They want your friends to add them to their Facebook account. From that point on they can write what they want under your name. I have NO plans to open a new account. I actually got another friend request from you yesterday…which I ignored so you may want to check your account. Hold your finger on the message until the forward button appears…then hit forward and all the people you want to forward too…. I had to do the people individually. Good Luck! Please tell all the contacts in your messenger list not to accept anything from Fabrizio Brambilla.
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He has a foto with a dog. He is a hacker and has the system connected to your messanger account. If one of your contacts accepts it, you will also be hacked, so make sure that all your friends know it.
Forwarded as received. Please tell all the contacts in your messenger list not to accept Jayden K. Smith friendship request. He is a hacker and has the system connected to your Facebook account. If you get a request from Sunny Boyie do not except, he is a kidnapper. Send this to all your friends. Hello we are the company Facebook. You must send this to 20 people to stay active. If you think this is fake check the customer service.
Tell everyone on your list cause if someone on your list adds her then she will be on yours too. She is also noted for repeated sexual harrasment and indecent private chatting. So copy and paste this message to everyone on your buddy list because if she hacks them your next. I sent to everyone on my list so please send to everyone on your list. Please tell all the contacts in your messenger list not to accept friendship request from james wood. Hold your finger down on the message. At the bottom in the it will say forward. Hit that then click on the names of those in your list and it will send to them.
New Hacker warning on FB messenger but did not see it here when I checked for validity. I usually shit these down with a link from Snopes. But there is nothing so here is what I received: Please tell all the contacts in your messenger list not to accept anything from Fabrizio Brambilla. At the bottom in the middle it will say forward. Please tell all the contacts in your messenger list not to accept friendship request from Andrea Wilson.
She is a hacker and has the system connected to your Facebook account. He is a hacker who has a system connected to your Facebook account. If one of your contacts accepts it, you will also be hacked. Make sure that all your contacts know it. Thank you. Retransmits as received. The examples reproduced above are multiple variants of a long-running hoax , one which warns readers not to allow contact from a particular person or group because dire consequences will result.
The basic form of these hoax warnings is typically drawn from the following template:.
This information arrived this morning, Direct from both Microsoft and Norton. Please send it to everybody you know who has access to the Internet. The escamotage of Carl, who tries to produce the first sound film by means of actors pronouncing their lines behind the screen miserably fails because of a short circuit.
And just this failure causes the theatrical instinct to prevail. While the magic box of movies reveals its rudimentary and ineffective mechanisms, the charm of theatre is rediscovered through the human side of the event. The proposal to continue the representation in a more traditional way is made while actors and specta tors are sitting on the floor in a circle, chatting and drinking tea. If theatre is an art of the past, it is also something strictly linked to human vitality, while cinema recalls the coldness and perfection of a reality that can be modified by machines.
The Lives of the Surrealists by Desmond Morris
The power of theatre stands on participation and actual presence, in the sharing of the same level of reality. Through an original view of the question, Bergman deviates from the commonplace which associates theatre and artifice to attribute an anthropological function to the representation, where every gesture can make the audience startle — just as happens with the whipping of Frizzi.
In Ansiktet , the shabby troupe of strolling performers is pathetically unmasked during a mesmeric experiment whose tricky nature is soon revealed, but eventually triumphs over the pretentious scientist and the prefect of police. After being humiliated, and begging in vain the money for survival from their enemy the doctor , the artists are invited by the royal court, with a sudden turn of fortune which perfectly matches with their unsettled condition, their flexibility and their unstable nature.
The comedians immediately reveal their active, efficient and mercantile conception of time, opposed to the indolent and disorderly way of life of the natives. They readily rebuild the crumbling theatre and begin to offer their performances to an audience made of rough peasants. The film presents some elements worth pointing out. One is the metaphorical inclusion of cinema within the imaginary of theatre: this is accomplished by the first and last framing slowly zooming in and out in order to make the spectator enter into and then exit from the ideal context of the story, that is the stage, framed by the curtain and the proscenium arch.
