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beautifulmakkaris · 2 years ago
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okay guys, can i get your recommendations for media to check out if you’re missing lockwood and co? can be because the vibes, the characters, the ships, the worldbuilding, anything about it gives you the same feel as l&co! i want to put together a little master post of things people can check out to fill the l&co hole in their lives while we keep fighting for s2 and it’s always fun to find new books/films/shows!
#Lockwood and co#locklyle#Lockwood & co#l&co#renew Lockwood and co#save Lockwood and co#so far I have six of crows and cw’s nancy drew bc i think there’s some decent overlap in the fandoms#also the shades of magic series bc kell and lila give me locklyle vibes if they were both more bloodthirsty lmao#but yeah honestly recommend anything you love that you think l&co fans would get behind!!!#I’ll give it a week or so then throw them into one big post#spread a lil positivity#ygm#george karim#lucy carlyle#anthony lockwood#holly munro
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obsessednothing · 2 months ago
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Her
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George Russell x fem!reader
Summary: being stood up by your fiancĂ© a week before the wedding is something woman doesn’t want to go through in her life, ever
Warnings: nothing special maybe heartbreak, break up, curse words, cheating, no use of Y/N, one use of L/N
A/N: I really love Sex and the City movies, so this is basically inspired by the events from the first movie. My English is sometimes hot or not, so I’m sorry for any mistakes! Please don’t use my writing without my consent, also I don’t own any of the pictures! Enjoy.
“There’s no possible cancellation, miss. You need to come to the honeymoon vacation or it’ll expire.”
Yes, the word honeymoon. Woman without a man. The man who stood her up week before their wedding. It was all perfect, everything about their love. And yet, here she stood, single, heartbroken and humiliated in front of the suite for newlyweds that carried their names Mr. and Mrs. Russell. Out of all the girls from the grid family, Kelly was the one to be there for her. She packed her up and got her on this vacation, because she already payed a lot for this to be a surprise for George. One that he’d never forget, one with which she’d shown him how she loved him.
For two days straight she only slept. Kelly fed her a little with some fruits and yogurt from breakfast. It was painful to watch her close friend to suffer like this. She looked pale, her face puffy from all the crying, and her gaze was dull.
As the night fell on the resort in Mexico, Kelly picked up her phone, Max was FaceTiming her.
“Hey, babe. How is it going?” He asked with frown.
“Hey, love
 please, promise me, that if you ever want to break up with me, don’t you dare to propose to me before that.” Kelly said in sadness.
“How is she?”
“It’s bad. She’s sleeping for second day already. You should see her face when she saw the name tags on the door
 it was like a punch in the gut.”
“I’m really glad, that you’re there with her, Kells. She deserves the best. I must’ve restrain myself very hard to not punch George when I saw him at the paddock today.”
“Wait, what? He’s back at racing? I thought that he was supposed to get a break from all that stuff, like he said to her.”
“Don’t say it to her, but
 There’s this woman with him here, like a shiny bracelet on him. Lando nearly threw up from the sight of them and everybody here is giving him a silent treatment.”
“Holy shit
 this is a nightmare.”
“Yeah
 keep her away from socials, she doesn’t need more heartbreak than she already received.”
“No probs, babe. I’ll keep her occupied and her phone is with me anyway and it’s turned off.”
“Okay, I’ll keep you posted. Take care, love you.”
———
Fourth day into vacation she got up from bed, surprising Kelly at the terrace for breakfast.
“Hi, K.” She said, her voice raspy from all the sleep.
“Ah, the sleeping beauty. How are you today, darling?” Kelly hugged her instantly.
“It’s strange, but good. I think the most of the hurt is gone. I know it’s not that simple, but today is good and I’m gonna enjoy it.” She softly smiled but her eyes spoke another story. Kelly gave her a sympathetic look as they talked through the breakfast.
“Max is wishing you well. He’s so worried about you.” Kelly said sipping on her coffee.
“Aw, thanks. He’s a good man, Kelly.” She smiled kindly with little sigh.
“Hey, don’t let your mood flatten, we’re here to have a good time, you’ve worked hard for this. So, we’re gonna make the most of it.” Kelly said with amused smile.
And they did. Girls nights, partying a little, spending afternoons at the pool and beach, some trips around the resort too. Two weeks went by like a click, when they stood at the airport waiting for Max’s private jet.
It was also first time after that weeks of freedom when Kelly gave her her phone back.
“It’s time to go back to reality and I know it’s gonna be hard, but we’re gonna do this. Don’t get those things get to your head. You’re you and you’re the most amazing human in this world.” Kelly reassured her.
She turned on the phone with her stomach churning. Millions of notifications of messages, emails and tags. In the tons of photos at the socials she noticed that one photo, that George posted. She felt like she’s gonna throw up. All the sickness was back, the pain in her chest too.
“Mi amore. Love you to the moon and back.”
George and his new girlfriend. She was so pretty, like a doll. And god, how he was glowing.
As they boarded the plane, Kelly noticed the turn in the her mood as she slipped her phone to her bag.
“I guess you found out, don’t you?” Kelly asked with frown.
“Y-yeah. I don’t know what to say, it’s driving me insane. And he’s back at racing, he just
 he’s a fucking liar.” She was at the rage stage.
“It’s gonna be okay. We‘ll manage.”
———
And it was true. Kelly managed to get a people to pack her things out of their shared apartment with George, the first day they went on that vacation. She didn’t want to stay in Monaco, she wanted to go back home to London, where her flat was for rent. She was lucky that it was free in the moment.
Getting from the Heathrow airport was like a blur, feeling all the nostalgia from the surroundings and memories of her past life were everywhere. But it didn’t hurt as much as when she finally unlocked the door to her apartment, getting in the known scent and looking over the boxes there and there. All her life packed like it meant nothing. She was in no mood to start unpacking, because she was afraid to untangle the suppressed emotions. It was a job for her in the next months.
———
It was like six months after the called off wedding. She shut down her socials, getting herself a fresh start with private profiles with a few people following on them. Her main public profile was still up, she didn’t post any new photos, the last post there was a photo of her tasting the sweet cake for wedding with caption wedding vibes #therussells.
She turned her attention to the direction of self love, reconnecting with her old friends in London and little bit of vacations and mainly work. Her going to the Monaco was absolute no go, so when someone from her grid friends wanted to see her, they needed to visit. But they were more than glad. Nobody talked about George, it was her strict rule number one. She practically erased him from her life and mind.
Life just has a strange ways to make things a little crazy.
Sunny morning in London, she went to the café for her morning coffee. She liked to try new places. As she was on the phone working already, she ordered a waited for the cup of hot love.
George sat in the corner of this café, looking through the newspaper like a classic English gentleman. His life turned upside down for the last six months. He was now reminiscing all the things he had done and how he hurt people around him. Brushing another feeling of shame off of him, he looked up from newspaper and his eyes found her standing at the order counter. It was like some nasty dream, ripping his heart apart for another time. She stood there, talking over phone, smiling with her classy appearance. Thinking about the way he wanted to approach her, he tried not to look suspicious. He was the one, who made her life hell, betrayed her the worst.
She slid her phone to her purse, got her coffee and turned around to get out of the café, when she spotted George already staring at her. She was so taken aback by seeing him, that she bumped into the glass door. Hard. Feeling her head spinning and the blood running from her nose, coffee was everywhere on her skirt. People around her was at her immediately, helping her, but she was in some kind of trance.
“Excuse me, please. I need to get to her. Hey, are you okay?” George got through the crowd to her, his protective persona on, getting his white napkin to wipe her bloody nose.
“I-I’m not
” she said still in shock.
“I’m going to take you to the hospital, you may have broken nose.” George frowned in guilt because his presence caused this.
She only nodded, there was no place for denying it. George gave her reassuring squeeze to her shoulder and guided her to his car, which was parked outside on the street. Feeling his hand on her back and on her arm felt strange.
Ride to the hospital was quiet. She held the napkin at her nose, blood was slowly stopping pouring, and she was staring in front of herself, still processing what just happened. She felt her anger rising in her, how dare he shows in her life now, when she’s been on the good way of healing her wounds.
“Why are you here?” She mumbled slightly wincing in pain.
“There’s race in Silverstone this weekend.” He said taking the last turn to parking lot at the hospital. As he stopped the car, she put all her strength to get out from the car without his help.
“You can go, I’m gonna take care of myself.” She took quick steps towards the hospital.
“Wait! I’m not gonna let you handle this alone. I caused this, so let me take care of it.” He ran after her, softly grabbing her arm.
“At least please just don’t touch me, George.” She got out of his grasp still walking.
They were waiting for doctor to see her, while George wrote down the application for her. He stopped at the column about family status. Flagging it as married, he hoped that he would get access to information about her condition. She just signed it off not caring about anything. Her phone rang, it was Kelly. Oh god, they were supposed to meet today.
“Hi, Kells. I really can’t talk right now.” She tried to talk coherently but her lips started to get swollen from the crashing to the door.
“You sound weird, are you okay?” Kelly asked in concern.
“Yeah, I just bumped into the door at the cafĂ©, hard, that I might have broken nose. I’m currently at the hospital.” She sniffled a little blood.
“What?! I’m getting there, we’re already in London!”
“No, no! Actually I’m not here alone.” She looked up at George.
“You’re full of surprises, girl. Is that the new man, you’re seeing?”
“No, it’s not him. It’s George.”
George was listening to her conversation and pinpointed the word him. Is she seeing someone new? Is she in love with him?
“Holy shit, what the fuck?!”
“Calm down, K. I can’t talk right now, all you need to know, that I’m okay. I’m gonna text you, bye.”
She sighed putting her phone to her purse.
The awkward silence between them lasted for a while.
“Is there- are you-“ he started to ask but it came out as a blurt.
“I’m not seeing anyone, if that’s what you want to ask. I’m just tired of questions if I’m still single, so I said to my friends that I’m working on my dating life. So no. I can’t love anyone after what you’ve done to me and you have this sick luck of hurting me still.” She said with sad sigh.
“I’m sorry.” He said plainly.
That was words she wanted to hear from him all this time. She met his gaze full of guilt.
“I’m so so sorry. I was just stupid and foolish, I really didn’t care about things I had around me, in my life. I was so ungrateful. And I hurt the most precious thing in my life. You. No words can mend the wounds I caused. I just want to make it up to you, so bad.” His eyes was glistening with tears as he talked sincerely.
She processed all the words he just said. Her heart broke again, but now for him. For the way how he talked, how he was honest. After that months of silence between them and his lies from the last conversation they had together.
“I forgave you. A while ago. I just didn’t understand those lies you told me. About you taking a break from everything we shared together, that it drowned you. And then I saw that post on the socials, you back at track with her.”
George felt pang in his chest, he was deeply ashamed of his actions. Before he could say anything else, nurse peeked from the doctors office calling her inside. She stood up and George assisted her.
“You’re her husband right? You can come inside too.” Nurse politely smiled.
She wanted to protest but George interrupted her. “Yeah, I am. Thank you.”
After getting some scans and check up, doctor said, that she doesn’t have broken nose, just little bruised and that in few days the swelling would be gone same as bleeding.
George took her to her apartment, helping her with everything she needed. Sitting on the couch with cup of coffee in her hands, he was in process of putting the cream on the bruise on her nose. She sat still her eyes closed. He took in her features, how she was still herself. The same woman he loved, and still loves.
“You’re supposed to be with her, not with your ex fiancĂ©e.” She said while opening her eyes to look at him.
“I’m not with her for some time now. As much as it was mesmerising, it wasn’t it. I had time to think about my mistakes. I was the number one asshole.”
“You were, that’s for sure. I was so mad at you, angry and pissed off. You just threw our lives we built together out of the window. We could’ve talk about that, I would understand anything. But not that huge heartbreak you put me through. I had a surprise honeymoon booked for you. And I went on it with Kelly, because it cost really so much money
” her eyes were filled with tears as she relived the memories of pain.
George looked down in shame, he was pained by his actions towards her. She truly loved him, deeply, she was always so caring and he was
 him.
“I’m sorry. I should’ve talk to you more, not just tear you from me and destroy our life.”
Their conversation was interrupted by doorbell.
“That’s most likely Kelly and Max.” Grace said. George retreated from her as she stood up to get to the door. As she opened, Kelly hugged her immediately and Max looked through the space for George with mad look.
