The London School of Economics and Political Science the Reel City

Total Page:16

File Type:pdf, Size:1020Kb

The London School of Economics and Political Science the Reel City The London School of Economics and Political Science The Reel City: London, symbolic power and cinema Rahoul Masrani A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy, London, January 2016 DECLARATION .................................................................................................................... 4 ABSTRACT ........................................................................................................................... 5 ACKNOWLEDGMENTS ...................................................................................................... 7 CHAPTER 1: INTRODUCTION ........................................................................................ 9 1.1 Introduction ...................................................................................................................... 9 1.2 An IntErdisciplinary Enquiry into thE Global City ................................................ 13 1.3 Symbolic PowEr ................................................................................................................ 16 1.3.1 Symbolic power and the media ........................................................................................... 18 1.4 CinEma and thE City ........................................................................................................ 22 1.5 London in Cinema ........................................................................................................ 28 1.6 Conclusion ...................................................................................................................... 31 CHAPTER 2: THE GLOBAL CITY ................................................................................. 34 2.1 Introduction ...................................................................................................................... 34 2.2 ThE Global City: Institutional ApproachEs .............................................................. 37 2.2.1 City branding: Normativity ................................................................................................... 43 2.3 ProblEmatising thE NormativE Approach to thE Global City ............................. 47 2.3.1 The postcolonial city ................................................................................................................ 48 2.3.2 Agency ............................................................................................................................................ 52 2.4 ThE Global City and thE MEdia: ThE CinEmatic City .............................................. 54 2.4.1 CinEmatic rEprEsEntations of thE global city ...................................................... 57 2.4.2 The global city as a cinematic reiteration ....................................................................... 60 2.5 Conclusion .......................................................................................................................... 62 CHAPTER 3: LONDON GLOBAL CITY ........................................................................ 66 3.1 Introduction ...................................................................................................................... 66 3.2 London: The History oF a Global City ................................................................................... 69 3.3 Multicultural London: A Critique of thE NEoliberal Approach to Cultural DivErsity ..................................................................................................................................... 75 3.4 Urban Contrasts: Class and thE City SpacE .............................................................. 85 3.4.1 TransForming the built environment ............................................................................... 87 3.5 London on ScrEEn: Symbolic PowEr and thE CinEmatic City ............................. 93 3.5.1 Glamour ......................................................................................................................................... 96 3.6 Conclusion .......................................................................................................................... 99 CHAPTER 4: METHODOLOGY ................................................................................... 101 4.1 Introduction .................................................................................................................... 101 4.2 MEthod: Sociological-ThEmatic Analysis ............................................................... 104 4.2.1 Textual analysis: Semiotics ................................................................................................ 109 4.2.2 Text analysis: Discourse, ideology and intertextuality .......................................... 111 4.3 Sampling ........................................................................................................................... 114 4.3.1 Films: Chapters 5 and 6 ....................................................................................................... 114 4.3.2 Contextual material: Chapter 7 ........................................................................................ 116 4.4 Analysis ............................................................................................................................. 118 4.4.1 Chapter 5: Glamorous London ......................................................................................... 119 4.4.2 Chapter 6: Multi-Cultural London ................................................................................... 121 4.4.3 Chapter 7 ................................................................................................................................... 124 4.5 REflExivity and thE Risks of TExtual Analysis ...................................................... 125 4.6 Conclusion ........................................................................................................................ 127 CHAPTER 5: GLAMOROUS LONDON ....................................................................... 129 5.1 Introduction .................................................................................................................... 129 5.2 Ideal UsErs ........................................................................................................................ 