DOCSLIB.ORG

'Bodies, Connections and Defying the System': Gender and Sexuality In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'Bodies, Connections and Defying the System': Gender and Sexuality In ‘Bodies, Connections and Defying the System’: Gender and Sexuality in the Wachowskis’ Sense8 Marc Baltà Lupión © Marc Baltà Lupion, 2018 1. Introduction uals across the globe who discover that they are psychically connected to each other. They Sense8 is an American science fiction were born on the same day, at the same time. drama created by Lana and Lilly Wachowski. They shared ‘their first breath’, which means The series narrates the story of eight individ- they belong to the same ‘mother’. Conse- REVISTA HÉLICE: Número 11. Volumen IV 45 OTOÑO-INVIERNO 2019 REFLEXIONES ‘Bodies, Connections and Defying the System’: Gender and Sexuality in the Wachowsks’ Sense8 quently, they form what it is known as a clus- as they are physically born all over the world. ter. The problems begin when they become Clusters are then named after the day they aware of this supernatural ability and condi- were conceived. The main protagonists of the tion as they discover that there is an organi- series belong to the August 8th cluster. This zation called Biologic Preservation Organiza- means they can share their feelings and emo- tion (BPO), led by someone whom they call tions, as well as other physical capacities ‘Whispers’, interested in eliminating them. such as taste, sight or touch. Moreover, they The sensates will have to deal with this dan- are able to share their abilities and cognitive ger affecting all of them, as well as their indi- skills with one another. vidual problems. Yet, their ability to share Connection may be the first thing human their senses will make them become stronger beings aim to find whenever someone new en- individually and tighter as a group. ters their life. The desire for connection be- comes the motor to establish unbreakable re- lationships between those who surround us. [In the series] Current However, that does not regularly happen. In fact, it happens less than what we would like society is characterized for to. When these connections click in, an inde- scribable sensation surrounds those experi- following the rules encing them. These connections are exclusive- ly for very special people and perhaps, that established by patriarchy, in may be what the Wachowskis aimed to por- tray with Sense8. The show undertakes an which heterosexuality is exploration without limits among human connections, both sensorial and physical. understood as the ultimate Matters such as gender, sex or race are au- tomatically surpassed and become meaning- norm. Anything that less. The series is all and exclusively about human beings and how they connect. escapes the idea of the Current society is characterized for follow- ing the rules established by patriarchy, in ‘normal’ becomes which heterosexuality is understood as the ultimate norm. Anything that escapes the understood as wrong or idea of the ‘normal’ becomes understood as wrong or different. Some would argue this different. last statement is either radical or not a hun- dred percent true. However, saying that we The sensates belong to a post-human spe- live in a society which fully accepts those who cies called Homo sensorium. When a female are different, would be lying. Perhaps, the sensate gives birth to a cluster of eight differ- best thing to say would be that society is ent individuals, this is done by means of slowly starting to change certain retrograde mental power. Therefore, the children are beliefs, although there still is a long way to born unaware of their exceptional condition, go. “Your life is either defined by the system, REVISTA HÉLICE: Número 11. Volumen IV 46 OTOÑO-INVIERNO 2019 REFLEXIONES ‘Bodies, Connections and Defying the System’: Gender and Sexuality in the Wachowsks’ Sense8 or by the way you defy the system” says No- ing a very strong sexual and emotional at- mi, one of the main characters in the series. traction to each other. Wolfgang is a German And that is exactly what Sense8 is about.The locksmith and safe-cracker living in Berlin Wachowskis created a fictional universe that who has unsolved issues with his father. He offers a utopian reality, away from heter- is involved in heists and organized crime. Ka- onormativity, the patriarchal system and the la is an Indian pharmacist and a pious Hindu gender binary, in which their characters are working at a very successful pharmaceutical able to explore the boundaries of gender and company in Mumbai. She sees herself im- sexuality, either by means of sensorial orgies mersed in a cycle of doubt over her love life or their daily-life experiences. after being engaged to, later married to Rajan Rasal (Purab Kohli). The relationship be- tween Sun Bak (Doona Bae) and Capheus 2. Identity and self-acceptance Onyango’s (Aml Ameen in season 1 and Toby