits in the size of film reels and the bulk of the camera have led mainstream narrative and analogue cinema to cut, then digital cinema seems to be predicated upon continuity.
By showing space and all that fills it as a single continuum, as opposed to a space fragmented by objects, digital technology suggests the inherently connected nature of those objects and their surroundings. If space becomes indistinguishable from all that fills it, then this brings about a fundamental decentring of the figures that fill that space. That is, characters in digital cinema no longer stand out as unique agents against the space that surrounds them, but instead become inseparable from that space.
This logic is not only expressed by the way in which digital cinema increasingly features prominent characters of a nonhuman nature, but also by the way in which environments take on prominent roles in films, including mainstream films.
Furthermore, the human characters that do feature in digital cinema seem concomitantly to have unstable identities, which reach their most acute manifestation in the form of the digital morph. If digital cinema does not need to cut, thereby suggesting a continuity of space, and if analogue film was required to cut, then a similar logic applies to time. I should signal that spatial and temporal continuity, together with the unsettling of the relationship between figure and ground, all have important precursors in cinema — and it is not my intention here to deny this.
In fact, I shall be drawing upon canonical films from modernist cinema, as well as from animation, to explore the ways in which this is so. Furthermore, I shall be arguing, provocatively, that these tropes reflect our increasing theoretical understanding of space, time, and our place in the universe.
That is, contrary to common debates surrounding the nonindexical and simulated nature of the digital image, I shall be proposing a new conception of realism that emerges from digital cinema as I explain it here. That is, human subjectivity is not fixed, but constantly being produced. Instead, it would appear that not only are humans profoundly embodied, but that our bodies are also profoundly in, or with, the world.
However, the challenge is not to objectivity such that there is recourse to subjectivity, but rather to the entire subject-object binarism. Not only does our engagement with the world mean that we are constantly becoming other, but our engagement with cinema also emerges as a specialized and multiplicitous mode of becoming.
Since we are always only ever with each other and with the world since we are always only ever enworldedthen perhaps there is an ethical imperative to act with a sense of what Jean-Luc Nancy and Michael Hardt and Antonio Negri might term love. The logic of the digital is not intended as a telosa technologically determined goal towards which cinema has always been heading. This mode takes as its inspiration the content of digital cinema, but it is applicable not just to digital cinema, but also to other phenomena, perhaps even the world itself.
Writing of his two most famous image-types, the movement-image and the time-image, Gilles Deleuze has stated that the latter was always present in the former.See what's new with book lending at the Internet Archive. Search icon An illustration of a magnifying glass. User icon An illustration of a person's head and chest.
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DrawerDept. Pennsylvania St. Turner National Commander Daniel S. Mahon Associate Editor T.The presidential election was one of upset. The 18 months leading up to Election Day were full of controversy and political ire, reported in the media daily; here, political cartoonists from across the United States succinctly portrayed the happenings and their feelings through humor in the opinion pages of their newspapers.
As the election day approached, this cartoon was concerned that the election of real-estate developer Donald Trump would be a threat to the country's democracy and what the country stands for, as the cornerstone of Lady Liberty, who welcomes immigrants to our shores, is close to being toppled by his sledgehammer. This cartoon expresses concern by the Statue of Liberty that Trump is a threat to this country and should be held accountable for his predatory actions against women, hence the "stop Trump" sign residing down where he had bragged in a "Access Hollywood" interview of grabbing women under their dresses and probing their private parts, just because he could.
In during the election campaign, an "Access Hollywood" video surfaced from where Donald Trump talks explicitly and proudly about lewd actions he has perpetrated on women. This cartoon is a response to that tape surfacing.
This cartoon dated October 11,has Russia's president Vladimir Putin complimenting Trump on his election bombast. It literally draws parallels with the strongarm, former KGB intelligence officer, who has jailed leaders of opposition movements in his country. The cartoon also spears the issue of the tainted water coverup in Flint, Michigan.পর্ব ২৫ - পথিকৃৎদের পদচিহ্ন - নবীদের জীবন - মূসা ০৯ - Rain Drops Media
Daniel Kurtzman. Daniel Kurtzman is a political journalist turned satirist. He has been widely cited as a political humor expert and authored two books on the subject.Barbie tapestries available in three sizes. Tapestries let you cover your world in large-scale independent art without breaking the bank. Sell your art. All Accessories Backpacks New. Barbie Tapestries 2, Results. Tags: barbie, tumblr, aesthetic, 80s, 90s, cute, neon, fun, mattel. Tags: barbie, barbie logo, light pink barbie logo, doll, dolls, mattel, mattel toys, barbie dolls, pink.
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About popular culture, social fictions, and novels
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