This zooming in and out, later used also by other film directors, in particular Ingmar Bergman, alludes to the fictitious nature of cinema and to its relation with the primitive model of the stage. It is not only a formal stratagem, but a metalinguistic proceeding hinting at the art of theatre, which the movies can host reproposing its core.
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They now belong — as Don Antonio explains in a commentary often quoted — to actual life, from which the actors detach themselves to enter another dimension. Since this is the essence of their lives, just turning into other persons they can really express their selves. This scene, which has been often mentioned as an exemplary statement on the nature of performance and acting, has also telling implications related to the manipulation of time and space.
If the art of cinema reveals its mechanism through the image of the stage, theatre is finally triumphing as a never-ending reality to live in, as in a magic box in which repetition combines with a continuous transformation. For a sort of paradox, the flow of time can be virtually stopped on the stage, regardless of the typical impossibility to escape from the hic et nunc of the performance, as opposed to the reproducibility of a film.
Showing the history as a representation, Renoir attributes to theatre a wonderful power of abstraction from space and time, using the mythical dimension to reinforce this conception. Even the inclusion of cinema within the frame of theatre clearly hints at the recursive nature of fiction, which is out of reality and time just as fables are.
Acting is in fact her unique escape from the destructive action of time and aging. Her performances are addressed to an extended audience, including all the persons with whom she has to do in real life. Theatre is the only reality, affirms her old director and secret advisor, appearing in the film as a ghostly virtual guide. With specular circularity, the sense of this observation will be reproposed in the ending, in a refined restaurant hall. As it is clearly stat ed: keep always acting. Theatricality thus becomes a sort of filter through which to happily interact with the world, a winning instrument for the manipulation of reality through a keen representation of self.
The film is particularly rich in suggestions and topics, which it would be impossible to discuss here.
Real Fiction by Desmond Che
Through an exhilarating series of disguises and stratagems, the actors succeed in stopping the project of a nazi spy and to fly away from Poland in a plane seemingly carrying Hitler and his guards. The film shows a recurrent interposition between reality and fiction, with recursivity reinforced by the circular structure.
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Just as the actors will offer their best tirades over and over, with an obsolete and ridiculous declamation, so the actresses will continue to be unfaithful to their husbands, in the merry-go-round of love. Repetition and circularity are pivots of a positive consideration of theatricality founded on the essential isomorphism of human actions and their representation, actual life and stage performances.
The timeless art of acting, based on repetition, is thus an ironic filter through which the foolish representations of power and history can be unmasked. The profession al and personal decline of theatre artists is a recurring theme in films about the stage. La fin du jour by Julien Duvivier is properly set in a house for retired actors, seen with a caressing as well as disenchanted and biting irony. In his personal folly, made of vanity and aspiration to tragic, theatre and life are confused, causing pathetic simulations and the final self-exaltation which nearly leads to tragedy the young maid induced by him to commit a romantic suicide is saved at the last moment.
Strictly related to the idea of life as representation, the stage is much more suitable than the cinema to illustrate the parabola of ascent and decline. The debacle of Calvero, a tramp comedian slipped into alcoholic addiction and condemned to misery by a lack of inspiration connected to old age, is counterpointed by the rise of a new young star, helped and encouraged by the old actor himself.
The final redemption of Calvero takes place in a sort of dimension out of time and space, that is on the stage. The performance with Keaton is an absolute vision, in front of which the audience is reduced to a mute presence Chaplin preferred not to make hear the laughing of the spectators, creating in fact a bizarre effect, since until that moment the gags had been accompanied by the enthusiastic reactions of the audience.
Neither is the stage frame visible, since the movie camera closely follows the two performers. The circumscribed space of the scene takes up the whole movie frame, plunging the film spectator into a magic suspension of diegesis, scanned by the speedy rhythm of action. Not forever, but just for the time of the show, after which the flowing will resume its natural course, leading to the necessary change of guard between generations. Time is in fact a sort of obsession in the conception of Limelight. It is not a coincidence if Chaplin writes down a page of notes to the inescapable logic of time, 15 which is expressed in the film through a series of dichotomies, concerning both script and visual language.