Onwumere in season 2) grows thanks to jus- As it has been mentioned above, all the tice. Sun is a South Korean business execu- sensates are somehow part of a same psychic tive living in Seoul, as well as a burgeoning being, which has been divided into eight dif- ferent bodies. However, through the devel- opment of the series, each of them finds someone within the cluster they sympathize or identify with more closely (either because of their present or their past situations and experiences). Hence, there is an evident divi- sion into ‘couples’ within the cluster. Will Gorski (Brian J. Smith) and Riley Gunnardottir (Tuppence Middleton) are the The Wachowskis created a first to acknowledge their ‘sensorial’ condi- tion, as well as the first ones to meet in real fictional universe that offers life. Will is a police officer at the Chicago Po- lice Department, who is obsessed with an un- a utopian reality, away from solved murder his father was assigned to in- vestigate when he was just a child. Riley is heteronormativity, the an Icelandic DJ who ran away from home. Highly tormented by her past and trying to patriarchal system and the escape it, she eventually moved to London where she found herself involved in drug gender binary, in which trading. They share very intense moments through the development of both seasons and their characters are able to end up falling in love and having a relation- ship. Wolfgang Bogdanow (Max Riemelt) and explore the boundaries of Kala Dandekar (Tina Desai) are totally oppo- site characters and yet they cannot help feel- gender and sexuality. REVISTA HÉLICE: Número 11. Volumen IV 47 OTOÑO-INVIERNO 2019 REFLEXIONES ‘Bodies, Connections and Defying the System’: Gender and Sexuality in the Wachowsks’ Sense8 star in the underground kickboxing world, characters a happy ending. Nomi and Amani- whose public image becomes soiled to save ta finally get married at the top of the Eiffel her family. Although she finds herself Tower, in one of the most emotional scenes of trapped in prison most of the series, she is the whole series. Nomi is able to fulfill her always there for Capheus and the rest. She promise of making Amanita her wife but shares with him her martial arts abilities and most importantly, her mother finally knowledge and she becomes his ‘helping spir- acknowledges her daughter as the woman she it’. Capheus is a young man living in Nairobi, is, calling her Nomi for the first time. There- Kenya, known as ‘Van Damme’ in honor to fore, Sense8 is both sending a message of the martial artist and actor. He works as a hope, as well as contributing to lesbian and bus driver in order to earn money to buy med- transgender visibility. However, weddings ication for her mother, who suffers from are generally seen as a traditional heteropa- AIDS. Last but not least, Nomi and Lito’s re- triarchal event, so including one in a show lationship becomes tighter and stronger as a that is constantly trying to escape such be- consequence of the similarity between the haviours may arouse mixed feelings among problems they have had (and still have) to the viewers. Nevertheless, it seems that the overcome regarding their sexuality and gen- wedding scene works as the commemoration der performance. Thus, they are the ones who of Nomi and Amanita’s love, by far the most challenge the boundaries of sex and gender intense and real in the whole series. Addi- most thoroughly. tionally, the wedding is anything but conven- Nomi Marks, played by transgender ac- tional. tress Jaimie Clayton, is a transwoman hack- tivist and blogger based in San Francisco. She dates Amanita Caplan (Freema Agye- Nomi Marks, played by man), whose unconditional love and affection help her overcome any problem she might transgender actress Jaimie face. In addition, Nomi is still suffering from her family’s rejection, in particular, her Clayton, is a transwoman mother’s. Although a long time has passed since Nomi became the woman she always hacktivist and blogger based wanted to be, her mother keeps on using the masculine when talking to her. She refers to in San Francisco. She dates her as Michael or simply ‘her son’. Nomi, however, seems to be very proud of who she Amanita Caplan (Freema is. Although past traumas still affect her, they seem to work as a motor for her to grow Agyeman), whose stronger and more confident. Also, it must be considered that Amanita might be one of the unconditional love and reasons why Nomi has reached a somehow comfort zone being a woman. In the series fi- affection help her overcome nal episode Amor Vincit Omnia (2x12), the Wachowskis made the decision to give these any problem she might face. REVISTA HÉLICE: Número 11. Volumen IV 48 OTOÑO-INVIERNO 2019 REFLEXIONES ‘Bodies, Connections and Defying the System’: Gender and Sexuality in the Wachowsks’ Sense8 Nomi becomes crucial for Lito’s develop- At that age, I was really uncomfortable ment as a character and a person.
