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absolutebl · 4 years ago

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Why Color Rush is Amazing

I was doing a comp post of the BLs I believe honestly represent the queer experience (for Pride obvs), and the first one I thought of was Color Rush.

And then I thought, no, I have to just talk about Color Rush for a while.

And then I rewatched Color Rush and now... here we are, together, staring down the barrel of yet another super long post from moi.

TA DA!

I’ve been asked why I love this show so much and usually I direct people to the episode by episode post I did where you can watch me go from ��this is cute” to “OH it’s an allegory” to “this is blowing my tiny mind.” But I think it deserves more from me. So, here it is a proper pop critique essay on one of my favorite BLs of all time...

All my love for Color Rush

BASICS

Who made it? Korea

Where to find it? Viki

Foundational Romance Trope? Fated mates

Style: High concept, skewed reality, single POV, small cast

PITCH

Despite being a typical Korean-BL short run, Color Rush was given more legs than most with a STRONG core concept and 8 episodes of 15 minutes each. Thus Color Rush (with a total run time of c. 2 hours) works better as a movie than a series and manages to satisfy because it utilizes a cinematic approach that strongly relies on manga filming techniques.

It broke ground in many ways:

It neatly avoided the pacing issues of K-BL with a magical realism component that forced intimacy in the first episode.

It was concept driven, in that it had a strong fantasy component, like Cherry Magic. However, Color Rush used this fantastical as an aspect of visual story telling (Cherry Magic was audio) which allowed it to be less soft, sweet, cute and more tense, sinister, dramatic.

It also used this concept mono/probe to say some really subversive things about the seme/uke dynamic.

The narrative backbone was an insanely perfect allegory for queer first love and the coming out experience.

It’s this last bit that made me love this show with such fervor.

Color Rush Subverting Seme/Uke

What I initially thought Color Rush was focusing on was codifying the seme/uke dynamic with an in-universe supernatural component: mono/probe.

They use mono/probe to highlight the sinister nature of seme/uke by emphasizing the obsession a mono (Yeon Woo) has for his probe but countering that by making the probe character the seme (Yoo Han), and a seme is always obsessed with his uke.

So Color Rush used subversion to explore yaoi archetypes: naturally obsessive seme versus supernaturally obsessive uke.

When Yoo Han pulls down his mask, it is an aggressive sexual act - yeah, I do mean that kind of exposure - and predatory. But all semes have aggressive predatory instincts (its how they spiral when the drama requires it). Yoo Han wants Yeon Woo to be obsessed with him. He enjoys the power that being a probe gives him. He is literally stunning to Yeon Woo.

What seme doesn’t want an uke that faints in his arms just from seeing his face? Only Yoo Han can show Yeon Woo a whole new world. That world is color, but that wold is also a relationship, love, sex.

Throughout the drama, Yoo Han teases Yeon Woo in this highly erotic way using color: the rainbow fan of temptation, the prism and the light, the memorized lists and stories of color’s history Yoo Han is all about the allowance of pleasure, the denial, the boundaries. Color Rush pushed way past standard uke/seme into full on D/s. Along the way saying some interesting things about obsession and addiction.

Cats exist in this liminal space where they are both stupid cute love muffins and threatening alpha predators. I feel like Yoo Han is played exactly the same way. He manages to be a dominating force but also whimsical and yearning, so we get these glimpses and reminders of how young he is. It gives him qualities of etherial godling capriciousness on one side and childish wonder on the other. All from behind a mask.

He’s as caught up in this thing as Yeon Woo, but he also must be in control of it. Or at least pretend to be.

“I wanted to show you a rainbow but it wouldn’t rain.”

Is such a seme thing to say. How annoying of the world not to conform exactly to the way Yoo Han wanted it to be, for the benefit of his mono, of course.

I don’t think it’s an accident of language that Yeon Woo uses the same phrases to describe seeing color that Yoo Han uses to describe seeing Yeon Woo. So it goes also with the nature of desire in this series: Yeon Woo wants the same things from color (to see, to touch, to possess) that Yoo Han wants from Yeon Woo.

Of course then Yeon Woo starts to actually become obsessed and orders Yoo Han around, and a seme can’t have that! Must CONTROL the situation. So Yoo Han barters for what he wants, time to woo Yeon Woo. Sinister, but then of course by the laws of yaoi and of this universe the only way it’s going to work is if the two characters become equally obsessed with each other. It’s the you are my destiny AKA fated mates trope in an urban fantasy BL form.

And so I thought Color Rush was being terribly clever with yaoi archetypes and romance tropes. Cute and smart and fun.

That’s what I thought at first.

And it was, but it turned out Color Rush was going deeper than that.

Color Rush as an Allegory for Queer Awakening

Color Rush is also a narrative of discovering queer identity and self-acceptance, packaged in this clever little magical contrivance: the color rush.