“How are you, love?” Kelly looked at her nose with frown.
“I’m good, Kells, really. George took care of me.” She softly smiled.
“Really? No doubt that he did.” Max looked with narrowed look at George, who stood in the doorframe to living room.
“I’m on my way out, I see that she’s in good hands.” George said plainly.
“In the best hands.” Kelly said with not amused look.
She sighed tired from all the tension.
“Take care.” George kissed her forehead lightly as he brushed off around them.
All three of them were looking at his figure until he disappeared in the elevator.
“How- what the actual fuck?” Kelly asked looking at her flushed face.
“Kells, please.” Max groaned at the word fuck.
She took them inside as she prepared some coffee for them.
“How was your flight?” She asked casually.
The duo looked at her in disbelief. “You just had your ex in your home and you’re asking us about flight?”
“Yeah and yeah?”
“Tell us everything!”
She sat in front of them in the armchair. “I was at the cafĂ© this morning, you know, I like to try new places and he just happened to be there. I spotted him and I was so in shock, that I crashed to the glass door. He got me to the hospital, took care of everything. And he apologised for everything he put me through. He said that he was number one asshole.”
Max snorted as Kelly looked over him with stern look.
“And then you came and that’s it.”
“He kissed you. You’re okay with that?” Kelly asked sipping on her coffee.
“Why not?”
“Because he practically left you at the altar?”
“Oh that. I nearly forgot about that.” She gave her an sarcastic smile.
“You’re falling for his lies again.”
“No, I’m not. We just talked, he was nice. I deserved to know, what was on his mind and behind his actions. I can move on now.”
“Can you?”
The question was hanging in the space. She was sure, to this day, that she wouldn’t even lay her eyes on him. But it was all nice and she felt loved again. All the wrong things.
“Can you?” Kelly asked again.
“Fine! I don’t know!” She rolled her eyes.
“You’re unbelievable. He broke your heart, you were a mess. And now he’s messing with you again.”
“I know, I know all that. And I’m grateful for the care you have for me. But
 it’s complicated.”
“It’s not. You love him.” Max interrupted them. Kelly gave him another look of disbelief.
“I’m not sure, I don’t know. I’m not ready for anything but it feels so close to home.”
“Jeez
 just be careful. Anyway, it’s perfect timing really, because we wanted to get you to spent a weekend at Silverstone with us.” Kelly said with sour face, now her idea sounding not so perfect.
“I need to think about it. And I don’t know how this thing will turn out to appear.” She pointed to her bruised nose.
“You know the power of makeup, dear.” Kelly rolled her eyes.
“As much as I like you here with me I need some space right now.” She said with sigh.
“Just think about it and give me a call and we’ll manage it. You could use some fun around old friends.” Kelly said while she hugged her.
Max gave her reassuring smile as they walked into the elevator.
———
She took a shower as she thought about George. How his fingertips felt against her skin, his scent calming her down, how he looked at her with care and love, he was completely different. He looked like he was ready to die for her.
Then there was the other side. How she felt humiliated when he left her at the restaurant in Monaco with smile, ready for his new life.
How the ring on her left hand was somehow heavy.
Thoughts there and there, she needed to be honest with herself.
She loved him. Still. And truly. Even after all of this.
As she laid in bed scrolling through her phone, she got a call from unknown number.
“I have a package for you, is this Ms. L/N ?”
“Yes, that’s me.”
She went down to receive the mystery package. Back at the apartment, she opened it. There was VIP and paddock pass with her name, also she spotted a sticky note with handwriting.
“Just in case you want to have fun on the weekend. GR”
Her heart skipped a beat as she read those words. Snapping a photo of it she sent it to Kelly with comment I think the plans are clear for the weekend. Kelly answered with crazy emojis and comment I can’t wait.
She decided not to tell George that she’s actually coming, because he deserved a little silent treatment. He’s gonna need to win her heart back.
As the Saturday approached, she was already on her way to the paddock gates. The first she spotted her was Lando.
“Oh my god! Am I dreaming?” He nearly shouted as he hugged her tight.
She giggled happily. “No, this is real.”
Greeting with others went well as she arrived at the Mercedes hospitality, her stomach churning and turning in nervous way, reliving all the memories she had there. She got to chat with some people, which were surprised that she’s there. Nobody had the courage to ask her, why she’s there and she was glad.
Grabbing some coffee she stood outside on the little terrace looking at the Silverstone track. It was like coming back to home.
“You came.” The voice said behind her causing her to turn around. There stood George, wearing his Mercedes shirt and white pants along with kind smile.
“I thought that you not being sure if I’d come, would be a good treatment for you.” She sipped her coffee with a little smile.
“I absolutely deserve that.” He said coming to her side.
“I’m sorry about yesterday. Kelly and Max were there for me for all that shit you put me through. They’re worried.”
“I understand that. They’re really good friends. I’m grateful that they helped you through tough times.”
“I thought I’d never see this again.” She looked over the track.
“I thought I’d never see you here again.”
“I don’t want to poke in that hurtful things from past anymore. If anything, I want things from fresh start.”
“Again, I’m sorry. And I understand.”
“You know, it’s not like winning race to win my heart.”
“I’d likely do both.”
“We’ll see.”
She chuckled as she was enjoying messing with him.
“Good luck.” She smiled softly giving his arm a little squeeze as she walked out to find Kelly.
———
George got the pole position and she couldn’t be more proud. She fought that huge smile on her face as she noticed, how Kelly was watching her. Max took a second place.
She leaned against the frame of the entrance to the Mercedes garage, where George celebrated with everybody around him. Then he noticed her standing there and smiling proudly. Immediately he walked towards her getting her into his tight embrace while she giggled.
“You’re incredible, George.” She said laughing.
“You’re my lucky charm.” He said as he placed kiss to her hair. His embrace was warm and soft. All she missed that long.
“Please, just don’t let me go.” She whispered to his chest.
“I’m not gonna make that mistake ever again.”
#george russell x reader#george russell#george russell 63#gr63 x reader#gr63#gr63 x you#f1 x female reader#f1 x reader#f1 fic#f1 fanfic#f1 imagine#george russel imagine#formula 1
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the-forest-library · 11 months ago
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January 2024 Reads
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
The Gentlemen's Gambit - Evie Dunmore
A Lady Guide's to Mischief and Mayhem - Manda Collins
The Ladies Rewrite the Rules - Suzanne Allain
One Night in Hartswood - Emma Denny
The Breakup Tour - Emily Wibberley
Places We've Never Been - Kasie West
Most Ardently - Gabe Cole Novoa
Okay, Cupid - Mason Deaver
Love, Me - Jessica Saunders
Dungeons and Drama - Kristy Boyce
Seven Percent of Ro Devereux - Ellen O'Clover
Eight Dates and Nights - Betsy Aldredge
Rules for Being a Girl - Candace Bushnell, Katie Cotungo
The Christmas Wish - Lindsey Kelk
After the Forest - Kell Woods
All the Hidden Paths - For Meadows
Shady Hollow - Juneau Black
Strong Poison - Dorothy L. Sayers
The Silver Chair - C.S. Lewis
The Chalice of the Gods - Rick Riordan
The Marvelous Magic of Miss Mabel - Natasha Lowe
Elf Dog and Owl Head - M.T. Anderson
Winter - Kelsey E. Gross
The Bookstore Cat - Cylin Busby
The Glass Castle - Jeannette Walls
Brain on Fire - Susannah Cahalan
A Book of Days - Patti Smith
Karma - Boy George
I Hate Everyone, Except You - Clinton Kelly
The Life Brief - Bonnie Wan
The Stress Prescription - Elissa Epel
Infectious Generosity - Chris J. Anderson
Break the Cycle - Mariel Buque
Eve - Cat Bohannon
House Love - Patric Richardson
Pests - Bethany Brookshire
Freaks, Gleeks, and Dawson's Creek - Thea Glassman
But Have You Read the Book? - Kristen Lopez
The Good, the Bad, and the Barbie - Tanya Lee Stone
Normal is Just a Setting on the Dryer - Adair Lara
Men to Avoid in Art and Life - Nicole Tersigni
Friends to Keep in Art and Life - Nicole Tersigni
Parenting Advice to Ignore in Art and Life - Nicole Tersigni
Bold = Highly Recommend Italics = Worth It Crossed out = Nope
Thoughts: 
Messy memoirs, healing from generational trauma, and recovery from burnout - these are a few of my favorite things.
Goodreads Goal: 43/200
2017 Reads | 2018 Reads | 2019 Reads | 2020 Reads | 2021 Reads | 
2022 Reads | 2023 Reads | 2024 Reads
#2024 reads#book reviews#book recommendations#books#booklr#bookish#reading#bibliophile
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thoughtportal · 6 months ago
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Broken Windows and Broken Policing
from 8 August 2020
Rudy Giuliani’s ‘zero tolerance’ attitude to community policing was rooted not in right-wing talking points, but in the liberal politics of the Civil Rights era.
In 1982, George L. Kelling and James Q. Wilson published an article in the Atlantic which transformed policing in the United States.Titled ‘Broken Windows: The Police and Neighborhood Safety’, it argued that city police should aggressively clamp down on low-level street disorder – panhandling, prostitution, loitering ‘youths’ – in order to prevent more serious crime. Responding with enthusiasm, police departments across the US began implementing their own ‘broken windows’ or ‘zero tolerance’ strategies, saturating poor neighbourhoods with police and dramatically escalating their arrest rates for minor offences. 
Broken windows policing was a critical driver of mass incarceration in America. Yet, significantly, its origins lay not in the feverish cries for ‘law-and-order’ from conservative firebrands such as Barry Goldwater, or President Reagan. Rather, the idea arose out of liberal attempts to reform law-enforcement after the urban uprisings of the 1960s. Indeed, Kelling and Wilson rooted their Atlantic article in research they had undertaken at the Police Foundation, a think-tank established in 1970 to help pioneer ‘community policing’ in cities across America.
In the four years after 1964, a wave of urban rebellions swept across the US, often precipitated by racist acts of police violence: over 150 cities erupted in 1967 alone. The Kerner Commission, established that year by President Lyndon B. Johnson to uncover the causes of the disorder, concluded that for many African Americans the police ‘have come to symbolize white power, white racism, and white repression’. ‘The fact is’, the report added, ‘many police do reflect and express these white attitudes.’ 
For liberal lawmakers and some police officials, the solution lay in strengthening the links between local law enforcement and the communities they served. This meant officers getting out of their patrol cars and familiarising themselves with the neighbourhoods they policed. In many cities, police began attending community association meetings, giving talks at local schools and offering ‘ride alongs’ for curious local residents.
Drawing together this nascent community policing movement was the think tank Police Foundation. Established in 1970 with a multi-million dollar grant from the Ford Foundation – a left-leaning philanthropic organisation – the Police Foundation was designed to act as a catalyst for liberal police reform nationwide, providing funds and expertise to reforming police chiefs across the country. With the federal government largely focused on bolstering police arsenals with new weaponry and equipment, Ford hoped to assist the emerging community orientated approaches.
Initially, rank-and-file officers greeted the Police Foundation with disdain. Its community policing projects were viewed as ‘soft’; a shadow of ‘real’ police work. Many also pointed to its links with the Ford Foundation; Ford had spent the 1960s assisting the Civil Rights movement in America (even funding a few ‘Black Power’ groups), acquiring a reputation as a home for ‘bleeding heart liberals’. Its transition into police reform was therefore regarded with intense suspicion: ‘When an organization having a history of financing Black Powerites sets up an agency to develop more modern police forces’, one Ohio newspaper observed bitterly, ‘the police had better watch out.’ 
Ford worked hard to counteract this notion that its efforts were a threat to police power. The Police Foundation was set up as a separate entity and the board staffed with high-ranking police officers and conservative academics. This signalled the Foundation’s intention to work with police in the quest for reform; reform was necessary, but it had to be done in a way ‘acceptable to the law enforcement community’. This, however, limited the kind of reform the Foundation was able to contemplate; by opting to work within the law-enforcement community, its influence now depended on the cooperation of the police. 
