Waching daily Aug 24 2017

hello friends my name is Arith Härger and today I'm going to talk about the "Black" Viking

now, my previous video was myself expressing my thoughts on racism and

diversity and etc and I will leave a link down below in the description for that video

and given the circumstances I thought it will be interesting to tell

you about the tale of the Black Viking now this is a true historical account

with a few fantastical elements here and there to beautify the tale but no less true

and I advise you to turn on the subtitles because there will be a few

strange names as it is normal when we are dealing with Scandinavian studies

so let's get started

this is a story about a man named Geirmundur Heljarskinn

born in Rogaland (Norway) between the years 850 and 950 A.D.

he was one of the first explorers to settle in Iceland going with the early Viking expedition teams

this is not a fictional character from Norse mythology or the

Sagas as I have said, this person is in fact an historical figure and nowadays

in Iceland people can still trace their bloodline through genetic tests to this

ancestor of theirs - and such tests have been performed

he was a "black" Viking

but not in the way you might think not black because he was of African ancestry nor

because he was so evil that he gained this seemingly ominous title of being

"dark" when darkness is associated with evil, mystery, death and even magic

he was black or dark according to the perception of the people of these times

the reactions people had in relation to this man are really interesting and

makes us wonder about certain attitudes society as towards people who are physically different

the rather short story of Geirmundur Heljarskinn

is present within the Landnámabók which is "The Book of Settlements"

a medieval Icelandic written record which describes the settlement of

Iceland by the Norse between the 9th and 10th centuries

if you research the story

it's called Geirmundar þáttr heljarskinns and this story is about

Geirmundur and his brother Hámund

this account comes in great detail about the

lineage of r Geirmundur which I will not tell it here so we can go straight to the point

suffice it to say that there was a man called Hjör

doing the regular raiding and pillaging to obtain wealth

this Hjör went raiding in Bjarmland the westernmost part of Siberia where there

was a great trading activity between the natives and the Norse

Hjör took as a hostage of value a young Siberian woman called Ljufvina the very daughter of the "king" of Bjarmland

Hjör ended up marrying this woman, now in Siberia there were no kings

these were nomadic people so it's quite possible that this whole story of

her being a princess was made up to have a royal justification for her to become

a queen in Norway otherwise without a royal lineage she would have no claim to the throne

the majority of Siberians are of mongol

origins - with dark air and skin - and Ljufvina was no exception

now speaking of genetics we know that when two people both having different skin colors from one another

the darker pigmentation tends to thrive

and to be more visible but this is nowadays that we have this knowledge

back in medieval times people expected their sons to follow their father's

lineage therefore more prone to look like their fathers, Hjör was a man with

Nordic features so people were surprised when Ljufvina gave birth to two boys with dark hair and skin

to the ancient Scandinavian societies people with

darker skin colors were considered to be well... black, but being black during

these times at least in ancient Scandinavia wasn't necessarily a motive

for prejudice, intolerance, the only problem here was the fact that the

father was white, tall, fair of hair and the social belief that children should

look like their fathers, these were patriarchal societies

another problem was that the children looked nothing like the royal lineage of

kings and queens of Norway they looked much more like Thralls - slaves - and this was

absolutely unconceivable for Nobles

this isn't a case of racism in ancient societies

the problem wasn't directly due to their skin

the problem was breaking the royal lineage

the secret of the two brothers

Geirmundur and Hámund was kept by the family and a few trustworthy people

a white slave woman had given birth to a son and so they replaced the two

brothers for this white skinned baby from a slave, the two brothers

lived as slaves within their own father's household, as I have said

it didn't matter at all if the boys had light-skin or dark-skin, the only thing

that mattered was the fact that they were sons of the king and carried within

themselves many of the noble and royal virtues of this great lineage

independent of the dark skin, the two young boys grew up and became healthy

resilient, strong and intelligent, all the characteristics associated with royalty

while the young white prince grew up weak, cowardly and not very clever

a verdict of his slave ancestry according to this account and the beliefs of this time

when the boys reached the age of four it was clear to

those who knew the secret that no one could hide the truth any longer that the

slave boy who looked like a prince had no nobility at all, he only had the

colour considered "right" because it was the colour closer to the colour of Hjör

and nothing more

well finally the mother brought forth

the two brothers and told the truth to the king, yeah the King had absolutely

no idea about this swapping-babies-scheme, the King was only surprised by

the color of their skins because he had never seen before such darker skins

but he believed the boys were his sons therefore the boys gained this nickname

"heliarskinn"(dark-skin).

