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Tee uus teema Vasta  [ 63 postitust ]  Mine lehele Eelmine  1, 2, 3, 4, 5  Järgmine
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PostitusPostitatud: 18. jaanuar 2005, 19:26 
Eemal
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Ma vaatasin just Blade III : Trinity nimelist filmi.

Filmi algus (siis kui juba Blade`i näitas) tundus Blade IIga nii sarnane, et olin juba meeleheitel: kaks korda saan vale filmi, ühekorra porno ja ühel korral veel kinos filmitud versiooni ja nüüd veab jälle viltu ja sain Blade`i teise osa. Aga õnneks oli ikka kolmas osa.
Vampiirid olid parajad kotid. Ei olnud neil vampiirilikku jõudu ega kiirust, isegi Dracula oli paras naine (feministid - suu kinni). Film oli jõhkralt klišeeline, pealkiri oli suhteliselt lamp ja üldse kuidagi nõrk film. Aktsioonistseenides oli ka liialt matrixilikku aegluupi kasutatud (lainetavad põrandad jms.) Vaadatav, aga nõrk. Soundtrackina kõlas liiga palju hip-hopi kraami, vihast metalli oleks pidanud aktsioonistseenid sisaldama. Samas olid mõned lahedad stseenid ka. Üks oli üsna alguses, kui vaheldusid pildid Kuust, veeloigust, hiirtest jms, siis see kui pilt oli kaheks kuni neljaks jagatud ja kaadrid, kus foon liikus kiiresti.
"I was born ready, motherfucker !" kõlas ilusasti.
4/10


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PostitusPostitatud: 18. jaanuar 2005, 20:57 
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Elendil kirjutab:
Minu arvates Nielsen on geniaalne.


Oooojjaaaaa. Oooojjaaaa! :lol: "Palja Relvaga" filmid on esimesed mitte multifilmid, mille korduvvaatamist ma lapsepõlvest mäletan.

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PostitusPostitatud: 18. jaanuar 2005, 21:04 
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Kusjuures, rahvas, olen näinud '56nda aasta USA ulmekat (50ndad-USA-ulme annab aimu tasemest, aga see selleks) nimega "The Forbidden Planet", kus maskuliinset, kiire laserpüstolikäega lendtaldrikukaptenit kehastas ei keegi muu, kui Leslie isiklikult.

Poleks nime näinud, ega ära poleks tundnud küll. :)


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Kusjuures, rahvas, olen näinud '56nda aasta USA ulmekat (50ndad-USA-ulme annab aimu tasemest, aga see selleks) nimega "The Forbidden Planet", kus maskuliinset, kiire laserpüstolikäega lendtaldrikukaptenit kehastas ei keegi muu, kui Leslie isiklikult.

Poleks nime näinud, ega ära poleks tundnud küll. :)

Võibolla ainult hääle järgi :)

Aga tegemist väga hea filmiga, isegi eriefektid on tasemel (arvestades valmimisaastat).


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Näiteks selline asi nagu Vampire hunter D mõlemad osad on väga toredad.


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River lehvitab kõigile Buffy ja Angeli vaatajatele (Firefly omadele ka).
Ja kehitab nõutuses õlgu kui kuuleb, et inimene leiab need kräpid olevat. Kuidas te kallikesed siis suudate vaadata Mulla all? Miskitpidi on need sarjad väga sarnased - see mis on peal on ilupaber, see mis on sees on komm. Sööte te ainult pabereid?
btw. Buffy sari on olnud aluseks mitmele magisri ja doktori tööle, samuti on Buffy mitmes ülikoolis õppematerjaliks (samal moel nagu vana hea William).Kui sari oleks ikka kräpp siis ....
--------
Pealkiri topikul oli Vampiiri filmid. Oli mul üks hää link aga...juba seal olnud tekst kadund laia netiavarusse ( ise ma nii asjalikku juttu kokku panna ei oska). Teen siis ühe koleda asja- ei küsi luba aga trükin (copyn) teile natuke sellest jutust. Kel huvi saatke teade ja ma läkitan teile kõik 23lk.
***
The Vampire in Modern American Media 1975-2000

The vampire is one of the oldest, most resilient archetypes in modern media. It has existed in a variety of forms in nearly every culture around the world. Historically, vampire lore has reflected the values and social structures of the culture it has existed in. In the twentieth century, the United States became the focal point of the vampire genre. As the archetype became integrated into American culture, modern vampire media changed. Several cultural elements were responsible for these alterations. The American people’s relationship with religion and spirituality were important elements of the changes. Also, the American fascination with a variety of scientific theories in the fields of evolutionary, medical and psychological science, were other forces that shaped vampire media in the modern era. Modern concepts of gender and sexuality also contributed to the dynamic alteration that occurred within vampire media in the last twenty-five years.

Contents :

 Preface
 Introduction
 Chapter 1: Secularization in American Culture
 Chapter 2: American Fascination with Psychoanalysis and Self-Help
 Chapter 3: American Gender and Sexual Politics
 Chapter 4: A Look to the Future
 Sexuality & Gender
 Urbanization & Internet

Preface

Over the course of several years, I have developed an interest in the dynamic relationship that exists between art and culture. The topic is of particular interest to me because I believe that American culture often destroys the creative talents of the individual at an early age. Creativity is an integral part of human identity. As we are encouraged to draw or paint or write the right way, we lose part of our creative selves. In some cases, the need for perfection becomes so pronounced that individuals become incapable of creating anything.

Through my studies of the fields of fine art, the humanities and the social sciences, I have endeavored to develop a better understanding of the way that humanity and art shape one another. My search has taken many forms. In the early years, I took classes in anthropology, women’s literature, psychology, American history and creative writing. Though none of these courses were specifically designed with my particular interest in mind, I found ways to explore my fascination with the subject. In some classes, such as the anthropology course, I studied the bond between art and spirituality, while in others I focused on other concepts like gender and politics.

My associate degree thesis was written on the topic of Dissociative Identity Disorder, which is more popularly known as Multiple Personality Disorder. In the context of my thesis, I explored the cultural forces that were responsible for the surge in the diagnosis of D.I.D. since 1970. A portion of my argument consisted of an exploration of literature and film devoted to this topic.

During the summer that spanned between my graduation from community college and my attendance at Vermont College, I began exploring the artistic community on the internet. I developed close connections with artists in several genres. In response, I became an active participant in the online artistic community. As a result, this sphere of my life became a strong influence on my studies in the New College program.

In my first few semesters at New College, I focused on several broad art-related topics like the relationship between art and pornography. I also struggled to develop my personal relationship with art through painting, photography and digital artwork. These studies helped to strengthen my interest in the dynamics of art and culture, which had only been peripheral elements of my studies to this point.
In the year prior to beginning this thesis, I conducted a study that explored the cultural implications of deaf art and deaf artists. The information that I gathered throughout that study had a significant impact on me. I came to realize that the power of the performance artist in deaf culture is absolute. They are the chief source of identity for the outside world. Every action that a deaf artist performs becomes attached to every other deaf person. If they speak, people expect all deaf people to be able to speak. If they Sign, people expect all deaf people to Sign.

My study of deaf culture led me to look for another, even more dynamic example of the power of art in the lives of human beings. After becoming part of the internet community, I had stumbled into the sub-genre of vampire media. The topic fascinated me on many levels. I enjoyed the supernatural and romantic elements, but also found the spiritual and scientific facets to be fascinating as well.

As my interest in the topic developed, I became aware that belief in vampires stretched through thousands of years of human history. This, I decided, was the chance I was waiting for. The study of an artistic genre that had existed for so long and in so many different cultures had to be the capstone of my undergraduate work.

Over the last year, I have conducted two studies of vampire media. The first focused on the vampire as an historical entity, with a primary focus on vampire lore from Romania. Within the confines of this study, I explored the way that political upheaval, lack of knowledge of scientific principles, and cultural attitudes about gender and religion combined in the Romanian culture to create perhaps the most well-known body of vampire lore in modern times.

The research that I conducted over the course of that study helped me to realize that my final thesis needed to consist of an exploration of the role of the vampire in modern American media. The modern vampire genre has become a strong element of mainstream media in the last few decades. As this has happened, many new artists, myself included, have flocked to the genre. It is my hope that this thesis reflects the full scope of this exciting, perpetually changing artistic world. Though it is often dismissed as trivial, vampire media is an important, dynamic part of modern media that deserves more respect than it currently receives.

"Every age embraces the vampire it needs."
— Nina Auerbach Our Vampires, Ourselves

"Horror is . . . the state of mind induced by one’s confrontation with a violation of cultural categories"
— Philip L. Simpson Psycho Paths

Introduction

Belief in vampires has existed since the beginning of human history, often appearing in many different cultures concurrently. Each culture’s conception of the vampire has been unique. For example, one type of Indian vampire feeds on the livers of its victims, while a form of Japanese vampire subsists by consuming infants (Bunson, p. 138). As many other legendary creatures faded into obscurity, the vampire managed to retain its grasp on the human psyche. Vampires allow us to explore darker, mostly hidden aspects of ourselves. In the words of Anne Rice’s vampire Lestat, if [the vampire] wields any lovely power upon the minds of men, it is only because the human imagination is a secret place of primitive memories and unconfessed desires. The mind of each man is a Savage Garden . . . in which all manner of creatures rise and fall, and anthems are sung and things imagined that must finally be condemned and disavowed. (Vampire Lestat, p. 465)

It is because of their resilient, elemental nature that vampires demand to be explored. By sifting through the ebb and flow of the genre, we begin to see the scope and form of the impact that changes in human cultures have on art. In addition, we also become aware of the manner in which art has gently nudged humanity over the course of thousands of years.

Recent decades have witnessed dramatic alterations in the concept of the vampire. However, this is not a unique development. Vampire lore has always been remarkably adaptable, which has allowed the concept of the vampire to survive times of war, plague and religious crusade. Moreover, it has often been in these darkest moments that the human connection to vampires has thrived the most. Perhaps this is because, as Margaret L. Carter contends, "superstition is a symbolic activity, in which individuals of the same group mark one another as different" (Gordon & Hollinger, p. 27). The superstitious parameter of humanity’s conception of the vampire meshes well with the most disturbing elements of these chaotic events. As the human race endeavors to brand others as deviant, it continues the eternal lives of the vampires themselves.

For the majority of their history, the role that vampires have played has been remarkably consistent across cultures. Frequently, the vampire served as a means to explain people and situations that did not comply with social expectations. In Romania, for example, women who resisted performing traditional duties, such as caring for the family or tending crops, were thought to be living vampires (Klingman, p. 21). Likewise, vampires were also blamed for the spread of the plague throughout Europe. When greeted with disturbing, unexplainable phenomena, it was easier to blame events on vampires than to live with the unknown.

For thousands of years, vampires were believed to be real. This began to change in the nineteenth century. The first acknowledged piece of vampire literature was published in 1819 (Heldreth & Pharr, p. 9). The Vampyre was particularly significant because it marked a change the way that the vampire acted as a social commentary. Instead of focusing on an individual’s transgressions, the vampire was now used to explore elements of larger social environments.

As the majority of early nineteenth-century vampire literature was written by English authors, it explored English class and family structures. The earliest literary vampires were intimate friends or acquaintances who threatened "the sanctioned distance of class relationships and the hallowed authority of husbands and fathers" (Auerbach, p. 6). Characters like Polidori’s Lord Ruthven and Le Fanu’s Carmilla symbolized the tension between classes. According to scholar Valdine Clemens, this behavior corresponds with the "perceived weakening of the [English] social fabric" that was occurring during the period (Clemens, p. 5). These vampires had a tremendous impact on society not because they were real, but because they offered a frightening glimpse of the reality of cultural instability.

As the nineteenth century progressed, the alarm caused by this type of uncertainty seemed to become less of a social concern. Scholars hypothesize that this readjustment occurred because Gothic literary themes have a tendency to weaken over time (Clemens, p. 6). As the consumer becomes more aware of and accustomed to the fearful experience, it is no longer as frightening. In the face of these alterations, the vampire changed once more. Bram Stoker’s novel, Dracula, mirrored the adjustments taking place in the collective minds of the English at the turn of the twentieth century. Instead of appearing in the visage of a family friend, Dracula exemplified the threat of the unknown (Halberstam, p. 4). Some scholars believe that this return to a more traditional approach to the vampire archetype occurred in response to the "acceleration" of the fields of science and technology that were occurring at the end of the century (Clemens, p. 153).

Dracula left a lasting impression that typified the genre for several decades, even surviving numerous changes that occurred during the first half of the twentieth century. With the advent and overwhelming popularity of American motion pictures, the point of origin of vampire media shifted. Countries like Romania and the United Kingdom were no longer the strongest source of interest in the vampire. In the twentieth century, the United States became the vampire capital of the world.

Bram Stoker’s creature survived the transfer to the United States quite well. While many screen villains fell victim to American cinematic trends, Dracula managed to stand the test of time (Auerbach, p. 112). One scholar contends that this is because Dracula "[represents] the American fixation on youth" (Wolf, p. 3). This is probably partially the case; however, it is far more likely that the character’s adaptability is the reason why it has survived in America for so long.

Bela Lugosi’s interpretation of Dracula in the 1931 film of the same name represented the first time that the fear of the "notably foreign" was applied to an American adaptation of this piece (Auerbach, p. 112). The decision to cast Lugosi as the central character of the tale was vital. His speech, mannerisms and dress all identified the Count as a profoundly alien entity. In some ways, these features were as effective in making Lugosi appear like a creature from another species as Max Schreck’s elongated fingers and rodent-like teeth did in Murnau’s Nosferatu of 1922 (Auerbach, p. 113).

Later adaptations featured versions of Dracula that met the cultural needs and expectations of the time. For example, the 1992 rendition of Stoker’s classic novel reflected the "Hollywoodization" of many films of the period. In this tale, Dracula becomes a misunderstood, tortured romantic figure. The novel is entangled with an historically inaccurate interpretation of the life of the Romanian political figure Vlad Dracula. In the confines of this film, Dracula spends his time hunting for the reincarnated form of his long dead wife. He does so with a mindless intensity, heedless of the destruction that he leaves in his wake. However, the audience forgives him because they deem his quest worthy. This Dracula becomes the Hollywood version of the romantic model of the vampire that permeated much of the modern era. It is not a mindless killing machine. Instead the vampire is a fractured, emotionally fragile creature who is all too easily destroyed.

....
***
jne. kokku 23 lk. Kui soovi on võin ka siin KÕIK üles panna...asi on päris ilusti kirjutatud.

r.

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mitte et ma siin buffyt maha tahaksin teha, m vaatan ise ka buffyt, aga see et sarja uuritakse ei tähenda kohe ju et see hea on. ta on popkultuuri osa ja ilmselt sellest lähtuvalt seda ka uuritakse

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larpige parem suppi


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Underworld [2003]

Küllaltki sisuvaba film.. ei mäleta, et ta meile kinodesse oleks jõudnud. Süžee oli võetud küllaltki suvalisi teoseid tsiteerides (alates Matrixi slowmo-st kuni horroristi tavateadmiste hulka käiva hõbekuulini välja). Huvitav kust 'lycan' pärineb? Tuletus Luciuse nimest?

Visuaalselt haarav teos igaljuhul, kuid arumaeivõi - miks peab nii meeletult tulistama tühja? Ma saan aru küll, et kuule on ülearu palju, kuid kui juba lasta, siis võibolla pisut efektiivsemate sihtmärkide pihta kui seda on seinad. Kohati leidus tegelasi, kellel meeldis automaadist lasta ainult tagumisest käepidemest kinni hoida... See ei tundunud just eriti lastefilm, et a-rühma paukpadruneid oleks pidanud kasutama. Eriti kui lõpus ühel tegelasel pea pooleks lõigatakse ning siis näitatakse, kuidas nägu veritsedes koos ajuga lõua koha pealt alla libiseb..

Taolisi mõttetuid detailivigu oli veelgi - Selene lööb ukse lahti hooga ja see jääb nagu võluväel tagasi põrkamata.. Huvitav kas nad kasutasid nööri või hoidis keegi ukse taga kinni, et see ei lendaks tibile vastu vahtimist selle suure poosetamise peale.

Hästi šeffid hüpped, 10.korruselt nii nagu teiselt trepiastmelt.
Ja no tore, et Matrixi pärandit kasutatakse pisut pildi nauditavuse tõstmiseks.
Ning kostüümid meeldisid.
Päris tervitatav nähe - ainult üks kesine suudlus filmi kohta.

IMDB ütleb, et sel aastal peaks valmima järg Underworld: Evolutioni all. Peaosades jälle Kate Beckinsale ja Scott Speedman. Esimene on peaosas eelkõige seetõttu, et ta kaasa jälle lavastab (Len Wiseman .. filmiilmas tundmatu nimi).

Kogu supi kirjutasid kokku Kevin Grevioux, Len Wiseman & Danny McBride. Kusjuures esimene oli filmis ka too suur liba Raze ning viimane keegi Mason. Teagi, mida selle kohta arvata..

Aga no vähemalt ei olnud tegu jälle ühe van helsingiga..


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Underworld oli minu arvates täitsa vaadatav - eriti kui võrrelda seda mõnede teiste hiljutiste fantaasiakategooriasse kuuluvate üllitistega (ntx. Dzentelemenide Liiga). Visuaalselt väga hästi tehtud kah.
Huvitav point minu meelest on see libade ja vampiiride vaheline võitlus - veidral kombel kohtasin selget vihjet samale teemale Läti mütoloogias, kus väidetavalt võitlevad libad vampiiride vastu inimeste poolel ning kogu asi kulmineerub iga aasta jaanipäeva paiku ja on mingil moel seotud viljaõnnega. Kriipi :)

Tantilion> 1922 ´Norferatu´ täitsa olemas, jagan meeleldi :)
Mortimer> Lycanite nimetus on ilmselt pärit ladinakeelsest sõnast lycaon, mis ka hunti tähistab. Täpsemalt siis inimhunti ehk liba - siit ka lükantroopia.

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Viimati muudetud: Runya; 18. märts 2005, 14:21, muudetud 1 kord.

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Njah. Liigaga ärge siin midagi võrrelge. Eriti libahuntide filme. Seda osa, mis on meile ära tilkund, natuke piilusin. Asi tundub kole jookse-jookse-hüppa-tulista ja uuesti kõik see jada.

Liiga on palju humoorikam kui see üppamine tundus. Ja pealegi, ärge võtke sõna Liiga halbuse kohta, pole vaja. Ma ei viitsi peapesu teha, aga siis ma teen ;)

PS. hunt - ldn.«lupus».

Mõiste «lükantroopia» on oopis vana-kreeka müüdist pärit. See lugu, kus kuningas Lykaon pakkus Zeusile inimliha söögiks, ja mõtles, et on irmus kaval. Zeus aga sai tigedaks ja karistas kuningat hundiks muutmisega. Sellest siis see termin: lükantroopia. Inimesest hundiks muutumine.

PPS. lugege rohkem vanu müüte, siis jäävad ka sarnased eksimused ära.

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River kirjutab:
River lehvitab kõigile Buffy ja Angeli vaatajatele (Firefly omadele ka).
Ja kehitab nõutuses õlgu kui kuuleb, et inimene leiab need kräpid olevat. Kuidas te kallikesed siis suudate vaadata Mulla all? Miskitpidi on need sarjad väga sarnased - see mis on peal on ilupaber, see mis on sees on komm. Sööte te ainult pabereid?
btw. Buffy sari on olnud aluseks mitmele magisri ja doktori tööle, samuti on Buffy mitmes ülikoolis õppematerjaliks (samal moel nagu vana hea William).Kui sari oleks ikka kräpp siis ....


Täiesti nii ja naa. On mõned osad ja seigad, mida ma kaifin, kuid on ka osasid, mis on labased või ideevaesed... Huumorist ei saa sageli aru...ei, ma pole nii tõsine või naljavaene inimene üldsegi mitte. Mõlemad sarjad võiksid olla pisut sürrimad. Milleks pendeldada tobedate naljade ja horrori vahel?
Pärlid prahihunnikus. Mitte küll suures, kuid siiski prahihunnikus.

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Ride across the sky, thunder roll and lightning fly
Gone is the summer
What will keep us warm in the winter
Tales of those who died, sword in hand in times gone by
HAIL TO THE HAMMER


Marduloc Dragonknight, Läänemere Isandad


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PS. hunt - ldn.«lupus».

Mõiste «lükantroopia» on oopis vana-kreeka müüdist pärit. See lugu, kus kuningas Lykaon pakkus Zeusile inimliha söögiks, ja mõtles, et on irmus kaval. Zeus aga sai tigedaks ja karistas kuningat hundiks muutmisega. Sellest siis see termin: lükantroopia. Inimesest hundiks muutumine.

PPS. lugege rohkem vanu müüte, siis jäävad ka sarnased eksimused ära.


Njahh, nagu ma ütlesin, tähistabki ´lycaon´ ladina tekstides huntinimest ja selle allikaks on tõepoolest ülalmainitud legend.

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Underworld on täitsa tasemel võrreldes Angeli või Buffiga. Dragula filmid on natuke igavad ja ettearvatavad filmid. Lõpp kulmineerub alati teiba südamesse löömisega. :lol:

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Sigma kirjutab:
Théodred kirjutab:
Kusjuures, rahvas, olen näinud '56nda aasta USA ulmekat (50ndad-USA-ulme annab aimu tasemest, aga see selleks) nimega "The Forbidden Planet", kus maskuliinset, kiire laserpüstolikäega lendtaldrikukaptenit kehastas ei keegi muu, kui Leslie isiklikult.

Poleks nime näinud, ega ära poleks tundnud küll. :)

Võibolla ainult hääle järgi :)

Aga tegemist väga hea filmiga, isegi eriefektid on tasemel (arvestades valmimisaastat).


Mul on see muideks CD-l olemas... minu jaoks oligi see kõrghetk, kus ma Leslie N.-i ära tundsin... st. suht alguses.

Ajaloolisest huvist maksab seda filmi vaadata, sest sealpool lompi on see miski väike klassika. Mulle eriti ei meeldinud. Samas on muidugi jõrm idee, et teha Shakespeare järgi raju SF film!!!

http://www.imdb.com/title/tt0049223/

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Alles saad millegagi tegelema hakata, kui juba mõni pajatab sulle niisugust lora, et käed langevad iseenesest rüppe.
-- Sever Gansovski «Vincent van Gogh»


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PostitusPostitatud: 17. märts 2005, 18:20 
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Liitunud: 29. märts 2004, 10:03
Postitused: 578
Asukoht: Rohan, Aldburgi varemed Valgete mägede jalamil.
Nah, järgmine laub'a näidatasse jälle sedasamust toredat vilmi, millega see teema siin algas... Ja mina muidugi viitsin kell üksteist* akata vahtima... Ei, oh ei, rohirrimite esiemal on siis juba ammu uneaeg... ;)
Ilmas ei ole õiglust...

*Kell üksteist öösel, eks ole...

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I wish I was a punkrocker with flowers in my hair;
in '77 and '69 revolution was in the air.
I was born too late into a world that doesn't care...
Oh, I wish I was a punkrocker with flowers in my hair!


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