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Anne Rice, Gay Vampires and the Mistreatment of Claudia in Interview with the Vampire

This was my senior thesis so enjoy.

Intro

Anne Rice’s debut novel Interview with the Vampire (1976) was not well received at the time of its publishing. One reviewer for the New York Times, Leo Braudy, even went so far as to say “there is no story here, only a series of sometimes effective but always essentially static tableaus out of Roger Corman films, and some self‐conscious soliloquizing out of Spiderman comics, all wrapped in a ballooning, pompous language” (Braudy 1976). However, it is now widely considered to be one of the best-selling novels of all time, having been made into a film 12 years after its release and maintaining enough popularity to be turned into a television series in 2022, some 46 years later. While not well received by critics, audiences loved it then and still love it now. Interview is the first novel to allow the vampire to tell their own story; along with the erotic overtones of the novel is what captured the attention of audiences around the world and what kept their attention. Currently, on GoodReads.com the novel has an overall 4.01-star rating with one reviewer writing “Dark and enthralling. This book asks readers to reflect on the constitutions of love and loneliness” while another comments on the writing style, “Anne Rice really makes you feel the depth of emotion that The Vampire goes through.” Both reviews are from 2023. Not only is Interview still relevant because of its content but the impact it’s had on the vampire genre as a whole. It’s opened the door to allowing vampires to not only tell their own stories but to allow them to feel deeply.

Throughout the novel, there is a heavy overtone of erotic desire, often homoerotic desire, mostly between the main character Louis and his vampire father/husband Lestat but also with his later lover Armand. There are also instances of erotic desire with other characters as well; desire is often associated with the act of feeding. Many see the overall desire within the book as being gay, which is one of the reasons its popularity has persisted. While Anne Rice would later write openly gay vampires, this was not the time for that; instead, we are given subtle hints and overtones. After a conversation with Rice, Katherine Ramsland her biographer would write that “The new vampire is brought over into a dramatically changed existence with a gender-free perspective” (Ramsland 148), which confirms the homoerotic overtones within the book. Rice also claims to have attempted to write her vampires as androgynous and without male or female distinctions or as Ramsland said ‘gender-free’. The reality is that Rice has placed Louis and Lestat in traditional gender roles as parents while also feminizing their vampire daughter/lover Claudia. Claudia is also read as feminist through the way she is treated by those around her, in particular their failure to fully acknowledge her as a woman, not a child.

What the people say past and present

Vampires have always been seen as metaphors for various things from the hidden sexuality or desires of the author to a critique of society's values. As William Hughes, a Professor at the University of Macau, put it in his contribution to the book A Companion to American Gothic (2013), “The vampire, an enduring consensus suggests, is the perfect vehicle with which to express the myriad and conflicting cultural implications of human sexual activity and identity” (Hughes 340); vampire lit makes for a good space to explore sexual activity and identity. This idea can be further narrowed but adding gender into the equation. As Melissa Ames says in her chapter of the book Bitten by Twilight (2010), “The fact that the same gender critiques appear in both Dracula and in more contemporary texts suggests that the vampire narrative is a productive space to tease out problems of gender and sexuality, but that it is not a space that necessarily resolves such issues since they recycle decade after decade and text after text in similar fictional constructs”(Ames 44-45); seeing gender critiques within vampire literature has always been common and will continue to be. This idea was echoed in 2016 in the book Women and the Gothic, specifically by contributor Gina Wisker who points out that “female vampires destabilise such comfortable, culturally inflected investments and complacencies and reveal them as aspects of constructed gender identity resulting from social and cultural hierarchies” (Wisker 150), taking the idea of vampire literature critiquing gender a step further by focusing on the role of the female vampire.

Interview with the Vampire has been no exception to analysis or critiques of the portrayal of gender and sexuality within vampire literature. Many cite how Rice shows gender roles in the relationship between Louis and Lestat but most importantly they turn to Claudia and her mistreatment. Many see the way she is treated by those around her, including her vampire fathers, as placing her in a traditional female gender role, often through their lack of acknowledging that she is a woman trapped in a child’s body. Nina Auerbach notes in her book Our Vampires, Ourselves (1996) that Rice’s vampires are compulsive storytellers but Claudia never gets to tell her own story; only men tell her story (Auerbach 154-55). This is a starting point for the way many read Claudia as being placed in a gender role. Auerbach also points out how “Claudia is an adult male construction, a stunted woman who has no identity apart from the obsessions of the fatherly lovers who made her” (Auerbach 158), something that in 2013 Hughes similarly pointed out stating that “Louis’s narration, and his coda,[he] silently deflects the agency from her to him.” (Hughes 345). Claudia is placed in a gender role has persisted through time. The relationship between Louis and Lestat is no exception to a critique or analysis of gender within the novel. Most notably their gender roles are seen in the way they parent Claudia, but these roles can also be seen within their relationship and the way Rice has characterised them. Ken Gelder points out in his book Reading the Vampire (1994), stating that “Rice emphasises the differences between these two male vampires, with Louis as delicate and sensitive (i.e. feminised) and Lestat as aggressive and impetuous (i.e. masculinised)” (Gelder 112). Rice shows gender roles throughout the relationship between Louis and Lestat often feminising one and masculinising the other.

Pre-child Love

In order to establish a foundation of gender roles within the novel you must first look at the relationship between Louis and Lestat before they created/birthed Claudia. In particular, you must look at how their relationship can be seen as queer or as having homoerotic overtones. Iulia Pintilie¹ points out in her article for the Journal of Romanian Literary Studies that “a passionate tension between the male vampires is clearly suggested in the writing” (Pintilie 642), something that can be seen throughout the novel but most notably early in their relationship. When we first meet Lestat in the novel it is at Louis’s bedside where he thinks him a possible doctor or angel. We, like Louis, quickly learn that Lestat is not normal or human, he is some kind of creature. One that wants Louis to be like him so that he may take control of Louis's plantation (16).

Louis gives their relationship a homoerotic overtone when he, in response to being asked to describe his turning, tells the reporter “I can’t tell you exactly, any more than I could tell you exactly what is the experience of sex if you have never had it” (15); comparing the loss of virginity to his turning implying a sexual overtone. Their relationship and the turning itself are given further erotic overtones when Louis says “I remember that the movement of his lips raised the hair all over my body, sent a shock of sensation through my body that was not unlike the pleasure of passion” (19); again equating sex and being turned. After his turning Louis spends time staring at things like the buttons on Lestats coat or the trees and cobblestones, here Lestat breaks the erotic tone created in the turning scene. Lestats sends Louis to relieve his body of waste and upon Louis's return, he finds him already working on the plantation papers–cementing the idea that Lestat only wants him for his money. This is an aspect of their relationship that Pintilie describes as resembling “an eighteen-century aristocratic union in which the two husbands increase their family fortunes through their marriage” (Pintilie 647), though at this moment it's not yet a marriage.

In the five years that make up their relationship–some sixty pages of the novel–before Claudia’s birth/turning, Louis struggles to come to terms with what Lestat has made him. Louis often refers to how violent and unfeeling Lesast could be, noting early in their relationship how Lestat could go from one emotion to the opposite. Louis notes in Lestat's treatment of his father that “he’d been gracious to the old man, almost to the point of sickening, but now he became a bully” (23); Lestat goes quickly from one emotion to another. Louis also notes how easily Lestat is set off when he says that in response to Louis wishing to sleep alone, “he became furious” (34) before Lestat sets off in a small tirade over why they should be bunking together. Lestat’s repeated instances of enjoying violence or being unfeeling are what give him his masculised gender role whereas Louis is often repulsed by violence and feels deeply thus femisising him. Louis even notes Lestats lack of emotions when after describing his own deep feelings about being a vampire he tells the reporter “Lestat felt the opposite. Or he felt nothing” (31). Driving home the idea that Lestat is different from Louis.

In the five years prior to Claudia joining them, Louis experiences many things with Lestat from his own turning to learning to kill but never embracing it to his home being burned to the ground. Throughout it all Lestat remains a violent, emotionally unpredictable manipulator in Louis’s life, not unlike one would see in an abusive intimate partner. Louis even tells the reporter that “I had to stay with him” (35), going on to explain that Lestat was keeping information from him about his vampire existence as a way to force him into staying. Something Lestat continues to do even after turning Claudia. Eventually, towards the end of their five years, Louis finally decides he must leave Lestat when they flee to New Orleans city proper after an incident at the Freniere plantation. Louis tells the reporter “I have to leave him or die” (71), this decision comes only hours before he meets Claudia for the first time and days before they would turn her.