Yeon Woo is trapped in a grey world which is an allegory for the sexually/romantically unawakened innocent. The color rush experience therefore represents both sexual awakening and the epiphany of queerness.

(Rainbow sparkles, anyone?)

The lore of the world is that monos have a history of kidnapping and hurting their probes, because they become obsessed with the only person who allows them to see color. Yeon Woo is terrified of this, terrified of becoming the monster. He is gay/mono growing up in a culture/family/religion that vilifies gays/monos. As a direct result, this boy is terrified of being gay/mono because it is associated with monstrosity. (I’m gonna stop with the gay/mono slash thing. They are basically interchangeable.)

“Love makes monsters of us all.”

We’ll come back around to Yeon Woo in a moment.

Yoo Han

As the confident (seeming) probe Yoo Han represents out gay - comfortable in his own skin, flirtatious and very intersted in Yeon Woo. He is a threat under these circumstances, because he has what Yeon Woo wants, he is what Yeon Woo wants, but he also is what Yeon Woo wants to be. He is the world of color, he is the monster.

The scene where Yoo Han has Yeon Woo caged and is explaining colors to him by whispering in his ear (still masked) while petting his hand is possibly one of the sexiest things to happen in BL since Pharm feed Dean at the swimming pool. It has the same tension and the same interweaving of plot and action.

It is an act of seduction, but of identity seduction.

Yoo Han is temping Yeon Woo to cross into being queer. To accept color into his life is to accept himself.

Initially, Yoo Han capitalizes on this sinister sexy seme dynamic partly because of his mask. It isn’t until much later that we realize the mask is an outward manifestation of Yoo Han’s own struggles with identity, his face blindness. Essentially, the mask is Yoo Han's visual representation of his own challenges with self acceptance and society. AKA A different kind of coming out experience, but no less a queer allegory.

Yeon Woo’s realization of this (in the hotel room after Yoo Han confesses) is his cornerstone to empathy and eventually self-forgiveness and understanding. We are both monsters, we are both unique, we both struggle, and we both love.

Yeon Woo needs to understand that while Yoo Han seems to be in control and have the power in the equation, he is just as caught up as Yeon Woo. They can be monsters together.

For a first timer Heo Hyun Jun (AKA Hwall from The Boyz) as Yoo Han did a great job with a difficult role. Masked he had to do most of his emoting via body language and eye movement, and I think it really helped that he’s a trained dancer.

Yoo Han’s character fit the brief too. The type of arrogant pretty-boy who wants to be a K-pop idol by his very nature wants to be something special. In being Yeon Woo’s probe, Yoo Han gets to be the most special thing in the whole universe to one person. And it’s a boy he already likes. Isn’t that what every seme secretly wants in the end? To be the most special and important person in their uke’s universe. Isn’t that what the whole dynamic is about?

Of course we learn later that this is because Yeon Woo is actually unique to Yoo Han. His is the only face Yoo Han can recognize in a sea of strangers. For Yeon Woo, this discovery represents that moment of being queer and realizing that your crush is queer too, that there are others out there in the world. Not just that love can be reciprocated, but that your kind of love (that is hated by others) can be reciprocated.

Color Rush is exploring the idea that to be so transported by another person is to want to dwell in their skin, see what they see, drift on the sensations only they can provide. It’s highlighting the unmoored nature of new passion.

“I want to be with him, but also, in a strange way, I want to be him.”

This is particularly common to the queer experience.

Which brings us to Yeon Woo.

Yeon Woo

The narrative is told from Yeon Woo’s POV, which is normal for yaoi stories. They usually focus on the uke’s POV. I talked about Yoo Han first because Yeon Woo is realizing who he really is (gay), because of Yoo Han. As happens to many of us queers, it is the act of sexual and/or emotional awakening inspired by meeting another person that makes us realized who we want, and by extension who we are. Our crush is also our first “oh no, what am I?”

What Color Rush does that I have never seen in BL before (and rarely in any other queer narratives) is put Yeon Woo through the 5 stages of grief that result from this queer awakening (in 5 episodes). That grief centers around Yeon Woo finding his probe and loosing greyscale (and mourning the safe quiet world of his past self). But it is a perfect queer first-love allegory as well.

first Yeon Woo tries to deny his probe

then he gets angry at Yoo Han for not avoiding him

then they bargain

then there is depression

and finally acceptance

Incidentally, if you’re queer you often go through grief stages as part of your first love/sexual awakening, especially if you live in a non-accepting culture or family. Unacknowledged, that grief is often the reason youngsters get angry and forceful about their queerness:

Why don’t we get to experience first love without simultaneously mourning other people’s expectations of us?

Why should we have to grieve an identity (straight) that the world forced on us?

When Yeon Woo grieves for his mother, he is also grieving his inability to share the experience of losing his greyscale identity. He is mourning the only other person in his world who could fully understand what he is going through.