Load more

Recommended publications
  • Justine Barkerfull
    Justine Barker [email protected] Composer justinebarker.com facebook.com/justinebarkermusic +44 (0) 7876 580742 @justinebarker12 Inventive and collaborative composer creating exciting emotive music for media. Wide ranging projects from primetime terrestrial TV to independent films. Enthusiasm, consistency and can-do attitude have fostered continuing excellent partnerships with directors and producers. Focus to date has been primarily drama, but also experienced in other genres including documentaries and promos. • Series Composer for BBC Casualty, London Kills and Suspects • Dedicated to creating well crafted musical identities for shows and characters within budget and schedule • Multi-instrumentalist with all-round production ability; write, record, produce, arrange, • Well organised, good communicator with excellent understanding of post-production • Music broadcast on BBC1, ITV, Channel 4, Channel 5, plus non terrestrial channels • Winner of Best Composer for Dawn at Underwire Film Festival 2016 • Scored over 40 short films screened at festivals worldwide. CREDITS: CASUALTY – S.35 TV Drama – 27 x 1 hour Producer Loretta Preece December 2020 to date BBC THE UNICORN FILM Director Dylan Harvey Documentary Pilot Producer Liz Roberts May 2020 SB Productions THE DREAMCATCHER Director Piotr Szkopiak Short Drama Producer Caroline Koziol December 2020 Magdalena Kunz EASTENDERS – 6023, 6024 TV Drama – 2 x 25 mins Director Matthew Evans October 2019 Producer Jon Sen BBC CASUALTY – S.34 TV Drama – 46 x 1 hour Producers Loretta Preece,
    [Show full text]
  • 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality
    3.2 Bullet Time and the Mediation of Post-Cinematic Temporality BY ANDREAS SUDMANN I’ve watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. —Morpheus in The Matrix Digital computers, these universal machines, are everywhere; virtually ubiquitous, they surround us, and they do so all the time. They are even inside our bodies. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction—or, in short, events). Without a doubt, computers have become crucial actants in determining our situation. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture. How, then, can we describe the affective and temporal experience of digital media, whose algorithmic processes elude conscious thought and yet form the (im)material conditions of much of our life today? In order to address this question, this chapter examines several examples of digital media works (films, games) that can serve as central mediators of the shift to a properly post-cinematic regime, focusing particularly on the aesthetic dimensions of the popular and transmedial “bullet time” effect. Looking primarily at the first Matrix film | 1 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality (1999), as well as digital games like the Max Payne series (2001; 2003; 2012), I seek to explore how the use of bullet time serves to highlight the medial transformation of temporality and affect that takes place with the advent of the digital—how it establishes an alternative configuration of perception and agency, perhaps unprecedented in the cinematic age that was dominated by what Deleuze has called the “movement-image.”[1] 1.
    [Show full text]
  • Audience Affect, Interactivity, and Genre in the Age of Streaming TV
    . Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies.