the boys grew up to be great warriors and Raiders

accumulating wealth and honor and perfectly accepted by the society they lived in

finally Geirmundur, like his father before him, travelled to Bjarmland (Siberia)

and returned with another Siberian wife - Illþurrka

together they settled in Ireland and then in Iceland where they became a very powerful family

the truth of this story has been confirmed by DNA tests of

living Geirmundur's descendants living in Iceland who have mitochondrial well....

maternal DNA which indicates their mother's Asian/Mongolian ancestry

all right friends thank you so much for watching and I hope you have enjoyed

this short tale which is a true historical account and I thought it

would be interesting to present you with this story after the previous video I have done

so thank you so much for watching see you on the next video

all the links to my social media are down below at the description and well

tack för idag! (thank you for today!)

For more infomation >> The "Black" Viking - Duration: 8:11.

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Screenplays: Crash Course Film Production #1 - Duration: 9:19.

Hi!

I'm not Craig.

But you're in the right place; this is still Crash Course Film.

My name is Lily Gladstone, and I'm excited to spend the next fifteen episodes with

you exploring film production – how movies actually get made.

We'll talk about all those jobs that are listed in the credits, and how movies take

a huge amount of collaboration, whether you have a crew of tens or thousands.

We'll go behind the scenes to see how movies are planned, shot, and edited, and take a

peek at all the equipment involved.

And we'll learn how films are marketed and distributed, whether they go to movie theaters

or straight into your home.

But, before we get anywhere near lights, camera, action...

We need to start with a road map that gives everyone in the cast and crew the directions they need to make a film.

It's time to talk about the screenplay.

[Music Plays]

In most of these videos, we'll be learning about how the vast majority of narrative fiction films get made.

And to do that, we need to start with the screenplay.

A screenplay is a written version of a movie.

Think of it as a blueprint.

It's not the final product; it's a set of plans to guide a team of artists, craftspeople,

and engineers as they produce a film.

Every screenplay is formatted with three basic elements: sluglines, action, and dialogue.

Each new scene begins with a slugline.

It's written in all-capital letters and acts as a code to convey information to the crew.

A slugline might look something like this: INT.

Here the INT. stands for interior, meaning

this scene takes place inside.

If the scene takes place outside, the slugline would start with EXT. for exterior.

The second word tells us where the scene takes place, which is important information

for a lot of the crew.

The location scout needs to find somewhere to film the scene, the production designer

alters the location to make it fit the world of the film, and the cinematographer decides

how to light it.

But before any of that happens, the line producer uses the location to help figure out how much

the film is going to cost.

The same goes for the last word in the slugline, which describes when the scene takes place,

usually either day or night.

Besides giving information to the crew, this can affect the cost of the movie, partially

because shooting at night is more expensive.

After the slugline comes the action.

These are short, assertive sentences that describe who's in the scene and what they're doing.

Since you watch a movie unfold over time, the action is written in present tense.

So instead of writing: "Iron Man flew across the sky," you'd write:

"Iron Man flies across the sky."

The action is also limited to what the audience can see and hear.

In a novel, you can describe what a character is thinking and feeling.

Something like: "Luke Skywalker feels miserable."

In the screenplay, you'd have to write an action to show us how he feels, like:

"Luke Skywalker hangs his head and wipes away a tear."

There are a lot of guidelines and tricks to writing action lines, but the most important

rule is: show, don't tell.