From a queer perspective, could I just highlight that is is why found family and queer friendships are so important? Because we all need someone to talk with who has been through a similar experience. And when you are queer and suffering through love and/or sex for the first time, you need someone outside of the new relationship to talk it over with.

First love and queer self discovery are kinds of madness, like the color rush, euphoric and transporting. What form his madness takes rests on Yeon Woo directing it outwards or inwards. It’s inwards for his character (self harm) even as the narrative implies monos direct their madness outwards (murder) but that is, as ever, society’s warped expectations. (Like the perpetuated misconception that gay = pedophile.)

The scene after Yeon Woo’s attempted suicide is so sad because we realize why hi’s aunt was trying so desperately to separate them. Not because she thought it was wrong, but because she knew Yeon Woo’s personality so well she understood what he would do to stop himself from hurting his probe. To stop himself from becoming a monster. (To stop himself from being gay.)

“The colors of my world are also the colors of his world.”

Color Rush is exploring how first love and sexual awakening shifts not only your perception of yourself, but also your feelings about the world around you and what it expects of you.

Yeon Woo hurts because he cannot cope with what he is being told he will become, evil, simply because of how he was born, mono.

Sound familiar?

Simultaneously, the narrative taps into to the idea that reconciliation between the unawakened before-identity (greyscale), and the now-person you’re becoming (colorful) requires empathy for yourself. Yeon Woo has to forgive himself for his desire, but he also forgive Yoo Han for awakening that desire in him, and for forcing him to confront his own identity. An identity that is in part formed by wanting Yoo Han.

IT’S SO GOOD.

It’s about Yeon Woo’s struggle to accept what mono means to him as an identity, contrasted to what mono means when he is with Yoo Han versus when he is alone, contrasted to what the world expects of him as representative of mono. (Seriously, just substitute the word gay for mono…)

Yeon Woo’s character arc is towards a realization that he and his probe are not so different. It’s the first step towards understanding that his desire (what he wants to do to Yoo Han) has been rendered corrupt by societal expectations. He has to learn that it is what he and Yoo Han can be together that is important.

Yoo Han, on the other hand, is open to the world and to being in love, possibly too open to it, because he has never been limited by expectations, but he still makes the effort to understand Yeon Woo and the prison the world has put him in. The judgment Yeon Woo has labored under for being a mono is so much like the judgement for being gay in a homophobic society. Hence the symbolism of Yoo Han breaking Yeon Woo out of the mental institution (I mean COME ON, gay conversion therapy anyone?).

The obvious solution is for them to become equally obsessed with each other, and we see this as Yoo Han reminds Yeon Woo of the risks he is willing to take, sacrifices he’s willing to make, and that he is falling in love too. It’s empathy, but it’s not enough. It’s not until Yoo Han explains his face blindness, proves that Yeon Woo is literally the only person he can see, that Yeon Woo moves beyond mutual obsession into mutual love.

The very act of loving another turns that person glorious and unique. And isn’t that what’s best about love?

Yeon Woo got to accept and realize that he was something special to Yoo Han. That they each correct a flaw in the other (or what the world sees as a flaw). A much gentler message then mutual obsession, but also an explanation for a lessening of that obsession.

At root, obsession is based on fear of loss and lack of trust. When Yoo Han tells Yeon Woo that his is the only face that he can really see (and only when they are together), Yeon Woo finally understands that he is as necessary to Yoo Han as Yoo Han is to him. They are each other’s one-of-a-kind - soulmates.

In the end, Color Rush was a picture perfect execution of the fated mates romance trope but just crazy queer about it.

Even after his realization and willingness to trust, Yeon Woo has questions, but I liked that. It’s the butterflies of new love. Not being able to predict the other person. Yeon Woo’s questions are about discovery, and yes, still about doubt and fear, but at least they indicate his openness to Yoo Han and willingness to try.

“Am I obsessed with you because you’re my probe or am I obsessed with my probe because it’s you? Does my world truly change when our eyes meet or am I just being dragged into yours?”

and then later

“I hate being confused.”

Again these are the manifestations of queer awakening that we all ask ourselves. It’s that first wave of joyful discomfort that same sex attraction almost always forces upon us.

Am I actually gay or is it just this one person?

Do I change the way I think about myself and others because I have met you?

Is it you or your easy acceptance of your own identity that attracts me?

Do I admire you or do I want to be you or do I want to sleep with you - or is it all in the end the same thing?

Where is the line drawn between who I am and who I love?

And if we cannot exist without connection to others, that connection must form part of our identity. How then does passion incorporate what is special?

And the ending! Back in school, together, rooftop assignation trope immanent, like they’ve returned to not just normal life but to the normal BL path. The show resolved both the seme/uke mono/probe conversation it was having with us, and its allegory for queer awakening.