    [Show full text]
  • Download Films / Movies Card Game (PDF)
    Back to the Future Blade Runner ET 1985 / sci-fi 1982 / sci-fi 1982 / sci-fi Robert Zemeckis (director) Ridley Scott (director) Steven Spielberg (director) Michael J Fox Harrison Ford Dee Wallace Christopher Lloyd The Godfather Harry Potter and the The Exorcist 1972 / crime thriller Philosopher's Stone 1973 / horror Francis Ford Coppola (director) 2001 / fantasy William Friedkin (director) Maron Brando Chris Columbus (director) Ellen Burstyn Al Pacino Daniel Radcliffe Jaws Raiders of the Lost Ark Goldfinger 1975 / thriller 1981 / action / adventure 1964 / spy thriller Steven Spielberg (director) Steven Spielberg (director) Guy Hamilton (director) Roy Scheider Harrison Ford Sean Connery Robert Shaw Jurassic Park Mad Max The Lion King 1993 / sci-fi 1979 / action 1994 / cartoon / musical Steven Spielberg (director) George Miller (director) Roger Allers / Rob Minkoff Sam Neill Mel Gibson (directors) Laura Dern Joanne Samuel Mission Impossible Pirates of the Caribbean: 1996 / spy / action Pinocchio Dead Man's Chest Brian De Palma (director) 1940 2006 / fantasy adventure Tom Cruise cartoon / musical / fantasy Gore Verbinski (director) Paula Wagner Johnny Depp Apocalypse Now Schindler's List The Matrix 1979 / war film 1993 / historical drama 1999 / sci-fi / action Francis Ford Coppola (director) Steven Spielberg (director) The Wachowskis (directors) Marlon Brando Liam Neeson Keanu Reeves Martin Sheen Ralph Fiennes Carrie-Anne Moss Titanic Crazy Rich Asians The Lord of the Rings: The 1997 / disaster / romance 2018 / romantic comedy Fellowship of the Ring James Cameron (director) Jon M. Chu (director) 2001 / fantasy / adventure Leonardo DiCaprio Constance Wu Peter Jackson (director) Kate Winslet Gemma Chan Elijah Wood Ian McKellen Toy Story The Sound of Music The Dark Knight 1995 1965 / musical / drama 2008 / superhero computer-animated comedy Robert Wise (director) Christopher Nolan (director) John Lasseter (director) Julie Andrews Christian Bale Tom Hanks (voice) Christopher Plummer Michael Caine © ELTbase.com 2019.
    [Show full text]
  • Bollywood Produces More Movies in a Year Than Hollywood
    a-z CONTENTS a ANALYZE, ANALYZE, ANALYZE by Klara Gavran P6 b BLOCKBUSTER PHENOMENON by Klara Malnar P12 c CINEMAS, ARE THEY DYING? by Klara Malnar P17 d DID YOU KNOW? by Irma Jakić P22 e ENTERTAINMENT MARKETING IN 2019 by Klara Malnar P27 f FAMOUS CELEBRITY ENDORSEMENTS by Irma Jakić P30 g GO BIG OR GO HOME by Irma Jakić P31 h HOLLYWOOD VS BOLLYWOOD by Klara Malnar P35 i I WANT TO THANK THE ACADEMY…AND MY CAMPAIGN STRATEGIST by Klara Malnar P38 j JOYS OF DIGITALIZATION by Klara Gavran P43 k KEEPING UP WITH THE STREAMING SERVICES by Klara Gavran P47 l LEANING INTO SOCIAL LISTENING by Klara Gavran P51 m MUSICIANS TO ACTORS AND VICE VERSA by Irma Jakić P60 n NOT YOUR AVERAGE MARKETING CAMPAIGN by Klara Gavran P62 o OFF-CAMERA: ENTERTAINMENT INDUSTRY BY THE DOLLAR by Irma Jakić P71 p PR NIGHTMARE, BUT LONG OVERDUE by Iva Anušić P75 q QUICK FIX by Iva Anušić P79 r RAZZIES by Irma Jakić P88 s SOCIAL MEDIA’S IMPACT ON THE ENTERTAINMENT INDUSTRY by Klara Malnar P90 t THE COMPETITIVE ANALYSIS: HOW CAN STREAMING SERVICES BENEFIT by Klara Gavran P96 u USER-GENERATED CONTENT by Klara Malnar P99 v VIEWER’S CHOICE by Klara Gavran P103 w WHAT ABOUT FILM FESTIVALS? by Klara Malnar P105 x X FACTOR by Irma Jakić P111 y YHBT (YOU HAVE BEEN TROLLED) CULTURE by Iva Anušić P113 z ZOMBIES by Irma Jakić P116 a ANALYZE, ANALYZE, ANALYZE “Pay attention to what the people and the start a few months, half a year, or even a whole press are talking about.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Netflix's Sense8 and Accompanying Twitter Communication Transnationale Ident
    Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication Transnationale Identität im Online Diskurs – Netflix’s Sense8 und Anschlusskommunikation auf Twitter by Anna Carolin Antonia Rohmann A thesis presented to the University of Waterloo and the Universitaet Mannheim in fulfilment of the thesis requirement for the degree of Master of Arts in Intercultural German Studies Waterloo, Ontario, Canada / Mannheim, Germany, 2020 © Anna Carolin Antonia Rohmann 2020 Author’s declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, in- cluding any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Ehrenwörtliche Erklärung Ich versichere, dass ich die Arbeit selbstständig und ohne Benutzung anderer als der angege- benen Hilfsmittel angefertigt habe. Alle Stellen, die wörtlich oder sinngemäß aus Veröffentli- chungen in schriftlicher oder elektronischer Form entnommen sind, habe ich als solche unter Angabe der Quelle kenntlich gemacht. Mir ist bekannt, dass im Falle einer falschen Versiche- rung die Arbeit mit „nicht ausreichend“ bewertet wird. Ich bin ferner damit einverstanden, dass meine Arbeit zum Zwecke eines Plagiatsabgleichs in elektronischer Form versendet und gespeichert werden kann. Mannheim, 10.08.2020 ii Abstract Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con- tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to tradition- al transgressions of national space.