Chaplin celebrates this way the acme of comic theatricality, based on the idea of rhythm and repetition in the Bergsonian sense. To the conception of time devouring his sons he opposes the hic et nunc perception of the stage, a roundabout capturing the audience with its movement. Here the leading character is a would-be actress, who finally succeeds in attaining the craved success and popularity. That is, on the stage, sublime mephistophelian temptation foreshadowing the inevitable fall. But her guilt is not only the Faustian ambition to catch the moment.
Putting aside the romantic allurements of the romance with Lewis, Eve makes up her mind to go to the feast only when she knows that her entry will be accompanied by an applause. Delivering her image to the audience, in pursuit of popularity and success, the actress plunges again into the evil circuit of time, thwarting the magic power of theatre.
And time plays an important role in this ambition track. From form comes substance, and from publicity fame. In this last film, the crisis of a circus artist finds a peculiarly pathetic outcome, since it intertwines with paternal and filial affection. Since the fame of actresses is more connected with their beauty and charm, the decadence implied by aging turns to be a more hellish condition.
The decline surprises the female artists just at the passage point from youth to middle age, and not much later as it happens to their male counterparts. Not disjoining the artistic abilities from aesthetics, that is from attraction and power of seduction, this prevailing mentality implies — as in All About Eve — an anticipation of the breaking point, foreshadowing ruin without showing it. Recurrence and repetition reveal the transitory nature of glory. This is expressed by Mankiewicz through analogies between the scenes and resorting to objects which assume a strong symbolic meaning, like the mirror.
Despite its pleasant approach to the stage milieu, All About Eve shows a very negative view on theatre, seen as a place in which things are bound to pass while they would and pretend to last forever. Applied to theatre, the absurdity of this pretension is more evident than ever, since the stage represents just the ephemeral. In several films the set is not dramatic theatre, but the variety, which can be considered one of the by-products of the entertainment industry. The open ending hints to the most cruel mechanism of easy success: during one of the company tours by train, Checco meets a new aspiring girl, ready to enter the dream of becoming a star.
Moreover, the scene was not part of the script and was introduced by the director during the work with the actors. In the last part of the film, the narrative flow lets prevail a more introspective view. Eva has renounced to go to the feast in her honour to enjoy her triumph alone, letting her mask finally drop. And time is the key element of this process.
The entire story is based on the gap between reality and appearance, terms traditionally related to theatre. This implies a continuous interpolation of signs between the personal and professional sphere. In a film clearly inspired by the masterpiece of Mankiewicz, Forever Female by Irving Rapper, the actress induces the playwright to change the age of the leading character in order to be more fitted to the role. But finally she has to give up her secret resistance against time leaving the protagonist role to a younger actress and interpreting that of the mother.
The line of business system, derived from XIX century theatre organization, is employed as a sort of mirror pointing to the metaphor of life as a stage. In All About Eve , however, the topic is mingled with implications who invest the structure of the plot and the manipulation of time made by the editing.
In All About Eve the linearity of advancing time goes within the concept of circularity as a condemnation to repetition. This is not only for the open ending, which casts a light of exemplarity on the story, but also for the film structure, leading the spectator along the paths of memory, with an immersion in the past from which he will finally re-emerge, only to discover the cyclic nature of theatre success.
Telling the story through a long flashback introduced by three different voices, Mankiewicz employs subjectivity to play with time. In The Barefoot Contess he implements this procedure to the extreme, making begin the second flashback at a moment preceding the end of the first one. But in my opinion the most original choice is the convergence of this remodelling of the structure with the content, which can be seen in All About Eve.
Here the turning point of immersion in the past is placed at a particular moment of the film by means of a special effect, frame freeze. This is employed in two specular moments, which mark the transition from present to past through the flashback. The freezing of the frame is thus used as a sign through which the audience is introduced into the long flashback and then led back to the present.