132 5.2.1 Class, consumption and the city ...................................................................................... 132 2 5.2.2 The global middle class: Rich, young and white ....................................................... 141 5.3 Capitalism and Consumption: Iconic London ....................................................... 151 5.3.1 Glamour zonEs ..................................................................................................................... 151 5.3.2 Iconic spaces and monuments ......................................................................................... 156 5.4 Conclusion ........................................................................................................................ 159 CHAPTER 6: MULTI-CULTURAL LONDON ............................................................. 163 6.1 Introduction .................................................................................................................... 163 6.1.1 Multi-cultural versus multicultural ................................................................................ 164 6.2 Symbolic PowEr and Immigration: NEw and EstablishEd Migrant CommunitiEs .......................................................................................................................... 166 6.2.1 New migrant communities ................................................................................................. 166 6.2.2 Established migrant communities .................................................................................. 171 6.3 Social Class and Consumption ................................................................................... 179 6.4 Trains, PlanEs and AutomobilEs ............................................................................... 185 6.5 Conclusion ........................................................................................................................ 192 CHAPTER 7: LONDON AND CINEMA: A DYNAMIC RELATIONSHIP ............... 195 7.1 Introduction .................................................................................................................... 195 7.2 Tourism: Studios, AgEnciEs and MoviE Maps ....................................................... 197 7.3 Brand London: A CinEmatic PerspectivE ............................................................... 201 7.3.1 Beyond the silver screen: Synergies .............................................................................. 204 7.3.2 Advertising ................................................................................................................................ 207 7.4 SEtting a PrEcEdent ....................................................................................................... 212 7.4.1 The ‘real’ city ............................................................................................................................ 216 7.5 Discussion: What about LondonErs? ....................................................................... 225 7.6 Conclusion .......................................................................................................................
Recommended publications
  • In the Land of Blood and Honey What’S Fair Or Just in Love and War Crimes? Lessons for Transitional Justice* Carrie Menkel-Meadow
    4 In The Land of Blood and Honey What’s Fair or Just in Love and War Crimes? Lessons for Transitional Justice* Carrie Menkel-Meadow n 1990, the University of California at Los Angeles (UCLA) held a conference on “Probing the Limits of Representation: Nazism and the IFinal Solution” during which leading international scholars of history, literature, cultural studies, philosophy, critical theory, arts, language, sociology, and psychology explored the question of whether the mass atrocities of Nazism and the Final Solution to exterminate all European Jewry could be represented in anything other than “factual” historical documentation and narrative (Friedlander 1992; White 1992; LaCapra 1996). This was some years after the first documentaries and “fictional- ized” films on the Holocaust had appeared, after Judgment at Nuremberg (Kramer 1961), but before Schindler’s List (Spielberg 1993) and after vari- ous cultural critics had said such things as “there can be no poetry after Auschwitz” (attributed to Theodor Adorno), and no morally acceptable artistic representation could be made of the Shoah (Friedlander 1992). The conference explored what were then called “limits to representation” of certain “truths,” so reprehensible, so mass and, at the same time, so spe- cific or so exceptional (the “German” problem; Maier 1988), that no genre could fully, morally, or “accurately” depict either the systematic evil or the mass pain, death, and injury that is the Holocaust. As the child of Holocaust survivors, I attended that conference as both scholar and one generation removed “victim,” having spent a lifetime listening to my family’s stories and seeing many visual images of both their own stories and the larger international one that was World War II.
    [Show full text]
  • Primrose Hill Set: Generation
    PRIMROSE HILL SET: GENERATION 2.0 THEIR PARENTS, INCLUDING SADIE FROST, NOEL GALLAGHER AND KATE MOSS DOMINATED THE 90s, AND NOW THEIR OFFSPRING ARE TAKING OVER THE FASHION WORLD AS THE NEW BRIT PACK ON THE BLOCK RAFFERTY LAW This pic: Jude Law with SON OF SADIE FROST AND JUDE LAW Rafferty at a football game last year. Right: Those piercing blue eyes and perfect pout One of his modelling belong in front of the camera, so it’s no surprise shots and on the Fashion that Jude Law’s carbon copy son, 19-year- Week front row old Rafferty is making serious waves in the modelling world. Since signing with Select models, the teen – who has been linked to Liam Gallagher’s daughter Molly Moorish, 18 – has walked the catwalk for DKNY, starred in an Adidas Originals campaign and been voted one of the Best Dressed Men in Britain by GQ. But despite his early showbiz start, he has no plans to follow his famous father to Hollywood, preferring to concentrate on music instead. He sings and play guitar with Brit rock duo Dirty Harry’s. “Having creative parents has made me a very creative person. I got brought up around art and goodg music and obviously fi lm sets,” he says, “I’ve always loved music. That’s been heavily infl uenced by my dad and my mum.” Speaking about his famous son’s quest for fame, Jude, 43, told Esquire, “He’s got to fi nd his own path and make his own mistakes, and have his own triumphs.