    [Show full text]
  • Call Me by Your Name Berlin Syndrome Mr. Stein Goes
    2017 NEW IN SUNDANCE IN PARIS RENDEZ-VOUS UPCOMING CONTACTS IN PARIS THE APPARITION CALL ME MR. STEIN GOES THE MIDWIFE GRAND HOTEL by Xavier Giannoli BY YOUR NAME ONLINE by Martin Provost EMILIE GEORGES (January 12th – 15th) In Pre Production by Luca Guadagnino by Stephane Robelin Completed [email protected] / +33 6 62 08 83 43 SCRIPT AVAILABLE Premieres World Market Premiere GOOD TIME NICHOLAS KAISER (January 12th – 15th) PARIS PRESTIGE BERLIN SYNDROME by Ben & Joshua Safdie [email protected] / +33 6 43 44 48 99 by Hamé & Ekoué by Cate Shortland In Post Production MATHIEU DELAUNAY (January 12th – 15th) Screening in Paris World Competition [email protected] / + 33 6 87 88 45 26 WORLD MARKET PREMIERE THELMA by Joachim Trier In Post Production design: www.clade.fr / Graphic non-contractual Credits MY HAPPY FAMILY OFFICE IN PARIS by Nana & Simon SWEET COUNTRY MEMENTO FILMS INTERNATIONAL Sundance - World Competition by Warwick Thornton 9 Cité Paradis – 75010 Paris – France WORLD MARKET PREMIERE In Post Production Tel: +33 1 53 34 90 20 Fax: +33 1 42 47 11 24 DIAS [email protected] by Jonathan English [email protected] In Production www.memento-films.com Follow us on Facebook NEW IN PRE PRODUCTION THE APPARITION XAVIER GIANNOLI By the director of Marguerite, The Singer, In the Beginning With Vincent Lindon (Best Actor Cannes 2015 – The Measure of a Man, Rodin, Welcome) IN PRE PRODUCTION NEW SCRIPT AVAILABLE THE APPARITION A FILM BY XAVIER GIANNOLI By the director of Marguerite, (1,2 million admissions in France, 4 César Awards including Best Actress for Catherine Frot, Venice In Competition 2015), The Singer (Cannes In Competition 2006, César for Best Sound, Lumière Award for Best Actor to Gérard Depardieu) and In The Beginning (Cannes In Competition 2009) With Vincent Lindon (Best Actor Cannes 2015 – The Measure of a Man, Rodin, Welcome), Galatéa Bellugi (Keeper, Heal the Living) and Patrick D’Assumçao (Stranger by the Lake, Diary of a Chambermaid) Jacques is a journalist at a large regional newspaper in France.