During the 1970s, the Police Foundation collaborated with local police departments on a series of experiments into community-orientated patrol. Led by George Kelling, these suggested that foot patrols reduce crime. By walking through the neighbourhood, the police were better able to work with its residents; it encouraged them to enforce order in the streets, creating an atmosphere less conducive to serious crime.
This emphasis on ‘order-maintenance’ policing formed the basis of Kelling and Wilson’s 1982 Atlantic article, ‘Broken Windows’.To justify this shift in police practice,they sketched a vision of low-level urban disorder left unchecked: ‘If a window in a building is broken and is left unrepaired, all the rest of the windows will soon be broken.’ This then attracts ‘drunks, addicts, rowdy teenagers, prostitutes, loiterers’, creating an intimidating atmosphere that breaks down community controls – ultimately allowing more serious crime to flourish.
‘Broken Windows’ offered a vision of community safety with an enhanced role for the police. While some sociologists have since cast doubt on the theory, many police and politicians adopted it with enthusiasm. Broken windows-style policing offered departments a way to increase their funding, power and discretion and offered elected officials a ‘scientific’ and more enlightened mode of crime control that could tackle voter concern over street crime.
The strategy soon swept across the US. Kelling and Wilson’s article directly informed mayor Rudy Giuliani’s ‘zero-tolerance’ policing initiative in New York City during the 1990s, which saw the NYPD aggressively enforce misdemeanour laws against public drinking, graffiti and turnstile-jumping. Giuliani’s apparent success ‘cleaning up’ New York City received global attention and the broken windows strategy was embraced by US mayors across the political spectrum. 
Reflecting later in life, Kelling remained adamant that his theory was a pioneering example of ‘community policing’. When it was applied in practice, however, he acknowledged that police had sometimes used the strategy to stop, frisk and arrest increasing numbers of Americans – focusing their efforts disproportionately on Black communities. During the War on Drugs of the 1980s and 1990s, it was also used to legitimise the aggressive sweeps of entire neighbourhoods. And from New York City to San Francisco, broken windows policing drove a shift towards punitive solutions to a range of social problems, including homelessness, addiction and mental health.
Calls for the ‘defunding’ or ‘abolition’ of the police have grown in recent months. In contrast to these demands, the Democratic presidential candidate Joe Biden has instead pledged more money for the police: $300 million for enhanced ‘community policing’. As the history of community policing shows, the strategy has not always been effective at restraining police power. By leaving reform largely in the hands of the police, the strategy was rapidly co-opted into a mechanism that knit the police ever more tightly into certain neighbourhoods, often leading to a cycle of surveillance, arrest and incarceration.
Sam Collings-Wells is a PhD student at the University of Cambridge studying policing in the Empire and the UK. {read}
#article#the Atlantic#history#police#history today#defund the police#police violence#civil rights movement
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hobbygilda · 2 years ago
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HENRIK, BÉLA Ă©s JÁNOS (Havas Henrik Ă­rĂĄsa, FB)
MÁRCIUS IDUSA
Tegnap - majdnem azt Ă­rtam, hogy szĂ­nhĂĄzban voltam, de Ășgy helyes, hogy az Újpesti RendezvĂ©nytĂ©rben - megnĂ©ztem PintĂ©r BĂ©la Marshal Fifty-Six c. darabjĂĄt, pontosabban elmentem megnĂ©zni GĂĄlvölgyi JĂĄnost.
PintĂ©r BĂ©lĂĄra – hĂŒlye elƑítĂ©let – nem vagyok kĂ­vĂĄncsi, mert jĂł pĂĄr Ă©vvel ezelƑtt, a kocsiban a KlubrĂĄdiĂłra kapcsoltam – akkor mĂ©g lehetett –, belehallgattam egy beszĂ©lgetĂ©sbe, valaki irdatlan nagy faszsĂĄgokat adott elƑ valamilyen törtĂ©nelmi esemĂ©nyrƑl, talĂĄn ’56-rĂłl. A tĂ©mĂĄra mĂĄr nem emlĂ©kszem, csak arra, hogy idegesĂ­tƑen fĂ©lmƱvelt, de magabiztos ember beszĂ©lt sĂŒletlensĂ©geket. AztĂĄn kiderĂŒlt, hogy PintĂ©r BĂ©lĂĄt hallottam, a rendezƑt. Pontosan tudom, hogy nagyon nĂ©pszerƱ, az elƑadĂĄsaira a jegyeket elkapkodjĂĄk, nekem is csak a GĂĄlvölgyi Dorka közbenjĂĄrĂĄsĂĄval sikerĂŒlt a fatert megnĂ©zni. MĂĄr kb. kĂ©t hete tudtam, hogy mit lĂĄtok, de az interneten nem nĂ©ztem utĂĄna, a cĂ­m nekem alig mondott valamit, Marshal Fifty-Six. Na jĂł, az ’56-ot mĂ©g Ă©rtettem, de Marshalt annyira nem (tegnap Ăłta se).
ElöljĂĄrĂłban annyit, hogy kivĂ©tel nĂ©lkĂŒl remek szĂ­nĂ©szeket lĂĄttam, meg egy zseniĂĄlis zongoristĂĄt, Ă©s azĂ©rt az elĂ©g nagy kibaszĂĄs, hogy több, mint egy ĂłrĂĄt kell vĂĄrni GĂĄlvölgyire. A JĂĄnost persze nyĂ­ltszĂ­ni taps fogadta. Nem azĂ©rt, mert barĂĄtok vagyunk, de szĂĄmomra Ƒ az igazi szĂ­nĂ©sz, aki mindent el tud jĂĄtszani. Ɛ Ladislav Fuks regĂ©nyadaptĂĄciĂłjĂĄban az ĂĄlszent szörnyeteg, de ha kell, lehet OttĂł is a BĂĄnk bĂĄnban, vagy a MacskĂĄkban Gastrofar George. Tegnap Ă©ppen DĂłzsa LĂĄszlĂłvĂĄ lĂ©nyegĂŒlt ĂĄt, mit mondjak, ĂłriĂĄsi volt. Schmidt Marika kevĂ©snek tƱnt.
MĂĄr emlĂ­tettem, hogy csupa remek szĂ­nĂ©sz jĂĄtszott a PintĂ©r ĂĄltal rendezett Ă©s Ă­rt, nyilvĂĄn vilĂĄgosĂ­tott Ă©s hangosĂ­tott darabban, de azĂ©rt azt meg kell emlĂ­teni, hogy Rezes Judit, nekem – aki alig jĂĄr szĂ­nhĂĄzba mert a HavasnĂ© lusta felöltözni – Ƒ igazi felfedezĂ©s volt.
Ami a darabot illeti, nekem SzabĂł IstvĂĄn filmje, a Mephisto jutott eszembe, az a rĂ©sz, amikor Hamburgban, a kĂ©sƑbbi Porosz Állami SzĂ­nhĂĄz intendĂĄnsa, Hendrik Höfgen (Brandauer) kommunista kollĂ©gĂĄjĂĄval, Hans Miklassal (Cserhalmi) Hamburgi MƱvĂ©szszĂ­nhĂĄz nĂ©ven ,,forradalmi szĂ­nhĂĄzat” szerveznek. HĂĄt, Isten bocsĂĄssa meg nekem, hallgattam PintĂ©r BĂ©la szövegĂ©t, barĂĄtkoztam a lĂĄtvĂĄnnyal, Ă©lveztem az Ă©nekesek Ă©s a zongorista összhangjĂĄt Ă©s azon gondolkodtam, hogy nekem ez Ășgy kĂ©t ĂłrĂĄban nem csak sok, de unalmas is. Értem, tudom, hogy ez a legmagasabb mƱvĂ©szet, legalĂĄbbis RĂĄkay Philip PetƑfijĂ©hez, a PuskĂĄs meg a Baradlay fĂ©le produkciĂłkhoz kĂ©pest (nem beszĂ©lve a pozsonyi csatĂĄs animĂĄciĂłrĂłl), meg Ășgy egyĂĄltalĂĄn a fideszes ƑrĂŒlethez, de azĂ©rt mĂ©gis!
A vĂ©gĂ©n kĂ©t megjegyzĂ©s: tegnap a szĂ­nhĂĄzban feltƱnt, hogy – mĂĄrcius 15-Ă©n - egyetlen ember mellĂ©n lĂĄttam kokĂĄrdĂĄt. Én indulĂĄskor majdnem kitƱztem, de a HĂ­r Tv-ben lĂĄttam Nacsa LƑrincet Ă©s elment a kedvem.
AztĂĄn otthon Ășjabb csapĂĄs: az interneten olvastam, hogy Kossuth-dĂ­jat kapott L. Simon LĂĄszlĂł avantgard költƑ Ă©s VitĂ©zy LĂĄszlĂł, akit Ă©n szemĂ©ly szerint kedvelek, de Ƒ az, aki valahogy mindig feltalĂĄlja magĂĄt.
MĂ©g egy jĂł hĂ­r: az Újpesti RendezvĂ©nytĂ©r elƑtt kĂ©nyelmesen lehet parkolni.
PrivĂĄt ĂŒzenet GĂĄlvölgyi lĂĄnyĂĄnak: Dorka, kösz az ingyenjegyet, de a pĂłtszĂ©krƑl kurvĂĄra nem lehet lĂĄtni, hogy a szĂ­npadon Ă©ppen ki haldoklik a földön! ApĂĄdat puszilom.