    [Show full text]
  • Bridging Resources for Year 11 Applicants: Media Studies St John Rigby College Gathurst Rd, Orrell, Wigan WN5 0LJ 01942 214797
    Bridging Resources for Year 11 Applicants: MEDIA STUDIES St John Rigby College Media Studies In Media, you will study a range of print and audio-visual products, including advertising, television, radio, film, newspapers and magazines, games and online media. The tasks below focus on some of these media types to give you some knowledge of them before beginning the course. We also have an online learning area with lots of fun and interesting tasks. If you would like access to this, please email us for login information. If you have any questions or would like more information about the course, please do get in touch! Simon Anten- Head of Media - [email protected] Catherine Strong- Media Teacher - [email protected] Music Video From its beginnings, music video has been an innovative and experimental form. Many a successful film director has either made their name as a music video director or still uses the form to experiment with editing, photography and post production effects. Watch the following two videos by British film directors: Radiohead’s “Street Spirit” (Jonathan Glazer 1995) and FKA Twigs’ “tw-ache” (Tom Beard 2014). What are your thoughts about both videos? In what ways might they be seen as experimental (as well as weird, intriguing and exciting)? How do they create an impact? How do they complement or challenge the music? Who is the target audience for each video? (It can be useful to read the comments on YouTube to get a sense of people’s reactions to them, but don’t do this if you’re sensitive to bad language!) Is there anything distinctly British about either or both of them? Comparing a director’s video and film output Jonathan Glazer directed Radiohead’s “Street Spirit” just a few years before directing his first feature, the brilliant Sexy Beast (2000), starring Ben Kingsley and Ray Winstone.
    [Show full text]
  • CONTRACT CONFLICT Guy A
    COPYRIGHT © 2017 VIRGINIA LAW REVIEW ASSOCIATION COPYRIGHT SURVIVES: RETHINKING THE COPYRIGHT- CONTRACT CONFLICT Guy A. Rub* Twenty-one years ago, copyright died. More accurately, it was killed. In 1996, in ProCD v. Zeidenberg, Judge Easterbrook, writing for the Seventh Circuit, held that a contract that restricted the use of factual information was not preempted by the Copyright Act and therefore enforceable. The reaction among copyright scholars was swift and passionate. In dozens of articles and books, spreading over two decades, scholars cautioned that if the ProCD approach is broadly adopted, the results would be dire. Through contracts, the rights of copyright owners would run amok, expand, and in doing so they would invade, shrink, and possibly destroy the public domain. Contracts, we were repeatedly warned throughout the years, would kill copyright law. This Article challenges this scholarly consensus by studying the court opinions that have dealt with the copyright-contract conflict over the past four decades. This examination reveals surprising facts: notwithstanding the scholars’ warnings, ProCD’s approach won the day and was embraced by most federal circuit courts. The doomsday scenarios scholars warned against, however, did not materialize. The * Associate Professor, The Ohio State University Michael E. Moritz College of Law. I would like to thank Professors Clark Asay, Ian Ayres, Jonathan Baker, Scott Baker, Omri Ben-Shahar, Robert Brauneis, Wendy Gordon, David Hoffman, Robert Merges, Mark McKenna, Alan Michaels, Michael
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Info Fair Resources
    ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out
    [Show full text]
  • ICN 2020 Virtual Annual Conference Day