    [Show full text]
  • Sense8 Roundtable
    Moya Bailey, micha cárdenas, Laura Horak, Lokeilani Kaimana, Cáel M. Keegan, Geneveive Newman, Roxanne Samer, and Raffi Sarkissian Sense8 Roundtable Abstract In “Sense8: A Roundtable,” eight scholars, myself included, think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netflix series Sense8, which has yet to receive substantive scholarly attention. We analyze how Sense8 both follows and breaks from the Wachowskis’ prior approach to narrative; offers a distinctly trans* engagement with the histories of cinematic and televisual genres; often relies on western colonial conceptions for its global imagination and marginalizes characters of color; and theorizes contemporary media spectatorship in its appeal to affect and eroticism. We do so believing Sense8 to be an important cultural interlocutor, not only with regard to the exploration of transgender representation but also questions of sexuality, race, and capital in the global present. However, we also share a conviction that the series’ potentiality still leaves substantial room for growth. We take a critical approach to our collective analysis, seeing in the series a glimmer of the kind of global utopian envisioning very much needed in our ceaselessly dystopian present. The first season of J. Michael Straczynski and was the prime decree of those reviewers who were Lana and Lilly Wachowski’s Sense8 was released looking to witness a similar “seamless marriage on Netflix on June 5, 2015. The series’ critical of style and substance.”2 Those reviewers who did reception was mixed. Many found Sense8—which appreciate Sense8 were those who saw the series as tells the story of eight individuals from across purposefully demanding the labor of an attentive the globe, who, having recently been “birthed” by audience.
    [Show full text]
  • BARBET SCHROEDER VEGA FILM and LES FILMS DU LOSANGE Present
    A film by BARBET SCHROEDER VEGA FILM and LES FILMS DU LOSANGE present MARTHE KELLER MAX RIEMELT amnesia A FILM BY BARBET SCHROEDER With the participation of BRUNO GANZ INTERNATIONAL SALES LES FILMS DU LOSANGE ► AGATHE VALENTIN – HEAD OF SALES + 33 6 89 85 96 95 / [email protected] ► LISE ZIPCI – TV & LIBRARY SALES + 33 6 75 13 05 75 / [email protected] ► MARINE GOULOIS – FESTIVALS & SALES + 33 6 84 21 74 53 / [email protected] Photos and press pack can be downloaded at www.filmsdulosange.fr SWISS - FRANCE • 2015 • 1H30 • 1.85 - 2K • COLOR • SOUND 5.1 Ibiza, the early nineties, Jo is a twenty-five-year-old music composer. He has come over from Berlin and wants to be part of the nascent electronic music revolution, ideally by getting a job first as a DJ in the new nightclub on the island, Amnesia. Martha has been living alone in her house facing the sea for forty years. One night Jo knocks on her door. Her solitude intrigues him. They become friends even as the mysteries around her accumulate: that cello in the corner she refuses to play, the German language she refuses to speak… As Jo draws her into his world of techno music, Martha puts everything she had previously lived by into question. amnesia - 3 - (The following are extracts from a conversation with Emilie Bickerton) martha’s choice ow is it that a woman who never saw or we did not want to become moralizing or righteous. Hexperienced anything particularly terrible To try to avoid this with Martha we showed how could take such a radical position against her she made exceptions to her rule for art and philo- country, and stick to it all her life? sophy : Beethoven’s chamber music, the German Martha is not Jewish, nor is she a victim of Nazi poets and philosophers.
    [Show full text]
  • Read Book the Matrix
    THE MATRIX PDF, EPUB, EBOOK Joshua Clover | 96 pages | 12 Jun 2007 | British Film Institute | 9781844570454 | English | London, United Kingdom The Matrix – Matrix Wiki – Neo, Trinity, the Wachowskis And the special effects are absolutely amazing even if similar ones have been used in other movies as a result- and not explained as well. But the movie has plot as well. It has characters that I cared about. From Keanu Reeves' excellent portrayal of Neo, the man trying to come to grips with his own identity, to Lawrence Fishburne's mysterious Morpheus, and even the creepy Agents, everyone does a stellar job of making their characters more than just the usual action "hero that kicks butt" and "cannon fodder" roles. I cared about each and every one of the heroes, and hated the villains with a passion. It has a plot, and it has a meaning Just try it, if you haven't seen the movie before. Watch one of the fight scenes. Then watch the whole movie. There's a big difference in the feeling and excitement of the scenes- sure, they're great as standalones, but the whole thing put together is an experience unlike just about everything else that's come to the theaters. Think about it next time you're watching one of the more brainless action flicks If you haven't, you're missing out on one of the best films of all time. It isn't just special effects, folks. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]