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guardzillablog · 3 months ago
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The Broken Window Theory: Understanding Its Impact on Crime and Society
The Broken Window Theory, initially introduced by social scientists James Q. Wilson and George L. Kelling in 1982, has been one of the most influential and debated criminological theories in the modern world. The theory suggests that visible signs of disorder and neglect in a community, such as broken windows, graffiti, and litter, can create an environment that encourages further crime and

#crime#ethics#health#philosophy#politics#research
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korrektheiten · 11 months ago
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Kriminellstes Parlament – gut 25% polizei- bzw gerichtsbekannt: Das EuropĂ€ische Parlament eine Versammlung von Kriminellen
ScienceFiles:»DIplomatico " data-medium-file="https://i0.wp.com/sciencefiles.org/wp-content/uploads/2019/03/eu-corruption.jpeg?fit=300%2C200&ssl=1" data-large-file="https://i0.wp.com/sciencefiles.org/wp-content/uploads/2019/03/eu-corruption.jpeg?fit=600%2C400&ssl=1" />Gelegenheit macht Diebe. Oder: Wenn Personen, mit einer Disposition, sich kriminell zu verhalten, die Gefahr, entdeckt zu werden und die Kosten, die entstehen, wenn sie entdeckt werden, gering einschĂ€tzen, werden sie sich kriminell verhalten. Die zweite Aussage ist eine Mischung aus Edwin K. Sutherlands Theorie differentieller Kontakte, James Q. Wilson und George L. Kellings “Broken [
] http://dlvr.it/T2G7Vj «
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herosone111 · 1 year ago
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(陀äș†èż™äžȘćąžć‘èż˜æœ‰ćŸˆć€šïŒŒć€šćŸ—æČĄæł•ć†™ć‡ș杄我äčŸæČĄæł•ćœąćźč柃仏)
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äșșä»ŹäŒšèź€äžșè‡Șć·±æ˜ŻäžȘć„œäșșïŒŒć› äžșä»–ä»ŹäŒšèź€çŸ„ć€±è°ƒïŒŒćȘæœ‰æˆ‘æ‰äŒšæ‰żèź€è‡Șć·±äŒšæœ‰é”™ïŒŒè€Œä»–ä»ŹäžäŒšéąćŻčè‡Șć·±ïŒŒćŽäžșè§‰ćŸ—è‡Șć·±æ˜Żć„œäșșćŒ„é‚Łäčˆć€šæ°Žć†›ć…Źćžă€‚
ă€ă€ç›źæ ‡èźș07ă€‘äœ æ˜Żæ€Žäčˆć˜æˆè‡Șć·±èźšćŽŒçš„æ ·ć­çš„ïŒŸè‡Șæˆ‘æŽ—è„‘äžŽèź€çŸ„ć€±è°ƒ-擔擩擔擩】 https://b23.tv/1VMiO96
【äžș什äčˆäșșćŸˆéšŸæ‰żèź€é”™èŻŻïŒŸèź€çŸ„ć€±è°ƒäžŽè‡Șæˆ‘èŻŽæœ-擔擩擔擩】 https://b23.tv/2CAlOCs
ä»–ä»Źè¶Šäžșè‡Șć·±æ‰Ÿć€ŸćŁèŻŽèż™æ ·ćŻčćŸ…æˆ‘æ˜ŻćŻčçš„ïŒŒä»–ä»Źć°±ć·Čç»ćœšćżƒé‡Œć˜èŽšäș†ïŒŒä»–ä»Źè¶ŠèŠèŻŽæˆ‘é‚Șæ¶ïŒŒä»–ä»Źć°±è¶Šé‚Șæ¶é»‘æš—ïŒŒäž­ć›œçŽŻćąƒèą«äž­ć›œæ”żćșœæŽ§ćˆ¶ć˜æˆèż™æ ·ïŒŒäœ ä»„äžșäž­ć›œèż˜èƒœćœšäž–ç•ŒäžŠæ­ŁćžžèĄŒćŠšć—ïŒŸćźƒćȘæ˜Żé‚Ș恶而ć·Č。
“砮çȘ—效ćș”(Broken windows theory)æ˜ŻçŠŻçœȘ歩的侀äžȘ理èźșïŒŒèŻ„ç†èźș由è©č槆棫·暁气逊(James Q. Wilson)揊äč”æČ»Â·ć‡Żæž—(George L. Kelling)提ć‡șćč¶ćˆŠäșŽă€ŠThe Atlantic Monthly》1982ćčŽ3æœˆç‰ˆçš„äž€çŻ‡éą˜äžș《Broken Windowsă€‹çš„æ–‡ç« ă€‚
歀理èźșèź€äžșçŽŻćąƒäž­çš„äžè‰ŻçŽ°è±ĄćŠ‚æžœèą«æ”Ÿä»»ć­˜ćœšïŒŒäŒšèŻ±äœżäșșä»Źä»żæ•ˆïŒŒç”šè‡łć˜æœŹćŠ ćŽ‰ă€‚
仄䞀ćčąæœ‰ć°‘èźžç ŽçȘ—çš„ć»ș筑äžșäŸ‹ïŒŒćŠ‚æžœé‚Łäș›çȘ—äžèą«äżźç†ć„œïŒŒćŻèƒœć°†äŒšæœ‰ç Žćè€…ç Žćæ›Žć€šçš„çȘ—æˆ·ă€‚æœ€ç»ˆä»–ä»Źç”šè‡łäŒšé—Żć…„ć»șç­‘ć†…ïŒŒćŠ‚æžœć‘çŽ°æ— äșșć±…äœïŒŒäčŸèźžć°±ćœšé‚Łé‡Œćźšć±…或者çș”火。
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èż™äžȘçŽ°è±ĄïŒŒć°±æ˜ŻçŠŻçœȘ濃理歩侭的砮çȘ—效ćș”ă€‚â€
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mataeyam · 1 year ago
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Week 3: Police Trust/ Broken Windows
I think it is ironic how during this week we talked about crime in the urban world and the role police have in making communities feel safe for just addressing upkeep and little things like noise complaints or teens crowding areas rather than paying attention to the real and highly dangerous crimes, and then we have the huge looting that took place in center city. Which all sparked due to a police officer wrongfully killing another black man during a traffic stop, the same traffic stops that some feel as though will decrease crime when in all actuality it fuels biases and stereotypes. In "Broken Windows" by James Q. WIlson and George L. Kelling they highlight the disconnect between officers and citizens by stating how, "to residents, the police who arrive in squad cars are either ineffective or uncaring; to the police, the residents are animals who deserve each other" (33). There is no mutual respect between officers and citizens which are the basics needed in order to guarantee the cops protect instead of escalate situations with individuals. The area that was looted isn't even considered a broken window area either, which highlights that "the police- and the rest of us- ought to recognize the importance of maintaining, intact, communities without broken windows" (38). You need to nurture and treat/ protect these areas to prevent injustice rather than waiting for injustice to happen and then trying to clean it up after. It overall just creates distrust and skepticism between the people who you are supposed to feel safe around which then leads to heightened emotions and tensions that eventually boil over in negative ways.
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aronarchy · 2 years ago
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Since original thread has been deleted:
https://web.archive.org/web/20210604230353/https://twitter.com/butchanarchy/status/1400950658522513409
You might know that Broken Windows Theory plays a major role in modern day policing. But did you also know that it’s based on a total distortion of the original experiment it was based off of?
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Thread:
The broken windows theory, developed by James Q. Wilson and George L. Kelling, states that visible signs of crime, anti-social behavior, and civil disorder create an urban environment that encourages further crime and disorder, including serious crimes.
They based their conclusions entirely on a 1969 study published by social psychologist Philip G. Zimbardo, a study which, Wilson and Kelling state, proved that “one unrepaired broken window is a signal that no one cares, and so breaking more windows costs nothing.” But did it?
In Wilson & Kelling’s telling, Zimbardo placed one car in the South Bronx, one in Palo Alto, CA. The one in the Bronx was vandalized in minutes. The car in Palo Alto sat untouched for a week, then Zimbardo smashed part of it with a sledgehammer. Soon, passersby were joining in.
Buuuuuuut, it turns out that’s not actually what happened! Nor was that what Zimbardo was trying to prove! In fact, he was out to demonstrate the social causes of vandalism and disprove conservative ideas that it was the result of individual/cultural pathology.
Yes, the car in the Bronx was taken apart in short order. (And it should be noted that the first “vandals” were a white and “well-dressed” family who removed the radiator and battery.) Within 24 hours, it was completely stripped.
This proved what Zimbardo had hypothesized, which was that “conditions that create social inequality and put some people outside of the conventional reward structure of the society make them indifferent to its sanctions, laws, and implicit norms.”
What about the Palo Alto car? That’s where Wilson and Kelling’s theory largely comes from, and also where it was most distorted by them.
Zimbardo parked the car in Palo Alto for one uneventful week. Then, decided to move the car to Stanford and “prime” it for vandalism by smashing out the window himself. Okay, that all tracks, when do the “passersby” join in like Wilson and Kelling said they did?
Well, it turns out the “passersby” were actually Zimbardo and his graduate students! Upon discovering that breaking the windows was “stimulating and pleasurable,” Zimbardo and his graduate students got carried away and trashed the entire car themselves!
“One student jumped on the roof and began stomping it in, two were pulling the door from its hinges, another hammered away at the hood and motor, while the last one broke all the glass he could find.”
It was only after they had totally wrecked it that any real passerby joined in.
So it wasn’t the presence of a broken window that made people join the destruction of the car (which is the basis for the entire broken windows theory), but watching a professor and his students trash a car in the middle of campus! Bc literally who wouldn’t join in on that??
After these experiments, Zimbardo concluded that anyone could be lured into vandalism by crowd mentality, anonymity, and especially by social inequities. He wrote that “Vandalism is a rebellion with a cause.”
Wilson and Kelling distorted Zimbardo’s experiment to sell the idea that if every community didn’t embrace broken windows policing, then their own communities would end up just like the South Bronx.
Which no one should have to tell you has racism at its root.
#butchanarchy#racism#antiblackness#police myths#repost of someone else’s content#twitter repost
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mutteringmallard · 2 years ago
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Why we fail prison leavers;
Probation and those just leaving the prisons having served their custodial time failed by a failure to understand critical societal issues.
So what do I mean by this?
When we deep dive into facts on crime rates and areas which has the highest % per capita of crime, we tend to see some common issues whether it is in the North or South. I have a keen interest in issues revolving around the rehabilitation of offenders and the impact of societal problems on people, the so-called Nurture of crime.
With regards to many I have met who have left the confinement of prison, either serving a complete sentence incarcerated or going on a probationary period, a common denominator is the areas to which they are either placed or the only places they can get into. These places are commonly the places that see the highest crime rate.
We must understand that the environment in which a person is placed significantly impacts their ability to rehabilitate.
So, in experience, I’ve noticed recently released only getting properties in the roughest of areas, so to speak, the regions ridden with drug issues, antisocial behaviour issues and so forth. This is not setting people up for a positive impact; it is setting people up for failure.
If we can as a society improve these areas, local investment in regions with crime can enhance the area. Using the examples of the techniques in James Q. Wilson and George L. Kelling’s Broken window theory, we can eliminate a large propitiation of ASB issues and other petty crimes. By doing so, housing those leaving prison in areas with reduced crime rates would impact their rehabilitation and a reduction in potential reoffending.
Likewise, by investing in these areas, we can reduce the Nurture of criminalisation, reducing first-time offending. The issue is we as a society focus too much on the reaction to criminalisation rather than the prevention of criminalisation
#Prison#Probation#Crime#Criminology#Sociology#Law
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uwmspeccoll · 4 years ago
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Typography Tuesday
UNCIAL SCRIPTS AND THE CAROLINGIAN MINUSCULE
The upper and lower case letters we are used to today, along with spaces between words, punctuation, and enlarged initial letters, were a development of the late 8th century known as the Carolingian Minuscule. This manuscript hand not only established a uniform book hand that would be used throughout Charlemagne’s sprawling empire, but it also established the kinds of letter forms that would serve as the models for every Western typographic design to our current day. Today, we essentially read and write in the Carolingian Minuscule.
The Carolingian Minuscule itself developed from the insular uncial scripts and partly from the Roman half uncial that were used at Irish and Anglo-Celtic monasteries that had been founded all over Europe by the late 6th century. The insular monks who founded these monasteries also brought the traditions of word spacing, punctuation, and initial letters with them to the continent. The uncial scripts themselves derived from the late imperial Rustic Capitals, which themselves seem to have been based on Roman epigraphic letter forms.
The main characteristic of the miniscule is the breaking of the x-height with large capital letters and the characteristic ascenders and descenders found in such letters as b, d, f, g, h, k, l, p, q, t, and the rounding of capital letters into forms we know as “lower case” today, such as a, e, i, m, n. The precursors to these can be seen clearly in the first set of examples of the Irish half uncial from our facsimile copy of the Book of Kells (Luzern: Faksimile Verlag, 1990) and the Anglo-Celtic uncial form found in our facsimile copy of the Lindisfarne Gospels (second to last image; Olten and Lausanne, Switzerland: Urs Graf, 1956-60). The original manuscripts were produced at the monasteries of Iona in about 800 CE, and Lindisfarne around 725 CE, respectively. The difference between these and the Carolingian Minuscule is that the letter forms in these manuscripts are all majuscules, i.e., formal capital letters, not the informal miniscule hand that we associate with “lower-case” letters today.
The last example is that of the Roman half uncial, a majuscule hand, also used by Anglo-Celtic scribes on the continent. This example is from our facsimile copy of the Lorsch Gospels ( New York: George Braziller, 1967), a Carolingian manuscript originally produced at Aachen around 810 CE. Here, no spacing between words or punctuation can be seen.
It is said that Charlemagne tasked his main Anglo-Celtic scholar Alcuin of York with devising a new, uniform, manuscript book hand. Alcuin, but more likely others, turned to the informal versions of the uncial letter forms they were familiar with and the Carolingian Minuscule was born! With, of course, profound implications for how we read and write today.
View our post on the early use of the Carolingian Minuscule.
View our other Typography Tuesday posts.
#Typography Tuesday#typetuesday#uncial script#carolingian minuscule#Book of Kells#Lindisfarne Gospels#lorsch gospels#miniscules#majuscules#Charlemagne#Alcuin#letter forms#manuscripts#manuscript hands#Typography Tuesday
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yasbxxgie · 7 years ago
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How Gentrification Is Criminalizing New York City’s Subway Dancers
Gentrification is shifting the culture of MTA’s underground performance ecosystem, particularly for African American and Hispanic youth. Police are finding a means of controlling what can’t be taxed and removing an art form misunderstood, but present since the 1980s. There’s a fourth wall that exist between Showtime performers, passengers riding the train and the police. There’s a language of survival that exist within the Showtime community that’s misinterpreted. Unfortunately, it is written off as a crime. Showtime has a way of commanding attention. It’s a form of hip-hop. Meanwhile, New York newbies have deemed it disruptive and unsafe.
As an alternative, programs such as Showtime NYC and Music Undergroundare zoning Showtime performance to places like Battery Park and Union Square. Police are advised to handout slips to performers with information about where they can, rather than arresting them. Ainsely Brundage, a former Showtime performer, said, “It’s micromanaged and structured in a way that puts limitations on dancers and performers in general.”