For me Color Rush was pitch perfect. I feel both honored and humbled to have gotten to experience such a multi-faceted gem.

Read my review of Color Rush 2 here.

(source)

#color rush #queer awakening #pride #queer experience #k drama #korean drama #korean romance #k-bl #korean bl #asian bl #queer cinema #gay romance #gay movie #why it's amazing #everyone should watch this

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irvinpressler · 4 years ago

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Sony Launches FX6 Full-frame Professional Camera to Expand its Cinema Line

Sony today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line. As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility. Sony’s Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

The new Sony FX6 camera features a 10.2 MPfull-frame back-illuminated Exmor R CMOS sensor that delivers a 15+ stop wide dynamic range with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800- expandable to 409,600 for shooting in low and very low light conditions. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

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Sony, FX6 offers Fast Hybrid AF by combining 627-point focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses and at even 4K 120p. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new Sony FX6 camera is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120pvi) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR

image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as technology from Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic colour science including S-Cinetone for richer tonal reproduction right out of the box as well as S-Log3,S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic colour science is optimised for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the colour science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

The new FX6 full-frame Cinema Line camera will be available December 2020 and will be sold for approximately £6,000 ($6970). An ideal partner for the new FX6 and the VENICE and FX9 models is the SELC-1635G T3.1 G Cinema Lens Series full-frame wide angle zoom that thanks to the large F2.8 aperture and circular 11-blade aperture lets professional cinematographers enjoy shallow depth of field and the creation of beautifully smooth bokeh effects and is available now for approximately £6,000($6970).

The post Sony Launches FX6 Full-frame Professional Camera to Expand its Cinema Line appeared first on Gadgets, gizmos, and tech from the East.

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louisdungo · 5 years ago

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FILM BLOG

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Here are eight (8) films I have recently watched...

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Maynila sa mga Kuko ng Liwanag (1975)

This film is directed by Lino Brocka and stars Bembol Rocco, Linda Koronel, and Tommy Yap. The film revolves around Julio Madiaga (played by Bembol Rocco), a young adult from the province who went to Manila to find a job and eventually found himself into a society in which he becomes hopeless while learning that his old flame, Ligaya Paraiso (played by Linda Koronel), is also within the city. The movie as a whole was engaging right from the start until the end and it is really a must-watch. I, for one, started to appreciate more of the local films after watching this movie, even the vintage ones before my time like the film Batch 81 by Mike de Leon. I think its good to see such original narratives from local films nowadays, considering the amount of film festivals that we have as of now -- but if you would think about it, there's no local film like any other when compared with Maynila. There were actually no characters from the film that you would not be interested in. I symphatized with the main characters especially with Julio, since every situation he comes across in the film was very harsh that he can't seem to do anything about them but instead, he would often run from it. The main protagonist, Ah Tek (played by Tommy Yap), was very subtle throughout the film because you wouldnt expect him to have such a big turning point to the story and for Julio as a character later in the final act of the film. I saw the film only with its restored version which was made possible by Mike de Leon, who is also the cinematographer of this film, and they did a pretty good job on remastering its cinematography. The audio was a little blown out even with its restored version but I was able to understand most of the dialogue anyway. Overall, Maynila sa mga Kuko ng Liwanag gets more and more intense every after scene and I think it deserves to be recognized by everyone.

The Birth of a Nation (1915)

This film is directed by D. W. Griffith and stars Henry B. Walthall, Lillian Gish, and Ralph Lewis. The film is centered around a family from the north and south of america during the civil war period and how they eventually became at war with each other that results with the birth of a racist and aggressive nation, hence the title of the film. This is an important part of the history of film since it is the very first feature length film with a narrative. However, the film was unessecarily three hours long, at least for me, and it is also a silent film as a whole in which I wouldnt blame the filmmakers for it, given the time it was made. The film eventually shows the main protagonist's descent into madness as is explicitly shows how the birth of the Ku Klux Klan came to be. I think it's not that controversial enough, based from some people who have watched the film, since it is somehow for the viewers to be aware not only of the history of the KKK but also to be aware of the impact on racism and how it is still relevant until now. The final act might be the most brutal part of the film since it shows how we, humans, can do something unimaginable. I think The Birth of a Nation, as a whole, doesnt fear to show the dark truth in which the society could possess towards people of color and it would be rather recommended for people who are interested in what the first feature film was like.

