Mein Kampf (1960)
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale,
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale, there
You know you’re in trouble when your descent into Hell begins with Meredith standing in for Virgil. In the windowless labyrinth of McCann-Erickson’s corporate belly it seems as though Don Draper has finally, fatally given up. “I expect you to bring things up a notch around here,” Jim Hobart tells Don just moments before genially ordering him to conform to the McCann business casual dress code. Don smiles faintly, acquiesces to Hobart’s request that he introduce himself as “Don Draper from McCann-Erickson”, and leaves for a meeting.
Don’s new office smells like fruit and Air-Wick. The wind hisses in a poorly-sealed window, an echo of Pete’s leaky faucet, and even the prospect of a new apartment(furnished solely with a bed, thanks to Marie’s vengeful antics) fails to elicit much of a reaction from him.
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with
Scene: The Preacher on the Horizon
Video: http://youtu.be/9PyNL2ahKwc?list=PLZbXA4lyCtqolaQOAXly96de5FYQlPzqK Just like a few others in this section of the list, Charles Laughton’s brilliant Night of the Hunter isn’t really a horror film, but still sets out to keep the audience on edge. Starring a diabolical Robert Mitchum as a preacher/serial killer Reverend Harry Powell, it follows him as he tries to woo his former cellmate’s widow Willa (Shelly Winters), hoping to learn where he has hidden his bank loot. Powell devises that his children John and Pearl must know, but he struggles to gain young John’s trust. When Willa learns of his plan, Powell is forced to kill her and hide the body, leaving him as sole caretaker of the children, who flee down the river. And then the scene. Having believed they have escaped Powell,
Harry Hill is sitting in the corner of a deserted bar in the London Palladium. The sound of rehearsals for I Can't Sing!, which is billed as "The X Factor Musical", but which Hill insists "doesn't really have a hell of a lot to do with The X Factor", occasionally wafts into the room from downstairs.
For a man whose first West End musical is opening in six weeks, and is currently still in "a kind of baggy state", Hill, 49, seems remarkably calm. "I've never felt more confident about anything I've done," he nods. "Largely because I'm completely naive about it."
For one thing, he says, he has "never written anything longer than, you know, 20 minutes before". For another,
Much of this revolves around how our copyright and trademark laws work. Neither are elegantly written – go figure – and our copyright laws are and have just about always been woefully outdated. Given the ludicrous growth in technology, this is likely to be true for a long, long time. The good news for creators is that these laws are understandable (by and large) and all talent, no matter what media helps pay their rent, should read these laws very carefully. If the laws sound like they were written in Klingon, there are plenty of resources out there to help you.
So… I’ll make it easy for you.
Chris Faraone, political author and journalist claimed that while the book's print sales have remained minimal for many years, it's various eBook versions consistently appear on various Top 20 lists for retailers like Amazon or iTunes, the Independent reported.
Faraone, who writes for The Phoenix in Boston said that people might not have wanted to buy 'Mein Kampf' at Borders or have it delivered to their home or displayed on their living.
Sadism, brutality, a heart of ice, a callous indifference to life and death, zero morals, a predisposition for cruel wicked acts, plus a lot of sexual sleaze and greed a person could choke on – these words seem to sum up the behaviour of the Nazis on this list.
I have, for to make the list as complete as possible – included Neo Nazis in the field for it is pertinent for us to remember that Hitler’s vile influence still holds sway with some sick people today. I have listed below what I think are the most evil fictional Nazis in movies.
That's because "Glee" is celebrating everything Beatles with "Love, Love, Love" -- followed by "Tina in the Sky with Diamonds" a week later.
Don't want to miss any of the action? Follow along in this live blog!
The official explanation is that Will wants the kids to move forward after their recent win (in "Glee" time, they just won Regionals) and channel the Beatles for a couple of weeks. This is because everyone (except Kitty) loves the Beatles.
No, it's not exactly current. But it probably took this long to get the rights to all those songs. What am I bet that "Glee" focuses on folk music
There's been a slew of controversy surrounding the ramp up of press for this years' big screen adaptation of Orson Scott Card's Ender's Game. Card is the latest notable figure to get tangled up in a maelstrom of bad press for his archaic and somewhat militaristic stand on the idea of gay marriage. For the record, Mr. Card is very much against it.
This topic came up earlier this year when Card was announced as one of the writers on a DC Comics Superman comic. Those in support of gay marriage made their opinions painfully clear: They would not support any comic written by Mr. Card and denounced DC for hiring someone who has taken such an antagonistic stance towards the gay community.
Of course, a comic book
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