#russell's sixth camera sense

[pineapplefulfillseveryneed]

So I saw this post by @taintmansion:

Followed by these tags from @dinkydiamond:

...and I knew my time had come. Behold:

[astonishinglegends]

Ep 202: The Scrying Game

“The scryer does not seek reflections, but visions.”

– Donald Tyson, author of "Scrying for Beginners: Use Your Unconscious Mind to See Beyond the Senses

Description:

Who among us hasn't wanted to know the future or have insight into the hidden, at least in passing? From the first instance a human had a premonition that came true, it seems likely that the adventurous who were shocked and astounded wondered how those without the "gift" could duplicate this impossible experience. Then, when someone stared too intently into a reflective pool of liquid, a glowing ember, or even the night sky, and experienced an extrasensory perception, a technique and its medium are discovered to tap into a sixth sense. Practiced now for millennia, this procedure for obtaining occult information has become known as scrying. One interesting observation is that although there are general guidelines for preparing oneself and performing a scrying session, many mediums can facilitate the phenomenon. It appears that any object can be used that can capture the light and dazzle the eye, or a reflective surface that can offer deep introspection or a dark void that focuses the senses. But then the burning question becomes, how does this process work, and from where does the information come? Does this "second sight" materialize from deep within ourselves, external omniscience, or some combination of both? In tonight's episode, we'll look at the elements, the history, and the concepts behind this ancient and mysterious means of knowing the unknowable.

Reference Links:

Scrying on Wikipedia

The 1992 motion picture, The Crying Game

Samhain

Lori Williams’ Controlled Remote Viewing website IntuitiveSpecialists.com

Russell Targ

Crystal Gazing – Its History and Practice, with a Discussion of the Evidence for Telepathic Scrying, by Northcote W. Thomas, M.A.

Benjamin, from the Old Testament or “Hebrew Bible”

“The Forgotten Art of Scrying” by Fernando S. Gallegos on ExploringTraditions.com

Bernardino de Sahagún

Moctezuma II

Nostradamus

John Dee

Edward Kelley

“Notes on John Dee’s Aztec Mirror” by Ed Simon on NorthernRenaissance.org

Horace Walpole

“Making a Sigilum Dei Aemeth out of Wax [Esoteric Saturdays]” on YouTube

Hermetic Order of the Golden Dawn

Thelema

“Joseph Smith's "Magic" Glasses and Other Bizarre Objects from Mormonism” on ranker.com

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Credits:

Episode 202: The Scrying Game. Produced by Scott Philbrook & Forrest Burgess; Audio Editing by Sarah Vorhees Wendel. Sound Design by Ryan McCullough; Tess Pfeifle, Producer, and Lead Researcher; Research Support from the astonishing League of Astonishing Researchers, a.k.a. The Astonishing Research Corps, or "A.R.C." for short. Copyright 2021 Astonishing Legends Productions, LLC. All Rights Reserved.

[hopeatermeetsgodzilla]

Chapter 5

Come on, come on... just a little faster...

Godzilla jumped out of the water, landing on rocky terrain and standing up, looking around. Anguirus’s nest definitely bore passages of time, but beside that, it seemed untouched.

“GODZILLAAAAAAA!!!” He turned toward the voice, temporarily switching to combat mode, before recognizing Anguirus’ spiky white hair and stocky build, relaxing as his friend ran at high speed toward him.

Wait a minute.

Anguirus tackled him just as he realized what ‘Anguirus running at you at full speed’ meant. The two of them rolled around on the ground, one laughing, the other screaming, before finally coming to an halt, Anguirus holding Godzilla in a bone-crushing hug.

Godzilla smiled, patting his friend on the back with the arm he could still move. “Hey, Gui. How are you doing? And would you mind sitting up?”

“Oh! Right.” His friend got off of him, Godzilla sitting up with a snort. “You okay?”

“Yeah, don’t worry about me, I’m fine.” He reassured his friend with a smile, the two of them laughing to themselves “How about you? Not too fucked up from the hibernation? Lasted a few millenias.”