He started performing at the age of 14 and stopped in 2014. During his stint he was arrested 14 times and experienced all manner of rudeness from subway passengers, from being called the n-word to being tripped. It was never about a childhood hobby when Brundage started dancing on the train, it was about making money for food. The criminalization of the Showtime performance over the last couple of years has caused an erasure of a job market, while redefining what is permissible and impermissible when it comes to performance on the MTA. While Brundage was trying to make ends meet by dancing, he was also trying to figure out what freedom of expression meant apart from his home.
One of the most vivid examples of having his freedom of expression policed at home was when his father cut off his locs.
“I came to the realization that my last exhale was when I had locs. The moment that my stepfather forced me to the barbershop, forced the barber to cut my hair because he thought that was the reason I was getting in trouble and misbehaving in school. Ever since then I feel like I’ve never been the same. Over the years I’ve made attempts to grow my hair back, because I feel like that was my way of trying to reconnect to that feeling of actually being free,” Brundage said.
A policed state is something he’s had to work with his entire life. So for Brundage these “organized” efforts of controlling Showtime performance are seen as yet another attempt to police. “These programs are great and all. Zoned performances and all, that’s great. But we need to decriminalize it. Because while they are doing zoned performances people are still being arrested for performing on the train. And I think that’s wrong.”
Brundage is only 22, but his resilient response to life is a fully formed testimony. A Midtown pizzeria is where we first met. Without many introductory questions, he immediately began to share his life’s story. He opens up about his tremulous relationship with his family, being kicked out of his home and going from homeless to becoming an acting student all within a year’s time.
Originally from Bushwick, Brooklyn, he was raised in a West Indian household by his stepfather and mother. During his time living at home, he chronicles how his parents wouldn’t feed him. His stepfather even went so far as to lock food away.
Showtime was his meal ticket. He learned by getting on the train at 2 and 3 a.m. when the carts were empty and trying out routines.
Most Showtime performers have a team they do routines with, but for the most part Brundage was a one-man show. He said, he wanted to make as much money as possible by doing it alone. On a good week he could easily make between $800 and $1000 dollars, which he used to attend his first year of school at Brooklyn College.
During his time as a solo Showtime performer he met Malcolm Fraser. “We both just met each other through hard times. That’s how we just started dancing on the train together. I have a hat, you have a radio, let’s make this money together,” Fraser said.
Ainsley’s performance name was Top Star, which he has tattooed on his forearm. “That’s what he considered himself to be a ‘top star’,” Fraser said. Fraser went by Richie Rich after his uncle’s name. Fraser began dancing on the train when he was 15.
The two formed a brotherly bond, Fraser only a year older than Brundage would teach him various moves. And then just like that it all came to an end for the two in 2015, they found new jobs where there wasn’t a constant risk of being arrested.
Fraser is originally from the Brownsville, Brooklyn, and is still teaching. We spoke for the first time over the phone, where he began to share his stories of encountering the police and effects of gentrification as a Showtime performer. “They complain about these kids who are just trying to make money for food, or find a way out. Nobody likes looking at the dirty train. And you complain about these kids dancing. That’s what gentrification does. The culture is hustle.”
Fraser has an international audience and dances on above ground platforms. He’s traveled everywhere from London to China showing others the techniques of litefeet dancing. However, both Brundage and Fraser noted that they would never go back to Showtime performing.
“I would rather put myself in a performance light, where people come to you. It’s kind of a degrading feeling. It’s kind of embarrassing. That’s not everyone’s take on it. You learned out of necessity, because there was no other way for me to eat,” Fraser said.
Today, they are using their craft in a different light. They’ve even had the opportunity to star in an Intel commercial together.
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“I like to give people an outlet to express themselves. I don’t have a set place that I teach right now. I have people who are willing to fly me overseas. I have a set job in London and I’ve taught in China,” Fraser said.
He hopes to one day own a lot of land and have a lot of arts programs. “People are really connected to the arts in some sort of way. I think if the arts caught us at an earlier age, and killed our ego it would really change things,” Fraser said. Brundage’s plans for the future include attending the Mason Gross School of the Arts for acting. There are plenty of other narratives similar to Fraser and Brundage’s.
Black and Hispanic youth in the city deserve spaces where they can make money while exercising their freedom of expression, ones that aren’t policed. Showtime is not meant to be polite and this where it’s unfortunate relationship with law enforcement stems from.
Like Brundage, Fraser his experienced getting ticketed and arrested during his time as a Showtime performer. “I danced really clean. I try not to kick anyone. They just saw that I had speakers on me. They knew that I had just finished dancing. That’s the only reason they ticketed me,” Fraser said. Eventually, the $100 ticket Fraser received was dropped. He noted that it all started because they finally realized how much untaxed money these kids were making. “They move to New York for the culture and then call the cops on the culture,” Fraser said.
“People who don’t understand, people come here and romanticize our struggles. They turn it into something for profit, that’s what is happening,” Fraser said.
Subway performances like violin, guitar and piano playing are engaged with like a harmless backdrop.
One Organization’s Fear of Gentrifying Subway Performance Culture
Matthew Christian is the founder of Busk NY, an organization that believes in a New York where public performance is a vibrant and celebrated part of artistic life. Christian, originally from Vermont, started the organization three years ago after moving to New York and choosing to play his guitar on the subway platform as a hobby.
“There wasn’t a whole lot of opportunity to perform and one of my favorite things was the larger town near mine had a festival where they would gather on Main Street and a local business invited my brother and I to play, and that was my favorite thing. So when I came to the city after college, I learned that performance was allowed in the subway, so I went out for the first time in 2011 and the second day I went out I was wrongfully arrested and that was sort of my introduction,” Christian said.
Back in 2013, Christian was arrested for playing his guitar on the subway platform. Since then, his organization has built a community around performers who have had similar experiences. We first met near Grand Central on 42nd Street, where he began to discuss the community that Busk NY has formed since its inception.
Christian said he believes Busk NY is potentially aiding in the work of gentrifying subway performance culture. Busk NY is faced with the challenge of making sure their work is reflective of and advocating for the diversity of subway performers and not just another white faced organization unconsciously becoming a fresh face for subway performances. Instead, organizations such as Busk NY have to do the work of breaking through the cultural barriers that exist between Showtime performing just trying to make a living and those playing an instrument on the subway platform as a hobby.
“It’s not common in the city to see young black men or Hispanic men get a chance to perform, so it’s really powerful particularly as a high school teacher to see them in that space,” Christian said.
Showtime Diagnosed With Broken Windows Policing
Former New York Police Commissioner William Bratton diagnosed Showtime performance in the MTA with Broken Windows Policing.
In theory Broken Windows Policing was implemented to prevent “disruptive” anti-social behavior and vandalism. Introduced in 1982 by social scientists James Q. Wilson and George L. Kelling, it was an extension of “Stop and Frisk” and became just another excuse to troll and terrorize Showtime performers to the point of largely putting an end to it on the MTA.
The rise of gentrification is rewriting the rules of what can and can’t be done in public spaces based off preconceived ideas of what is a potential “threat.” As neighborhood demographics change and longtime residents are priced out, it’s important that we consider gentrifications many repercussions on marginalized communities of color.
These laws were written without prior knowledge of the people, their language or economy that came before it. These days Showtime performances are pretty scarce. It’s a treat if you get to experience it even once a month during your daily commute on the MTA.
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#gentrification#white people#racism#showtime nyc#showtime#music underground#ainsely brundage#priscilla ward#battery park#union square#mtz#transportation#mass transit authority#new york city#william bratton#broken windows#broken windows policing#james q. wilson#james q wilson#george l. kelling#george l kelling#stop and frisk#malcolm fraser#dance#black dance#black culture#matthew christian#busk ny#us policing#police state
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watch-kisman-blog · 3 years ago
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King's Man: A kezdetek 2021 Filmezek, SzokĂĄs a filmmƱvĂ©szetre mint a hetedik mƱvĂ©szeti ĂĄgra hivatkozni.[2] RadvĂĄnyi GĂ©za filmrendezƑ egy interjĂșban Ășgy fogalmazott, hogy az objektĂ­ven keresztĂŒl „objektĂ­ven kell nĂ©zni a vilĂĄgot, Ă©s felnagyĂ­tani az ember Ă©s ember, ember Ă©s vilĂĄg közötti összefĂŒggĂ©seket – a lĂĄthatatlan összefĂŒggĂ©seket is”.[3]
King's Man: A kezdetek 2021 online letöltĂ©s,A közönsĂ©gfilmek (tömegfilm, zsĂĄnerfilm, mƱfaji film) a populĂĄris kultĂșra rĂ©szĂ©t kĂ©pezik, a tömegek szĂĄmĂĄra kĂ©szĂŒlnek. A kĂ©szĂ­tƑk cĂ©lja a profitszerzĂ©s, ebbƑl kifolyĂłlag a nĂ©zƑk szĂłrakoztatĂĄsĂĄra összpontosĂ­tanak. Szinte mindig besorolhatĂłk egy-egy filmmƱfajba. RĂ©gi, jĂłl bevĂĄlt törtĂ©neteket elevenĂ­tenek fel, a jĂł Ă©s a rossz örök harcĂĄt mutatjĂĄk be, ahol szinte mindig a jĂł gyƑzedelmeskedik, az ĂĄbrĂĄzolĂĄsi mĂłdokban nem igazĂĄn kĂ­sĂ©rleteznek. (A leggyakoribb mƱfaji filmes irĂĄnyzatok: burleszk, western, film noir, bƱnĂŒgyi film, melodrĂĄma, romantikus film, vĂ­gjĂĄtĂ©k, mƱvĂ©szfilm, akciĂłfilm, horrorfilm, thriller, filmdrĂĄma, bĂĄbfilm, rajzfilm, animĂĄciĂłs film stb.) EbbƑl a kategĂłriĂĄbĂłl a legjobban kitörni vĂĄgyĂł irĂĄnyzat a film-noir, nem vĂ©letlenĂŒl erre az irĂĄnyzatra Ă©pĂ­tkeztek leginkĂĄbb a francia Ășj hullĂĄm (a szerzƑi film) megalapĂ­tĂłi.