Remember that this is where the thoughts, feelings, and themes of the screenplay are

turned into actions you can see.

And the final piece of a screenplay is the dialogue.

These are the words spoken by characters.

Feature-length screenplays are usually between 90 and 120 pages.

And each page typically becomes about a minute of the final film.

This is more of an average than a hard rule, by the way.

Some dialogue-heavy pages will likely be shorter than a minute, while some pages with lots

of action may end up longer once the film is shot and edited.

Now, some stories are better suited to the screen than others.

Different media have different strengths, so what makes a good poem or graphic novel

won't necessarily make a good movie.

A film creates an immersive visual world – that "illusion of reality" we keep talking about.

And within that world, it can tell a story packed with complex ideas and emotions.

Movies tend to focus on three main things: a protagonist, which is the film's main

character; a goal or objective, which is something the protagonist wants; and obstacles, which

is whatever's standing between the protagonist and their goal.

Think about a heist movie.

Maybe a master criminal wants to steal the world's biggest diamond, but finds herself

facing off against a rival thief.

Or a romantic comedy, where an awkward-but-loveable introvert wants to date their outgoing neighbor,

but is afraid to leave the comfort of his routine.

Protagonist.

Goal.

Obstacle.

These are the building blocks of a screen story, and it's from these that everything

else emerges, like setting, character, theme, and tone.

Now, the protagonist doesn't necessarily have to be the story's hero.

Films are full of anti-heroes like Travis Bickle in Taxi Driver, or accidental villains

like William H. Macy's character in Fargo.

Usually, a movie's protagonist will grow or change in some way in pursuit of their goal.

The master criminal might learn humility as she attempts to steal the diamond.

Or maybe the introvert overcomes his social anxiety to befriend his love interest.

But the most important thing for the screenwriter

is finding ways to make all of this come across visually.

One way to do that is by following what's known as the "Hero's Journey."

This is a template for character development that was popularized by the American mythologist

Joseph Campbell.

By looking at myths from cultures all over the world, Campbell identified twelve common

steps taken by main characters as they transform over the course of a story.

These range from resisting the call to adventure and meeting their mentor, to facing their

biggest fear and surviving a final ordeal, armed with everything they've learned along the way.

The Hero's Journey was famously used by George Lucas when writing Luke Skywalker's

journey from Tatooine farm kid to Jedi knight.

Some screenwriters love it, while others think it's a stale, overused formula.

But if you're looking to write your first screenplay, it's not a bad place to start.

Once you have some characters and plot points, you need to throw some conflict in the mix.

Conflict moves a story forward, and helps us identify with the protagonist as they're

struggling against their obstacles.

And screenplays can have different kinds of conflict.

External conflict occurs whenever the protagonist encounters physical obstacles.

Take the first Lord of the Rings film, The Fellowship of the Ring.

Our protagonist, Frodo, has a goal: to destroy the One Ring in the fires of Mount Doom.

No problem, right?

Except, in order to get to Mount Doom, he has to travel across the known world, avoid

an endless army of orcs and monsters, and outwit this powerful fiery eye that's searching for him.

Not to mention, he's the shortest guy in the movie and they make him walk barefoot

the whole way.

They don't even give the poor guy shoes!

On the other hand, internal conflict is when the protagonist wrestles with some emotional

or psychological obstacle.

For Frodo, that could be his ignorance of the wider world, a lack of faith in himself,

or even his jealousy and selfishness.

Usually, the more conflict the protagonist faces, the more they transform to overcome it.

But that doesn't mean that the fate of the world has to be at stake in every single screenplay.

The writer should scale the conflict to fit the kind of story they're telling.

Like, in Bridesmaids, Kristin Wiig's character just wants to be a good maid of honor to her best friend.

She faces a lot of external conflict, from a rival bridesmaid to some severely undercooked Brazilian food.

And internally, she feels conflicted about her best friend getting married, the

loss of her bakery, and her self-worth.

The universe isn't going to implode if she doesn't succeed, but we still empathize

with her as she struggles to achieve her goal.

Now, once you have some ideas for the story you want to tell, how are you supposed to

organize them all?

Screenwriters often use something called Three Act Structure, which is based on theories

by the ancient Greek philosopher Aristotle from more than 2,000 years ago.

The idea is simple: that every story has a beginning, middle, and end; and that certain

kinds of events happen in each section.

Act One sets up the world of the screenplay, introducing us to the characters, and identifying

the protagonist and their goal.

In the Wizard of Oz, most of Act One takes place in Kansas.

It's the black-and-white part.

We get external conflicts between Dorothy and that mean lady down the street, as well

as Aunt Em.We also learn that Dorothy is unsatisfied with her life and dreams of something more

exciting, somewhere over the rainbow.

Once she's transported to Oz, she meets her antagonist, the Wicked Witch of the West,

and we learn that her goal is to find the wizard so she can go home.

In Act Two, the protagonist faces increasingly difficult conflicts as they pursue their goal.

They meet allies, encounter successes and setbacks, and are often brought to a point

of hopelessness.

For Dorothy, this is when the wizard refuses to take her home unless she can defeat the

Wicked Witch.

To get what she wants, she'll have to face her fears and do the seemingly-impossible.

Finally, Act Three contains the climax of the film.

There's usually some epic face-off between the protagonist and antagonist, the person

who most directly opposes them.

That confrontation usually decides whether or not the protagonist achieves their goal.

And in most Hollywood screenplays, they do.

Dorothy gets back to Kansas.

Luke Skywalker blows up the Death Star.

Simba defeats Scar and restores the circle of life to the Pride Lands.But the guidelines

of the Three Act Structure are just that.

Guidelines.

Foreign and independent movies can have more ambiguous endings, from the open-ended final

shots of The Wrestler or Birdman, to the heartbreak of Brokeback Mountain or The Death of Mr. Lazarescu.

Films like M*A*S*H, Traffic, or Magnolia split their stories up among different protagonists,

while movies like Pulp Fiction and Memento scramble time, telling their stories out of order.

And films like Mulholland Drive, Rashomon, or Man with a Movie Camera seem to reject

the Three Act Structure altogether.

Remember: screenplays are one part of a longer process; they're a blueprint.

Whether they follow more traditional rules or invent their own, the clear, concise, visual

language of a screenplay provides the foundation for all the work that is to come.

Today we learned about the format of screenplays and why they look the way they do.

We talked about the essential building blocks of a film story, and we broke down the traditional

Three Act Structure: what happens when and why.

Next time, we'll talk about pitching and pre-production, as the cameras get ready to roll.

Crash Course Film Production is produced in association with PBS Digital Studios.

You can head over to their channel to check out a playlist of their latest shows, like

Coma Niddy, It's Okay to be Smart, and Physics Girl.

This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Crash Course Studio

with the help of these nice people and our amazing graphics team, is Thought Cafe.

For more infomation >> Screenplays: Crash Course Film Production #1 - Duration: 9:19.

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Call of Duty: WORLD WAR 2 Beta Multiplayer Gameplay LIVESTREAM - Duration: 2:18:39.

For more infomation >> Call of Duty: WORLD WAR 2 Beta Multiplayer Gameplay LIVESTREAM - Duration: 2:18:39.

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DRAGON BALL SUPER - ABERTURA [LETRA OFICIAL] - Duration: 1:32.

For more infomation >> DRAGON BALL SUPER - ABERTURA [LETRA OFICIAL] - Duration: 1:32.

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Barbie Life In Dreamhouse Elsa,Anna Queen With Mini Dolls باربي الحياة في دريم هاوس Vida de barbie - Duration: 12:40.

Barbie Life In Dreamhouse Elsa,Anna Queen With Mini Dolls

Barbie Life In Dreamhouse Elsa,Anna Queen With Mini Dolls

For more infomation >> Barbie Life In Dreamhouse Elsa,Anna Queen With Mini Dolls باربي الحياة في دريم هاوس Vida de barbie - Duration: 12:40.

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সাপ তুলতে গিয়ে সাপের কাময়ে সাপুড়ির মৃত্যু - Duration: 1:25.

For more infomation >> সাপ তুলতে গিয়ে সাপের কাময়ে সাপুড়ির মৃত্যু - Duration: 1:25.

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Mara ataca transexual de A Força do Querer e causa polêmica na internet - Duration: 2:12.

For more infomation >> Mara ataca transexual de A Força do Querer e causa polêmica na internet - Duration: 2:12.

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New Frequencies Bring Unprecedented Opportunity For ALL To Shift Into An Expanded Consciousness - Duration: 4:20.

New Frequencies Bring Unprecedented Opportunity For ALL To Shift Into An Expanded Consciousness

by Rosie Neal,

Nobody needs anything outside of themselves to get where we need to go.

If people are looking outside of themselves to extraterrestrials, or anything for anything

for that matter, to help with ascension, they need to take a good close look at the information

they�re receiving with perfect discernment.

There�s an awful lot of AI (Artificial Intelligence) out there that have many programs and labels

that keeps everybody trapped in a closed circuit loop to loop and that stops them from moving

forward because they become trapped in a paradigm.

The Lions gate, 30 year anniversary of the Harmonic Convergence, and the solar eclipse

will allow that of the highest flow of the unified field to stream directly into the

heart of humanity.

This will provide an unprecedented opportunity for all to shift into an expanded consciousness

with these new frequencies being available.

Once we access, we will be directed to express and become the embodiment of the divine plan

on earth.

The Harmonic Convergence is bringing people out of duality which is meant by neutralizing

left brain versus right brain.

Good versus bad light versus dark, male versus female, and pulling all that energy point

of neutrality and of singularity into the heart chakra and becoming Christed.

The Christed state of being it is not about being in polarity from light to dark.

It�s not about extreme polarities or putting us in a position of trying to balanced energies.

Our job is to pull it all to the center and balance it to the zero point in the sacred

place of the heart.

It is by bringing everything in the heart chakra that will bring everything back to

a state of neutralization and return to zero point.

It is not about living from the upper chakras; the throat, 3rd eye or crown chakra which

opens us up the higher dimensions.

Or living from earth chakras; the solar plexus, the sacral, or the root chakra.

It�s about as above, so below.

So pulling as above the sine wave, which is the heart chakra, and pulling the upper chakras

and lower chakras into the sacred place of the heart in neutrality.

Then, you are pulling the the polarized light and the dark together from the left and right

of the sacred heart chakra and allowing it to become Christed in yourself in the heart

chakra.

That is what the cross is all about.

It is bringing of heavens forces and earth�s forces to the zero point and light and dark

to the zero point through the heart chakra.

This will place you in the zero point of the sacred place of the heart so at this point

you begin raising the Kundalini.

Energy begins in motion.

The electrons and the protons begin to spin around the nucleus neutron which activates

through the crown chakra and as it�s activated, the Kundalini comes out the crown and goes

directly into your heart chakra and activates the Christed state.

It allows the soul to stay in the body and not leave the body.

We are building a new temple which is heaven on earth.

This is making up the foundation for that temple.

The goal is to move into a full ascension.

We are not going anywhere but we are allowing our soul to enter our physical avatar.

Bring heaven to earth.

The process had to be 1% of the population.

We now have not only reached the 1% but are on point at exceeding it.

This now puts us at 70% of full activation.

Moving into the 80% level.

We need no-thing, ((nothing )) outside of ourselves to accomplish this.

For more infomation >> New Frequencies Bring Unprecedented Opportunity For ALL To Shift Into An Expanded Consciousness - Duration: 4:20.

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Alfa Romeo Giulia Quadrifoglio and Giancarlo Fisichella #giulia - Duration: 1:08.

Alfa Romeo Giulia Quadrifoglio and Giancarlo Fisichella, alfa romeo, giulia, giancarlo

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