The Jazz Singer (1927)

This film is directed by Alan Crosland and stars Al Jolson, May McAvoy, and Yossele Rosenblatt. The story revolves around a boy named Jackie Rabinowitz who is interested in jazz and wants to become a jazz singer but his father (played by Yossele Rosenblatt) whom, is a cantor, is keeping him from doing so since tradition must be passed on to him. Years later, Jackie (played by Al Jolson) grew up and was able to follow his passion whilst finding love along the way and must decide whether to keep on being a singer or to stick with his tradition and stay with his father. The Jazz Singer is known as the first "talkie" film in which dialogue can be heard in the film, except there wasnt much scenes with actual speaking voice on it and can only be heard whenever there are scenes in which Jackie is finished singing. What I like about this film is the narrative and the acting. The story was simple yet well executed as a drama movie and Al Jolson steals every scene that he is on. The final act might be my favorite part of the film because it was riveting and sad at the same time which ended on a perfect note. In Jazz Singer, I learned how you can follow your passion wherever you see yourself fit despite what others tell you to be what they want you to be, and there's nothing wrong about it.

Citizen Kane (1941)

This film is directed and written by Orson Welles and stars also himself as the lead role, along with Joseph Cotten and Dorothy Comingore. The film focuses on the mysterious death of Charles Foster Kane (played by Orson Welles) in which a reporter is assigned to unravel the truth behind Kane's mystifying last words. I have to say, this film is far ahead of its time when referring to itsediting and cinematography. The story and especially its atmosphere is what I liked the most since I am more into the noir type of films, like Sunset Boulevard (1952). Every scene gets more engaging as you progress through its narrative. All the actors who took part did a brilliant job, but Welles made himself stand out among the rest of the cast. His portrayal of a man who was able to get everything he wanted, and wasnt really satisfied after all -- is beyond phenomenal.

Pink Floyd: The Wall (1982)

This film is directed by Alan Parker and Gerald Scafe and was written by one of the band members of Pink Floyd itself, Roger Waters. It stars Bob Geldof and it is a visual representation of the band's album of the same name. The story revolves around a man named Pink, a musician scarred for life who pondered on his childhood memories inside a hotel room and isolating himself from the society in which he symbolizes as a wall. This is actually the first album I have heard from the band and I started to appreciate more of their songs after watching the movie. It was captivating until the end since it is visually hypnotizing with all its twisted animations throughout the film, all thanks to Scafe's vision of the album. The way I see it, I think it shows how some people who happen to have a depressing upbringing could actually be forced into isolation and absolute madness all because of its noxious society that's surrounding them.

Hugo (2011)

This film is directed by Martin Scorsese and stars Asa Butterfield, Chloe Graze Moretz, Sasha Baron Cohen, with Ben Kingsley. The film is centered around an orphan named Hugo Cabret (Asa Butterfield) who is living inside a clock beyond the walls of the train station, and yet no one had any knowledge of who he is and where he lives. Hugo constantly works on an automaton in which his late father (played by Jude Law) had left him, not knowing that there is a secret message hidden within the automaton. Out of all the films Scorsese had made, this might be the only light-hearted one since most of his works are brooding and grounded. The film, as a whole, is well-directed. The story, the cinematography, the editing, every element evokes a youthful bliss. Hugo’s connection with the other characters is what simply made the film entertaining. The film also pays tribute to the first pioneers of film which can be quite educational in some way. I think every aspiring filmmakers should witness one of Scorsese’s masterpiece since it will make them appreciate and learn more of the filmmaking industry. Perhaps this film might be one of those reasons why I love filmmaking.

YIELD (2018)

This documentary is directed by Toshihiko Uriu and Victor Tagaro. It mainly documents the lives of nine (9) children namely Essam, Jason, Omar, Alex, Edralen, Glady Mae, Rommel, Ariel, and April as they endure child labor under the third-world conditions. Yield was somehow sad to watch since we get to witness some of the children’s deprivation of dignity which harms both their physical and mental state. This was not one of those typical documentary films since it is more observational – immersive, and no interview of some kind. Despite their hardships in life, some of them never yielded until they have reached their goals and some of them unfortunately never made it along the way. Yield was interestingly made in a span of five (5) years. I never really was interested in watching documentaries and maybe it depends on the subject matter, but this made me appreciate more of the alternative styles or modes in documentary filmmaking.

Batch 81 (1982)

This film is directed by Mike de Leon and stars Mark Gil as Sid Lucero in a brutal and grounded depiction of what newfound members of a fraternity has to undergo in order to become one of them. Basically the whole story revolves around Sid Lucero with six (6) of his other friends that decided to join a fraternity called the Alpha Kappa Omega (AKΩ) since they find it advantageous throughout their lives. As the film progresses, it gets more and more intense since their fate and friendship is immensely tested as there’s no turning back when joining the said fraternity. This is also one of the many Mike de Leon films in which it deals with the psyche of the Filipino people during the Martial Law years. It may not feel like a blockbuster-budget film but the story was powerful, all throughout. Batch 81 showcases how fascism has affected our human nature and captures our hunger for power wherein some people would tend to see themselves above everything else, and in that, it was a strong movie as a whole.