King's Man: A kezdetek 2021 teljes film videa,A szerzƑi filmek (rendezƑi film) a magaskultĂșra rĂ©szĂ©t kĂ©pezik. Az uralkodĂł jegyĂŒk nem a mƱfaj (ĂĄltalĂĄban többmƱfajĂșak), hanem a stĂ­lus, a rendezƑ szemĂ©lyisĂ©ge ugyanis ĂĄtĂŒt a filmen. Jacques Rivette meghatĂĄrozĂĄsa a legelfogadottabb, miszerint: „a szerzƑi film az, amikor a rendezƑ egyes szĂĄm elsƑ szemĂ©lyben beszĂ©l.” TĂ©mĂĄjuk ĂĄltalĂĄban a hĂ©tköznapi Ă©let; a mindennapi Ă©let egyszerƱ embereinek lĂĄthatatlan drĂĄmĂĄit mutatjĂĄk meg. Gyakran nagyon esemĂ©nytelenek Ă©s befejezetlenek. A rendezƑk szĂ­vesen alkalmaznak egyĂ©ni megoldĂĄsokat, Ă­gy pl. összekeverik az idƑsĂ­kokat, az ok-okozati viszonyok nĂ©ha nehezen Ă©rzĂ©kelhetƑk. A szerzƑi filmek cĂ©lja legtöbbször nem a puszta szĂłrakoztatĂĄs (mĂ©g Chaplin esetĂ©ben sem), inkĂĄbb a szellemi tovĂĄbbgondolĂĄs elƑidĂ©zĂ©se, az „elgondolkodtatĂĄs”. EbbƑl következƑen a szerzƑi film sohasem egymƱfajĂș, s ezĂĄltal lesz több az egyszerƱ, redukĂĄlt tömegfilmnĂ©l. Azonban a szerzƑi filmeken belĂŒl is meg kell kĂŒlönböztetni a nĂ©zƑk (Ă©s producerek) felĂ© is „kikacsintó” tömeg-mƱvĂ©szfilmeket. Éppen ezĂ©rt lesz örök harc, hogy a vĂĄlasztĂĄs ki mellett dƑljön el: Jean-Luc Godard vagy François Truffaut, Buster Keaton vagy Charlie Chaplin, Roberto Rossellini vagy Vittorio De Sica, SzƑts IstvĂĄn vagy RadvĂĄnyi GĂ©za, FehĂ©r György vagy Tarr BĂ©la

King's Man: A kezdetek 2021 teljes film magyarul videa,A szerzƑi film precĂ­zebb osztĂĄlyozĂĄsa sorĂĄn – a tömeg-mƱvĂ©szfilm mellett (Ă©s/vagy helyett) – meg kell kĂŒlönböztetnĂŒnk a fesztivĂĄl-mƱvĂ©szfilmeket is. A teljesen autonĂłm, fĂŒggetlen szerzƑi filmek Ă©s a fesztivĂĄl-mƱvĂ©szfilmek között az a lĂ©nyegi kĂŒlönbsĂ©g, hogy a tisztĂĄn (valĂłdi) szerzƑi filmek esetĂ©ben (l. Buster Keaton, Jean-Luc Godard, John Cassavetes, Michelangelo Antonioni, Robert Bresson, Jean Renoir, Jean Cocteau, Orson Welles, Roberto Rossellini, Jacques Rivette, AgnĂšs Varda, Jacques Demy, Jean Eustache, Philippe Garrel, Jacques Doillon, Christian Petzold, SzƑts IstvĂĄn, GaĂĄl IstvĂĄn, NovĂĄk MĂĄrk, FehĂ©r György, Dömölky JĂĄnos, BĂłdy GĂĄbor, HuszĂĄrik ZoltĂĄn, Zolnay PĂĄl, Hajdu Szabolcs, HorvĂĄth Lili stb.) sohasem Ă©rdekelte a rendezƑt (szerzƑt) a filmjeinek nĂ©pszerƱsĂ©ge – akĂĄr a közönsĂ©g, akĂĄr a kritikusok, akĂĄr a (vagy egy) fesztivĂĄlzsƱrik rĂ©szĂ©rƑl – vagy hogy egyĂĄltalĂĄn eljut-e valaha a filmjĂŒk a közönsĂ©ghez (vagy sem). CsupĂĄn egyetlenegy cĂ©l lebeg(ett) szemĂŒk elƑtt: ĂĄlmaik minĂ©l tökĂ©letesebben valĂł filmvĂĄszonra vitele.
King's Man: A kezdetek 2021 teljes film indavideo,A 20. szĂĄzad vĂ©gĂ©re mind a nĂ©zƑk, mind a filmkĂ©szĂ­tƑk szĂĄmĂĄra vilĂĄgossĂĄ vĂĄlt, hogy a filmgyĂĄrtĂĄs fƑ vonalĂĄt egyĂ©rtelmƱen az amerikai film kĂ©pviseli. EgĂ©szen pontosan a hollywoodi filmgyĂĄrtĂĄs; ez a dollĂĄrmilliĂłs költsĂ©gvetĂ©sƱ, mĂ©g több dollĂĄrmilliĂłkat hozĂł filmekre specializĂĄlĂłdott „gĂ©pezet”. A mƱfajt, sztorit, szĂ­nĂ©szeket, technikai elemeket Ă©s – sokszor utolsĂłkĂ©nt – a rendezƑt gondosan vĂĄlasztjĂĄk ki, mindent a gazdasĂĄgi haszon Ă©rdekĂ©ben. A legnagyobb amerikai filmrendezƑk közĂ© tartoznak Charlie Chaplin, Orson Welles, a magyar szĂĄrmazĂĄsĂș George Cukor Ă©s KertĂ©sz MihĂĄly, Alfred Hitchcock Ă©s Stanley Kubrick, a ma Ă©lƑk közĂŒl Francis Ford Coppola, Steven Spielberg, Martin Scorsese, Woody Allen Ă©s a fĂŒggetlen filmes Quentin Tarantino. (A leghĂ­resebb amerikai filmsztĂĄrokat lĂĄsd a Hollywoodi filmsztĂĄrok listĂĄja szĂłcikkben!)
King's Man: A kezdetek teljes film magyarul letöltĂ©s ingyen,India a vilĂĄg legnagyobb filmgyĂĄrtĂł orszĂĄga. Az indiai hagyomĂĄnyokat követƑ zenĂ©s tömegfilmek mellett több vilĂĄghĂ­rƱ filmalkotĂĄs fƱzƑdik Szatyadzsit Raj Ă©s Mira Nair nevĂ©hez. A japĂĄn filmmƱvĂ©szet vilĂĄghĂ­rƱ mesterei Jaszudzsiro Ozu Ă©s Akira Kuroszava. A kĂ­nai film a 90-es Ă©vek Ăłta Ă©r el komoly nemzetközi sikereket, elsƑsorban Csen Kaj-ge Ă©s Csang Ji-mu alkotĂĄsaival. Meg kell mĂ©g emlĂ­teni a grĂșz Tengiz Abuladze filmjeit, az irĂĄni Dzsafar Panahi, Mohszen Makhmalbaf Ă©s Abbasz Kiarosztami kĂŒlönleges filmköltemĂ©nyeit, valamint a koreai rendezƑ, Kim Ki-duk filmjeinek legĂșjabb nemzetközi sikerĂ©t.
King's Man: A kezdetek teljes film magyarul online indavideo,A neorealizmus olasz filmirĂĄnyzat, melynek elsƑ darabja Ă©s alapmƱve Luchino Visconti MegszĂĄllottsĂĄg (Ossessione) cĂ­mƱ filmje. Csak 1945 utĂĄn mutattĂĄk be mozikban, de mĂĄr elƑbb nagy hatĂĄst tett az egĂ©sz olasz filmszakmĂĄra. EgyĂ©bkĂ©nt a kifejezĂ©st Umberto Barbaro hasznĂĄlja elƑször 1943-ban. A neorealizmus gyökeresen szakĂ­tott az addigi olasz film hamis valĂłsĂĄgĂĄbrĂĄzolĂĄsĂĄval, dokumentarista szemlĂ©letet honosĂ­tott meg, Ă©s ĂłriĂĄsi hatĂĄst tett az egĂ©sz eurĂłpai filmmƱvĂ©szetre.
King's Man: A kezdetek teljes film magyarul online filmek,A francia Ășj hullĂĄm (nouvelle vague) nevĂ©t az Express c. folyĂłirat egy 1957-es cikke adta. KiemelkedƑ egyĂ©nisĂ©gei közĂŒl François Truffaut (NĂ©gyszĂĄz csapĂĄs, Jules Ă©s Jim, Lopott csĂłkok) pĂĄlyĂĄjĂĄt filmkritikuskĂ©nt kezdte, Ă©s mĂĄr mint rendezƑ megmaradt az Ășj hullĂĄm teoretikusĂĄnak. TalĂĄn ennek is köszönhetƑ az Ășj hullĂĄm (mĂĄs nemzetek Ășj hullĂĄmainak is) nagy fokĂș stilĂĄris tudatossĂĄga.
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f92021-xtriemovies-streaming · 4 years ago
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HalĂĄlos iramban 9 teljes film (𝟐𝟎𝟐𝟏-𝐇𝐔) 𝐅𝐚𝐬𝐭 𝐚𝐧𝐝 đ…đźđ«đąđšđźđŹ 𝟗 magyarul 4k
HalĂĄlos iramban 9 teljes film (𝟐𝟎𝟐𝟏-𝐇𝐔) 𝐅𝐚𝐬𝐭 𝐚𝐧𝐝 đ…đźđ«đąđšđźđŹ 𝟗 magyarul ☑ ◉ 🎬 朹çșżè§‚看 :|✼☛ http://xtriemovies.site/hu/movie/385128/f9
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MƱfaj: AkciĂł, Thriller Csillag: Vin Diesel, Michelle Rodriguez, John Cena, Charlize Theron, Jordana Brewster, Tyrese Gibson LegĂ©nysĂ©g: Sanja Milkovic Hays (Costume Design), Clayton Townsend (Producer), Gary Scott Thompson (Characters), Neal H. 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Angol megfelelƑje, a „cinema” (ejtsd: szinema) azonban mĂĄr az iparĂĄgat is, illetve a filmmƱvĂ©szetet is jelenti. Modern definĂ­ciĂłja szerint olyan mƱvĂ©szeti ĂĄg, melynek lĂ©nyege Ă©lmĂ©nyek szimulĂĄlĂĄsa, törtĂ©netek, ötletek, Ă©rzĂ©seket vagy atmoszfĂ©ra közvetĂ­tĂ©se mozgĂłkĂ©ppel, illetve mĂĄs stimulĂĄciĂłkkal, pĂ©ldĂĄul zenĂ©vel.[1] HalĂĄlos iramban 9 2021 Teljes filmadatlap,A film kulturĂĄlis ereklye, amely rengeteg kultĂșrĂĄban jelen van. ReflektĂĄl a kultĂșrĂĄra, mi több, hat arra. A film az egyik legfontosabb mƱvĂ©szeti forma, modern szĂłrakoztatĂĄsi eszköz Ă©s remek mĂłdszer a nevelĂ©sre, valamint propagandĂĄk sulykolĂĄsĂĄra. A film vizualitĂĄsa hatalmas erƑ a kommunikĂĄciĂłban. Egyes filmek vilĂĄghĂ­rƱek lettek, hĂĄla a feliratozĂĄsnak, illetve a szinkronizĂĄlĂĄsnak, mely mĂłdszerekkel mĂĄs nyelvekre lehet fordĂ­tani a szöveget. HalĂĄlos iramban 9 2021 Filmezek, SzokĂĄs a filmmƱvĂ©szetre mint a hetedik mƱvĂ©szeti ĂĄgra hivatkozni.[2] RadvĂĄnyi GĂ©za filmrendezƑ egy interjĂșban Ășgy fogalmazott, hogy az objektĂ­ven keresztĂŒl „objektĂ­ven kell nĂ©zni a vilĂĄgot, Ă©s felnagyĂ­tani az ember Ă©s ember, ember Ă©s vilĂĄg közötti összefĂŒggĂ©seket – a lĂĄthatatlan összefĂŒggĂ©seket is”.