    KnowledgeVision | ICN 2020 Day One Sept 14 CYNTHIA: Welcome to ICN 2020. We are delighted that you are joining us this week for the ICN Annual Conference. Today through Wednesday, we'll see two plenary discussions and related working group videos each day. On Thursday, we have special programming on ICN work related to NGAs, younger agencies, and economists. Each day you'll find the link to these session posted on the conference web page, just like you did today. If you have questions, suggestions, or just want to let us know that you're tuning in, you can email us at [email protected] and [email protected]. Follow ICN on Twitter. This week using the special hashtag ICN2020. And now it is my great pleasure to turn it over to [INAUDIBLE] president and ICN chair Andreas Mundt. ANDREAS Thanks a lot, Cynthia. Well, welcome to the 2020 ICN Annual Conference, a MUNDT: meeting of members of the ICN of our non-governmental advisors and many other people this time, because we take a chance and have more attendees than ever probably. We have four conference days ahead of us. We're going to have a host showcase. There will be working group plenaries. There will be special sessions for younger agencies for our non-governmental advisors for economists, and there will be a follow up program after the conference that will be organized by the working groups. There will be weekly events. Well, this is our first virtual conference. A virtual organization like the ICN and a virtual conference sounds easy, but in fact, it was hard to do that, to set up the program adjusted to the virtual world.
    [Show full text]
  • Reminder List of Productions Eligible for the 86Th Academy Awards
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill.
    [Show full text]
  • Table of Contents
    National Discourse on Carnival Arts Report by Ansel Wong, October 2009 1 2 © Carnival Village, Tabernacle 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recorded or otherwise, without the prior permission of the author. Contact details for further information: Shabaka Thompson CEO Carnival Village, Tabernacle Powis Square London W11 2AY Tel: +44 (0) 20 7286 1656 [email protected] www.Carnivalvillage.org.uk 3 This report is dedicated to the memory of David Roussel-Milner (Kwesi Bachra) 18 February 1938 – 28 October 2009 4 Executive Summary Introduction The Carnival Village, The ELIMU Paddington Arts Carnival Band, the Victoria and Albert Museum and HISTORYtalk hosted the National Discourse on Carnival from Friday 2 October to Sunday 4 October 2009 with a number of post-conference events lasting for the duration of the month of October. The programme was delivered through two strands – ROOTS (a historical review and critical analysis of Carnival in London from 1969) and ROUTES (mapping the journey to artistic and performance excellence for Carnival and its related industries) - to achieve the following objectives: Inform Carnival Village‟s development plans Formulate an approach to and build a consensus on Carnival Arts Identify and develop a strategic forum of stakeholders, performers and artists Recognise and celebrate artistic excellence in Carnival Arts Build on the legacies of Claudia Jones and other Carnival Pioneers The Programme For the duration of the event, there were two keynote presentations; the first was the inaugural Claudia Jones Carnival Memorial Lecture delivered by Dr Pat Bishop and the second was delivered by Pax Nindi on the future of Carnival.
    [Show full text]
  • Menelik Shabazz Transcript.Pages
    MENELIK SHABAZZ LCVA TRANSCRIPT TC SYNC 12:09:12 Interviewer: Tell us about your early life 12:09:31 Menelik Shabazz: I was born in Barbados and I was there until the age of six. And so my memories are quite vivid actually of I come from the country, I know Barbados is very small but we you have a countryside St. John. And in a village it echoed its history the village that I was and I didn't know it at the time. So you had, in my village you had the plantation which was a sugar plantation on one side of the road and people and the houses on the other side of the road. And my early memories are of going on a plantation with a flask of food for my aunt and for my mum and for my aunt and so on and um and memories of learning how to capture birds um learning how to shoot at, we had little monkeys in the in the little woods who we used to throw things at and then they would catch it and throw it back at you. Learning err um the kind of schooling regime where you had to be on point with your dress, you had to be on point with your nails, they had to look right. You had to be on point with um yeah as I say the way you dress um that you look okay. So all of that they had drills and stuff. And of course you had the beatings I used to get a few times for my mathematical inadequacies.