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glancecreative · 6 years ago

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Top 10 Apps for Teenagers to Help Prepare for School

A teenager’s life isn’t filled with just classes and General Certificate of Secondary Education (GCSE) exams, but also with extracurricular activities, such as sports, clubs, drama and a full social calendar. Having this crazy schedule can prove to be quite overwhelming for a young teen who is unprepared. So don’t head back into your classroom unprepared after your 6 week Summer holiday!

In school, academics often weighs in quite heavy, and the pressure of further studies may challenge some teenagers. As a teen, you would need to juggle this challenge amongst other activities. With such a hectic lifestyle, you should not venture out into the world unorganised. Help is literally at hand as you need to look only to your phones or tablets for it.

There is a diverse range of mobile apps under the umbrella of education that can help you go back to school prepared and confident, along with being able to keep up with your new studies, manage your timetables, create amazing projects and presentations, memorise lessons, avoid being distracted, and even have a little fun in between.

1. Khan Academy

The Khan Academy app has detailed material on maths, science, history, economics, computing and more, in the form of short videos. It has a large library of information that mirrors the library on the Khan Academy website. It offers more than 150,000 interactive exercises, with hints at every step and instant feedback.

2. Gojimo Revision

Gojimo Revision is a completely free revision and exam preparation app that covers GCSE, A Level, IB, IGCSE, Common Entrance and many international qualifications, including Junior Certificate (Ireland) and SAT (US). It has over 160,000 free questions and covers a large range of subjects, such as English, mathematics, and science. The app can also sync across multiple devices.

3. BBC Bitesize

BBC Bitesize, a curriculum-linked app, offers a mixture of text, audio, video, infographics, quotes and engaging quizzes. Meant for children of ages between 14-16 in England, Scotland, Northern Ireland, and Wales, the app comprises subjects for National 4, GCSEs, National 5, TGAU and Higher. The app has a huge range of flashcards as well as tailored revision courses.

4. Duolingo

The crowd-sourced Duolingo app turns language lessons into fun listening, speech and translation games. Bonus points are awarded for teaching others. It offers 23 languages and translates web pages and any form of text into a variety of different languages. The app has great incentives to make you want to come back and learn some more. So now you can go into your language lessons and feel confident that you at least know the basics!

5. Tinycards

Tinycards, a flashcard app from the same makers of Duolingo. Tinycards helps you to quickly memorise things. It is adaptive in that it understands your unique learning patterns and the app reorders information to help you memorise the better. You can create your own subject stacks or choose from pre-made decks.

6. Evernote

The Evernote app is an excellent tool to organise personal and professional projects. You can easily take notes and photos, create lists, record voice reminders, and save things you find online to Evernote. Your Evernote account can be synced with virtually all devices, making sharing and transmitting data super easy.

7. Wolfram|Alpha

The Wolfram|Alpha app is a powerful app that functions just like a search engine. It uses a large collection of algorithms and information to provide answers to all types of queries you may have. Not only does it provide accurate answers but it also informs you how it found them.

8. Cited

The Cited app automatically creates bibliographies and citations according to over 7,500 referencing styles, including the all important – Harvard. It generates citations in the required format by scanning your book or journal barcodes with your phones’ camera. It’s as simple and easy as that!

9. StudyBlue

‘May the course be with you’. This cool slogan alone should be enough to make you want to download right? The free StudyBlue app allows you to upload class study materials, create electronic flashcards and share them with your friends, as well as being able to practice quizzes for different subjects.

10. My Study Life

The My Study Life app is a class, assignment and exam calendar for high school and university students. It records their work and class schedule by colour and reminds them of upcoming deadlines.

Aside from these amazing apps, there are quite a few other tools that we also recommend could be of interest for you, such as TED (Technology Entertainment and Design) Talks, which offers in-depth talks from experts in diverse fields; and Forest, an innovative productivity tool. Without a shadow of doubt, YouTube can be a very informative and educational platform, but just make sure you avoid getting sidetracked into suggested conspiracy videos!

Having a crazy schedule can prove to be quite overwhelming for a young teen who is unprepared. So don't head back into your classroom unprepared after your 6 week Summer holiday! Click To Tweet

There are a wide variety of apps available out there to help make your lives just that little more easier when starting your school term, so make the most of them!

If you are a aspiring teen who has an app idea, Talk To Us today!

from Top mobile App Developers in London, award winning development https://thisisglance.com/top-10-apps-for-teenagers-to-help-prepare-for-school/

#Top mobile App Developers in London #award winning development

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flickdirect · 7 years ago

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Los Angeles - The City of Angels..or is it? Statistics show it has one of the highest number of bank robberies in the country. With an average of one per hour, it seems like a haven for those looking to make a lot of cash fast. It is only right then that a movie about a bunch of bank robbers would be set there. Den of Thieves, 2018 Universal Studios feature, looks into one gang of bank robbers and the rogue law enforcement agents set out to catch them. Available on 4K, Blu-ray, DVD and digital download, it is a drama full of suspense and interesting character.