[3] HalĂĄlos iramban 9 2021 online letöltĂ©s,A közönsĂ©gfilmek (tömegfilm, zsĂĄnerfilm, mƱfaji film) a populĂĄris kultĂșra rĂ©szĂ©t kĂ©pezik, a tömegek szĂĄmĂĄra kĂ©szĂŒlnek. A kĂ©szĂ­tƑk cĂ©lja a profitszerzĂ©s, ebbƑl kifolyĂłlag a nĂ©zƑk szĂłrakoztatĂĄsĂĄra összpontosĂ­tanak. Szinte mindig besorolhatĂłk egy-egy filmmƱfajba. RĂ©gi, jĂłl bevĂĄlt törtĂ©neteket elevenĂ­tenek fel, a jĂł Ă©s a rossz örök harcĂĄt mutatjĂĄk be, ahol szinte mindig a jĂł gyƑzedelmeskedik, az ĂĄbrĂĄzolĂĄsi mĂłdokban nem igazĂĄn kĂ­sĂ©rleteznek. (A leggyakoribb mƱfaji filmes irĂĄnyzatok: burleszk, western, film noir, bƱnĂŒgyi film, melodrĂĄma, romantikus film, vĂ­gjĂĄtĂ©k, mƱvĂ©szfilm, akciĂłfilm, horrorfilm, thriller, filmdrĂĄma, bĂĄbfilm, rajzfilm, animĂĄciĂłs film stb.) EbbƑl a kategĂłriĂĄbĂłl a legjobban kitörni vĂĄgyĂł irĂĄnyzat a film-noir, nem vĂ©letlenĂŒl erre az irĂĄnyzatra Ă©pĂ­tkeztek leginkĂĄbb a francia Ășj hullĂĄm (a szerzƑi film) megalapĂ­tĂłi. HalĂĄlos iramban 9 2021 teljes film videa,A szerzƑi filmek (rendezƑi film) a magaskultĂșra rĂ©szĂ©t kĂ©pezik. Az uralkodĂł jegyĂŒk nem a mƱfaj (ĂĄltalĂĄban többmƱfajĂșak), hanem a stĂ­lus, a rendezƑ szemĂ©lyisĂ©ge ugyanis ĂĄtĂŒt a filmen. Jacques Rivette meghatĂĄrozĂĄsa a legelfogadottabb, miszerint: „a szerzƑi film az, amikor a rendezƑ egyes szĂĄm elsƑ szemĂ©lyben beszĂ©l.” TĂ©mĂĄjuk ĂĄltalĂĄban a hĂ©tköznapi Ă©let; a mindennapi Ă©let egyszerƱ embereinek lĂĄthatatlan drĂĄmĂĄit mutatjĂĄk meg. Gyakran nagyon esemĂ©nytelenek Ă©s befejezetlenek. A rendezƑk szĂ­vesen alkalmaznak egyĂ©ni megoldĂĄsokat, Ă­gy pl. összekeverik az idƑsĂ­kokat, az ok-okozati viszonyok nĂ©ha nehezen Ă©rzĂ©kelhetƑk. A szerzƑi filmek cĂ©lja legtöbbször nem a puszta szĂłrakoztatĂĄs (mĂ©g Chaplin esetĂ©ben sem), inkĂĄbb a szellemi tovĂĄbbgondolĂĄs elƑidĂ©zĂ©se, az „elgondolkodtatĂĄs”. EbbƑl következƑen a szerzƑi film sohasem egymƱfajĂș, s ezĂĄltal lesz több az egyszerƱ, redukĂĄlt tömegfilmnĂ©l. Azonban a szerzƑi filmeken belĂŒl is meg kell kĂŒlönböztetni a nĂ©zƑk (Ă©s producerek) felĂ© is „kikacsintó” tömeg-mƱvĂ©szfilmeket. Éppen ezĂ©rt lesz örök harc, hogy a vĂĄlasztĂĄs ki mellett dƑljön el: Jean-Luc Godard vagy François Truffaut, Buster Keaton vagy Charlie Chaplin, Roberto Rossellini vagy Vittorio De Sica, SzƑts IstvĂĄn vagy RadvĂĄnyi GĂ©za, FehĂ©r György vagy Tarr BĂ©la
 HalĂĄlos iramban 9 2021 teljes film magyarul videa,A szerzƑi film precĂ­zebb osztĂĄlyozĂĄsa sorĂĄn – a tömeg-mƱvĂ©szfilm mellett (Ă©s/vagy helyett) – meg kell kĂŒlönböztetnĂŒnk a fesztivĂĄl-mƱvĂ©szfilmeket is. A teljesen autonĂłm, fĂŒggetlen szerzƑi filmek Ă©s a fesztivĂĄl-mƱvĂ©szfilmek között az a lĂ©nyegi kĂŒlönbsĂ©g, hogy a tisztĂĄn (valĂłdi) szerzƑi filmek esetĂ©ben (l. Buster Keaton, Jean-Luc Godard, John Cassavetes, Michelangelo Antonioni, Robert Bresson, Jean Renoir, Jean Cocteau, Orson Welles, Roberto Rossellini, Jacques Rivette, AgnĂšs Varda, Jacques Demy, Jean Eustache, Philippe Garrel, Jacques Doillon, Christian Petzold, SzƑts IstvĂĄn, GaĂĄl IstvĂĄn, NovĂĄk MĂĄrk, FehĂ©r György, Dömölky JĂĄnos, BĂłdy GĂĄbor, HuszĂĄrik ZoltĂĄn, Zolnay PĂĄl, Hajdu Szabolcs, HorvĂĄth Lili stb.) sohasem Ă©rdekelte a rendezƑt (szerzƑt) a filmjeinek nĂ©pszerƱsĂ©ge – akĂĄr a közönsĂ©g, akĂĄr a kritikusok, akĂĄr a (vagy egy) fesztivĂĄlzsƱrik rĂ©szĂ©rƑl – vagy hogy egyĂĄltalĂĄn eljut-e valaha a filmjĂŒk a közönsĂ©ghez (vagy sem). CsupĂĄn egyetlenegy cĂ©l lebeg(ett) szemĂŒk elƑtt: ĂĄlmaik minĂ©l tökĂ©letesebben valĂł filmvĂĄszonra vitele. HalĂĄlos iramban 9 2021 teljes film indavideo,A 20. szĂĄzad vĂ©gĂ©re mind a nĂ©zƑk, mind a filmkĂ©szĂ­tƑk szĂĄmĂĄra vilĂĄgossĂĄ vĂĄlt, hogy a filmgyĂĄrtĂĄs fƑ vonalĂĄt egyĂ©rtelmƱen az amerikai film kĂ©pviseli. EgĂ©szen pontosan a hollywoodi filmgyĂĄrtĂĄs; ez a dollĂĄrmilliĂłs költsĂ©gvetĂ©sƱ, mĂ©g több dollĂĄrmilliĂłkat hozĂł filmekre specializĂĄlĂłdott „gĂ©pezet”. A mƱfajt, sztorit, szĂ­nĂ©szeket, technikai elemeket Ă©s – sokszor utolsĂłkĂ©nt – a rendezƑt gondosan vĂĄlasztjĂĄk ki, mindent a gazdasĂĄgi haszon Ă©rdekĂ©ben. A legnagyobb amerikai filmrendezƑk közĂ© tartoznak Charlie Chaplin, Orson Welles, a magyar szĂĄrmazĂĄsĂș George Cukor Ă©s KertĂ©sz MihĂĄly, Alfred Hitchcock Ă©s Stanley Kubrick, a ma Ă©lƑk közĂŒl Francis Ford Coppola, Steven Spielberg, Martin Scorsese, Woody Allen Ă©s a fĂŒggetlen filmes Quentin Tarantino. (A leghĂ­resebb amerikai filmsztĂĄrokat lĂĄsd a Hollywoodi filmsztĂĄrok listĂĄja szĂłcikkben!) HalĂĄlos iramban 9 teljes film magyarul letöltĂ©s ingyen,India a vilĂĄg legnagyobb filmgyĂĄrtĂł orszĂĄga. Az indiai hagyomĂĄnyokat követƑ zenĂ©s tömegfilmek mellett több vilĂĄghĂ­rƱ filmalkotĂĄs fƱzƑdik Szatyadzsit Raj Ă©s Mira Nair nevĂ©hez. A japĂĄn filmmƱvĂ©szet vilĂĄghĂ­rƱ mesterei Jaszudzsiro Ozu Ă©s Akira Kuroszava. A kĂ­nai film a 90-es Ă©vek Ăłta Ă©r el komoly nemzetközi sikereket, elsƑsorban Csen Kaj-ge Ă©s Csang Ji-mu alkotĂĄsaival. Meg kell mĂ©g emlĂ­teni a grĂșz Tengiz Abuladze filmjeit, az irĂĄni Dzsafar Panahi, Mohszen Makhmalbaf Ă©s Abbasz Kiarosztami kĂŒlönleges filmköltemĂ©nyeit, valamint a koreai rendezƑ, Kim Ki-duk filmjeinek legĂșjabb nemzetközi sikerĂ©t.
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movie-f9 · 4 years ago
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HalĂĄlos iramban 9 Teljes Film Magyarul online (2021)
HalĂĄlos iramban 9 2021 port HU, HalĂĄlos iramban 9 2021 mozicsillag, HalĂĄlos iramban 9 2021 online film, HalĂĄlos iramban 9 2021 online filmek, HalĂĄlos iramban 9 2021 szereplok, HalĂĄlos iramban 9 2021 teljes film magyarul, HalĂĄlos iramban 9 2021 letöltĂ©s nĂ©lkĂŒl, , Filmek Ă©s sorozatok online adatlapjai regisztrĂĄciĂł nĂ©lkĂŒl. Naponta frissĂŒlƑ több ezer vĂĄlogatott adatlap film Ă©s sorozat-hoz
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◉ 🎬 ➄ FILM ONLINE ▶ https://t.co/k5IWwMub4q?amp=1
Title original : F9 Runtime : 145 min Status : Post Production Release Date : 20 May 2021 Tagline : Genres : AkciĂł | Thriller | BƱnĂŒgyi | Production Companies : Universal Pictures Original Film One Race Perfect Storm Entertainment Roth-Kirschenbaum Films Production Countries: United States of America | HalĂĄlos iramban 9 2021 online teljes film magyarul - Dom Toretto visszahĂșzĂłdva Ă©l egy fĂ©lreesƑ helyen Lettyvel Ă©s fiĂĄval, a kis Briannel, de tudjĂĄk, hogy a veszĂ©ly ĂĄllandĂłan ott les rĂĄjuk a bĂ©kĂ©s horizonton. EzĂșttal ez a veszĂ©ly arra kĂ©nyszerĂ­ti Domot, hogy szembenĂ©zzen mĂșltbĂ©li bƱneivel, ha meg akarja menteni azokat, akiket a legjobban szeret. Összehozza csapatĂĄt, hogy megakadĂĄlyozzanak egy olyan tervet, amely megrengeti a vilĂĄgot. A terv kiötlƑje a legkĂ©pzettebb bĂ©rgyilkos Ă©s legprofibb sofƑr, akivel valaha talĂĄlkoztak – Ă©s aki törtĂ©netesen Dom elveszett öccse, Jakob
HalĂĄlos iramban 9 2021 teljes film magyarul online A film, magyarul mozgĂłkĂ©p, kĂ©pekbƑl ĂĄllĂł sorozat, amely a vĂĄsznon olyan gyorsan vĂĄltozik, hogy azt az illĂșziĂłt kelti, mintha mozogna. A filmet egyszerre tekintjĂŒk mƱvĂ©szetnek Ă©s iparĂĄgnak. Lehet kĂ©szĂ­teni Ășgy, hogy valĂłdi jeleneteket filmezĂŒnk le egy kamerĂĄval, Ășgy, hogy rajzokat fotĂłzunk le, Ă­gy tradicionĂĄlis rajzfilmeket kĂ©szĂ­tve, Ășgy, hogy CGI-t, vagyis a szĂĄmĂ­tĂłgĂ©p ĂĄltal kreĂĄlt animĂĄciĂłt hasznĂĄlunk, vagy Ășgy, hogy ezeket a technikĂĄkat egyarĂĄnt hasznĂĄljuk.
HalĂĄlos iramban 9 2021 teljes film online magyarul HalĂĄlos iramban 9 Assistir filme online legendado ~ Dom Toretto visszahĂșzĂłdva Ă©l egy fĂ©lreesƑ helyen Lettyvel Ă©s fiĂĄval, a kis Briannel, de tudjĂĄk, hogy a veszĂ©ly ĂĄllandĂłan ott les rĂĄjuk a bĂ©kĂ©s horizonton. EzĂșttal ez a veszĂ©ly arra kĂ©nyszerĂ­ti Domot, hogy szembenĂ©zzen mĂșltbĂ©li bƱneivel, ha meg akarja menteni azokat, akiket a legjobban szeret. Összehozza csapatĂĄt, hogy megakadĂĄlyozzanak egy olyan tervet, amely megrengeti a vilĂĄgot. A terv kiötlƑje a legkĂ©pzettebb bĂ©rgyilkos Ă©s legprofibb sofƑr, akivel valaha talĂĄlkoztak – Ă©s aki törtĂ©netesen Dom elveszett öccse, Jakob HalĂĄlos iramban 9 2021 teljes film magyarul mozicsillag,A mozi, vagy filmszĂ­nhĂĄz azt a helyet jelöli, amelyet abbĂłl a cĂ©lbĂłl hoznak lĂ©tre, hogy benne filmeket vetĂ­tsenek. Angol megfelelƑje, a „cinema” (ejtsd: szinema) azonban mĂĄr az iparĂĄgat is, illetve a filmmƱvĂ©szetet is jelenti. Modern definĂ­ciĂłja szerint olyan mƱvĂ©szeti ĂĄg, melynek lĂ©nyege Ă©lmĂ©nyek szimulĂĄlĂĄsa, törtĂ©netek, ötletek, Ă©rzĂ©seket vagy atmoszfĂ©ra közvetĂ­tĂ©se mozgĂłkĂ©ppel, illetve mĂĄs stimulĂĄciĂłkkal, pĂ©ldĂĄul zenĂ©vel.[1]
HalĂĄlos iramban 9 2021 Teljes filmadatlap,A film kulturĂĄlis ereklye, amely rengeteg kultĂșrĂĄban jelen van. ReflektĂĄl a kultĂșrĂĄra, mi több, hat arra. A film az egyik legfontosabb mƱvĂ©szeti forma, modern szĂłrakoztatĂĄsi eszköz Ă©s remek mĂłdszer a nevelĂ©sre, valamint propagandĂĄk sulykolĂĄsĂĄra. A film vizualitĂĄsa hatalmas erƑ a kommunikĂĄciĂłban. Egyes filmek vilĂĄghĂ­rƱek lettek, hĂĄla a feliratozĂĄsnak, illetve a szinkronizĂĄlĂĄsnak, mely mĂłdszerekkel mĂĄs nyelvekre lehet fordĂ­tani a szöveget.