    [Show full text]
  • Hackney Central Conversation Report
    Hackney Central Conversation Consultation Report 2021 black 8 mm clearance all sides white 8 mm clearance all sides CMYK 8 mm clearance all sides Contents Introduction 3 Section 1: Starting the Conversation 4 Project background 4 Consultation approach 4-5 Advertisements 6 How to read this report 6 Section 2: Data Collection Methodology 7 Data collection 7 Verifying comments 7 Face-to-face engagement 8 Analysing your comments and interpreting the data 8-9 Section 3: Respondent analysis 10 Demographics 10 Postcode analysis 10-13 Section 4: Insights Analysis 14-15 Section 5: What are you commenting on? Identified issues 17 Transport 18-20 Greenspaces 21-22 Streetscene and public realm design 22-24 Local economy 24-27 Buildings and developments 28 Sense of place 29-30 Proposals outlined in the comments 31-33 Section 6: The places and spaces that make Hackney Central 34-36 Next Steps 37 Introduction Hackney Council launched the Hackney Central Conversation in July 2019 so local people could tell us what they love about Hackney Central, the challenges they experience, and what changes they would like to see the council make in the area. The approach for the project was about early, ongoing and honest dialogue with those who live, work and visit the area so that they can influence change in their community. The Conversation focused on two streams of work: Moving around Hackney Central and community mapping exercise. Moving around Hackney Central The Council was previously awarded £10m of funding from Transport for London through the Liveable Neighbourhood Scheme to transform Hackney Central by reducing traffic in the area and redesigning its three dangerous junctions – Pembury Circus, Mare Street/Graham Road and Mare Street/Morning Lane – to make them safer for cyclists, pedestrians and public transport users.
    [Show full text]
  • Newsletter 03/08 (Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletterDIGITAL EDITION Nr. 223 - 03/08Februar 2008 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 03/08 (Nr. 223) Februar 2008 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Das Plakatmotiv eines der aus- Warum die Welt jetzt blau werden muss sichtsreichsten Anwärter auf den von Hans-Joachim Pulli diesjährigen Oscar darf das Titel- Nachdem Warner das getan hat, 1978-1997: blatt der neuesten Ausgabe unseres auf das die Welt gewartet hat, näm- LaserDisc (LD) ca. 20 Jahre Newsletters zieren. Und das nicht lich die HD DVD-Technologie mit Kaum verbreitet im Consumermarkt ohne Grund. Denn das neue Werk einem Rasierschnitt seiner Daseins- waren die LaserDiscs. Obwohl sie der genialen Coen-Brüder gilt seit berechtigung zu berauben, hat sich eine hervorragende Qualität boten, Wochen schon als absoluter jetzt Blu-ray als Medium der Zu- fanden sie aufgrund ihres Preises Geheimtipp. Nach ein paar filmi- kunft durchgesetzt. 2008: die Welt und schlechter Handhabbarkeit auf- schen Durchhängern ist es den bei- ist blau geworden! Warner wollte grund ihrer Größe kaum Verbrei- den Brüdern endlich wieder gelun- keineswegs dem Konsumenten ei- tung. Die Aufzeichnung geschah gen, zu ihren Wurzeln zurückzufin- nen Gefallen tun, vielmehr ging es analog. Von der Größe her war sie den. Skurrile Charaktere, außerge- um Bares. Da wird sowieso jede vergleichbar mit der einer Schall- wöhnliche Settings, unvorhersehba- noch so vorbildliche Einstellung ge- platte.
    [Show full text]