Ray Merrimen (Pablo Scheiber; Orange is the New Black) is a planning genius and a mastermind ex-military thief. He is working with a group of men he has known since his military days and they recruit Donnie (O'Shea Jackson, Jr.; Straight Outta Compton) as he is known to be a skilled driver. This group of bandits have highly choreographed and technical heists planned down to the minute with no room for errors. Merrimen has decided their next heist - to Rob the Federal reserve Building which has the most sophisticated and elaborate security system known.

"Big NIck" O'Brien (Gerard Butler; Olympus Has Fallen) is a Detective on the L.A. Police force. He has a drinking and fidelity problem and can't seem to figure out how to balance his work and personal life. Complicating matters is his obsession to bring down Merrimen and his gang. He leans on Donnie who only gives him minimal details, and on the day of the heist he realizes the LAPD have been duped. However, he manages to catch up to Merrimen and kills him. When he inspects the truck all he finds is shredded bills and realizes he was duped.

While Den of Thieves is not an original idea it does have a few things going for it. For starters, the ending has an unexpected twist which one doesn't see coming. The movie also has a decent cast led by Butler. Curtis "50 Cent" Jackson (Get Rich or Die Tryin') once again proves he has some versatility pairing acting with his music career. O'Shea Jackson, Jr. once again turns in a solid performance creating a career that will no doubt carry him forward. Schieber offers an intensity that is only matched by Butler's insanity.

The Blu-ray is presented in 1080p high definition video, which showcases the various settings. Colors are deep and true even though the overall feel of the film is gritty and a little bit dirty. The DTS-HD master audio 5.1 offers a surround sound experience that immerses the viewer completely from the dialogue to the gunshots. The combo pack offers two versions of the film: Theatrical and Unrated, the latter offering 8 more minutes of action and drama. There are also eight extras including an alternate ending, Alpha Males, Into the Den, Alameda Corridor, Outtakes, Theatrical Version Audio Commentary, Theatrical Trailer #1 and Theatrical Trailer #2.

As mentioned, Den of Thieves isn't a new concept and there have been other films that have done it better. The logistics behind the heist are interesting but there seems to be some confusion as to the backstories of many of the characters leaving holes in their development. O'Brien, however, is an intense, multilayered and flawed character and is a welcome change of pace for Butler. He makes the film more interesting and the intense scenes between him and Schreiber offer breathe holding suspense.

Den of Thieves is a decent film that has some exciting moments but leaves spaces that can make things mildly confusing from time to time. However, it seems there will be more to come as STX entertainment has already announced a sequel is in the works.

Grade: C+

About Allison Hazlett-Rose Allison Hazlett-Rose has always had a passion for the arts and uses her organization skills to help keep FlickDirect prosperous. Mrs. Hazlett-Rose oversees and supervises the correspondents and critics that are part of the FlickDirect team. Mrs. Hazlett-Rose attended Hofstra University where she earned her bachelors degree in communications and is a member of the Florida Film Critics Circle.

Read more reviews and content by Allison Hazlett-Rose.

via FlickDirect Entertainment News and Film Reviews

#IFTTT #FlickDirect Entertainment News and Film Reviews

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voiceactinguk · 7 years ago

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The Six Disappearances of Ella McCray is Seeking Auditions for Multiple Roles

We are seeking auditions for a new audio drama from ZoomDoom Stories. This is a dark supernatural mystery involving conflicting accounts of the events surrounding a missing person’s case. Plot: On March 20th 2014, twenty-seven-year-old Ella McCray disappeared from her engagement party at a Southern Arizona ranch house. Six people witnessed her disappearance. All six provided completely incompatible accounts of what happened. This is the story of their attempts to uncover the truth about Ella’s disappearance and the impossible things the witnesses saw when she vanished. The first season will consist of eight episodes and will feature eight main characters along with assorted smaller roles. If you would like to audition for a specific part, please record the sample lines provided and email the wav or mp3 file to [email protected] with [Name of Character] +[Your Name]+Audition in the subject line. If you would like to audition for any role/supporting roles, write Any Character+[Your Name]+Audition in the subject line and record any sample lines provided. We are committed to developing a diverse case of voice actors and encourage actors of all backgrounds and gender identities to audition. All performers must have reasonably good recording equipment and a space in which to record. Current Deadline: January 15th, 2018 IMPORTANT: Voice actors must be comfortable with violent and disturbing content, although we make every effort to avoid material that will be triggering and/or exploitative. In addition, all voice actors must be comfortable with queer-inclusive content, particularly same-sex romance. Finally, all voice actors must agree to communicate with each other either by Skype, phone, Facetime, etc, in order to produce more authentic performances over long distances. These roles will be unpaid for the first season, but payment will be renegotiated in future seasons if Patreon and advertising revenues cover the cost of production. Main Characters (American accents unless otherwise stated) 1. Cora McCray: 45, take no shit, pragmatic, ER nurse, single mother of two, blue-collar background. She is a survivor who is prepared to take risks and make difficult choices for her family. She is the mother of Ella, the woman who has disappeared. Sample lines: Jules. Honey. I need to you to just listen to me on this. He’s never coming back. Whatever happened to Ella, it doesn’t have anything to do with him. Please just trust me. 2. Jordan McCray: 20, quiet, slightly awkward, nerdy. Jordan finds himself having to grow up quickly when his sister disappears. Sample Lines: Um, ok, this is Jordan McCray. It’s 5:15 in the morning. We were at the police station all night, and we just got back to the ranch house. Detective Larkin asked everybody to use a voice recorder and document our thoughts and what’s going on. 3. July Calligaris [NOTE: We are only considering trans* performers for this part]: 26, transwoman, assertive, smart, hot-tempered. July is Ella’s ferociously loyal best friend from childhood. She considers Ella, Cora, and Jordan her found family and will do anything to find Ella. Sample Lines: Ok, dream journal entry for. . . I don’t know, whatever the fuck today’s date is. I went to sleep for a few hours, right around 3:00 am. It’s been so long since any of us slept, but searching in the dark wasn’t working anyway, so. . . Anyway. I had really weird, bad dreams. 4. Dalton Reese: 50, white collar, affluent background but also nice guy, peacemaker. Dalton is Ella’s soon-to-be father-in-law. He attempts to take charge of the search effort, but he is also conflicted about his son’s possible role in the disappearance. Sample Lines: 1) Travis, please, calm down. When was the last time you slept? 2) Ella’s been great for Travis. My son’s a good kid, but he can be so driven, and she reminds him to have fun. 5. Travis Reese: 27, driven, unstable but sees himself in alpha role. Travis is Ella’s fiancé. He is not well-liked by her family and feels isolated and hostile in the aftermath of her disappearance. Sample Lines: No. It’s a fake. They want us to think she’s alive, so we’ll let our guard down. That’s when they’ll make their move. 6. Sabrina Maron: 34, British, from an affluent background but has fallen on hard times. She is drawn into the investigation through coincidence and knows none of the other characters at the start of the story. Sample Lines: I just keep thinking about that poor girl. I don’t know, maybe I should have called in sick again, kept helping with the search. But everything just feels so strange out there. 7. Joseph Zielony: Middle-aged, enigmatic but in a way that draws people in and invites trust. Joseph’s origins are unclear, so we are especially interested in auditions from people with authentic non-American accents (any country of origin). Sample Lines: 1) No, I’m sorry, I haven’t seen her. But I’ll call if I see anything. I hope you find her. 2) I get the sense you know more than you’re saying. Well, there’s nothing wrong with that. 8. Tessa Larkin [NOTE: We are only considering women of color for this part]: Early middle age, African American, competent, professional. She is the lead detective on Ella’s case and is highly skeptical of most of their accounts of the disappearance. Sample Lines: 1) Can you remember anything specific about the street, something that will help us identify it? 2) That’s probably true, but details might still be important. Do you remember anything else? Supporting Characters (typically one to two scenes) Narrator: Female voice of the introductory recording at the beginning of each episode. This is a neutral, professional, bureaucratic voice. Sample lines: The following recordings were taken as evidence in the investigation of Anomalous Event 2014-7457A, also known as the Ella McCray Incident. All were recorded in March 2014. Mitch: 40s, owner of tasting room, amiable Sample lines: I’m sure the sheriff’s department has a ton of people working on it. Customer: 20s, female, demanding, pissed off Sample lines: Yeah, uh, we already did that one. Pilgrim: 30s-40s, male, in the midst of hallucination Sample lines: I walked all night. I walked for so long. Please. Bill: 30s-40s, male, pickup artist type Sample lines: A beautiful woman like yourself, I feel like I should be the one buying the drinks. Cashier: any age, female, conscientious and helpful Sample lines: Of course, go right ahead. We’ll make sure folks see it. Peggy: 50, professional woman, highly educated, experiencing extreme stress Sample lines: I just can’t believe this is happening. What about Travis? How’s he holding up? Esteban: 45, Hispanic, calm and level-headed, blue-collar Sample lines: Yeah, that’s why I’m calling. I’ve been trying for days, and I just can’t get a flight out of Ketchikan. I’ve never seen anything like it. George Gibbons: 60s, helpful, plainspoken Sample lines: Oh, now, I’m real sorry to hear that. It’s just terrible, the things that go on in this world. Are the police having any luck? http://dlvr.it/PzFqFn www.voiceacting.space

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