#in a way and with a urgent fragility I feel is rare in the genre and with the tropes at play. and bunter

[vaguely-concerned]

bunter keeping peter from being swallowed up by an evil bog with the kind of hysterical strength otherwise only known by mothers deadlifting cars to save their tender babes is something that can actually be so personal

[gigsoupmusic]

Albums of the Year: Big Thief 'U.F.O.F.'

For the avid music consumer, December is a time of reflection, revisit, and meticulous listing. The third of these is the trickiest beast, what with there being too many factors to consider and too few hours in the short winter days to be able to give the exercise. Continuing in vain… a band inextricable from this year’s “Best of” debate are Brooklynites Big Thief. Led by inimitable frontwoman Adrianne Lenker, the quartet were responsible for two of the year’s highlights: May’s U.F.O.F. and October’s Two Hands. The pair are the results of separate recording sessions in Washington’s Bear Creek Studios and Texas’ Sonic Ranch last summer. During the writing process, the band quickly realised they had two albums’ worth of material – in an interview with Stereogum, Lenker elucidated how they “didn’t just want to make a double album, because we felt it was too dense, especially for these particular songs. We just wanted each to have its own focus, and so pretty early on, we knew that we were going to make two records, and we knew that we wanted them to be very contrasting.” The stunt, if it’s not too reductive to call this one, is becoming increasingly rare unless you’re King Gizzard & the Lizard Wizard. Ariana Grande managed it within twelve months but not over the same calendar year; Foals cut Everything Not Saved Will Be Lost in half, releasing parts one and two this March and October, respectively; Norwegian pop singer Aurora did something similar spread over 2018 and 2019. And of course, The Beatles put out Help! and Rubber Soul in one year and Sgt. Pepper’s and Magical Mystery Tour in another; Dylan gave us both Bringing It All Back Home and Highway 61 Revisited in 1965; and Bowie Low and Heroes in ‘77. The trend has been historically popular, but if we isolate today then it’s not so common. So the fact of boasting two releases of 40+ minutes and 10+ tracks is impressive in itself. When they’re both this good, those responsible are clearly worth our attention. The same Stereogum piece described Two Hands as the “body” to U.F.O.F.’s “spirit”, and there is indeed an (inescapable) sense of space and the ethereal to the latter. It’s present from opener ‘Contact.’ Lenker and co. do feel beamed in from another planet; it can only be appropriate for this piece to begin by establishing a point of contact. The track is driven by a slow build of acoustic plucks before the introduction of an altogether wilder electric guitar at 2:55. The ferocity seems to have paved the way for Two Hands lead single ‘Not’, a six-minute landmine reminiscent of the title track from Masterpiece (2016). Following ‘Contact’ is the album in question’s title track. It’s glorious – delicate but slippery, beautiful but mystical. There’s a case for comparing the whole album to Radiohead’s In Rainbows, but it’s this track that gives the analogy most conviction. The album’s standout ‘Cattails’ comes next. It’s so fragile it could break, yet vulnerable by design. There’s clarity as it glides through verses and choruses, permitting their continuous bleed into one another. “But you don’t need to know why when you cry / You don’t need to know why / You don’t need to know why when you cry”, Lenker laments. The thing’s unfiltered, devastating, unforgettable. Both sonically and lyrically, the album’s tone rarely wavers or becomes inflammatory. With a similar precarity, ‘From’ bewails the constant inability to externalise pain: “No one can be my man, be my man No one can be my woman, be my woman.” Community can’t even provide a solution, the ghostly backing vocals retreating almost as soon as introduced (for the second iteration of the above refrain). The album’s at its most fun on ‘Orange’, a gleefully raw, stripped folk cut. If you’re new to Lenker’s singing, or it still needs your unqualified validation at this point, then the track defies any dispute over whether she’s in her own league. There’s further evidence plastered all over her solo material. ‘Century’, meanwhile, echoes Nick Drake and is built with a similar kind of purist allure. ‘Betsy’ supplies the evidence that Lenker’s vocals are as versatile as they are good. Sounding like a different singer, the new register is more akin to Matt Berninger’s baritone than how she’s sounded for the past 2.5 Big Thief albums. Penultimate track ‘Jenni’ is equally responsible for new territory. Somewhat departing from the alt-rock and folk thus far, it resembles something closer to noise rock – think a darker ‘Darklands’, or a ‘Just Like Honey’ with more gravity. It’s intense and visceral, but any debris is cleared with album closer ‘Magic Dealer.’ Such palette cleansing is vital, ensuring that the piece goes full circle, returning to the otherworldly, inquisitive state it begun in. “I am the photograph in you / The photograph in you / Still as the moment we’re lying in right now” Lenker concludes, departing as the track devolves into seventy seconds of whirring instrumentals, fading as the spaceship disappears back into the sky it came from. For a return to earth and the “body”, turn the page and experience Two Hands: the antithetically crowded, no less broken twin sister. Big Thief have exploded onto the scene, stealing 2019 in the process. They’re carving out their own niche within a genre that is hardly short on contemporaries. Yet it’s precisely their singularity that promises longevity – they’re leaner than The National or Bon Iver, meaner than Arcade Fire or Broken Social Scene, more urgent than Vampire Weekend. Such comparative exercises are a testament to how truly astonishing Big Thief are. Like many, all year I’ve been kicking myself for not discovering them sooner.

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[angrycollectordaze-me-blog]

Essay代写：Ecological ethics in film

下面为大家整理一篇优秀的essay代写范文- Ecological ethics in film，供大家参考学习，这篇论文讨论了电影中的生态伦理。电影在改善地球的生态环境上具有其他方式无法比拟的优势。在反映生态伦理意义的电影中，以灾难片最多，利用电影手段表现灾难能够让现场观看的观众身临其境地感受灾难。地球的生态灾难在电影中被表现得淋漓尽致，也让观众无一不低头凝思我们所生存的地球的未来，这即是电影的生态伦理功能所在。

The study of ecology and ethics combined to form ecological ethics. The combination is very surprising. Because ecological ethics based on ecology is an empirical subject that describes the summative, rather than a normative subject of philosophical speculation. It emphasizes the collection and analysis of facts and data rather than the conclusion and subjective research methods. It places ecology at the center of all things, not humans, and insists that nature trumps culture. On the other hand, ethics belongs to the category of traditional western philosophy. Its basic terms and concepts are based on the differences between culture and nature, human beings and other animals. The main issues explored in ethics include: human consciousness and conscience, free will, human right to self-determination, moral sense to distinguish good and evil, human spirit, intelligence, psychological and physical value, etc. Therefore, ethics is generally regarded as a theory centered on reason and humanity, which is opposed by modern ecology.

However, seemingly unrelated ecology and ethics share common and common development trend: both of them attach great importance to the relationship between articles and life. This connection appears planarization due to the existence of generics and semiotics under postmodernism. Both involve discussions of values, not just facts. That is to view the existing state of things with a critical attitude. At the same time, we should not only focus on the thing itself, but go beyond its external form and consider other possible relationships. Although the perspectives of the two studies are totally different, the relationship between nature and culture, that is, the relationship between natural science and humanistic science, has special significance for both of them. Both consider regional and global events to be interconnected, so that all events, regardless of their scope, are cross-cultural and cross-border. The common points and development trends of ecology and ethics have promoted the dialogue between them and laid a foundation for their integration.

Ecological ethics flourished in the early 1970s. Ecological ethics is applied ethics based on ecology and ecological philosophy as axiology. The basic problem of ecological ethics is the relationship between man and nature. It regards the world as an organic unity, that is, "human-society-nature" composite ecosystem, and is the subject of ecological morality which studies the relationship between man and nature. This discipline requires human beings to extend moral care from society to non-human but real objects or natural environment, and calls on human beings to establish the relationship between human and nature as a moral relationship. Ecological ethics advocates that human beings should give up the traditional values of calculation, exploitation and exploitation of nature, and instead pursue the values of sustainable development that live in harmony and progress with nature. The main schools of ecological ethics are anthropocentrism, biocentrism and ecocentrism. The core view of anthropocentrism is that all people are the center, and all people consider problems from the interests of human beings. Biocentrism holds that human beings have a direct moral and educational obligation to all life in the world, and all life should be the object of human moral education and care. Ecocentrism emphasizes that the ecological system and ecological process constituted by the organism and its environment are all objects of moral concern for human beings. Regardless of any genre, they hold humans responsible for the exploitation and utilization of natural resources, not only for humans on the planet now, but for future generations to come. It is the duty of human beings to cherish every existing natural resource, every kind of running wild life, protect the ecological environment, and pass on a clean and healthy earth and a healthy ecological environment to future generations.

In the early 21st century, an important trend of discipline research is that the boundaries between disciplines are no longer clear, and accordingly, the study of the relationship between films and other disciplines becomes hot. Because the film is not an isolated existence, no matter the film creation, development process and so on all has the indivisible connection with the human other domain. Therefore, the interdisciplinary study of film is of great significance. Therefore, when ecology and ethics merge into each other, their theories radiate into various disciplines, including the field of film studies, and the study of ecological ethics of film also rises and develops vigorously.

As a kind of mass media born from the development of high technology, the film integrates the real life of the people and the aesthetic taste of art through a series of modern scientific and technological means. In the promotion of ecological ethics and morality, compared with other modes of publicity have a unique advantage. First, look from the film to the spread of content, content of the film's transmission includes all aspects of social life, is not only related to the political and economic, science and technology, education, culture, arts, military, health security, sports fitness and so on, also has news, educational and entertaining, in the form of artistic quality, service and so on are very popular among the masses, and replace these forms can be adjusted freely; Secondly, from the perspective of the communication mode of the film, the communication system of the film mainly combines the moving image with the voice directly in the ear, making the audience feel deeply as if they saw and heard it from the scene. This communication mode has unique advantages in the theory of communication. Again, the movie can be described as way of mass media on real significance, because it is like the spread of word-of-mouth some similar, it to the receiver without any demand too high education degree, as long as it is able to understand the picture and understand language is film service object, as for personal comprehension ability is another matter, because people understand, after all, in changing, or lower or higher. In this sense, it can be said that the film makes the art a Shared resource of some classes and objects.

The above main communication advantages of the film also make it particularly excellent in the practical sense of expressing the ecological ethical significance.

Among the films reflecting ecological ethics, disaster films are the most popular. Disaster films refer to the films focusing on various disasters. In disaster films, some are about urgent tasks and some are about to face disasters, so the theme of warning of various disasters caused by global climate change is the most typical.

In these films, the destruction that the earth will face due to the destruction of the ecological environment is presented in the special way of the film, which is thought-provoking. In "the day after tomorrow", with global warming and abnormal atmospheric circulation, life is as fragile as ants under the feet of giants. In the film, "the great adventure of the annihilation of earth", due to human's massive misuse of energy, the earth warmed, and the greenhouse effect caused by the chain reaction triggered the global rare hurricane outbreak, turning the whole earth into a hell on earth. Some might say that the disaster shown in the film is just a form of artistic grandstanding. Is that right? Reality always gives us the most powerful answer. Around the early hours of May 11, 1934, an unprecedented black storm erupted in the western prairie region of the United States. Tens of thousands of Americans have been displaced by the storm. On December 4, 1952, the fog in the British capital continued for a week, during which more than 4,700 people died of respiratory diseases.

USES the means of film performance disaster can let audiences watch ground of feelings of disaster, the audience by watching movies make the imagination of the world and anxious, this alert and prevention will let the audience in real practice, into the reality of the corresponding action, in order to prevent environment was destroyed because of the occurrence of extreme weather anomaly to make preparations. It can be said that with the interweaving of light and shadow and the overlapping of sound and image, the ecological disaster of the earth is presented incisively and vividly in the film, and it also makes the audience constantly ponder over the future of the earth we live on. This is where the film's ecological ethics function lies.

What exactly does the earth's ecological disaster mean? I think the answer we can get from the book, from your words of environmental experts, from the surrounding environment of our lives to feel, but I think most people the answer to this question is in the movie, maybe some people say that the technique of expression in the movie has a little exaggerated, but about the survival of the human fate, the real life of human nature which revenge is not a cruel? Rows and rows of houses that have been submerged by mudslides, Bridges that have collapsed in the great flood, mutilated bodies in the earthquake, faces covered with tears? The film does not exaggerate, natural disasters are always relentless and terrible, and human power is so insignificant. Everyone who has watched the disaster movie knows that sooner or later we will see the revenge of nature. We are in the midst of an acute environmental crisis. If we do not regulate human behavior and the direction of social development correctly, then human beings may die from the environment. If we are to survive, we have to deal with a series of relationships with nature. Ecological ethics gives us the answer. Human beings should abandon the traditional values of calculation, exploitation and exploitation of nature, and pursue the values of sustainable development with common prosperity and coordinated progress with nature. It can be said that the film has sounded the alarm of survival for the mankind with constant progress of material life. I don't know how many people can really realize the importance of the surrounding environment we live in from the film. In the face of the increasingly severe climate disaster, I believe that "as long as we are willing to do it, we can certainly do better in maintaining ecological security".

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