HalĂĄlos iramban 9 2021 Filmezek, SzokĂĄs a filmmƱvĂ©szetre mint a hetedik mƱvĂ©szeti ĂĄgra hivatkozni.[2] RadvĂĄnyi GĂ©za filmrendezƑ egy interjĂșban Ășgy fogalmazott, hogy az objektĂ­ven keresztĂŒl „objektĂ­ven kell nĂ©zni a vilĂĄgot, Ă©s felnagyĂ­tani az ember Ă©s ember, ember Ă©s vilĂĄg közötti összefĂŒggĂ©seket – a lĂĄthatatlan összefĂŒggĂ©seket is”.[3]
HalĂĄlos iramban 9 2021 online letöltĂ©s,A közönsĂ©gfilmek (tömegfilm, zsĂĄnerfilm, mƱfaji film) a populĂĄris kultĂșra rĂ©szĂ©t kĂ©pezik, a tömegek szĂĄmĂĄra kĂ©szĂŒlnek. A kĂ©szĂ­tƑk cĂ©lja a profitszerzĂ©s, ebbƑl kifolyĂłlag a nĂ©zƑk szĂłrakoztatĂĄsĂĄra összpontosĂ­tanak. Szinte mindig besorolhatĂłk egy-egy filmmƱfajba. RĂ©gi, jĂłl bevĂĄlt törtĂ©neteket elevenĂ­tenek fel, a jĂł Ă©s a rossz örök harcĂĄt mutatjĂĄk be, ahol szinte mindig a jĂł gyƑzedelmeskedik, az ĂĄbrĂĄzolĂĄsi mĂłdokban nem igazĂĄn kĂ­sĂ©rleteznek. (A leggyakoribb mƱfaji filmes irĂĄnyzatok: burleszk, western, film noir, bƱnĂŒgyi film, melodrĂĄma, romantikus film, vĂ­gjĂĄtĂ©k, mƱvĂ©szfilm, akciĂłfilm, horrorfilm, thriller, filmdrĂĄma, bĂĄbfilm, rajzfilm, animĂĄciĂłs film stb.) EbbƑl a kategĂłriĂĄbĂłl a legjobban kitörni vĂĄgyĂł irĂĄnyzat a film-noir, nem vĂ©letlenĂŒl erre az irĂĄnyzatra Ă©pĂ­tkeztek leginkĂĄbb a francia Ășj hullĂĄm (a szerzƑi film) megalapĂ­tĂłi.
HalĂĄlos iramban 9 2021 teljes film videa,A szerzƑi filmek (rendezƑi film) a magaskultĂșra rĂ©szĂ©t kĂ©pezik. Az uralkodĂł jegyĂŒk nem a mƱfaj (ĂĄltalĂĄban többmƱfajĂșak), hanem a stĂ­lus, a rendezƑ szemĂ©lyisĂ©ge ugyanis ĂĄtĂŒt a filmen. Jacques Rivette meghatĂĄrozĂĄsa a legelfogadottabb, miszerint: „a szerzƑi film az, amikor a rendezƑ egyes szĂĄm elsƑ szemĂ©lyben beszĂ©l.” TĂ©mĂĄjuk ĂĄltalĂĄban a hĂ©tköznapi Ă©let; a mindennapi Ă©let egyszerƱ embereinek lĂĄthatatlan drĂĄmĂĄit mutatjĂĄk meg. Gyakran nagyon esemĂ©nytelenek Ă©s befejezetlenek. A rendezƑk szĂ­vesen alkalmaznak egyĂ©ni megoldĂĄsokat, Ă­gy pl. összekeverik az idƑsĂ­kokat, az ok-okozati viszonyok nĂ©ha nehezen Ă©rzĂ©kelhetƑk. A szerzƑi filmek cĂ©lja legtöbbször nem a puszta szĂłrakoztatĂĄs (mĂ©g Chaplin esetĂ©ben sem), inkĂĄbb a szellemi tovĂĄbbgondolĂĄs elƑidĂ©zĂ©se, az „elgondolkodtatĂĄs”. EbbƑl következƑen a szerzƑi film sohasem egymƱfajĂș, s ezĂĄltal lesz több az egyszerƱ, redukĂĄlt tömegfilmnĂ©l. Azonban a szerzƑi filmeken belĂŒl is meg kell kĂŒlönböztetni a nĂ©zƑk (Ă©s producerek) felĂ© is „kikacsintó” tömeg-mƱvĂ©szfilmeket. Éppen ezĂ©rt lesz örök harc, hogy a vĂĄlasztĂĄs ki mellett dƑljön el: Jean-Luc Godard vagy François Truffaut, Buster Keaton vagy Charlie Chaplin, Roberto Rossellini vagy Vittorio De Sica, SzƑts IstvĂĄn vagy RadvĂĄnyi GĂ©za, FehĂ©r György vagy Tarr BĂ©la

HalĂĄlos iramban 9 2021 teljes film magyarul videa,A szerzƑi film precĂ­zebb osztĂĄlyozĂĄsa sorĂĄn – a tömeg-mƱvĂ©szfilm mellett (Ă©s/vagy helyett) – meg kell kĂŒlönböztetnĂŒnk a fesztivĂĄl-mƱvĂ©szfilmeket is. A teljesen autonĂłm, fĂŒggetlen szerzƑi filmek Ă©s a fesztivĂĄl-mƱvĂ©szfilmek között az a lĂ©nyegi kĂŒlönbsĂ©g, hogy a tisztĂĄn (valĂłdi) szerzƑi filmek esetĂ©ben (l. Buster Keaton, Jean-Luc Godard, John Cassavetes, Michelangelo Antonioni, Robert Bresson, Jean Renoir, Jean Cocteau, Orson Welles, Roberto Rossellini, Jacques Rivette, AgnĂšs Varda, Jacques Demy, Jean Eustache, Philippe Garrel, Jacques Doillon, Christian Petzold, SzƑts IstvĂĄn, GaĂĄl IstvĂĄn, NovĂĄk MĂĄrk, FehĂ©r György, Dömölky JĂĄnos, BĂłdy GĂĄbor, HuszĂĄrik ZoltĂĄn, Zolnay PĂĄl, Hajdu Szabolcs, HorvĂĄth Lili stb.) sohasem Ă©rdekelte a rendezƑt (szerzƑt) a filmjeinek nĂ©pszerƱsĂ©ge – akĂĄr a közönsĂ©g, akĂĄr a kritikusok, akĂĄr a (vagy egy) fesztivĂĄlzsƱrik rĂ©szĂ©rƑl – vagy hogy egyĂĄltalĂĄn eljut-e valaha a filmjĂŒk a közönsĂ©ghez (vagy sem). CsupĂĄn egyetlenegy cĂ©l lebeg(ett) szemĂŒk elƑtt: ĂĄlmaik minĂ©l tökĂ©letesebben valĂł filmvĂĄszonra vitele.
HalĂĄlos iramban 9 2021 teljes film indavideo,A 20. szĂĄzad vĂ©gĂ©re mind a nĂ©zƑk, mind a filmkĂ©szĂ­tƑk szĂĄmĂĄra vilĂĄgossĂĄ vĂĄlt, hogy a filmgyĂĄrtĂĄs fƑ vonalĂĄt egyĂ©rtelmƱen az amerikai film kĂ©pviseli. EgĂ©szen pontosan a hollywoodi filmgyĂĄrtĂĄs; ez a dollĂĄrmilliĂłs költsĂ©gvetĂ©sƱ, mĂ©g több dollĂĄrmilliĂłkat hozĂł filmekre specializĂĄlĂłdott „gĂ©pezet”. A mƱfajt, sztorit, szĂ­nĂ©szeket, technikai elemeket Ă©s – sokszor utolsĂłkĂ©nt – a rendezƑt gondosan vĂĄlasztjĂĄk ki, mindent a gazdasĂĄgi haszon Ă©rdekĂ©ben. A legnagyobb amerikai filmrendezƑk közĂ© tartoznak Charlie Chaplin, Orson Welles, a magyar szĂĄrmazĂĄsĂș George Cukor Ă©s KertĂ©sz MihĂĄly, Alfred Hitchcock Ă©s Stanley Kubrick, a ma Ă©lƑk közĂŒl Francis Ford Coppola, Steven Spielberg, Martin Scorsese, Woody Allen Ă©s a fĂŒggetlen filmes Quentin Tarantino. (A leghĂ­resebb amerikai filmsztĂĄrokat lĂĄsd a Hollywoodi filmsztĂĄrok listĂĄja szĂłcikkben!)
HalĂĄlos iramban 9 teljes film magyarul letöltĂ©s ingyen,India a vilĂĄg legnagyobb filmgyĂĄrtĂł orszĂĄga. Az indiai hagyomĂĄnyokat követƑ zenĂ©s tömegfilmek mellett több vilĂĄghĂ­rƱ filmalkotĂĄs fƱzƑdik Szatyadzsit Raj Ă©s Mira Nair nevĂ©hez. A japĂĄn filmmƱvĂ©szet vilĂĄghĂ­rƱ mesterei Jaszudzsiro Ozu Ă©s Akira Kuroszava. A kĂ­nai film a 90-es Ă©vek Ăłta Ă©r el komoly nemzetközi sikereket, elsƑsorban Csen Kaj-ge Ă©s Csang Ji-mu alkotĂĄsaival. Meg kell mĂ©g emlĂ­teni a grĂșz Tengiz Abuladze filmjeit, az irĂĄni Dzsafar Panahi, Mohszen Makhmalbaf Ă©s Abbasz Kiarosztami kĂŒlönleges filmköltemĂ©nyeit, valamint a koreai rendezƑ, Kim Ki-duk filmjeinek legĂșjabb nemzetközi sikerĂ©t.
HalĂĄlos iramban 9 teljes film magyarul online indavideo,A neorealizmus olasz filmirĂĄnyzat, melynek elsƑ darabja Ă©s alapmƱve Luchino Visconti MegszĂĄllottsĂĄg (Ossessione) cĂ­mƱ filmje. Csak 1945 utĂĄn mutattĂĄk be mozikban, de mĂĄr elƑbb nagy hatĂĄst tett az egĂ©sz olasz filmszakmĂĄra. EgyĂ©bkĂ©nt a kifejezĂ©st Umberto Barbaro hasznĂĄlja elƑször 1943-ban. A neorealizmus gyökeresen szakĂ­tott az addigi olasz film hamis valĂłsĂĄgĂĄbrĂĄzolĂĄsĂĄval, dokumentarista szemlĂ©letet honosĂ­tott meg, Ă©s ĂłriĂĄsi hatĂĄst tett az egĂ©sz eurĂłpai filmmƱvĂ©szetre.
HalĂĄlos iramban 9 teljes film magyarul online filmek,A francia Ășj hullĂĄm (nouvelle vague) nevĂ©t az Express c. folyĂłirat egy 1957-es cikke adta. KiemelkedƑ egyĂ©nisĂ©gei közĂŒl François Truffaut (NĂ©gyszĂĄz csapĂĄs, Jules Ă©s Jim, Lopott csĂłkok) pĂĄlyĂĄjĂĄt filmkritikuskĂ©nt kezdte, Ă©s mĂĄr mint rendezƑ megmaradt az Ășj hullĂĄm teoretikusĂĄnak. TalĂĄn ennek is köszönhetƑ az Ășj hullĂĄm (mĂĄs nemzetek Ășj hullĂĄmainak is) nagy fokĂș stilĂĄris tudatossĂĄga.
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