“Oh, so that’s what happened.” Anguirus blankly stated, looking behind him at his island. 

Godzilla hummed in agreement, slapping his friend on the shoulder so he would pay attention to him. “Don’t feel bad for being caught off-guard. The only priests still taking care of Mothra’s temple are the Shobijin, and Rodan threw a hissy fit about humans spreading their nests over his.”

“Mothra and Rodan are awake too!?” Anguirus exclaimed, startling Godzilla.”

“... Oh yeah, probably should’ve opened with that. Mothra is doing fine, by the way. Just checking on her brother to make sure the asshole hasn’t woken up because the bugs have been wrecking the planet.”

Anguirus nodded. Battra was kind of an asshole, especially toward humans. “And Rodan?”

Godzilla groaned. “Still a bitch who refuses to leave his island.” Anguirus hummed hesitantly. “What.”

“I mean... his mate did die...”

“Mothra dies all the time, and you don’t see me crawling at the bottom of the Ocean and trying to claw off the face of anyone who tries to get too close when that happens.” Godzilla deadpanned, to which his friend just shrugged.

“Mothra doesn’t stay dead. And you don’t have a set territory. And you do become more grouchy-”

“Alright, alright.” Godzilla angrily snapped at Anguirus, who snorted. “Still, my point stands. Even before hibernation, it had been a millennia and a half. He can’t just spend the rest of his life soaking in lava and denying we were ever friends.”

“Look, you know Rodan, and how he gets when things don’t go his way. And Quetzacoatl dying was like, the tip of the iceberg on what went wrong that day.” Anguirus reminded Godzilla, who huffed at the memory of what had been the worst day of Rodan’s life. “Just- all of what happened would be a lot for everyone, even a Guardian like Mothra. So imagine the toll for Rodan-”

“Alright, I get your point.” Godzilla finally admitted, letting himself fall the the ground.

Anguirus nodded in satisfaction. “Anyone else woke up?”

“No, just the four of us, plus everything on the monkeys’ island. Might soon be five, what’s with Battra having a sixth sense for when humans go too far for their own good.”

“... Is the situation that bad?”

“I mean, you can’t tell me you haven’t noticed the air getting warmer.” Godzilla growled. “At that rate, I’m gonna have to kick Ghidorah’s collective ass again in a few centuries.”

Anguirus snorted, slapping his friend on the back as said friend smiled. “Don’t worry. If that ever happens, we should’ve all recovered from the hibernation by then.”

“Mh. I’m still gonna go check once I’m done catching you up on things.”

-

“Madison!” The girl snapped out of her thinking, covering the doodles of animalistic humans (no she was not a furry fuck you dad) as the teacher called her.

She sighed, exasperated. “What?”

“I would appreciate if you listened to my class instead on drawing fantasy characters, you damned little troublemaker.” Her teacher hissed, to which Madison raised an eyebrow.

She pushed the sheet portraying a fight between a bird-like creature and a lizard-like one to the side, the scene having come to her in a dream a while ago, and looked at her teacher. “Alright, mind repeating the question?” 

The teacher grumbled, but repeated himself nonetheless, baffling Madison in the process. “Who first found out about alpha wolf dynamics?”

“... It was first theorized by Rudolf Schenkel in 1947, and the only thing that experience proved is that if you separate individuals from their group and throw them up against unrelated ones in an unfamiliar environment, they’ll fight to know who’s supposed to be in charge.” Madison deadpanned, baffling her teacher.

“What-”

“The truth is that wolves are pack animals, care about each other, the pack leaders are often the eldest with the younger ones defending them, and if one gets thrown out of- or separates from- the group, they’ll quickly die.”

The teacher sputtered, clearly caught off-guard. “Well, I-”

“Oh, and by the way? Me drawing instead of listening to you perpetuate outdated theories about animal behavior does not mean I’m a troublemaker.” Madison finished, somehow looking down at her teacher despite being seated. “It just means that my dad is a zoologist, and that you’re a bad teacher.”

“Madison Russell is required at the reception.” The intercom suddenly said, bursting the bubble. The girl groaned as she got up, slinging her bag on her shoulder and getting out of the classroom, flipping off her teacher just as she closed the door.

“Alright, what did I do this ti-” The twelve years old came to an halt, eyes widening in terror. The receptionist was dead, a small puddle of blood starting to form on the floor. A man with slicked hair, a white jacket with ‘T.L.F.’ written on the back, and a gun was standing here.

He pointed the gun at her. “Madison Russell, is it? I suggest you follow me.”

-

“Florès?” The mechanician turned toward Dr. Russell, who seemed more worried than usual as she closed the door behind you. “I need you to give me the ORCA. My daughter has been kidnapped.”

“... ¿Qué?”

“H- Hold on. Please read this.” The scientist rifled through her scientist coat, taking her phone out and showing it to Florès, who took it and frowned as he read through it. There was a video file attached to it, but he didn’t need to watch it to know the email was the real deal.

“... Esos cabrones.“ He hissed out, before turning toward Emma. “Look, I can’t- I can’t just give you the ORCA.” Florès started. “Both Monarch and I already in hot enough waters with the government. If I go behind their back and help an eco-terrorist group free three Titans from their sleep, everything’s gonna get fucked up-”

“You- you’re twenty-three, how did you get into trouble with the-”

“That’s not important- look, you can’t tell anyone about this.” Florès then opened one of his desk drawers, taking out a small, rectangle shaped device out of it and showing it to Russell. “You can’t tell anyone I made this or where you got it.”

“What is that?”

“Downsized version of the ORCA. A prototype I made for the final model in case the audio-helmet doesn’t work. It works exactly like the protoype, but...” Florès shrugged. “Smaller. Take this, and go save your daughter.”

Emma frowned, looking at the younger man. “And you’re not afraid they’re going to know you had a hand in this through the security cameras and microphones?”

“Oh please,” the latino dismissed. “I hacked those twenty minutes into arriving at Castle Bravo. The only way to know what’s going on in my lab is by coming to check on me. These guys really need better tech security.” He softened “You think that’ll be enough to get your daughter back?”

“It’ll have to do.” Emma stated, taking the device from the mechanic and putting it in her pocket. “I can’t thank you enough for this.”

“Keeping your mouth shut about where you got the mini-ORCA will be enough, in this case.” He stated as he started pushing Emma toward the door. “Lie and say you made it yourself based on the plans I have if you want, but me helping you commit treason for your daughter is not coming out of my working space. Got it!?”

“Got it.”

[delicatelythoughtfulpatrol]

How Pop Music’s Teenage Dream Ended

A decade ago, Katy Perry’s sound was ubiquitous. Today, it’s niche. How did a genre defined by popularity become unpopular?

Story by Spencer Kornhaber

“I am a walking cartoon most days,” Katy Perry told Billboard in 2010, and anyone who lived through the reign of Teenage Dream—Perry’s smash album that turned 10 years old on August 24—knows what she meant. Everywhere you looked or clicked back then, there was Perry, wrapped in candy-cane stripes, firing whipped cream from her breasts, wearing a toothpaste-blue wig, and grinning like an emoji. She titled one world tour “Hello Katy,” a nod to the Japanese cat character on gel pens worldwide. She made her voice-acting debut, in 2011, by playing Smurfette.

Perry’s music was cartoonish too: simple, silly, with lyrics stringing together caricature-like images of high-school parties, seductive aliens, and girls in Daisy Dukes with bikinis on top. Kids loved the stuff, and adults, bopping along at karaoke or Starbucks, enjoyed it too. (Maybe that’s because, like with so much classic Disney and Looney Tunes animation, the cuteness barely disguised a ton of raunch.) Teenage Dream generated five No. 1 singles in the United States—a feat previously accomplished only by Michael Jackson’s Bad—and it went platinum eight times.

Perry wasn’t alone in achieving domination through colorful looks and stomping songs. Teenage Dream arrived amid a wave of female pop singers selling their own costumed fictions: Lady Gaga, a walking Gaudí cathedral, roared EDM operas. Beyoncé shimmied in the guise of her alter ego, Sasha Fierce. Nicki Minaj flipped through personalities while wearing anime silhouettes and fuchsia patterns. Kesha, glitter-strewn and studded, babbled her battle cries. Taylor Swift trundled around in horse-drawn carriages. Each singer achieved impressive things, though arguably none of their albums so purely epitomized pop—in commercial, aesthetic, or sociological terms—like Perry’s Teenage Dream did.

A decade later, that early-2010s fantasy has ended, and Perry and her peers have seemed to switch gears. Rihanna has put her music career on pause while building a fashion and makeup empire. Beyoncé has turned her focus to richly textured visual albums that don’t necessarily spawn monster singles. Gaga, after a long detour away from dance floors, has returned to sounds and looks comparable to those of her early days, but she cannot bank on mass listenership for doing so. Swift keeps reinventing herself with greater seriousness, and little about her latest best seller, Folklore, scans as pop. Perry’s latest album, Smile, came out Friday. Regarding her new music’s likelihood of world domination, Perry told Apple Music’s Zane Lowe, “My expectations are very managed right now.”

For the younger class of today’s stars, Teenage Dream seems like a faint influence. The Billboard Hot 100 is largely the terrain of raunchy rap, political rap, and emo rap, with a smattering of country drinking songs thrown in. Ultra-hummable singers such as Halsey and Billie Eilish are still on the radio, but they cut their catchiness with a sad, sleepy edge. A light disco resurgence may be brewing—BTS just strutted to No. 1 on the American charts while capitalizing on it—but that doesn’t change the overall mood of the moment. Almost nothing creates the sucrose high of Teenage Dream; almost nothing sounds as if Smurfette might sing it.

The recent state of commercial music has led to much commentary arguing that pop is dying, dead, or dormant. That’s a funny concept to consider—isn’t popular music, definitionally, whatever’s popular? In one sense, yes. But pop also refers to a compositional tradition, one with go-to chords, structures, and tropes. This type of pop prizes easily enjoyed melodies and sentiments; it moves but does not challenge the hips and the feet. It is omnivorous, and will spangle itself with elements of rock, rap, country, or whatever else it wants without losing its essential pop-ness. 

The early-2010s strain of it seemed like the height of irresistibility, and yet it’s mostly faded away. There are many reasons for that, but they can all be reduced to what Perry’s journey over the past decade has shown: Life and listening have become too complex for 2-D.

Pop has seemed to die and be reborn many times. When the 21st century arrived, the music industry was near the historical peak of its profitability—in part because of slick sing-alongs catering to teenagers and written by grown-up Swedes.

 But over the first few years of the 2000s, CD sales crashed thanks to the internet, boy bands such as ’NSync began to splinter, and Britney Spears’s long-running confrontation with the paparazzi reached an ugly culmination. 

Around the same time, women such as Pink, Kelly Clarkson, Ashlee Simpson, and Avril Lavigne began scoring hits inspired by mosh pits but more appropriate for malls. Gwen Stefani moved from rock-band frontwoman to dance-floor diva during this period as well. Such performers, though often assisted by the same producers and songwriters who helped mold Spears, flaunted unruly personalities to a reality-TV-guzzling public hungry for a kind of curated grit.

Katy Perry capped off this rock-pop boomlet. The California-born Katheryn Hudson had kicked around the music industry for years, first as a Christian singer—her parents were traveling evangelists—and then as an Alanis Morissette–worshipping songwriter.

She finally hit on a winning combo of sounds for One of the Boys, her delicious 2008 major-label debut, whose spiky rhythms, crunching guitars, sneering vocals, and juvenile gender politics earned her a spot on the Warped Tour, a punk institution. But the gooey, sassy hooks of “I Kissed a Girl,” “Waking Up in Vegas,” and “Hot n Cold” really made her a household name. 

Some of those songs benefited from the touch of Max Martin and Dr. Luke, songwriters-slash-producers of 2000s pop legend. (In 2014, Kesha filed a lawsuit accusing Dr. Luke, her producer and manager, of rape and abuse; he denied her claims and eventually prevailed in a years-long, very-public court battle over Kesha’s record contract.)

By late 2009, when Perry set out to record her follow-up to One of the Boys, the musical landscape had shifted again thanks to the arrival of Lady Gaga, a former cabaret singer with mystique-infused visuals and an electro-dance sound. What made Gaga different was not only her thundering Euro-club beats, but also her persona, or lack thereof. 

Gaga’s work overflowed with camp fun while keeping the singer’s true nature hidden under outrageous headpieces. By forgoing any attempts at banal relatability, Gaga seemed deep. In this way, she updated the glam antics of Prince, Madonna, and David Bowie for the YouTube era. Many of her peers took note, including Perry. 

Teenage Dream was lighter and happier than anything Gaga did, but it was electronic and fanciful in a manner that Perry’s previous work had not been. The cartoon Perry was born.

The conceit of Teenage Dream’s title track—“you make me feel like I’m living a teenage dream”—really boils down pop’s appeal to its essence: indulging a preposterous rush while also reveling in its preposterousness. “It is Perry’s self-consciousness—her awareness of herself as a complete package—that makes her interesting,” went one line in an NPR rave about the album. Even skeptical reviewers gave credit to standout singles such as “California Gurls” and “Firework” for being effective earworms. Perry had laid out her intended sound by sending a mixtape of the Cardigans and ABBA to Dr. Luke, who was part of a production team that pushed for perfection. 

“People on the management side and label side were pretty much telling me that we were done, before we had ‘Teenage Dream’ or ‘California Gurls,’” Luke told Billboard in 2010. “And I said, ‘No, we’re not done.’”

Such efforts ensured Teenage Dream’s incredible staying power on the charts through early 2012. The album’s deluxe reissue that year then generated a sixth No. 1 single, “Part of Me,” which also provided the title of a self-produced documentary that Perry released around the same time. Much of the footage showcases the stagecraft behind her 2011–12 world tour, a pageant of dancing gingerbread men and poofy pink clouds that would presage her hallucinatory 2015 Super Bowl halftime show. Perry comes off as charming and willful, and the film currently sits as the 11th-highest-grossing documentary in U.S. box-office history.

Yet the movie is best remembered today not for the way it shored up Perry’s shiny image, but for the way it complicated it. Over the course of the tour, Perry’s marriage to the comedian Russell Brand dissolved, and the cameras captured her sobbing just before getting on stage in São Paulo. It’s a wrenching, now-legendary scene. But elsewhere in the film, the viewer can’t help but experience cognitive dissonance as the singer’s personal dramas are synced up to concert footage of grin-inducing costumes and schoolyard sing-alongs. By hitching Teenage Dream’s whimsy to real-life struggle, the movie seemed to subvert exactly what had made the album successful: the feeling that Perry’s music was made to escape, not amplify, one’s problems.

Perry released her next album in 2013, a year that now seems pivotal in mainstream music’s trajectory. That’s the year Gaga pushed her meta-superficial shtick until it broke on the bombastic Artpop, which earned mixed reviews and soft sales.

 It’s also the year Lorde, a New Zealand teenager whose confessional lyrics and glum sonic sensibility would be copied for the rest of the decade, released her debut. Then in December, Beyoncé surprise-dropped a self-titled album whose opening track, “Pretty Hurts,” convincingly critiqued the way society asks women to construct beauty-pageant versions of themselves.

Later on the album, Beyoncé sang in shockingly explicit detail about her marriage to Jay-Z. Tropes of drunken hookups, simmering jealousy, and near-breakups were reinvigorated as specific and biographical, thanks in part to Beyoncé’s fluency with rap’s and R&B’s storytelling methods. She ended up seeming more glamorous than ever for the appearance of honesty.

The title of Perry’s album, Prism, not-so-subtly advertised her trying, too, to show more dimension. But the songs’ greeting-card empowerment messages, hokey spirituality, and awkward genre hopping made it seem as if Perry had simply changed costumes rather than had a true breakthrough. 

Still, both the cliché-parade of “Roar” and the trap-appropriating “Dark Horse” hit No. 1., and Prism’s track list includes a few examples of expert, big-budget songcraft. 

The album would turn out to be Perry’s last outing with a key collaborator, Dr. Luke. While she has maintained that she’s had only positive experiences with the producer, Perry hasn’t recorded a song with him since Kesha filed her 2014 lawsuit.

The Kesha-versus-Luke chapter added to a brewing sense that the carefree pop of the early 2010s was built on dark realities: Perry and Gaga have both described their most profitable years as personally torturous. Broader social and political developments—Black Lives Matter, the #MeToo movement, and the election of Donald Trump—also proved impossible to ignore for even the most frivolous-seeming entertainers. 

“When I first came out, we were living in a different mindset in the world,” Perry said in a recent Rolling Stone interview. “We were flying high off of, like, life. We weren’t struggling like we are. 

There wasn’t so much of a divide. All of the inequality was kind of underneath the mat. It was unspoken. It wasn’t facing us. And now it’s really facing us. I just feel like I can’t just put an escapist record out: Like, let’s go to Disneyland in our mind for 45 minutes.”

If that point of view sounds blinkered by privilege—who wasn’t struggling before, Katy?—Perry probably wouldn’t disagree. Her 2017 album, Witness, arrived with a blitz of publicity about how the star had become politically awakened and had decided to strip back her Katy Perry character to show more of the real Katheryn Hudson. A multiday live-stream in which fans watched her sleep, wake up, have fun, and go to therapy certainly conveyed that she didn’t want to seem like a posterized picture anymore. 

Yet neither Witness’s attempts at light sloganeering (the anti-apathy “Chained to the Rhythm”) nor its sillier side (the charmingly odd “Swish Swish”) 

connected with the public. It’s hard to say whether the problem was more temperamental or technological: By 2017, streaming had fully upended the radio-centric monoculture that stars like Perry once thrived in.

Her new album, Smile, is an explicit reaction to the commercial and critical disappointment of the Witness phase. Over jaunty arrangements, song after song talks about perking up after, per Smile’s title track, an “ego check.” There are also clear nods to her personal life. “Never Really Over” ruminates on a dead-then-revived relationship much like the one she has had with Orlando Bloom. “What Makes a Woman,” Perry has said, is a letter to her daughter, who was born on Wednesday. But she’s still mostly communicating in generic terms—lyrics depict flowers growing through pavement and frowns turned around—and with interchangeable songs. The explosive optimism of Teenage Dream has been replaced by ambivalence and resolve, yet the musical mode hasn’t really changed to match.

This leaves Perry tending to longtime fans but unlikely to mint many new ones. That’s because pure pop, the kind that thrives on doing simplicity really well, is largely a niche art form now. The delightful Carly Rae Jepsen will still sell out venues despite not having had a true hit in years. Today’s most acclaimed indie acts include the likes of 100 Gecs and Sophie, who create parodic, deadpan pastiches of pop clichés. Fixtures such as Lady Gaga do still have enough heft to ripple the charts (and thank God—her sense of spectacle saved the VMAs on Sunday). But her recent No. 1 single, “Rain on Me,” benefited from Ariana Grande, whose ongoing success comes from smartly channeling R&B. 

The current status of Dr. Luke, who has retreated from the public eye but still works with lesser-known talents and while using pseudonyms, seems telling too. He can’t land a hit with Kim Petras, a dance diva in the Katy Perry lineage. But he can land a hit with a rapper: He’s behind Doja Cat’s recent smash “Say So.”

Streaming, now the dominant form of music consumption, does not reward bright and insistent sing-alongs that demand attention but offer little depth. It instead works well for vibey background music, like the kind made by Post Malone, who’s maybe the most cartoonish figure of the present zeitgeist. It also works well for hip-hop with an obsession-worthy interplay of slangy lyrics, syncopated rhythms, and complex personas, all of which are presented in a context that feels like it has something to do with real life. 

Last week’s No. 1 song in the country, “WAP,” by Cardi B and Megan Thee Stallion, radiates some of the fantastical thrill of the 2010 charts. But it delivers that thrill as part of a lewd verbal onslaught by women whom the public has come to know on an alarmingly personal level. The video for “WAP” is bright and pink, yes, but also immersive. 

It’s not a cartoon—it’s virtual reality.

[je5ter]

Looking at you - Movie Montage from Brutzelpretzel on Vimeo.

Song: "Can't take my eyes off you", performed by Manic Street Preachers and also by Muse.

This is a tribute to the wink of complicity from the filmmakers to the audience when they make actors look straight into the camera. It is not a tribute to scenes where the fourth wall is broken (when a character addresses the audience directly), some clips in the video belong to that category but most of them don't cause it is not what we wanted to show.

There are 150 different clips (from 148 films) in this video, but at first I had selected more than 200 films. I left out dozens of scenes on purpose, cause I didn't want a 15 minutes montage. For example, I decided not to include the "found footage" genre, cause everyone looks at the camera in this type of movies (like "Cloverfield"). And also musical numbers, where it's very common that the actors look at the camera while singing. And, obviously, there are many more films missing cause I didn't know them. Apologies in advance for every film I discarded, forgot or missed. For example, I really regret forgetting about Kurt Russell in "Death Proof", Dick Van Dyke in "Mary Poppins" and Tilda Swinton in "Orlando".

Thanks to: flavorwire.com/255501/on-ferri... eye-contact.tumblr.com/

00:00 Titanic 00:02 The Age of Innocence 00:04 The Rocky Horror Picture Show * 00:05 Singles * 00:06 Harry Potter and the Prisioner of Azkaban 00:07 Goodfellas* 00:09 Coraline 00:11 Rebecca 00:13 Superman * 00:15 The Curious Case of Benjamin Button 00:19 The Big Lebowski 00:21 The Muppets Christmas Carol * 00:24 The Sixth Sense 00:27 Les Quatre Cents Coups 00:31 Witness 00:32 Once Upon a Time in the West 00:35 Boogie Nights 00:38 Ying Xiong (Hero) 00:40 Le samouraï 00:42 Trading Places * 00:44 Scott Pilgrim vs The World 00:45 Shallow Grave 00:47 A Scanner Darkly 00:49 Apocalypse Now 00:52 Con Air 00:54 Tinker Taylor Soldier Spy 00:56 The Ides of March 00:59 Napoleon 01:01 2001: A Space Odyssey 01:04 Groundhog Day 01:06 Ratatouille 01:07 Crank 01:08 Die Hard 01:09 Raising Arizona 01:11 Wayne's World 01:12 The Fantastic Mr. Fox 01:13 Pulp Fiction 01:14 The Graduate 01:15 Fear and Loathing in Las Vegas * 01:16 Christmas Vacation 01:17 Brazil 01:20 Amélie * 01:22 Ferris Bueller's Day Off * 01:24 Braveheart 01:26 The Devil's Advocate * 01:27 Breaking the Waves * 01:29 American Beauty 01:31 Back to the Future II 01:34 The Fountain 01:36 Un Prophète 01:38 Zatoichi 01:40 The Fifth Element 01:42 Alfie * 01:44 Three Amigos! 01:45 The Artist 01:48 Married to the Mob 01:51 Rushmore 01:54 The Girl with the Dragon Tattoo 01:56 Romeo + