지금 처음오는 회전초밥집인데, 스시로라는 곳입니다.
동료가 가격이 괜찮다고 해서 마음을 놓고 한번 와봤습니다.
그래서 조카를 여기에 데려왔습니다, 경험도 될겸 말이죠 헛헛
테이블을 잡고 앉았는데 옆에 주문 모니터에 영어, 한국어, 중국어가 있습니다.
(솔직히 그냥 옆에 지나가는 스시를 집어서 드시면 됩니다.)
(디저트를 시키실게 아니면 말이죠)
U-하나 더? N-넹
N-전 연어 먹고싶습니다. U-연어? N-넹
U-두 개? N-넹 삼촌도 드시고 싶으시면요.
Sushiiiiii
Tuna, Salmon and a bonito.
A waiter will serve your sushi if you order through the monitor.
A Salmon
Is it good?
Yes
참치!
하나는 삼촌꺼 하나는 제꺼
A Bonito
(idk the name)
same
yumyum
TASTY
:))))
We ate 17 plates
This restaurant is affordable but not extremely tasty.
But it was really fun!
So I recommend eating here for fun experience
And it's near downtown
For more infomation >> 후쿠오카 회전초밥집 스시로에 가봤어요!(맛보다는 재미가 더 뿜뿜) - Duration: 2:56.-------------------------------------------
Bắt Ve Chó Như Vậy Mới Thích | TQMT Tập 374 - Duration: 11:06.
Hello friends
My aunt 5 is catching ticks
ticks are gone
I am very happy for this
I was overwhelmed today
Aunt 5 is very funny
Aunt 5 single
Aunt 5 has itchy feet
Thanks for watching the video
-------------------------------------------
Поздравление для Инны.Прикольное поздравление от ВОЛКА #Мирпоздравлений - Duration: 1:18.
For more infomation >> Поздравление для Инны.Прикольное поздравление от ВОЛКА #Мирпоздравлений - Duration: 1:18. -------------------------------------------
日本 ft. カタール ▪アジアカップ決勝 - Duration: 19:10.
For more infomation >> 日本 ft. カタール ▪アジアカップ決勝 - Duration: 19:10. -------------------------------------------
España en 360º | Viajeros Virtuales - Duration: 7:21.
For more infomation >> España en 360º | Viajeros Virtuales - Duration: 7:21. -------------------------------------------
ELEKTRA | Cómo retirar dinero en Elektra - Duration: 1:51.
For more infomation >> ELEKTRA | Cómo retirar dinero en Elektra - Duration: 1:51. -------------------------------------------
I Love You, You're Perfect, Now Change!/你咪理, 我愛你! Movie Review - Duration: 5:25.
It doesn't matter that there's no story.
It's a Chinese New Year movie!
Hi! Welcome to The Silver Spleen. My name is Roger Hammerstein and this is my review of
I LOVE YOU, YOU'RE PERFECT, NOW CHANGE. That's the last time I'm saying that rather unwieldy title.
From here on out it's 'this movie.'
It's Chinese New Year season again in Hong Kong and I couldn't be happier I know I'm not Chinese. That's not my point.
my point is that Chinese New Year movies are generally
family friendly entertainment that are light silly and if we're honest
disposable I always enjoy Chinese New Year movies because no matter how
ridiculous they might get my mind simply says that's Chinese New Year and I don't
get anywhere near as bothered as I would otherwise so this movie gets the Chinese
New Year discount and well it needs it let's be honest up front
I don't like musicals I just don't so going into this movie I knew it wasn't
gonna be a pleasant experience for me it's also the directorial debut of Wang
Cho Lum a local actor who made a name for himself gender-bending on TVB which
sounds vaguely like some kind of weird drug experience but I digress I'm not a
fan of a lot of his work but on those occasions when he's not indulging in the
flaming metrosexual shtick that's not a euphemism I have enjoyed his work this
film is based on a film that's apparently based on an off-broadway play
of the same name I don't know because I don't do theatre I know you find that
shocking right but this play was actually performed in Hong Kong after
being translated into Cantonese a process Wong Coulomb apparently took
pardon so he was probably the best person to direct this film adaptation
that said I don't think he necessarily did a great job of it let me try and
explain why member this is just my opinion I don't
think Wang Cho LOM is a fan of loud music I say that because artists as
different as Nirvana and Metallica have both made it clear that you need quiet
parts in a song to make the loud parts seem louder and you need slow parts to
make the fast part seem faster you know variation well this movie is
with very few exceptions chronically loud it's exhausting of it's 88 minutes
of screen time at least 83 minutes of it is just jazz hands
there is one segment that brings it down several notches and it's a very good
segment it features Teresa Moe in a very serious and very impressive scene that
calls to mind her performance in tomorrow is another day
unfortunately this movie then resumes its scene chewing for the remainder of
the runtime and even I felt a little bad at how relieved I was when the first
end-credit came up I felt like I had survived an ordeal and I've seen
Motorhead life more than once but you know what a lot of other people in the
cinema seem to really enjoy it and hey it's Chinese New Year there are you know
a ton of cameos in the film and there's a lot of family-friendly kind of comedy
there's jokes that go down easy if only because you've heard them a million
times before or you can see them coming from a mile away but that's what people
want and that's what people like and that's what they get also Chinese New
Year movies tend to be loud unsubtle Affairs and on that level this movie is
a great Chinese New Year film so it's probably gonna work really well for its
intended audience which of course I'm not you might really like it I mean the
dance numbers are kind of impressive the cinematography is not bad the segment
with Sammy Cheng was kind of fun too and it was just you know nice to see her on
a big screen again go see it in a cinema you know with your family during Chinese
New Year on a big screen because do you would want to watch dance numbers on
their phone this is a movie that's designed for the Chinese New Year
holiday and that's how it should be seen I can't imagine
as I said watching this on your phone on the MTR in July it's not really that
kind of movie but if you like musicals if you like plays maybe it is I don't
know okay so I'm admitting my ignorance oh and as long as we're talking about
ignorant do me a favor and be dumb enough to give me some money click on my
patreon page and fill it out and send me a little money because I think I deserve
it you probably don't but I do so you know
which one of us is right it's up to you if you enjoyed this review please let me
know and if you didn't please let me know if you enjoy the channel please
subscribe and please have a wonderful Chinese New Year don't hate Holly
-------------------------------------------
Ramen Dengan kaldu udang enak ga ya??? 一幻蝦味拉麵與叉燒飯 - Duration: 5:51.
hallo guys my name is julius
so today i want review delicious ramen on taiwan
its called "ebisoba ramen"
its some people say its delicius so I want get a tey
lets get start
(fantastic music)
so the popular menu its the salty soup one
we can choose d soup stock
i choose the strong one
and i want order extra noodles and egg
i also want order the Chinese-style pork rice
and pork fried shrimp dumplings
i only order 3 menu so let get a try
so this is the rice pork
its looks so delicius
so there have a rice grill pork and the d crispy shrimp
its smell really good
lets get a try
there have special chill sauce
lets try it again
its really best rice i ever try
so this is the ramen
smell like a shrimp
and d soup broth its really strong
i want try the soup broth
woahh the soup broth its really diffrent with othen ramen
d shrimp its really strong
yeah its really good
lets get try the noodle
ts hot but the noodles and d soup its really good combination
because d noodle have shrimp taste
the egg its soft boiled
this is the recommend menu on here
this its really good i eat it really fast
only 5 minute
wow its so good
so this is the shrimp dumplings
dumplis looks really crispy
lets get a try
we take a look inside
the inside they use pork shrip and little onion
dumplis looks really crispy
lets get a try with soysauce
d dumpling its really different with other i eat before
so we already done eat
lets go out
the ramen its really good
its costs (21$) for that 3
but this palce really recommend the grill pork rice its really good
so thanks watching my video
dont forget to like commend and subscribe for more information taiwanese food
and dont forget to visit there near taipei 101
I m julius
see you next time bye~
-------------------------------------------
The Orville 2x07 Promo "Deflectors" (HD) - Duration: 0:20.
- Woo!
Malloy, don't be cocky.
Yes, sir.
Dumbing it down.
NARRATOR: In two weeks, the Orville returns
with all new adventures.
Scan the surface for human bio signs.
Oh my god.
This has to be the most insane thing that's
ever happened on this ship.
Um.
NARRATOR: "The Orville," all new in two weeks on Fox.
-------------------------------------------
Independence Day vs. War of the Worlds - Duration: 37:11.
The Franco-Prussian war was a conflict between the second French empire and the Northern
German confederation led by the kingdom of Prussia, which owing to the Germans' superior
strength and numbers, quickly led to the capitulation of the French Empire and the capture of the
Emperor, Napoleon III.
The conflict culminated with the Seige of Paris in the winter of 1871 in which the German
troops invading the french capital.
Months later the German states unified into a German Empire shifting the balance of power in Europe towards a now unified,
powerful Germany.
Britain, who mostly stayed out of it, of course kept a close eye on the conflict, and all
the major newspapers, journals, and magazines reported at length on the course of the War
of 1870 and on the prospects for the British in the changed Europe of 1871.
Out of this national obsession with the conflict in Europe emerged a short story written by
ex-soldier George Tomkyns Chesney - "Battle of Dorking"—in 1871.
The Battle of Dorking recounts the final days before and during a fictionalized devastating
invasion of Britain by a German-speaking enemy, retold 50 years after the fact by a nameless
narrator to his grandchildren, who have grown up in a contested Britain that is now a heavily-taxed
annex of The Enemy.
The German-speaking invaders are never named, and are instead referred to obliquely as The
Other Power, or The Enemy.
"Battle of Dorking" was not only an overnight national sensation and controversy - Most
readers saw the idea that the greatest imperial power in the world could be invaded, let alone
could cease to exist was ludicrous - but for many it was an indictment for nationalistic
hubris; for even more it was an outrage, unmerited judgment and a betrayal of Great Britain.
But "Battle of Dorking" would set off a trend of its own - one that literary historians
would eventually call "invasion literature" - fiction that spoke to the taboo and the
thrill of the obviously ludicrous idea that the sovereign empire of britain could ever
fall to a foreign power ahahaha - but what if?
Between 1871 and 1914, over 60 works of fiction for adult readers describing hypothetical
invasions of Great Britain were published.
During that time, British writer HG Wells combined the popularity of invasion literature
with the widespread interest in the idea of life on mars to pioneer a whole new genre,
one that has endured in popularity in some form ever since - the alien invasion.
A supposition:
Aliens in fiction are never just aliens
Just as monsters in fiction are never just monsters
So while I think it's not very interesting to reduce a text to a one to one allegory,
it is important to be open to textual metaphor, especially where aliens come in, be they sympathetic,
threatening, beyond comprehension, or total gibberish.
Aliens as a narrative device can reflect a historically colonized people, they can be
the innocence of childhood, they can be some sort of spiritual revelation, they can be
a class oppressed by poverty, or the ravages of poverty itself, or they can DUMB AS ROCKS
There is the literal function within the narrative, of course, but then there is that layer of
metaphor, of significance to the culture that the work is being presented to, a significance
that may not even be obvious to either the author or the audience until some time later.
With that in mind, let's go back to the OG, a Mr. HG Wells and his invading martians.
Author and professor of English Frank McConnell describes Wells' Martians as "what you fear
most , what your culture and environment have taught you is the worst thing that could happen
to you, the situation over which you would have the least degree of control (135)"
Wells was writing for an audience of Victorian Britons, whom he describes in the opening
of the novel, "secure in their Empire over this Earth."
Wells was writing for an audience for whom the very idea that intelligent beings from
another planet could be capable of launching an attack on the most powerful nation on Earth
was a most bizarre and outlandish notion.
But the invasion narrative is a manifest of different cultural anxieties in different
eras - Invasion of the Body Snatchers came at the height of the McCarthy era - and is
just one of a ton of invasion narratives that came out during the beginning of the Cold
War.
HOWEVER when I say an alien is never just an alien, I don't mean that an alien is
a one to one metaphor for something else - and that is a trap a lot of people fall into.
Interpreting Animal Farm as a metaphor for totalitarian communism is great for your 8th
grade English class, but we can apply a little more nuance than that, right?
I'm less interested in what invasion narratives MEAN so much as how invasion narratives capture
the ecosystem of the culture in which they were made.
And to do that we're going to compare the seminal alien invasion movie of the 90's,
and the seminal alien invasion movie of the 2000's
Title one
Independence Day is 1996 film directed by Roland Emmerich, starring Will Smith, Jeff
Goldblum and Bill Pullman, each playing characters experiencing different perspectives during
an alien invasion: that of a soldier, a scientist, and the president of the united states, respectively.
Over the course of the film, the invading alien horde wipes out most major cities on
the planet, and all hope seems lost until the scientist devises a computer virus, which,
with the help of the soldier, he is able to upload into the mothership, disabling all
subordinate ships.
This enables the American military not only to destroy the local ship threatening them,
but also to instruct the rest of the world on how to do the same.
The invasion is thwarted, and the remnants of humanity celebrate.
It is dumb as a bag of rocks and it is one of my favorite movies.
I love it.
War of the Worlds is a 2005 film directed by Steven Spielberg, starring Tom Cruise.
The film follows dock worker and inadequate father Ray Ferrier on the rare weekend when
he has custody of his two children as he tries to protect them during an alien invasion.
As their circumstances become increasingly desperate, they narrowly escaped certain death
several times until Ray is eventually separated from his oldest child.
The film concludes when all family members are reunited, and the aliens die from their
lack of immunity to the planet's pathogens.
It is a stone cold bummer and I also kind of love it.
So at the outset I would like to suggest: War of the Worlds '05 is better than you
remember it.
Or at least, the first half
Despite taking place over a century after the novel takes place, the bones of Wells'
story remain in tact - the invasion is seen the perspective of one character, Tom Cruise's
Ray, it is more an episodic survival narrative than anything else, the tripods are fairly
faithful, the narrator is tested by another character driven to madness whom he must kill
in order to survive, and the invasion is stopped not by human ingenuity but by a lack
of immunity.
But War of the Worlds isn't like Les Miserables, where it's the same characters and basically
the same story each time.
War of the Worlds is not a classic STORY, per se--it's more of a classic premise,
and the characters themselves are totally different in each iteration.
Spielberg himself has pointed out that adaptations of War of the Worlds tend to come about in
times of cultural stress - with the two most well-known adaptations besides the '05 version
being Orson Welles' radio drama from 1938 and the film adaptation from 1953.
And of course there was the original - a twist on a trend in invasion literature, released
during a period of growing international tension in Europe where everyone kind of sensed that
a Great War was on the horizon.
So while the 1890's was technically a time of peace in the UK, it was peace squished
between recent violence and the massive sense of tension growing throughout Europe.
But War of the Worlds is also read as a biting critique of British imperialism, encouraging
the reader consider the world from the perspective of a people being invaded by colonizers.
Wells states this explicitly in the first chapter of the novel:
And before we judge them [the Martians] too harshly, we must remember what ruthless and
utter destruction our own species has wrought, not only upon animals, ... but upon its own
inferior races.
The Tasmanians, in spite of their human likeness, were entirely swept out of existence in a
war of extermination waged by European immigrants, in the space of fifty years.
Are we such apostles of mercy as to complain if the Martians warred in the same spirit?
I bring this up because the context in which War of the Worlds the novel became a success,
and the context in which Independence Day became a success, are perhaps more analogous
than the 2005 adaptation.
Both Independence Day and Well's novel came about during times of relative peace and prosperity,
for and by people living in a dominating world power of the day.
And both preceded violent upheavals that would completely change those cultures forever.
Of course the huge difference between Independence Day and Wells' original novel is that Wells
encourages the reader to reflect on their own position as citizens of an imperial power
built on the exploitation of other people--Independence Day, not so much.
Dumb.
As.
Rocks.
In an invasion scenario, they represent an Other, just as in Chesney's Dorking the
invaders are literally called "The Other Power," and The Other must threaten something
the audience values.
In America's case, that thing tends to be… landmarks
In Independence Day - the aliens less reflect a broad cultural anxiety so much as arrogance
- yes, this incomprehensible technological force is impressive, but it cannot withstand
the might of american ingenuity and hegemony - a bizarre and outlandish notion
So what do the war of the worlds aliens reflect?
"is it the terrorists?"
well….
kyind of?
2.
1996 > 2005
The America of 1996 and the America of 2005 may as well exist in different dimensions.
Here is 90's batman
vs. 2000's batman
The 90's had a very different, shall we say, mouthfeel.
The white middle class filmgoing public of 1996 didn't have much to worry about!
Cold War's over, economy's booming, every middle school dance is getting jiggy with
a charming little ditty called the Macarena, and hollywood is spending a lot of time in
thought exercises of "what if x disaster?"
We got tornadoes, we got volcanoes, we got sharks, we got asteroids, we got more asteroids
- just destroy everything, it's fun!
Here was an ecosystem in which both a movie like Mars Attacks, released the same year
as Independence Day, can just blow up congress willy nilly and hey it's funny!
Americans were bored and disconnected from any kind of real social anxieties, and disaster
movies were an effective outlet to get some quick, easy thrills and enjoy some blameless
conflict.
It's a FUN-pocalypse!
So compare this to the genuine, visceral terror we see in War of the Worlds.
There isn't really any horror in seeing these symbols of American hegemony destroyed
in the most complete and terrible way.
Even now it's not framed to be an uncomfortable thing to watch.
Look at the marketing.
In fact it's… kind of awesome.
Here was a film where little children stare upon the smouldering ruins of the only home
they've ever known and say things like "What happened, Mommy?"
Here is a film in which tens of MILLIONS of people have died, and this man whose family
is missing, presumed dead responds with: "just want to whoop ET's ass"
Aliens show up
ominously and our dingbat president doesn't evacuate the cities, but it's okay because
he heroically plays a saxopho--I MEAN flies a plane and shoots the aliens and America
saves
the day.
So playing on this idea of movie monsters, and invading aliens in particular, embodying
cultural anxieties, why is the tone of the invasion narrative so different in 2005…
as it is from 1996?
This is yet another entry into my ongoing series called:
9/11 ruins everything!
Ignoring the seriousness of the massive loss of life and scar to the national psyche, Another
pop culture casualty of the most destructive act of terrorism in history, at least for
a time - the disaster movie.
Gone were the days of goofy action movies like Independence Day and Godzilla and Wild
Wild West.
No more disaster movies for these jaded masses--The few stragglers that were in production before
9/11 and crept in afterward were released, ignored and forgotten just as quickly.
According the Los Angeles Times in 2002, "the public appetite for plots involving disasters
and terrorism has vanished."
Obviously this did not stick, but for a while, filmmakers did not know how to approach mass
destruction in film so they just… didn't.
When Big, Destructive action movies DID eventually begin to edge their way back into the theaters…
things were different.
A movie like Independence Day no longer makes sense in a post-9/11 world in which audiences
have actually lived through watching the destruction of familiar landmarks and mass casualties
on live television.
So Spielberg wanted to create an invasion narrative that worked in a post 9/11 world.
But there's a problem - see, Independence Day is a harder act to follow than you might
think.
1.
War of the Worlds had a really hard act to follow … called Independence Day
War of the Worlds is, in many ways, a response to, if not refutation of, Independence Day.
This (lets light the fires big daddy) evolves into this (we gotta get back at them)
This (what happened mommy?) evolves into this (AAAHHHH)
This (need a lift) evolves into this (scene with car)
And this, my favorite subtle dig - (it's like the fourth of july)
Here's what MY aliens do to independence day!
One of the biggest differences is the focus on what is being destroyed, in independence
day, it's landmarks, buildings, cities.
In war of the worlds, there is much more focus on the loss of human life - the closest thing
we get to a landmark is the bayonne bridge -
the horror comes not from mass destruction, but from individuals - we see their faces
as they are zapped out of existence.
We see crowds as they are vaporized en masse.
Roland's extermination is one of symbols - spielbergs, of human life.
The most obvious refutation is the tone, which turns big optimistic 90's bombast into a
low-saturation death march.
Where, as with all of Roland's movies, the fall of civilization brings people together,
in War of the World's the fall of civilization turns people into self-serving animals.
Which becomes a problem with the film in and of itself - we'll get to that.
But at the same time, Independence Day established a lot of generic staples and shorthand, which
War of the Worlds certainly borrows
For instance there's this - shield Long scene introducing the alien crafts - sets
up a tone of awe, very inspired by ID4 Followed by the powering up sounds of the
primary weapon (revving up sound effect) The initial attack scene has no score
The military destroy the tripod in a way reminiscent of independence day - well now we know how
to destroy them, let's ue morse code to tell everyone else
And of course, there is the design of the invaders.
(design of the aliens being near identical to ones in ID)
Sigh.
This is not to imply that the independence day aliens are the most original desing ever.
Again, they're basically just Roswell aliens only a little slimey - in part because it's
implied in Independence Day that the Roswell aliens inspired our pop cultural ideas of
what aliens look like.
But in War of the Worlds, there's no in-universe reason for them to look the way they do.
Only the real world context of coming out after Independence Day, and of Independence
Day setting a standard.
So they look pretty identical, only these guys have mouths.
So they can go blaah
The aliens themselves also show up a little too late in the film to be anything really
unfamiliar-looking.
This is a balancing act in any visual medium when you have a non-human creature--the more
alien they look, the more time the audience has to spend getting used to them, for them
to feel tangible, believable.
District 9 is a good example of this done well - the design of these aliens are relatively
unfamiliar, but the audience is INUNDATED with images of them, so by the time we introduce
Christopher Johnson, the audience has already accepted the idea that these can be characters
we are meant to empathize with.
In War of the Worlds they don't show up until act 3, so they pretty much have to look
like our preconceived idea of alien, but after an hour of the sheer unadulterated awesome
that are the tripods (fucking love those guys(=), they were bound to be disappointing no matter
what they looked like.
I'd personally rather not have seen them, maybe a hand in
the end and that's it.
But we saw em in Independence Day so… guess we better do it here too.
So War of the Worlds already has the problem of existing in the shadow of Independence
Day - now it has to walk the tightrope of that… and also existing in a post-9/11 hellscape.
CAN HE DO IT?
THE ANSWER IS YES!
…. For the first half.
Updated ID4 for a post-9/11 world
In a time as complicated and confusing as the mid-Bush administration years, it's
not as simple as saying the War of the Worlds aliens are really embodiments of terrorism.
Spielberg's intent here is less to say that terrorists are literally invading aliens than
to tap into that sense of helplessness and impotent desire for retaliation americans
felt after 9/11.
"we get back of them!"
There's the misguided impulse to get back at any enemy you don't understand or even
know how to fight.
The rage and terror that something could threaten all the power and security that you never
really had to begin with.
And in terms of sheer imagery there is a LOT in here.
Even the very first shot of the film, we swoop in on the backdrop of the place where the
World Trade Center isn't any more.
Taking it a step further….
Well, this image of Cruise covered in gray dust … is um… loaded.
And this one.
It's Spielberg's ultimate statement on living in an America that no longer feels
secure.
We can't mindlessly enjoy the destruction of a major city or landmark as large movie
crowds gape up in wordless horror, because we had just gone through the same thing in
real life.
But none of these things are the deal breaker.
Obviously mass destruction of cities made their way back into movies eventually, and
a dark tone in a monster movie is a totally valid creative decision.
With War of the Worlds, I think most people agree that it sours in the second half.
People like to complain about the illogic of aliens burying tripods underground or wouldn't
they have known about the common cold, that sort of thing, but if a movie with so much
good in it I can forgive that in the same way I can forgive it in a movie like, well,
Independence day.
No, where War of the Worlds goes wrong is honestly a little simpler than that.
What went wrong
One clear example of the problem with the structure of the story is the inconsistent
theming - in direct contrast to Roland's optimism of disaster bringing humanity together,
here disaster turns humans into animals.
Throughout the film we keep seeing increasing intensity of this thing - Ray must protect
his children from other humans as much as he does the aliens.
Before the end, he must kill another man to protect his daughter.
But the more
Buhhhhht then we work together when the plot needs us to.
Suddenly at the end of the movie, with no change in circumstance, humans aren't barbarous
animals.
Suddenly it's teamwork!
So are humans monsters or aren't they?
So unlike Roland's trademark cast of thousands, War of the Worlds features a cast of… four.
Well, I take that back.
You had two A-listers, one … this kid, and Tim Robbins, whose introduction brings the
film's momentum to a screeching halt to which it never recovers.
So War of the Worlds is about this one guy's relationship to his children and how that
is tested by… apocalyptic alien invasion.
This is relevant because the aliens are, at the emotional core of the film, what tests
the strength of the family unit.
Ray, the inadequate father, is forced for the first time in his life to take responsibility
for his family.
Can he do it?
It's a solid conceit, and for the first half of the film, it executes this question
fairly well… but unfortunately, the screenplay didn't have an answer.
Look at that ending.
And no, I don't mean how the aliens went down.
Although I'm not a stickler for faithful adaptations, that's not the problem - the
resolution for the characters is the problem.
We didn't need humanity to save the day, we just needed a satisfactory arc for these
three characters we spend the entire movie with - and that, and not how the aliens are
defeated, is the core of the narrative.
And… it's kind of a hot mess.
For instance, with Rachel - mom clearly thinks she's incapable, dad says she can get it-
almost like we're setting up a character arc here.
Like Rachel's gonna realize that she could, indeed, get it even though mom and therapists
coddle her to the point of being a complete deer in the he-- nope.
Rachel can't get the bag.
A realistic kid and well rounded character in the first half, she's relegated to little
more than macguffin in act 2 and basically a doe-eye trauma figurine in what resembles
Act 3.
Kind of a problem for the second majorest character in your movie.
And here is the one spot where Independence Day is the superior film - despite having
the trademark roland cast of thousands, all of the character arcs are complete and…
work!
They're silly, don't get me wrong, but they are complete.
Unlike Roland's other movies, which always have one clear protagonist, Independence Day
has three.
Roland managed to give all of them a starting point and a culminating moment.
President Clintmore is faced with a country beginning to doubt his adequacy (i.e, "elected
a warrior and got a wimp") and through a series of trial and error, including the use
of nuclear weapons, whoopsie daisy, he literally gets to become the warrior the country needs.
Captain Hiller aspires to fly the space shuttle, despite political crap, and after a series
of conflicts arguably becomes the most qualified person on the planet to fly the alien shuttle.
And Jeff Goldblum starts with his father and his ex wife berating him for being a lazy
genius, but in the end not only does he rise above his inadequacy, but his genius saves
the world.
There are three separate and distinguishable arcs here, and they are all set up flawlessly
so the audience is very clear about who's accomplishing what based on whose skill set
by the time act 3 rolls around.
Hell, even the randy quaid subplot, which seems genuinely pointless for most of the
film, ends up being one of the most important elements in the movie.
His motivation by way of his kids, why he's drunk all the time, his skill as a pilot,
all of it--we see all of it for a reason, so when it culminates, we're like… oh,
yeah.
Wheeeeeeeeeee!!!
Sure.
War of the Worlds, for all its masterful tension-building, beautiful cinematography, genius sound design
and pretty good first half of a screenplay, does not have the same level of buildup and
payoff as independence day.
So compared to these plots, each cheesy but complete in its own little world, what is
Ray's culminating moment?
He is set up as an inadequate father, a blue collar kinda guy who doesn't know how to
take care of his children and only endures his custody weekends out of obligation.
And when the aliens invade, he is forced into a situation where he MUST care for his children,
all the while said children--a teenage boy on the verge of manhood and a confused neurotic
pre-teen---are actually acting their age.
Ray does not know how to take responsibility for them, but through this situation he is
forced to.
Annnd…. the screenwriters didn't seem to know where to go with that.
And this is where the movie falls apart.
Robbie is constantly wanting to get out and break free and … be a man, but break free
from what?
Ray's not an overbearing father--he doesn't even give Robbie a slap on the wrist when
he steals his car.
"I'll slap my hand at you"
Nor is Robbie is given any motivation to find some kind of greater calling in Act 1.
He doesn't lose anyone or see the initial carnage Ray saw--so this? "we get back at
them" is the idiotic macho blathering of a teenage boy who has no idea what he's
talking about.
Shortly thereafter, Ray lets him drive--which ends up being a mistake as Robbie driving
ultimately loses them the car.
So by the time the movie starts to fall apart, Robbie has shown no maturation.
Then this happens.
Robbie no, Robbie come back, Robbie you're going to ruin the movie.
What do you think you're going to do?
What are you going to be the randy quaid of this movie?
This isn't 1996 anymore, Robbie!
Don't be a hero, Robbie!
So then Robbie is basically out of the movie, and despite idiotically running into a fireball,
don't worry, everyone makes it to grandma's house.
Robbie's fine.
It's not even that Robbie needed to die after leaving his father and sister--it's
that he needed a different story arc altogether.
If they wanted it to be "Ray realizes Robbie's a man", they should have built to that - because
Robbie as writ IS A COMPLETE DIPSHIT.
Every action he takes is immature, spiteful and wrong-headed.
The movie begins with him stealing Ray's car, and he does not mature past that.
He never once earns the trust that Ray deigns to give him, there's never a moment where
Robbie and Ray learn to respect each other as men.
So this? "let me go" it's like… [freeze frame]
….where the hell did this come from?
Let go?
Did Ray need to let go all along?
Is that what Ray needed to do?
Is that what Robbie needed?
Let's draw a comparison to cinema's most famous "you need to let go" moment
When marlin and dory are trapped in a whale and marlin has to make a metaphorical leap
of faith.
"you have to let go"
This is a culminating moment for marlin's character.
Marlin is an overprotective father.
He's overbearing, he's overcompensating, he's neurotic, he's already endured the
horrible loss of his wife, which makes the loss of Nemo his greatest fear, and literally
the worst thing that could happen to him.
So Marlin letting go in the face of uncertainty is a signifier of character growth
Ray on the other hand is the polar opposite of that.
He's a bad father, he makes no room in his life for his children, he is a poor caretaker,
does not care for their health and wellness, and takes no interest in their lives.
So what sense does this make for it to be any kind of culminating moment? it's this
kid trying to break free from a dad who… never really was there for him in the first
place.
And eventually Ray's like… okay.
And more or less gives into his own inadequacy.
You can see the movie trying to push that it's Building Up that this is … robbie
crossing into manhood and ray learning to respect him as a man, but this doesn't work
given how obviously wrong headed his moves to be a man are.
NOPE
So here we trade in Robbie for Tim Robbins and spend the next forty minutes in a basement.
He slides into the role of Robbie in the narrative as the party who wants to fight back, against
the wishes of ray who is just trying to not die, and it is the worst thing.
Only we have no emotional attachment to this guy.
He is crazy and … just showed up.
His character reveals "cruel barbarous truths" about humanity in desperation, I guess, but
this theme gets totally undercut one scene later.
So rather than making it a story about how Robbie and Ray reconcile these two approaches
to, you know, alien invasion, all the while trying to keep the helpless girlchild safe
from the barbarousness of humanity, we got tim robbins
So pretty much no matter what happens after this, it's not going to be satisfying to
the audience as a story, even if it is tense, because the payoff does not work, either logically,
thematically or emotionally, with what was built up.
So this isn't the real problem - it's this.
I'm not saying it would have been better if Robbie never came back- well it would have,
shown Ray that his inadequacy actually has a consequence - but rather that Ray steps
up and is the goddamn dad,
like no, I've always been shitty and inadequate but not this time, you know, in order to survive
we have to stay together, and then maybe later when this happens Robbie plays some integral
role and helps Ray out, and then they all three realize that yeah, they did need each
other something something and father and son develop a sense of something something mutual
respect, you know, SOMETHING that pays off the setup.
And it's not a bad setup.
But it needs to find some sense of organic resolution or your audience is gonna be pissed
that they spent the last two hours with these people.
Which is more or less what happened.
The problem of invasion narratives in general - they're really difficult to resolve in
ways that aren't just transparently… unrealistic.
Especially when a movie like War of the Worlds does such a great job of creating such an
unfathomable horror of an invader like it does in the first act… in the end it creates
an undefeatable enemy.
An enemy we neither can nor want to understand.
And in 2005, that's not what we were here for.
But moreover, especially for American-made films, "revenge" is often a key element,
and helplessness is never good - we want revenge against the invaders, and War of the Worlds
'05 doesn't deliver, it just kind of peters out, as does the narrative about Ray and his
family.
Both the invasion narrative and the character narrative just kind of slops out at the end
like this alien out of a tripod.
But moreover, especially for American-made films, "revenge" is often a key element
- we want revenge against the invaders, and War of the Worlds '05 doesn't deliver,
it just kind of peters out, as does the narrative about Ray and his family.
Both the invasion narrative and the character narrative just kind of slops out at the end
like a dying alien out of a tripod.
American audiences in 2005, jacked up on war on terror propaganda and seeking narratives
that provide a sense of "revenge", were left cold by this film upon release.
In the fourteen years since, feelings have softened on it to the point of a sort of cultural
amnesia of how much people hated it at the time - but a more positive reevaluation is
deserved in my opinion - except, of course, the resolution.
Nowadays, invasion narratives tend to be secondary to the main conflicts, like Avengers, Transformers
or even Man of Steel - the "invasion" only happens in the third act, and ALL of
these involve superpowered beings or giant anthropomorphic robots protecting earth.
Moreover, the villains in these films are not like "locusts", they are not intellects
vast and cool and unsympathetic, they are, in effect, human - their motivations are clear
and completely understandable to the audience.
The more straightforward alien invasion, as seen in Edge of Tomorrow, tend to be commercial
failures - Edge of tomorrow flopped so hard its blu ray release saw a retitle into its
tagline.
It's not that the alien invasion motif is gone - but it's nothing like war of the
worlds or independence day.
Now audiences want a twist, and the ones you do see tend to be low budget suspense thrillers
that have more in common with the horror genre and character studies than action scifi, like
A Quiet Place and 10 Cloverfield Lane.
We are not interested in villains we can't understand anymore - we have culturally stared
down an event that we were unprepared and incapable of adequately resolving, in part
because comprehending it would mean facing our own societal evil.
So an incomprehensible villain - mass audiences just don't want it.
I can think of a number of reasons why that might be
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QUIERO VOLVER (Cover) | Grupo Santa Ley [Video Oficial] - Duration: 3:57.
For more infomation >> QUIERO VOLVER (Cover) | Grupo Santa Ley [Video Oficial] - Duration: 3:57. -------------------------------------------
La Universidad/ University - Duration: 6:10.
Hello friends.
The video that I bring today is dedicated to all the people who is starting college for first time.
I'm not an expert talking about that...
Because
I started few time ago
Nevertheless, I think that it might be important to talk about how the first semester could be.
One of the most important of all.
All semesters are important.
But I think that first semester is the most important due to you get into another world.
Another reality.
New people.
Another surroundings.
Another surroundings.
Let's talk about what university is.
University is a place where your dreams are destroyed.
First day, you go with an expectation
Bye mom, bye dad...
Bye Firulais.
I will make come true my dreams, let's do it!
Then you go...
You get scared.
You get excited.
You look like:
You get into the classroom.
You leave.
You show up at your home.
And you say:
I will never be a president!
In that place your dreams are destroyed.
Because you meet with bad professors.
And nasty classmates.
It's the competition of life.
There are good professors as bad professors that provokes you to tell them:
Dude, if you will come with that attitude you must not come to teach.
They think that to be a professor means that they can have the attitude that they want no matter what.
It's my opinion.
What can I say about classmates? It's a total competition.
But don't worry about it.
It depends on you if you will let others destroy your dreams.
Don't be discouraged...
Because I will talk about things that you should and should not to do...Advices.
To have a good start of career, semester, school year...Studies?
Whatever!
So let's start!
University survival manual.
There's no more the name of "teacher"
You don't arrive and say "hi teacher!"
The way you refer to your superior depends on the career you study.
Engineering.
Engineer.
Any other career.
Professor.
But you should never call them teacher...
Less dad or mom.
It's the nerves.
It happens.
They will tell you that is a piece of cake to aprove...
Your professor will show you his qualification methods.
Don't trust!
It's too perfect to be real!
If you trust, you will be begging note at the end of the semester.
Don't trust anyone to make the homework.
Less at group works.
Sometimes a someone tells you:
Well, you will pass me some exercises and I'll do the same!
At the end you don't receive anything.
And the next day, that dude presents the homework.
And you look like:
I will bring this with me.
You say: "Well, at school I used to get fifteen different classes"
And I approved.
With seven classes I can do it.
Not!
With five classes you can live stressed.
There are no breaks.
If at school you loved free hours...At university you will hate that.
At classes don't stay with people who is the best at classes, because they are the most selfish people but try to stay with people who want to learn and have potential.
If you have to make groups of work, stay with that kind of people who are the best students.
Or with people like you.
There will be professors who will never think that your work is good
They will always criticize you.
They will not give you constructive criticism.
They will give you "constructive criticism"
So nasty.
But you have to know how to handle the professor and the class.
Try to follow their rules
The semester does not matter.
There will always a class that you will hate
No matter if you love your career.
There will always a hated class.
Well, that was the video of today.
I hope you liked it.
Don't forget to press "like"
To comment.
Do you have any expectations?
New students.
Also old students.
How do you feel?
Maybe someone still adapting to that change.
What do you want to know?
If it is your first time watching any of my videos don't forget to subscribe.
Also to share.
You can also follow me on my social medias like:
Twitter.
Instagram.
And Pinterest
Which are in the description here below.
So...
See you...
Next.
Time.
Subscribe!
-------------------------------------------
Andreas Steier (CDU) widerspricht FDP: Der Staat muss nicht machen, er muss Macher fördern - Duration: 7:15.
For more infomation >> Andreas Steier (CDU) widerspricht FDP: Der Staat muss nicht machen, er muss Macher fördern - Duration: 7:15. -------------------------------------------
From Ship to Showroom - Toyota Logistics at the Port of Long Beach Delivers - Duration: 2:32.
At the Port of Long Beach at Pier B,
you'll see a vast field of Toyotas.
Thousands of cars and trucks
that will be hauled to dealerships
all over the southwest.
But what may surprise you is that each one of these vehicles will be
customized right here before leaving the board from installing alloy wheels to
adding bumper protectors roof racks are special alarm systems it's all done here
in one of Toyota logistics production shops the process starts when a ship
first arrives and begins unloading the vehicles from the multi-level parking
lot that is inside the roll-on/roll-off vessel or RORO as its call first
introduced in the 1980s row rows have specially designed ramps that double as
a watertight door when closed divide it into sections once the vessel is
securely anchored the ramp is lowered creating a strong and safe roadway for
the cars to be unloaded the unloading process really starts with what we call
our lasher's it's a small group that actually goes onto the vessel before
larger team gets on and what they do is they are unlatching all the vehicles
from the boat so each vehicle when it's loaded is actually latched on the front
and the rear to make sure that it's no movement during transit once the last
rows go on and if unstrapped all of the vehicles then our unload crew will
actually go on to the vessel and then start discharging all the vehicles my
first time here I was very impressed by the operations it is a choreographed
chaos between the amount of people and vehicle movement within this yard as
those vessels come in and the vehicles are discharged it is a consistent flow
of vehicles throughout the yard this synchronized dance happens every week as
drivers quickly offload on average 3,000 vehicles in less than a day after an
initial inspection is done to make sure the vehicle isn't damaged it will be
taken to one of the various production shops where Toyota team members will
install largely by hand range of options each vehicle will spend
between two to six days on site depending on the work required by adding
these finishing touches here instead of at the factory local dealers and
customers get exactly what they want nearly every Toyota Lexus and Scion
built in Japan and destined for sale in the southwest passes through this
facility and with over 200,000 vehicles customized here each year Toyota
logistics is one busy place
-------------------------------------------
Sounds Our Body Makes 🤷♀️🤷♂️ English Vocabulary with JenniferESL - Duration: 18:08.
Have you ever been part of a large audience?
Have you noticed that even when everyone is trying to be quiet during a speech or a
performance, there's never really silence, right?
Why?
Because people make noises.
We can't always help it. Our body makes noises. And let's face it...
Some noises are more embarrassing than others.
Let's go over some of the sounds our body makes.
We cough when something gets stuck in our throat.
We cough when we're sick. We cough when there's something in the air.
When I was a girl, I was taught that you should cover your mouth whenever you cough.
Later the advice changed. Now we're told that you should use your arm. the crook of your arm.
This leaves your hands free of germs, so you can safely shake hands with others or touch things like doorknobs.
Cough is a verb and a noun. I can't stop coughing.
When you have a cold, you might have a stuffy nose and a bad cough.
Do you know how to get rid of a bad cough?
People also cover their mouths when they sneeze.
We can use achoo to represent the sound of a sneeze.
Sneeze is a verb and a noun.
Cold air makes me sneeze.
This is true.
I have a loud sneeze. I got it from my father.
So what do you do about a loud sneeze?
Well, you can say, "Excuse me" if your sneeze interrupts someone.
But it's actually good manners for those around you to say, Bless you" after you sneeze.
The full expression is "God bless you," but most people just say, "Bless you."
Whether you're religious or not, saying bless you is just a ritual expression.
It's a way of wishing someone good health.
Do you have a loud sneeze?
When you sneeze, do you sneeze only once or do you usually sneeze a few times?
I mentioned a stuffy nose before.
When you have a stuffy nose, it's hard to breathe freely through the nose. And so you might sniff a little
until you find a tissue.
Sniff is a verb and a noun.
If you have a runny nose, you definitely need a tissue.
That's when you need to wipe and blow your nose every two minutes.
It's awful.
If you have a runny nose,
you still sniff.
Lots of sniffs can become sniffling. Sniffle is a verb and a noun.
Sometimes people talk about having the sniffles...when they have a bad cold and their nose is runny.
You might sniffle during a sad movie.
You're trying to hold in your tears. You hold in everything, but you can't help but sniffle a little.
Do you sniffle and cry when you watch a sad movie?
One of the most annoying sounds made with the nose is snoring.
Snores a verb and a noun.
My husband snores.
His snoring disturbs my sleep.
A loud snore can wake me up out of a deep sleep.
Does anyone in your family snore?
There's one more sound we can make with our nose. It's a sound that could either be funny or rude.
Have you ever heard someone snort?
It's a loud kind of breathing through the nose.
We often associate snorting with animals, like pigs.
Some people snort when they laugh. I don't usually snort but let me try.
Sometimes people snort it in a rude way to show that they have a low opinion of something.
Snort can be a verb or a noun.
Besides pigs, what other animals snort?
Let's move back to sounds we make in our throat. What's this?
I'm clearing my throat.
Sometimes we clear our throat because there's something preventing us from talking clearly.
Other times we clear our throat to get someone's attention.
When or where might you signal someone by clearing your throat?
Here's a rather unpleasant sound.
That's a groan.
Groan can be a noun or a verb. A groan expresses frustration,
anger,
displeasure...something negative. It's a deep sound in our throat comes out of our mouth.
In what kind of situation might a child groan?
Okay. Here are two sounds that might be confused.
We might gulp out of fear. Gulping is a loud swallowing motion.
Burping can be loud or soft. It comes from the stomach.
Babies burp after eating.
We might burp after eating a large meal.
Gulp and burp are two more words that can be verbs or nouns.
When you burp you should say, "Excuse me."
Many people try to cover their mouths or keep their mouth closed when they burp to keep it quiet.
But there are other people and there are many children who think that burping is funny.
They think it's hilarious. In fact, they have burping contests.
I've known people who've tried to say the whole alphabet while burping. Can you imagine burping the alphabet?
Do you think burping loudly is funny or disgusting?
Somewhat similar noise is hiccuping, like this.
What do you do if you can't stop hiccuping?
Note that hiccup is both a verb and a noun.
We can also talk about the hiccups.
Having the hiccups. I have the hiccups.
Do you know a good way to get rid of the hiccups?
A list of bodily sounds would not be complete without farting.
This sound can be a source of embarrassment for many people, but again for children it can be quite hilarious.
There are plenty of kids who think it's funny to make fart sounds.
Farting is an everyday word for passing gas. Fart is both a verb and a noun.
In recent years, the expression "brain fart" has gained use in conversation.
If you can't think straight, if you can't recall information easily,
you're having a brain fart.
But don't use this expression in polite company, okay?
Have you ever had a brain fart at a really bad time?
Here are two sounds you should recognize.
Tsk tsk is how we represent this clicking sound.
A tsk tsk sound
expresses that we don't like something, we don't approve of something, or perhaps we feel sorry for someone.
As in...
That's too bad.
This clicking sound is made with our tongue against the roof of our mouth.
In contrast, if we use both of our lips,
we get a smacking sound. Se smack our lips.
We might smack our lips after eating something messy, like chocolate.
When else do people smack their lips? Here's a hint: think of ladies putting on makeup.
Now let's contrast two breathing sounds. First, a gasp.
It's a strong intake of breath.We gasp in surprise.
Second, a sigh.
It's the opposite. It's a long gentle exhale.
Sigh and gasp...again, we have two words that can be verbs or nouns.
I heard a gasp of surprise. I gasped in surprise.
I heard him sigh. He sighed in relief.
When might someone sigh in relief?
There's an action that we do when we're tired,. It produces a sound that could be very quiet or very loud.
What am I doing?
I'm yawning.
They say if you see someone yawn, it's hard not to yawn yourself.
Do you think yawning is contagious?
Yawn can be a verb or a noun.
Please cover your mouth when you yawn.
She let out a big yawn and stretched her arms.
Sometimes our stomach grumbles and the sounds can be quite loud.
If your stomach is grumbling and people around you hear, you can say, "Excuse me."
You can also joke and add something like, "I guess I'm hungry."
Or "I guess my stomach knows it's almost lunchtime."
People make some sounds on purpose. Do you know anyone who likes to crack their knuckles?
The sound of someone cracking their knuckles makes me wince in discomfort, but some people like doing this.
Some people even crack their necks.
Do you crack your knuckles?
Let's end with two fun sounds: hum and whistle. Do you know the difference?
We hum with our lips closed. We usually hum when we're happy or bored.
We whistle with our lips in a tight circle.
Some people can whistle a whole song.
We whistle when we're happy, or we can also whistle to get someone's attention.
Some people know how to whistle through their fingers.
Can you whistle very well? Do you know how to whistle through your fingers?
It's time to wrap up.
If you have a study partner,
you can practice by asking each other my questions. If you're studying alone,
choose three of the questions and post your ideas in the comments.
We'll end here. Please remember to like this video and subscribe. If you know others who are trying to build their
vocabulary skills in English,
please share this video.
As always, thanks for watching and happy studies!
Become a member of my learning community. Click the JOIN button to become a member of my YouTube channel English with Jennifer.
You'll get a special badge, bonus posts,
on-screen credit, and a monthly live stream. Note that YouTube channel memberships are not available in every country at this time.
I'd like to say a very special. Thank you to the current members of my channel.
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-------------------------------------------
Engaging Your Audience - The Power of Empathy - Duration: 9:13.
Hi! What I want to talk to you about today is empathy and we all know that
when we stand up, we want our audience to empathise with us. We want them to engage
with us, be open to hearing and understanding what we have to say or
sing. We want them to be open to engaging with our excitement about our material.
Or if we're acting and being a character we want them to engage and feel the
emotion of the character so that they are truly swept up in our performance
and engaged with it to a higher level. So, empathy is vital for a good performance
and I would say, and people who know me will understand this, empathy is also
vital on another level. It's vital for our ability to truly impact our audience
because it's only when they start to empathise with us that we have them in
the palm of our hands. That's when we're really connecting and engaging their
emotions and we've got them hooked in. Then they can go away feeling like
they've really experienced something impressive and something memorable.
Today I want to talk to you in more depth about empathy and how it can be
our secret weapon. Because not only can it help us engage our audience and hook
them, in it can also help us be freer as performers and have more versatility as
performers because it can help us lower our defenses. We all know the
importance of getting our audience to believe us and trust us and be moved by
what we are saying or singing. It's obvious and there are a whole range and
variety of techniques and methods for helping performers to achieve this. I
would say that the vast majority of all those techniques have one thing in
common. They all require you to commit wholeheartedly to your
performance, to let go of thoughts about who you are and what people might be
thinking about you and how they might be judging you and lean in to the
performance. And to do that, you have to drop your defensiveness,
take off your armor and allow yourself to be vulnerable. Now I have met people
and I've had clients who find it really easy to do that on stage for some reason.
But they find it actually harder to do that in real life. The arena in which
they struggle to be vulnerable is in real life.
And my theory behind this is that when they're inhabiting another character on
stage, it gives them permission to feel those emotions.
It gives them permission to be vulnerable because it's not them that's
being vulnerable, it's their character. So when they're judged it's not them that's
being judged for those vulnerabilities, it's their character and that makes them
feel safe. But in real life they feel like they will be judged for their
weaknesses and vulnerabilities so that makes them feel more defensive. For most
of us though, being on stage actually highlights those vulnerabilities. And we
feel more defensive and more vulnerable on stage than we do in real life.
As I say for most of us it highlights vulnerabilities that we feel in real
life. Although those vulnerabilities are there in real life they're
exacerbated by being on stage in front of an audience. So, what can we do about this?
What can we do about this? What is the solution? For me, empathy is
very much a part of the solution. Whichever side of the coin you are
whether you feel more comfortable on stage or more comfortable in real life.
Wherever you feel less comfortable empathy is the solution and actually
applying it in the other areas of your life where you feel more comfortable
will also work. Why is that? When we feel vulnerable we tend to be defensive
and we tend to cut off and pull back from our audience, from engaging with our audience
Because we're trying to keep ourselves safe from their judgement. So
then we put something up between us and our audience. This is highlighted by
something I'm often asked. I'm often asked where should I look when I'm
performing? The answer is simple. It depends. It depends on the nature of the
performance, the nature of the audience, and the nature of the arena you are
performing in. Why are you there, what are you doing and who are you doing it for?
But the key is to be able to have a choice. Now if you're not looking at your
audience or you're looking at a fixed point on wall or you're looking about their
heads in order to keep yourself safe, if you're doing it as a defense then your
audience will see that. They will see that you are not connecting with them.
You may even be not connecting and looking at them in sheer
terror. They will see that defense and it is
a blockage to them actually empathising with you. It gets in the way.
When we're doing that we're shutting a piece of art selves off and we
actually then start to focus on us and cease to connect with our audience and
commit to our performance. Now it's really obvious why we do this because
looking at an audience can make us feel vulnerable. We fear that it will heighten
our nerves. We fear that it will distract us from what we're
doing and that we'll forget our words and mess up. We'll fear that we'll see
exactly how harshly they're judging us. If you've ever been, I mean I'm an
introvert so, I've struggled all my life with eye contact. And looking
someone dead in the eye can make you feel very vulnerable because it makes you feel
like they can see you warts and all. As someone who has
spent 15 years as a barrister and life coach looking people dead in the eye,
I can tell you there is nothing more powerful in achieving humanising the
person you are looking at than looking them dead in the eye. You start to see
who they really are. You can see their feelings, their thoughts, their dreams,
their hopes and you start to see them as human beings which means they feel less
of a threat. The audience are there for their needs. They're there to listen,
to feel, to think, to learn. But they're there for their needs. Their purpose is not
not to be there to judge you, their purpose is their purpose and has
almost very little to do with who you are. And if they do actually judge you
then again how they judge you says more about who they are and their wants and
needs, than it does say about who you are and what you're doing. And if you look at
them dead in the eye, you can start to see that they are the center of their
world not you. So, empathising with an audience not only helps them listen and
get hooked into what you're doing and to hear and not only just hear but also
feel your message whether you're singing or speaking. It also helps you to
truly see your audience. And it's when you truly see
your audience that you start to see them for who they are. Not a threatening bunch
of judgmental people but just a bunch of humans who are there to listen bringing
their own beliefs, their own hopes, and often their own fears and hangups
with them. They're tied up in their own worlds and when you start to empathise
with them and pull them in, you start to have the power to influence those worlds.
To influence those worlds for the better. Thank you very much for listening.
I'm Hattie Voelcker. Bye-bye!!
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GTA 5 Jump over sea - 2019 - Duration: 11:37.
Please Like & Subscribe
Please Like & Subscribe
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SANTA GRACIA | Grupo Santa Ley [Video Oficial] - Duration: 3:56.
For more infomation >> SANTA GRACIA | Grupo Santa Ley [Video Oficial] - Duration: 3:56. -------------------------------------------
영화 속 망원역은 망원역이 아니다? / 영화 추격자 (2008, 한국) 촬영지 여행 - Duration: 2:26.
This is the place to go to the movie "The Chaser" where Ji Young-min (Ha Jung-woo) came to Mangwon station to meet the assistant.
This place was actually shot not in Mangwon-dong but near Gwangmyeong Sageory Station on subway line 7.
As I found out, I was able to shoot more scenes near Gwangmyeong Sageory Station than I thought.
When Ji Young-min(Ha Jeong-Woo) meets his helper at the beginning of the movie,
Where Uhm Joong Ho(Kim Yoon_Seok) dropped his helper,
The scene where Ji Young-min(Ha Jeong-Woo) gets on the bus after being briefed.
And this is where I filmed some insert scenes in the movie.
Before I visited here, I stopped by Mangwon Station and looked for similar angles, but I was curious about the location of the movie because it was so different from the angle in the movie.
I was looking for a scene from one of the insert cuts, and I started to look around the Gwangmyeongsa Sageory Station
because I was wondering if the road in Mangwon-dong was taken near the Gwangmyeong Sageory Station.
When I went there and saw the spot with the camera, I realized that there were more places to shoot than I thought.
And what was actually filmed in Mangwon-dong was that Mi-jin (Seo Young-hee) waited for Ji Young-min in front of the post office,
but after the movie was released, director Na Hong-jin made an apology to the residents of Mangwon-dong.
Follow the FILM Please subscribe, like, set up notification~
-------------------------------------------
Instagram helping businesses share stories - Weekly Roundup #2 - Duration: 4:28.
LinkedIn Set to Gain More Business to Business Advertising Dollars.
Google Enhances Their Voice Capabilities For Mobile Web Search.
Instagram Is Helping Businesses Make Their Stories Go Further.
Google Text Ads Can Now Show On YouTube.
It's Friday, the 1st of February and welcome to issue #2 of the Cool Promo Video Weekly
Roundup...
Each week we will give you a quick summary of the biggest and most important news that
impacts your business in the fast paced worlds of video marketing, SEO and social media.
Alright, let's get started...
LinkedIn Set to Gain More B2B Advertising Dollars.
LinkedIn is enhancing its advertising platform, making it more attractive to ad buyers who
are using it as an alternative to Facebook and Twitter.
During January, 2019 LinkedIn announced interest targeting, enabling their advertisers to target
users based on their professional interests.
Anyone familiar with Facebook's ad platform will be familiar with their lookalike audiences
and what an excellent tool they are in targeting ideal customers.
According to sources, LinkedIn's version of lookalike audiences is also currently in development,
so watch this space!
A benefit of LinkedIn advertising is that its audience is made up of business-minded
professionals, making it ideal for business-to-business advertising.
So if you're looking to target business people by job title or where they work then LinkedIn
could be an excellent vehicle for any advertising.
Google Enhances Their Voice Capabilities For Mobile Web Search.
Google appears to be working towards conditioning searchers to use voice across all platforms
with some recent changes.
A new microphone icon has been added to Android phones, allowing voice driven searches to
be initiated more easily.
Previously this could only be done using the Android keyboard microphone.
The major difference with the recent change, is that users will hear a spoken response
now with Android mobile web searches, rather than just displaying them on the screen.
This may encourage people to do more searches whilst doing activities with their eyes such
as driving or cooking.
Instagram Helping Businesses Make Their Stories Go Further.
Instagram is rolling out a new feature which enables users to share links to their entire
stories.
The addition of a new "Share Link to Entire Story..." option was spotted last week.
This will assist people in bringing more awareness and engagement to their Instagram Stories.
Business accounts are also able to promote their stories through another menu option
and this will help drive website traffic, increase engagement and increase their Instagram
reach beyond their current followers.
Google Text Ads Can Now Show On You Tube.
In news just in, YouTube has announced that Search text ads can now extend onto YouTube
as well.
This means that your text ads may appear on YouTube search results pages when users search
for keywords relevant to campaigns.
This currently only applies to the mobile search feed on YouTube and for Search text
ad campaigns which include the Search Partners option.
YouTube testing has shown that, on average, text ads in YouTube mobile search results
perform well on a cost-per-conversion basis.
This illustrates that text ads shown, even in a video environment, at the right time
can be good at driving conversions.
OK, so that's what been happening this week in the world of video marketing...
SEO... and social media...
If you haven't subscribed yet, make sure you click the link in the description and subscribe
to the Cool Promo Video Weekly Roundup right now, so that next week you'll get the inside
scoop on the latest developments to keep you and your business on the leading edge of digital
marketing.
Before I go, if you enjoyed this edition of the Cool Promo Video Weekly Roundup, then
please hit the like or share button - we'd really appreciate it!
Thanks and bye for now!
Still watching?
Checkout last week's issue of the Cool Promo Video Weekly Roundup by clicking here.
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