Post-child Love

When Rice chooses to have Louis and Lestat become fathers, she also makes them husbands cementing their “marriage” when they turn Claudia. While Lestat is the one to complete Claudia’s turning by feeding her his blood, Louis participates by having been the one to drain her thus making them both her vampire fathers. Louis is at first a reluctant ‘mother.’ He did not want to turn Claudia but Lestat forces him into it, using her as a way to trap Louis into staying with him. Candace Benefiel explains this scene best telling readers in her article for the Journal of Popular Culture² that “The whole scene reads like a couple having a child in an attempt to make a failing relationship once more viable” (Benefiel 267). In this case, it’s Lestat attempting to keep the relationship viable, he explains to Claudia after her turning that “ ‘Louis was going to leave us,’ (...) ‘He was going to go away. But now he’s not. Because he wants to stay and take care of you and make you happy.’ (...) ‘You’re not going, are you, Louis?’ ” (94). At this moment he is also revealing the truth of her turning to Louis as well. This plan of Lestat’s works, Louis tells the reporter that “Afraid of fleeing alone, I would not conceive of risking it with Claudia. She was a child. She needed care” (97), cementing his need to stay with the ‘family.’ As if Louis was a mother staying with an abuser to protect a child.

In making them parents Rice masculinizes Lestat–he is only ever the ‘father’ and feminizes Louis–he is called ‘father’ but acts as a ‘mother.’ Lestat takes on a more traditional masculine father role when Louis tells us that he “was loving to her, proud of her beauty, anxious to teach her that we must kill to live and that we ourselves could not die” (97). He is excited to teach her to kill, to be aggressive–traits that can be seen as more masculine. Louis takes on a more feminine or motherly role in that he is the one to educate her on things like “mortal creations”, poetry, music, and books (100), teaching her softer life skills that are seen as more feminine. While Louis’s dedication and attachment to Claudia can be viewed as ‘motherly instinct,’ you could also argue that it is simply parental the way he wants to protect her and keep her close throughout the novel, though it’s the juxtaposition of Lestat's masculine traits that give Louis’s a more ‘motherly’ feel. Louis even tells the reporter “At first, I thought only of protecting her from Lestat. I gathered her into my coffin every morning and would not let her out of my sight with him if possible. This was what Lestat wanted, and he gave little suggestions that he might do her harm” (97), implying Louis is a ‘mother’ protecting their child from an abusive ‘father’–Lestat. The three spend some sixty-five years living together as a family before tensions arise. Before their family comes apart, Louis continues to try to keep himself isolated from Lestat, now having Claudia join him when she is not off-killing with Lestat. Louis explains to the reporter that “there was no quarreling. We kept to ourselves (...) Claudia and I pursued our natural tastes and Lestat went about his lavish acquisitions” (104).

When tensions between Claudia and Lestat begin to rise so do tensions with Louis and Lestat. Lestat is frustrated with Claudia ignoring him or as Louis tells the reporter “she grew cold to Lestat” (105). This leads to Lestat lashing out at Louis after Louis attempts to stop him from lashing out at Claudia and later to another argument. An argument where Louis cements seeing himself as Claudia’s mother telling the reporter “ ‘What’s the matter with her!’ he [Lestat] flared at me, as though I’d given birth to her and must know” (105). It’s in the issues or tensions that we can once again see the relationship between Louis and Lestat as abusive. Particularly with Louis as the victim and Lestat as the abuser; this is one of the main ways that Rice has applied gender roles to their relationship. She makes the relationship reminiscent of a heterosexual one by making Louis the ‘mother’ figure to Claudia. This is shown subtly when after Claudia tells Louis they must leave Lestat they begin to plan their escape (118-119). Louis explains to the reporter that before now he’d “grown accustomed to him, as if he were a condition of life itself” (118). Louis had grown complacent in the relationship content to keep himself and Claudia from Lestat but never leaving. Louis goes on to explain that while he planned to buy their freedom (119) he “did not believe it would be possible to escape him [Lestat]” (119); reminiscent of the emotions a victim planning their own escape may feel.

Louis’s ‘motherly’ instinct is seen again towards the end of the novel when the Theater Des Vampires come to collect Louis, Claudia, and Madeliene for trial. Louis tells the reporter that “the instinct to protect Madeleine and Claudia was overpowering” (294), he also attempts to bargain with Lestat for her life saying to him “ ‘You let her go, you free her…and I will…I’ll return to you’ ”(296). In both of these cases, Louis is attempting to protect Claudia the way a mother or parent would. In the second instance, Louis even attempts to stand up to Lestat as a means to protect Claudia or at the very least justify her actions against him by telling the others “how you treated us, that we didn’t know the laws, that she didn’t know of other vampires’ (296); he is attempting to get Lestat to own to his part in Claudia’s attempting to kill him, to admit to abusing his power over them.

Claudia as treated by her ‘fathers’

It’s not until Claudia has lived with Louis and Lestat for over sixty-five years that Loius begins to acknowledge that she is in fact not a child but a woman trapped in the body of a child remarking to Lestat that “She’s not a child any longer,[...] I don’t know what it is she’s a woman” (105). Louis only begins to realize this after she has been ignoring Lestat, resenting him for being her “father.” Both men realize that she is grown again only after she begins to question her origins and subsequently wants to leave Lestat to free them from him saying to Louis “And we’ve been his puppets, you and I; [...]. Now’s time to end it, Louis. Now’s time to leave him”(118). Claudia tells Louis that she will kill Lestat to free them of him. Not because she believes it’s the only way to free them but because she wants to, she repeatedly tells Louis “ ‘I can kill him. (...) I want to kill him. I will enjoy it!’ ” and “ ‘I want him dead and will have him dead. I shall enjoy it’ ” (124). They proceed to argue over if Lestat even can be killed and after she comments she may inherit Lestats power after killing him, Louis becomes angry. He tells the reporter “ ‘I was enraged now. I rose suddenly and turned away from her’ ” (124) but he quickly reverts back to seeing her as childlike in her innocence, seeing her wanting to be free of Lestat like a child throwing a tantrum and making idle threats. It's not until she attempts to kill Lestat that he again sees her as a woman though it is at the expense of also being repulsed by her. After Claudia kills Lestat, Louis tells the reporter “I turned away from her. I was unable to look at her (...) I would not look at her (...) I couldn’t stand the sight of her” (139-140). Though once Claudia shows distress at Louis's reaction he reverts back to treating her like a child rocking her as she cries in his arms.

Lestat never sees Claudia as a woman or an adult; to him, she is simply a means to keep Louis with him, and as a toy or as Lestat calls her a “doll” for him and Louis to play with. Lorna Jowett points this out in her article “ ‘Mute and Beautiful’: The Representation of the female vampire in Anne Rice’s Interview with the Vampire”, telling readers that “In neither case is Claudia of importance for herself; rather she is simply an object to be used in the struggle/relationship between two male vampires” (Jowett 56). Lestat eventually comes to see Claudia as a child, his and Louis, but by the end of the novel he sees her as the enemy and never does he view her as a woman.

Throughout the novel both Louis and Lesta refer to Claudia as a doll; Louis often refers to her by material things as well. After first presenting the idea of turning Claudia Lestat even tells Louis to “think of all the pretty dresses we could buy for her” (75). Louis even goes as far as explaining that after her turning Lestat hired dress and shoemakers to outfit Claudia; that he “played with her as if she were a magnificent doll, and I played with her as if she were a magnificent doll (99). Both men also treat her like a doll up until she begins to ask questions often dressing her and doing her hair. Katherine Ramsland notes in the book The Vampire Companion⁴ that “Lestat and Louis treat Claudia like a doll, despite the fact that her mind matures into that of an intelligent, assertive, and seductive woman” (Ramsland 69); even after her maturing they continue to treat her as a doll. Louis further feminizes Claudia by placing emphasis on more material items like her clothes and hair. Gabriella Jonsson says this well when in her article for the Journal of the Fantastic in the Arts³ she claims “Claudia’s “feminity” is expressed only through clothes and hair, making her gender identity fluid, easily disruptible” (42). Louis often refers to Claudia's dresses, hair ribbons, or even her blonde hair as a way to not only give her physical description but to emphasize her femininity and adolescence. As we know from Louis she is often dressed in colorful puffed sleeves, hair ribbons, and slippers like you might see a doll wearing. Even in her death, Claudia is defined by material things, Louis knows she is dead after seeing not only Lestat holding her yellow dress and her golden hair.

Claudia as perceived by others

Other vampires aside from Louis and Lestat tend to overlook Claudia, something Louis notes when telling the story of his and Caludia’s first night with the Theater Vampires, stating to the interviewer “Knowing what I also knew and what they [the female vampires] seemed unable to grasp: that a woman’s mind as sharp and distinct as their own lived within that small body” (243).The other female vampires Estelle and Celeste– the only two to get named– take an interest in Claudia’s beauty, having her flaunt her looks the first night they meet. Though they quickly reveal their true feelings towards Claudia, Estelle tells her in front of the other vampires that “black was the color for a vampire’s clothes, that Claudia’s lovely pastel dress was beautiful but tasteless” (244) causing everyone to laugh at her. Louis also notes that Celeste appears to not like Claudia early on when in response to a question she asks he claims “her [Celeste’s] eyes reflected a certain contained hostility” (244) only further cementing the notion that these two vampires do not like Claudia. The other vampires like Santiago see her as neither child nor vampire. To them, she is simply a toy, something they can play with to soothe their boredom and allows them to indulge in their cruel nature. They do not see her as an equal which could be because she appears as a child but they feel the same lack of intellectual interest in Louis, who is only saved from being their target by Armand's interest in him. Armand overlooks her simply because he has no interest; he is more concerned with getting Louis to leave Paris with him, to become his companion. Ultimately Armand has no personal feelings about Claudia only seeing her as an obstacle to getting Louis, something Claudia is aware of. She tells Louis after their first meeting with him, “Do you know what he said….that I should die'' (249), explaining to Louis after that “He would have you, and he would not have me stand in the way” (250). Armand notes to Louis that it was cruel of them to turn Claudia seeing as she will never be a full woman, that is a woman who has reached physical maturity, telling Louis that if he were in a position that required him to turn his human child-blood-slave he would not, “because he is too young, his limbs not strong enough, his mortal cup barely tasted”(252). It would be a disservice to turn him, a “flaw” as he calls it. He notes the problem with turning a child, the disservice that her creators did in making her, saying to Louis “And then there is this mysterious child: a child who can never grow, never be self-sufficient” (252), telling him that most other vampires wouldn’t turn anyone who could not be self-sufficient. Having this vampire child with him is part of the reason the other vampires have taken an interest in them, it's quite unusual. Also, Louis and Claudia are not unfeeling vampires (he still holds onto his humanity), making them stand out in a way that makes them easy targets for a group like the Theatre Vampires.

Alternatively, Madeleine only sees Claudia one way, as an immortal child. As we know Madeleine is grieving the loss of her own daughter so that's what she sees in Claudia. When Louis is asking Madeliene if she will care for Claudia he also asks “Is that what you believe her to be, a doll?” (267), though she responds with “ ‘A child who can’t die! That’s what she is,’ ” (267). This interaction tells us that while Madeliene may not see Claudia in the same doll-like way Louis and Lestat once do she still does not recognize her for what she is–a grown woman trapped in the body of a child. After her turning Madeliene becomes obsessed with Claudia, making her clothes and furniture that are proportionate to her size. Beyond Madeliene's grief-induced obsession with Claudia being an immortal child that she must provide for, we know nothing else of their relationship or Madeliene’s perception of her.

Claudia on her situation

Claudia is not ignorant of her position within her family and in the world, understanding that she will always appear as a child so no one will treat her as a woman, a point of great frustration and struggle for her. Before her demise in the novel, she has come to terms with her situation and has chosen a new caregiver for herself so that Louis may be free. Though she must beg him to do so. Louis only concedes after speaking with Madeliene–an adult–emphasizing that Louis does not see Claudia as an equal (adult). It's in the turning of Madeliene that we can see Claudia as other or less womanly in the eyes of men; it brings Louis great pain to turn Madeline causing him to see Claudia as absurd or monstrous. She must ask Louis to do this because while she is a vampire she can never turn another, that is create children, due to her size. Lestat points this out, stating “You don’t have the power. Either of you” (Rice 132) after Claudia makes a comment about the three of them filling the world with vampires. She must beg Louis to do it for her, once again emphasizing her child and womanly-like helplessness, telling Louis in response to his hesitance at turning Madeliene “ ‘Because I cannot do it.’ Her voice was painfully calm, all the emotion under the hard, measured tone. “I haven’t the size, I haven’t the strength! You saw to that when you made me! Do it!’ ” (260). It's in this instance, of Claudia begging Louis to turn Madeliene, that we can see her awareness and frustration with her situation. She tells Louis that had he waited “six more mortal years, seven, eight…I might have had that shape! … I might have known what it was to walk at your side.” (261-62). This is also where we can see her acceptance of her situation as she explains to Louis that he must “Give her [Madeliene] to me so she can care for me, complete the guise I must have to live! And he can have you then! I am fighting for my life!” (265). She points out how she will not survive this world alone; she must be forever tied to another. We can also see her anger in having been immortally bound to a child's body when she calls Louis a “monster” and in her killing of Lestat after discovering he was the one to turn her. This anger can be seen in how his initial “murder” is not one of passion but is intricately planned with Claudia poisoning him to make him an easier target though his later “murder” is one of self-defense seeing as Claudia is attempting to protect herself and Louis from Lestat’s attack that final night in New Orleans.

The other women

Women are not often seen–that is given speaking roles or even names– in the novel. There are a few like Babbette Freniere–a human that Loius and Lestat knew before Claudia’s creation, Celeste & Estelle–the only other female vampires noted in the novel, Madeliene the doll maker turned vampire, and of course, our main female figure Claudia the vampire child created in an attempt to save her ‘father’ relationship.

Babette takes up little space in the novel only being initially significant because of Lestat’s interest in killing her brother and Louis's concern for their family plantation. Before Louis and Lestat must flee to the Feniere plantation for aid Babette is only mentioned when Louis advises her to keep the plantation after her brother's death. Louis shows his respect for Babette not only in advising her to keep the plantation but before then when he describes her to the reporter as “not only as smart as her brother, but far wiser” (43). We see the downfall of Babette when after Louis and Lestat go to her for aid, she attacks Louis attempting to kill him because she believes him to be “from the devil” (65). The last time Babette is mentioned is when Lestat mentions that now some sixty-five years later the Freniere plantation is meant to be haunted. This causes Louis to remember Babette, he tells the reporter that she “died young, insane, (...) insisting she had seen the devil” (130); an insanity caused by discovering that Louis is not human. Babette is also used in the novel as a tool to further Louis’s self-loathing. She acts as a symbol of him holding onto his humanity and what was left of his human life. She even validates his thoughts that he is from the devil when she tells him such and calls him a “monster.” Overall we only know Babette as the human Louis saw his humanity in, a human who descends into madness.

In contrast, there are the two notable female vampires Celeste & Estelle who are often characterized as what you could call ‘mean girls.’ They are initially introduced as part of the Theater des Vampires, women who at first seem to take to Claudia fondling her and having her turn about for them (243). Louis is quick to note that Celeste's eyes “reflected a certain contained hostility” (244) and that Estelle is condescending to Claudia when she points out that “black was the color for the vampire’s clothes, that Claudia’s lovely pastel dress was beautiful but tasteless” (244) causing everyone to laugh at her. We also know from Armand that Celeste is jealous of Claudia, he notes “She is jealous of the child’s beauty” (254); another reason they can be characterized as ‘mean girls.’ Overall they can both be viewed as catty ‘mean girls’ who are jealous of Claudia and only wish to play games with both her and Louis. In the end, they are killed, in fact, no female vampire survives the novel.

Madeleine is the last woman in the novel to be named. Not only does Madeliene die by the end she is only in forty-five pages of it. While she is used only as someone to replace Louis as Claudia’s caretaker we do get to see the beginnings of her descent into madness. When we first meet Madeleine it is after Claudia has brought her home to have Louis turn her; her only significance is in replacing Louis. We quickly learn though that while Claudia intends to have her as a guardian, Madeleine only wishes to relieve the guilt of having lost her own daughter by replacing her with an immortal one; Madeleine notes this to Louis “A child who can’t die! That’s what she is” (267). Her madness starts quickly after her turning when Louis notes that she burned her dead child's belongings and that he “had to lead her away from men and women she could no longer drain dry” (273). He even outright calls her mad when talking about those few nights before her death. Louis also notes that Madeleine had become “accustomed to dreaming; and that she would not cry out for reality, rather would fee reality to her dreams, a demon elf feeding her spinning wheel with the reeds of the world so she might make her own weblike universe” (273); he gives his explanation for what was happening to Madeleine. In the end, Madeliene is only remembered by Louis not only for her madness but for her cries as the Theater Vampires took them away.

Conclusion

The claim that Anne Rice has made of writing vampires as being without male or female distinctions or as being “gender-free” (Ramsland 148) is disproved through a close reading of Interview with the Vampire. The main characters within the novel Louis, Lestat, and Claudia present to readers the gender roles which Rice claims to have not made. Through the relationship that Louis and Lestat share–both pre and post-Claudia–you can see how she has made Lestat masculine in a way that gives Louis a femininity. Through Claudia and her mistreatment Rice once again shows that she has given her vampires' gender distinctions. One can also see Rice’s gender distinctions in her treatment of women in the novel as a whole but it is most notable in Claudia. Claudia the immortal woman-child whose story is only told by a male vampire in relation to a male vampire.

End notes

¹ “GENDER CONVENTIONS: HOMOSEXUAL EROTICISM AND FAMILY LIAISONS IN ANNE RICE AND NEIL JORDAN’S INTERVIEW WITH THE VAMPIRE.”

² “Blood Relations: The Gothic Perversion of the Nuclear Family in Anne Rice's Interview with the Vampire.”

³ “The Second Vampire: ‘Filles Fatales’ in J. Sheridan Le Fanu’s ‘Carmilla’ and Anne Rice’s ‘Interview with the Vampire.’”

⁴ The Vampire Companion: The Official Guide to Anne Rice's "The Vampire Chronicles"

Works Cited

Auerbach, Nina. Our Vampires, Ourselves. University of Chicago Press, 1996.

Benefiel, Candace R. “Blood Relations: The Gothic Perversion of the Nuclear Family in Anne Rice's Interview with the Vampire.” The Journal of Popular Culture, vol. 38, no. 2, 2004, pp. 261–273.

Braudy, Leo. “Queer Monsters.” The New York Times, 2 May 1976. NYTimes.com, https://www.nytimes.com/1976/05/02/archives/queer-monsters-interview-with-the-vampire-vampire.html.

Click, Melissa A., and Melissa Ames. “Twilight Follows Tradition: Analyzing ‘Biting’ Critiques of Vampire Narratives for Their Portrayals of Gender and Sexuality.” Bitten by Twilight Youth Culture, Media, & the Vampire Franchise, Lang, New York, NY, 2010, pp. 37–53.

Gelder, Kenneth. “Vampires in the (Old) New World: Anne Rice's Vampire Chronicles.” Reading the Vampire, Routledge, London, 1994, pp. 108–123.

Interview with the Vampire (The Vampire Chronicles, #1). https://www.goodreads.com/book/show/43763.Interview_with_the_Vampire. Accessed 3 Apr. 2023.

Jönsson, Gabriella. “The Second Vampire: ‘Filles Fatales’ in J. Sheridan Le Fanu’s ‘Carmilla’ and Anne Rice’s ‘Interview with the Vampire.’” Journal of the Fantastic in the Arts, vol. 17, no. 1 (65), 2006, pp. 33–48.

Jowett, Lorna. "Mute and Beautiful": The Representation of the Female in Anne Rice's Interview with the Vampire." Femspec, vol. 4, no. 1, 2002, pp. 59

Pintilie, Iulia-Mădălina. “GENDER CONVENTIONS: HOMOSEXUAL EROTICISM AND FAMILY LIAISONS IN ANNE RICE AND NEIL JORDAN’S INTERVIEW WITH THE VAMPIRE.” Journal of Romanian Literary Studies, no. 07, 2015, pp. 642–53.

Ramsland, Katherine. Prism of the Night: A Biography of Anne Rice. Penguin, 1994.

Ramsland, Katherine. The Vampire Companion: The Official Guide to Anne Rice's "The Vampire Chronicles". Ballantine Books, 1995.

Rice, Anne. Interview with the Vampire. Ballantine Books, 1976.

Wisker, Gina. “Female Vampirism.” Women and the Gothic, edited by Avril Horner and Sue Zlosnik, Edinburgh University Press, 2016, pp. 150–66. JSTOR, https://www.jstor.org/stable/10.3366/j.ctt1bgzdfx.14.

A Companion to American Gothic, edited by Charles L. Crow, John Wiley & Sons, Incorporated, 2013. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/stedwards/detail.action?docID=1388810

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florasletter · 7 months

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i am gonna rant, tomorrow is the oscars, i need to say something ive been wanting to say for a while

any fucking filmmaker that makes drama/comedy (taika, gunn, greta, etc) movies would make barbie, its easy marketing, hoards of money, its a low risk investiment since its a popular, PG 13 movie, colorfull, appealing for everyone, has all the IP to make money, WB is thirsty for good press and is swimming on money, they will give its full support, its a story everyone knows for 60 years of a ficctional character or a doll the whole world knows. i like barbie it was a good movie. greta did a wonderful job for what was giver her. period.

now tell me

a book about a historical controversial figure, boring ass talks abt nuclear war, ww2, communism and cold war, phsysics stuff, relased in 2006 and won a pulitzer prize.

no director dared to make a movie abt it. very high risk, why?

the pandemic and its inflation and new habits of consumption post super hero (very saturated) cinema era in an era quick shitty streaming movies bc they dont need theatrical release, little effort, just pump movies out, no control wheater is good or not no one (as many would think) would want a 3 hour movie, with heavy dialogue (bc it needs it to tell the story properly) with many black and white scenes, Rated R, nudity and s3xual representation scenes about this historical controversial figure. tiktok and reels era, most people are obssessed with a 30 seconds videos in their hands, keeping a very bad habit of zero attention span and quick serotonin, unable to enjoy the development of a full story that is longer than 30 without a pop music playing on the background can't go around marketing the movie like its super fun and colorfull for the entire family ahah cool, lets make it a competition like ahaha BARBIEMHEIMER ahah so fun lol why dont they get into it too? it would help their marketing bc lol who wanna watcha 3 hour R rated movie abt a physicist lmao get real!!! No buddy, you wanna scrutinize what happened the people of japan? this guy was scrutinized by its own country after everything he was asked to do? no, you cant market it like that, its harder, but thankfully the ppl making the movie ARE THE MARKETING. also the ppl saying "who cares abt nuclear war lmao, it wont happen" guess who just did a speech abt it the other day abt using them?? i am not gonna say his name yall know who it is. now invest 100mi on a movie like this. didnt see all the others directors around rushing to make a movie abt oppenheimer like chris did, he thought it was very interesting and passionate abt it, he had a vision for it, to contextualize yall: he has been wanting to make something biographical for years (will we ever see his howard hugues movie? thanks martin for doing it first??? will chris ever recover from this? poor bby). and ffs this movie didnt even use that much computer VFX, so much amazing pratical effects it didnt even an oscar nom for it, any other director could have done with the computer technology from 10 years ago. buddy literally asked for black and white imax films, no one did this before. buddy dark knight came out 16 years ago, the first movie shot in imax, back then there was 4 or 3 cameras in the world and this idiot i love even managed to break one of them during the shooting (see the behind the scenes of dark knight its amazing and hilarious). what other filmmaker is going this far for a biography? they could have made this movie but

they didnt make it. period.

i am not here to say that this is better than every other movie, oppenheimer should be forever praised (it is not in my sincere opinion chris' best movie, neither my fav of his) but this is for the ppl whining abt barbie and putting oppenheimer against it.

the reels i saw the other day "greta could make oppeneimer, but nolan couldnt make barbie" HONEY... WHAT DO I DO WITH THIS INFO? IS THIS SUPPOSED TO ME HER LOOK GOOD ? you are not helping her at all... if she can make oppenheimer why didnt she make it before? is it bc it would be hard to pitch? it wouldnt be easy to make money from it or get funded? it would just be another oscar winning box office flop? bc lets be real, many amazing oscar movies i love, they were commercial flops, and its ok, BUT YOU SEE IT RIGHT?

marvels endgame was a huge commercial movie and a great box office, no one here is screaming the russos to get noms

"ah its a groundbreaking movie bc of feminism"

honey please there's more groundbreaking movies better than barbie, are you fucking kidding me. this is the stuff that makes me ashamed of saying i am a feminist.

also who cares abt margot, isnt it abt to be feminism or is it white feminism ? i wanna see support for lilly gladstone who did and insane work in KOTFM than emma stone in PT.

i am biased, i am his fan afterall, i have no hate for the others, but i am a realist. chris has been making movies for 20 years, groundbreaking breathtaking beautiful stuff, i am not here to throw the party like "visionary director" but i wanna put things on the table, he has been way past what the academy considers cinema, he has been snubbed for so long it became ridiculous. he has been doing an imppecable work of supporting filmmaking and the theater industry, supporting the craftsmanship of filmmaking the studios' inverstors and companies look down on just for profits. to end my rant now, the last thing i wanna say is: i don't care if yall say "ah just another cis het white man winning/being nominated" yes honey, it is.

if anything, this is the "cis het white man" who you just can't believe has not won yet. insane right? he has been snubbed by other cis het white males who would believe it right? lmao

now i am done.

we take in the sheets tomorrow evening. have a great saturday yall

#christopher nolan #oppenheimer #cillian murphy #rant #oscar 2024 #BEEN WAITING 10 YEARS FOR THIS MOMENT I HAVE ALL THE GUNS TO MAKE IT HAPPEN DONT THIS AWAY FROM ME #be a nolan fan you have to suffer even through the wins

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spider-man-acrossthespider · 1 year

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Miles Morales è tornato - o meglio, non se n'è mai andato. È da un anno che fa sempre le solite cose che farebbe un supereroe teenager, cioè andare a scuola, litigare con i genitori e salvare il mondo dalle minacce più o meno (im)probabili. Chi se n'è andata, invece, è l'unica cinta di amici che aveva, cioè Gwen, Peter, Peni, Spider-Ham e Spider-Man Noir, gli Spider-Man delle altre dimensioni che l'hanno spalleggiato nella sua prima avventura e che sono tornati ai loro rispettivi universi. Un giorno, però, Gwen riappare nella cameretta di Miles, spiegandogli di essere entrata a far parte della Spider-Society, un gruppo interdimensionale di Spider-Man, capitanati da Miguel O'Hara, il cui intento è impedire il collasso del Multiverso. E una delle anomalie a poterlo provocare è La Macchia, scienziato che ha acquisito il potere di aprire dei portali tra le dimensioni durante l'incidente del primo film, e ora nuovo nemico di Miles…

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❍❍❍ Definition and Definition of Film / Movie ❍❍❍ While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful.

Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors.

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non-fictionalbooks · 5 months

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Top 24 Biographical Films Inspired by Books

Have you ever wondered what it was like to walk in the shoes of one of history’s most fascinating figures? Biographical films will help you do that, as they provide a captivating glimpse into the lives of remarkable individuals. Biography films inspired by books bring the stories of those individuals to life on a whole new level.

The list in this article explores the top most popular Biography films inspired by books. From political leaders to social activists, literary icons, and more. So grab some popcorn and settle in your comfy sofas to get inspired by the life journey of some unforgettable characters.

No. 1 Film Inspired by Books - A Beautiful Mind

Movie Name- A Beautiful Mind

Film Inspired From the Book – A Beautiful Mind by John Forbes Nash Jr.

A Beautiful Mind is a top Biography film inspired by books. Despite issues with tone and structure, as well as some key absences from Nash’s real life, A Beautiful Mind has become one of the most fascinating and well-loved films of all time. Because the film focuses on Nash’s life rather than his mental health, and because of Russell Crowe’s inspiring portrayal, Nash is given a second chance to relive both his success and failure. Despite issues with tone and structure, as well as some key absences from Nash’s real life, A Beautiful Mind has become one of the most fascinating and well-loved films of all time. Because the film focuses on Nash’s life rather than his mental health, and because of Russell Crowe’s inspiring portrayal, Nash is given a second chance to relive both his success and failure.

02nd Movie Inspired by Book - Elvis

Movie Name – Elvis

Film Inspired From the Book – Priscilla Beaulieu Presley’s 1985 memoir

Elvis narrates the life story of American music legend Elvis Presley, played by Austin Butler, from his youth to his rise to rock and roll stardom in the 1950s and maintaining a complex bond with his manager, Colonel Tom Parker.

Butler’s brilliant portrayal of Elvis humanizes the legend, thrusting everything from his body language to his huge, raspy voice into the spotlight to reveal the troubled man behind the timeless God of Rock. Furthermore, the wild singing, set design, re-enactments of iconic events, and compelling cast give the impression that the audience is watching a documentary instead.

No. 3 in Biographical Movie Inspired by Books - Ray

Movie Name – Ray

Film Inspired From the Book – Brother Ray: Ray Charles’ Own Story by Ray Charles, David Ritz

Ray is the next best Biography films inspired by books. The story tells the story of famous musician Ray Charles (Jamie Foxx) and his struggles with darkness, poverty, and addiction, as well as the women in his life. It also highlights Charles’s musical career, including his experimentation with various styles of R&B, gospel, and country, and his collaborations with other musicians.

Ray is a poignant and inspiring film that explores the life of one of the most influential musicians of the 20th century and the struggles and triumphs that shaped his extraordinary career. Plus, the acting is strong, the directing is masterful, the story is enlightening, and Foxx gives an excellent performance.

One of the Best Films Inspired by Books - The Wolf of Wall Street

Movie Name – The Wolf of Wall Street

Film Inspired From The Book – The Wolf Of Wall Street By Jordan Belfort

One of the best Biography films inspired by books. The story of 1990s stock trader Jordan Belfort, whose company, Stratton Oakmont, participated in unprecedented levels of corruption and fraud, is told in Martin Scorsese’s bombshell biopic. The Wolf of Wall Street. Scorsese’s picture is the height of excess, with Leonardo DiCaprio giving a truly outrageous performance as Belfort. As in many of Scorsese’s films, sinners must confront their sins, but “Wolf” warns us in the end that any cautionary tales will keep future generations from indulging in short-sighted, amoral, selfish ambitions. Will not stop.

Read the full blog- https://nonfictionalbooks.com/top-24-biographical-films-adapted-from-books/

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godzillaekongilnuovoimpero · 6 months

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transformers-film-streaming-ita · 1 year

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godzillaekongilnuovoimpero · 6 months

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democanna · 2 years

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Dream day wedding full version free online

There are challenges with streaming content on the Internet. radio, television, streaming Even in Dreams) or inherently non-streaming (e.g. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. Streaming refers to the delivery method of the medium, rather than the medium itself. The verb to stream refers to the process of delivering or obtaining media in this manner. Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The information was quoted from various sources and references. That’s a little information about the definition of film or Movie. There are many other popular genre films, ranging from MUSIC films, MUSIC films, Ryan Reynolds films, romantic films, MUSIC films, Ryan Reynolds films, Ryan Reynolds films, MUSIC films, Ryan Reynolds films, documentaries and others. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. Some industries also use film to convey and represent their symbols and culture. Films can also be used to convey certain messages from the filmmaker. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in MUSIC MUSIC films. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman.

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polaranimal · 2 years

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The nanny complete series dvd box set

THIS ITEM IS IN STOCK AND READY TO SHIP FROM OUR WAREHOUSE IN PHOENIX, ARIZONA. I bought this collection of The Nanny for my daughter for Christmas and she absolutely loves it Thanks. Sheffield (Charles Shaugnessy), his boisterous brood (Nicholle Tom, Benjamin Salisbury and Madeline Zima) and his wisecracking staff (Lauren Lane and Daniel Davis), each hilarious episode of The Nanny, many available on DVD for the first time, is a sure-fire dose of laughter and fun!īoth an homage to and a subversive take on the classic comedies of the Baby Boomer generation and featuring an unbelievably bright roster of hilarious guest stars, The Nanny is a delightful addition to your television collection: finally available in a complete series collection from your favorite video babysitter. Detailing the comic misadventures of the sweet and sassy Fran Fine (Drescher), her sophisticated employer, Broadway producer Mr. Starring the one and only Fran Drescher in her signature role, The Nanny charmed television audiences throughout its six-season network run. That flashy girl from Flushing with the heart of an angel (and the voice of a slighty more nasal angel) is here at last in The Nanny: The Complete Series.

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"So it goes.INCLUDES EVERY EPISODE FROM THE ENTIRE SERIES FOR ONLY $77.99! Vonnegut passed away in 2007, and we have little doubt his response to that would be. Possibly the most interesting segment involves the various drafts of Vonnegut's most popular work ("Slaughterhouse Five" was his 6th novel), and the specific comparisons of the author to lead character Billy Pilgrim. Weide who seems to spend as much time on camera as anyone, leading us to wonder about his focus in what he terms a '40 year' project.

Archival footage of Vonnegut and interviews with his daughters and biographers, give us a pretty complete looks at his life. He survived the Allied bombing by taking cover in. Not only does the Blu-ray set include Digital HD with Ultraviolet. The series enjoyed initial success due to its Friday night timeslot when it. The series first aired as a mid-season replacement on January 21, 1970, on ABC and was last telecast on December 27, 1971. During pre-production, the proposed title was Nanny Will Do. What's clear is that Vonnegut being captured by Germans during WWII at the Battle of the Bulge, and subsequently held at Dresden was a driving force not just in his writing, but in his approach to life. The Spartacus: The Complete Series box set youve been waiting for is finally happening, with a release date set for September. fantasy situation comedy created by AJ Carothers and Thomas L. Weide and co-director Don Argott address Vonnegut's shortcomings as a family man, by allowing his daughters to tell Daddy stories in their own words.

As we see during the film, his live talks became 'must-attend' events due to his brilliance and ability to speak directly (and with caustic wit) about a world that he didn't always maintain the greatest hope for. His big breakthrough came in 1969 when "Slaughterhouse Five" became a best-seller, and his other works include "Cat's Cradle" (1963) and "Breakfast of Champions" (1973). Born and raised in Indianapolis, he wrote novels, short stories, and plays, and his work was noted for his clever humor and detail. Vonnegut, of course, is one of the great American writers of the 20th Century. The strange thing here is that by the time it's over, we aren't sure if we've watched a documentary on the life of Kurt Vonnegut or one about Weide's friendship with and respect of the man. Co-director and long-time Vonnegut friend Robert B Weide even admits the renowned author told him, "anything that is any good of mine is on a printed page". Sometimes the work really does speak for itself.

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atlantagreys · 2 years

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The secret society 2021

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The 19440 World Movie inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. The information was quoted from various sources and references. That’s a little information about the definition of film or Movie. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. Some industries also use film to convey and represent their symbols and culture. Films can also be used to convey certain messages from the filmmaker. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. This is different from the main actors who have bigger and more roles. There is also the term extras that are used as supporting characters with few roles in the film. Definition and Definition of Film / Movie While the players who play a role in the film are referred to as actors (men) or actresses (women). It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others. Filming usually takes a relatively long time. Both can also be combined with other techniques and visual effects. This method is done through computer graphic animation or CGI techniques. The second uses traditional animation techniques. This method is done by photographing images or objects. The first is through shooting and recording techniques through film cameras. Film making has now become a popular Secret Society Season throughout the world, where feature films are always awaited by cinemas. Film is a modern and popular art form created for business and entertainment purposes. The film is often referred to as a Movie or moving picture. The illusion of a Movie of images produces continuous motion in the form of video. Work of art in the form of a Movie of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment.

#The secret society 2021

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bintanglaoet · 4 years

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#影片年份：2020 出品國：Taiwan 出品：發行商：海樂影業語言：台灣色彩：color 音效：劇情簡介 #大海是神秘的，它孕育了生命，也藏著許多未知事物；而人們尚未警覺，不斷用文明摧毀自然，將受到大自然的反撲。#救難隊員阿傑（王陽明飾）跟同伴在狂風暴雨中救援一艘觸礁油輪，卻遇到頑抗不願放棄的船長，同時一個黑影從深海出沒，把所有人都拖進海裡，倖存的阿傑從此背負著同僚死亡的陰影，#多年後，阿傑克服陰影再次登上漁船，卻遭受船員阿泰（鄭人碩飾）、副船長阿丁(李李仁飾)等人不斷挑釁。某天，眾人救起因遊艇翻覆落海的小菁（柯佳嬿飾），船上因為小菁的闖入產 #受困的眾人面對暴風嚴峻的考驗之際，卻發現最危險的還遠遠不止於此，水底有著未知生物在覬覦著…猙獰相對的眾人必須放下成見，攜手合作才能生存。#相關新聞預告釋出《海霧》王陽明、鄭人碩上演海上角頭爭霸2020–08–21 #電影《海霧》來勢洶洶，集結2020華語影壇最豪華陣容，由錢人豪執導，《角頭》王陽明領軍，鄭人碩、柯佳嬿、李李仁、等實力派演員，還有金馬影帝李康生驚喜現身，眾人將在海上展開驚 #Abyssal Spider 線上看 Abyssal Spider 线上看(2020)線上看完整版本 Abyssal Spider (電影2020)線上看 Abyssal Spider 線上看2020上映完整版小鴨線上看小鴨 Abyssal Spider 線上看電影(2020)#《電影海霧》線上看電影臺灣電影海霧（電影）2020 線上看年再次觀看電影電影海霧線上看|2020上映|完整版小鴨|線上看小鴨| 電影海霧2020上映電影海霧 HD線上看電影海霧線上看小鴨電 #《電影海霧》線上看電影臺灣電影海霧（電影）2020 線上看年再次觀看電影電影海霧線上看|2020上映|完整版小鴨|線上看小鴨| 電影海霧粵語線上看 Abyssal Spider (2020) Abyssal Spider小鴨電影海 #《電影海霧》線上看電影臺灣電影海霧（電影） 2020 線上看年再次觀看電影電影海霧線上看|2020 上映|完整版小鴨|線上看小鴨| 電影海霧粵語線上看 Abyssal Spider(2020) 電影海霧小鴨電影 #Definition and definition of film / film #While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are u #Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols #There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other po #This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it c #❍❍❍ TV FILM ❍❍❍#The first television shows were experimental sporadic programs that from the 1930s could only be seen at a very short distance from the mast #The 19440 World MOVIE inspired many Americans to buy their first television and in 1948 the popular Texaco Star Theater radio moved to becom #The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1 1954. For the next ten years mo #❍❍❍ formats and genres ❍❍❍#See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of form #A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows thei #In 2020 it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the qu #❍❍❍ Thanks for everything and have fun watching❍❍❍#Here you will find all the films that you can stream online including the films that were shown this week. If you’re wondering what to see o #Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite f #I hope you like the videos I share. Give a thumbs up like or share if you like what we shared so we are more excited. Scatter a happy smile

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series158 · 4 years

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Big Brother 22x27 Online Hd, Big Brother 22x27 Streaming Online, Big Brother 22x27 Online, Big Brother 22x27 Su , Big Brother 22x27 Amazone Prime Video Film is a Work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas. Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others. Definition and Definition of Film / Movie While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful. ❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If s

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godzillaekongilnuovoimpero · 6 months

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shewhoworshipscarlin · 4 years

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Bert Williams

Bert Williams (November 12, 1874 – March 4, 1922) was a Bahamian-born American entertainer, one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He is credited as being the first black man to have the leading role in a film: Darktown Jubilee in 1914.[2]

He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world."

Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his three-decade-long career. Fellow vaudevillian W. C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw—and the saddest man I ever knew."

Williams was born in Nassau, The Bahamas, on November 12, 1874, to Frederick Williams Jr. and his wife Julia. At the age of 11, Bert permanently emigrated with his parents, moving to Florida in the United States. The family soon moved to Riverside, California, where he graduated from Riverside High School in 1892. In 1893, while still a teenager, he joined different West Coast minstrel shows, including Martin and Selig's Mastodon Minstrels in San Francisco, where he first met his future professional partner, George Walker.

He and Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. But they soon discovered that they got a better reaction by switching roles and subverting expectations. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business." A New York Times reviewer wrote: "He holds a face for minutes at a time, seemingly, and when he alters it, bring[s] a laugh by the least movement."

In late 1896, the pair were added to The Gold Bug, a struggling musical. The show did not survive, but Williams & Walker got good reviews, and were able to secure higher profile bookings. They headlined the Koster and Bial's vaudeville house for 36 weeks in 1896–97, where their spirited version of the cakewalk helped popularize the dance. The pair performed in burnt-cork blackface, as was customary at the time, billing themselves as "Two Real Coons" to distinguish their act from the many white minstrels also performing in blackface. Williams also made his first recordings in 1896, but none are known to survive. They participated in a "Benefit for New York's Poor" held on February 9, 1897 at the Metropolitan Opera House, their only appearance at that theater.

While playing off the "coon" formula, Williams & Walker's act and demeanor subtly undermined it as well. Camille Forbes wrote, "They called into question the possible realness of blackface performers who only emphasized their artificiality by recourse to burnt cork; after all, Williams did not really need the burnt cork to be black," despite his lighter skin complexion. He would pull on a wig full of kinky hair in order to help conceal his wavy hair. Terry Waldo also noted the layered irony in their cakewalk routine, which presented them as mainstream blacks performing a dance in a way that lampooned whites who'd mocked a black dance that originally satirized plantation whites' ostentatiously fussy mannerisms. The pair also made sure to present themselves as immaculately groomed and classily dressed in their publicity photos, which were used for advertising and on the covers of sheet music promoting their songs. In this way, they drew a contrast between their real-life comportment and the comical characters they portrayed onstage. However, this aspect of their act was ambiguous enough that some black newspapers still criticized the duo for failing to uplift the dignity of their race.

In 1899, Williams surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow eight years Bert's senior. Thus, the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple, and the union lasted until his death. The Williamses never had children biologically, but they adopted and reared three of Lottie's nieces. They also frequently sheltered orphans and foster children in their homes.

Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten.

The duo's international success established them as the most visible black performers in the world. They hoped to parlay this renown into a new, more elaborate and costly stage production, to be shown in the top-flight theaters. Williams and Walker's management team balked at the expense of this project, then sued the pair to prevent them from securing outside investors or representation. Filings in the suit revealed that each member of the team had earned approximately $120,000 from 1902 to 1904, or $3.5 million apiece in 2019 dollars. The lawsuit was unsuccessful, and Williams and Walker accepted an offer from Hammerstein's Victoria Theatre, the premiere vaudeville house in New York. A white Southern monologist objected to the integrated bill, but the show went ahead with Williams and Walker and without the objector.

In February 1906, Abyssinia, with a score co-written by Williams, premiered at the Majestic Theater. The show, which included live camels, was another smash. Aspects of the production continued the duo's cagey steps toward greater creative pride and freedom for black performers. The nation of Abyssinia (now Ethiopia) was the only African nation to remain sovereign during European colonization, repelling Italy's attempts at control in 1896. The show also included inklings of a love story, something that had never been tolerated in a black stage production before. Walker played a Kansas tourist while his wife, Aida, portrayed an Abyssinian princess. A scene between the two of them, while comic, presented Walker as a nervous suitor.

While the show was praised, many white critics were uncomfortable or uncertain about its cast's ambitions. One critic declared that audiences "do not care to see their own ways copied when they can have the real thing better done by white people," while the New York Evening Post thought the score "is at times too elaborate for them and a return to the plantation melodies would be a great improvement upon the 'grand opera' type, for which they are not suited either by temperament or by education." The Chicago Tribune remarked, disapprovingly, "there is hardly a trace of negroism in the play." George Walker was unbowed, telling the Toledo Bee, "It's all rot, this slapstick bandanna handkerchief bladder in the face act, with which negro acting is associated. It ought to die out and we are trying to kill it." Though the flashier Walker rarely had qualms about opposing the racial prejudice and limitations of the day, the more introspective and brooding Williams internalized his feelings.

In 1908, while starring in the successful Broadway production Bandanna Land, Williams and Walker were asked to appear at a charity benefit by George M. Cohan. Walter C. Kelly, a prominent monologist, protested and encouraged the other acts to withdraw from the show rather than appear alongside black performers; only two of the acts joined Kelly's boycott.

Bandanna Land continued the duo's series of hits and introduced a tour de force sketch that soon Williams made famous: his pantomime poker game. In total silence, Williams acted out a hand of poker, with only his facial expressions and body language conveying the dealer's up-and-down emotions as he considered his hand, reacted to the unseen actions of his invisible opponents, and weighed the pros and cons of raising or calling the bet. It later became a standard routine in his solo stage act, and was recorded on film by Biograph Studios in 1916.

Walker was in ill health by this point due to syphilis, which was then incurable. In January 1909 he suffered a stroke onstage while singing, and was forced to drop out of Bandanna Land the following month. The famous pair never performed in public again, and Walker died less than two years later. Walker had been the businessman and public spokesman for the duo. His absence left Williams professionally adrift.

After 16 years as half of a duo, Williams needed to reestablish himself as a solo act. In May 1909 he returned to Hammerstein's Victoria Theater and the high-class vaudeville circuit. His new act consisted of several songs, comic monologues in dialect, and a concluding dance. He received top billing and a high salary, but the White Rats of America, an organization of vaudevillians opposed to encroachments from blacks and women, intimidated the theater managers into reducing Williams' billing. The brash Walker would have resisted such an insult to his star status, but the more reserved Williams did not protest. Allies were few; big-time vaudeville managers were fearful of attracting a disproportionate number of black audience members and thus allowed only one black act per bill. Due to his ethnicity, Williams typically was forced to travel, eat and lodge separately from the rest of his fellow performers, increasing his sense of isolation following the loss of Walker.

In 1910, Booker T. Washington wrote of Williams: "He has done more for our race than I have. He has smiled his way into people's hearts; I have been obliged to fight my way." Gene Buck, who had discovered W. C. Fields in vaudeville and hired him for the Follies, wrote to a friend on the occasion of Fields' death: "Next to Bert Williams, Bill [Fields] was the greatest comic that ever lived."

Williams' stage career lagged after his final Follies appearance in 1919. His name was enough to open a show, but they had shorter, less profitable runs. In December 1921, Under the Bamboo Tree opened, to middling results. Williams still got good reviews, but the show did not. Williams developed pneumonia, but did not want to miss performances, knowing that he was the only thing keeping an otherwise moribund musical alive at the box office. However, Williams also emotionally suffered from the racial politics of the era, and did not feel fully accepted. He experienced almost chronic depression in his later years, coupled with alcoholism and insomnia.

On February 27, 1922, Williams collapsed during a performance in Detroit, Michigan, which the audience initially thought was a comic bit. Helped to his dressing room, Williams quipped, "That's a nice way to die. They was laughing when I made my last exit." He returned to New York, but his health worsened. He died at his home, 2309 Seventh Avenue in Manhattan, New York City on March 4, 1922 at the age of 47. Few had suspected that he was sick, and news of his death came as a public shock. More than 5,000 fans filed past his casket, and thousands more were turned away. A private service was held at the Masonic Lodge in Manhattan, where Williams broke his last barrier. He was the first black American to be so honored by the all-white Grand Lodge. When the Masons opened their doors for a public service, nearly 2,000 mourners of both races were admitted. Williams was buried in Woodlawn Cemetery in The Bronx, New York City.

https://en.wikipedia.org/wiki/Bert_Williams

#historical #actor #vaudeville #black history month #comedian

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pseudomenudo · 3 years

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I have decided to create a challenge for Pride Month.

Let’s all reflect on the things that have shaped and affected us as LGBTQ+ individuals. I challenge you to answer this question: What’s an LGBTQ+ (theme/symbolism/mentions of LGBTQ+ anything!) song, movie, piece of art, book, poem, quote, ANYTHING, that you like? Why do you like it? Feel free to share it all in your response to this post! Even YouTube vids, spotify links, whatever! Anything that shows us your fave stuff regarding LGBTQ+. I’ll go first.

POETRY:

A poem by my favorite poet Walt Whitman: “Though biographers continue to debate Whitman's sexuality, he is usually described as either homosexual or bisexual in his feelings and attractions.” (reference: https://bookshop.org/books/poems-9781519702807/9781519702807)

Song of the Open Road:

Afoot and light-hearted I take to the open road,

Healthy, free, the world before me, The long brown path before me, leading wherever I choose. Henceforth I ask not good-fortune—I am good- fortune, Henceforth I whimper no more, postpone no more, need nothing, Strong and content, I travel the open road. The earth—that is sufficient, I do not want the constellations any nearer, I know they are very well where they are, I know they suffice for those who belong to them. Still here I carry my old delicious burdens, I carry them, men and women—I carry them with me wherever I go, I swear it is impossible for me to get rid of them, I am filled with them, and I will fill them in return. You road I travel and look around! I believe you are not all that is here, I believe that much unseen is also here.

A large part of my sexuality and my freedom to express my sexuality healthily is thanks to Walt Whitman. Not only did he save my life once, he helped me understand myself.

ART:

As for art. Frida Kahlo was a great inspiration for me in terms of female sexuality, loving both men and women, and thinking of sexuality as more than sex and attraction. I also have a strong desire to become a mother one day, as she did. I am also terrified of infertility, as she was.

“While many maintain she had sexual relationships with both men and women, what is true is that she considered sexuality as something that went beyond mere intercourse. It spoke of creation, life, and, of course, her wish to conceive and become a mother. This obsession was a constant in her life and was beautifully immortalized in the bright shapes and colors of her canvases.” (reference: https://culturacolectiva.com/art/frida-kahlo-sexuality-paintings)

TW: Blood, nudity, infertility, hospital bed, childbirth

MOVIE:

TW for the movie: sex scenes, some sexuality, use of the n word, drug use, brief violence, and language throughout.

I very much enjoyed the movie Moonlight. Not only was it filmed where I live, I also went to a showing for it near the place it was filmed. When it came out, I was overjoyed, and loved the themes it showed in the movie. The element of water has always been a recurring one in my own life. Moonlight handles difficult topics, such as incarceration, death, prejudice, racism, homosexuality, toxic masculinity, growing up in poverty, familial relationships, homophobia, AIDS, father-son relationships and dynamics, black culture, how black gay men are viewed, love and relationships, separations, machismo, anxiety, etc. in a beautiful, graceful manner. The main characters father is from Cuba, and speaks of black people and black culture in cuba. This is something that isn't spoken of as much as it should be. The afro-cuban culture in cuba is important, and a part of Cuban people's history and ancestry. As a Cuban woman, I was proud to hear about the experience the father shared, not necessarily because of the experience itself, but because people will hear it and learn. Things must change. Many of these themes are things I struggled with in my own life. I felt a sort of kinship with the movie and its characters.

Have some clips of the film:

https://www.youtube.com/watch?v=7D0T4ivCsF4

https://www.youtube.com/watch?v=z6yMItXePG8&ab_channel=T-Manfilm

MUSIC:

I think I heard this song when I was around eleven years old. I think so many people know it already, it's very popular, but it was the first song I heard that really expressed feeling love for someone of the same sex. When I tried explaining to my mother how I felt inside, in terms of my sexuality and attraction to the members of the same sex, I showed her the youtube video of the song. It was a very interesting experience lol. Some lyrics I felt I related to were:

"Mother looking at me Tell me what do you see? Yes, I've lost my mind Daddy looking at me Will I ever be free? Have I crossed the line?"

And

"And I'm all mixed up, feeling cornered and rushed They say it's my fault, but I want her so much Want to fly her away,"

Spotify Link: https://open.spotify.com/track/4bJygwUKrRgq1stlNXcgMg

Music Video:

https://www.youtube.com/watch?v=8mGBaXPlri8

QUOTE/BOOK

A quote that recently touched my heart was:

“In the darkness, two shadows, reaching through the hopeless, heavy dusk. Their hands meet, and light spills in a flood like a hundred golden urns pouring out of the sun.” from The Song of Achilles by Madeline Miller

When I read this, I thought, “This is what matters when you are with the one you love. This is all that should matter.”

Have a summary of the book from Goodreads.com (one of my favorite websites for organizing my books. If you want to follow me there, send me a message or ask and I’ll give it to you):

“Greece in the age of heroes. Patroclus, an awkward young prince, has been exiled to the court of King Peleus and his perfect son Achilles. By all rights their paths should never cross, but Achilles takes the shamed prince as his friend, and as they grow into young men skilled in the arts of war and medicine their bond blossoms into something deeper - despite the displeasure of Achilles' mother Thetis, a cruel sea goddess. But then word comes that Helen of Sparta has been kidnapped. Torn between love and fear for his friend, Patroclus journeys with Achilles to Troy, little knowing that the years that follow will test everything they hold dear.Profoundly moving and breathtakingly original, this rendering of the epic Trojan War is a dazzling feat of the imagination, a devastating love story, and an almighty battle between gods and kings, peace and glory, immortal fame and the human heart.”

And that’s it for me! I challenge ALL OF YOU to continue this and share your own. Feel free to reblog this and tag your own friends and mutuals to complete this challenge! Let’s share with each other the beautiful pieces of work that have inspired us as members of the LGBTQ+ community.

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listenboforeyousingfilm · 3 years

Text

聽見歌再唱 ▷線上看完整版

導演泰勒謝里丹作品，安潔莉娜裘莉、尼可拉斯霍特主演。一名親眼目睹家人被殺的青少年，在蒙大拿森林中遇見擁有絕佳生存知識的漢娜。然而，他們面對的不只是冷酷的追兵，還是一場森林大火的威脅。

PLAY ►►► https://reurl.cc/8ydZ2g

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聽見歌再唱上映時間聽見歌再唱台灣上映時間聽見歌再唱香港上映時間

我们会告诉所有乐于接受我们作为新闻或有关今年电影时间表以及您如何观看自己喜欢的电影的信息的人。希望我们能成为您寻找最佳电影推荐的最佳合作伙伴。这些都是我们的，问候！

感谢您收看今天的视频。

希望您喜欢我分享的视频。如果您喜欢我们分享的内容，请点赞或分享，让我们更加兴奋。

洒上开朗的笑容，让世界回到各种色彩中。

电影是一系列实时图像形式的艺术品，旋转这些实时图像可产生运动图像的幻觉，��以娱乐形式呈现。一系列图像的错觉会产生视频形式的连续运动。电影通常被称为电影或电影。电影是为商务和娱乐目的而创建的一种现代流行艺术形式。电影制作现

在已成为世界各地的热门行业，电影总是在等待着电影院。

电影有两种主要制作方式。首先是通过胶片相机的拍摄和录制技术。通过拍摄图像或物体来完成此方法。第二种使用传统的动画技术。此方法通过计算机图形动画或CGI技术完成。两者也可以与其他技术和视觉效果相结合。拍摄通常需要相对较长的

时间。它还需要一个工作台，从导演，制片人，编辑，衣橱，视觉效果等开始。

电影/电影的定义和定义

在电影中扮演角色的玩家被称为演员（男人）或女演员（女人）。另外还有“演员”一词，用作电影中角色很少的辅助角色。这与扮演越来越大角色的主要演员不同。必须要求既要有演员又要有演员才能，这要符合他主演的电影的主题。在某些场景中，演

员的角色可以由特技演员或特技演员代替。替身演员的存在对于替换演员在困难和极端的场景中扮演的角色很重要，而这些场景通常在动作电影中都可以找到。

电影也可以用来传达电影制片人的某些信息。一些行业还使用电影来传达和代表其符号和文化。电影制作也是电影中视觉化的人类表达，思想，观念，概念，感觉和情绪的一种形式。电影本身主要是小说，尽管有些电影是基于真实的故事或真实的故事。

也有带有原始和真实图片的纪录片，或者讲述人物故事的传记电影。还有许多其他流行类型的电影，包括动作片，恐怖片，喜剧片，浪漫片，幻想片，惊悚片，戏剧片，科幻片，犯罪片，纪录片等。

那是关于电影或电影的定义的一些信息。该信息来自各种来源和参考。希望它会有用。

MO电视电影❍❍❍

最初的电视节目是实验性的，偶发性的广播，只能在距1930年代开始的广播塔很短的范围内观看。电视转播的赛事，例如1936年的德国夏季奥运会，19340年的英国国王乔治六世加冕典礼，以及大卫·萨诺夫（David Sarnoff）在1939

年美国纽约世博会上的著名介绍，都刺激了媒体的发展，但第二次世界大战使这种媒体增长了。直到战争结束后才停止发展。 19440年世界电影节启发了许多美国人购买他们的第一台电视机，然后在1948年，广受欢迎的广播节目《德士古明星剧

院》（Texaco Star Theatre）采取了行动，成为每周一次的电视综艺节目，使主持人米尔顿·伯雷（Milton Berle）赢得了“电视先生”的称号，并证明了这一点。该媒体是一种稳定，现代的娱乐形式，可以吸引广告商。 1951年9

月4日，美国总统哈里·杜鲁门（Harry Truman）在旧金山举行的日本和约会议上的讲话通过美国电话电报公司（AT＆T）的跨大陆电缆和微波无线电中继系统传输到本地市场的广播电台，这是美国首次进行全国直播。

1954年1月1日在美国进行了第一次全国性彩色广播（1954年玫瑰巡回赛）。在随后的十年中，大多数网络广播和几乎所有本地节目都以黑白方式进行。宣布于1965年秋季进行颜色转换，在此期间，所有网络黄金时段节目的一半以上将以彩色广

播。仅仅一年之后，第一个全彩黄金时段就来了。在19402年，白天网络显示中的最后一个保留转换为彩色，从而导致了第一个完全全彩色的网络季节。

❍❍❍格式和流派❍❍❍

另请参阅：流派列表§电影和电视格式和流派

由于可以呈现的格式和种类繁多，因此电视节目比大多数其他形式的媒体更具多样性。表演可以是虚构的（如喜剧和戏剧），也可以是非虚构的（如纪录片，新闻和真人秀）。它可能是话题性的（例如，本地新闻广播和一些为电影制作的电影），也可能是历

史性的（例如，许多纪录片和虚构的MOVIE）。它们可能主要是教学性的或教育性的，或者是情境喜剧和游戏节目中的娱乐性。[需要引证]

戏剧节目通常以一组演员在历史或现代背景下扮演角色为特征。该计划遵循他们的生活和冒险。在1980年代以前，演出（肥皂剧类型的剧集除外）通常保持静止，没有故事情节，并且主要角色和前提变化不大。最后撤消。因此，可以按任何顺序广播情

节。[需要引用]自1980年代以来，许多MOVIE都在情节，角色或两者兼有的过程中进行逐步更改。例如，希尔街布鲁斯（Hill Street Blues）和圣艾尔瑟弗（St. Elsewhere）是美国第一部具有这种戏剧性结构的黄金时段电视电

影[4]，[4]在预定的五个赛季中有一个预定的故事。[需要引用]

据报道，2012年，电视在主要媒体公司的收入中所占的份额已经超过了电影。[5]一些人还注意到某些电视节目质量的提高。 2012年，获得奥斯卡奖的电影导演史蒂芬·索德伯格（Steven Soderbergh）谈到人物和叙事的模棱两可和

复杂性时说：“我认为现在电视上已经看到了这些特质，那些想看具有这种特质的故事的人在看电视。

❍❍❍感谢大家的收看和观看❍❍❍

查找您可以在线播放的所有电影，包括本周放映的电影。如果您想知道在此网站上可以看到什么，那么您应该知道它涵盖的类型包括犯罪，科学，Fi-Fi，动作，浪漫，惊悚，喜剧，戏剧和动漫电影。

非常感谢你。我们会告诉所有乐于接受我们作为新闻或有关今年电影时间表以及您如何观看自己喜欢的电影的信息的人。希望我们能成为您寻找最佳电影推荐的最佳合作伙伴。这些都是我们的，问候！

感谢您收看今天的视频。

希望您喜欢我分享的视频。如果您喜欢我们分享的内容，请点赞或分享，让我们更加兴奋。

洒上开朗的笑容，让世界回到各种色彩中。

感谢您的光临，希望您喜欢这部电影

祝您有美好的一天并愉快地观看:)*

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#聽見歌再唱 ▷線上看完整版

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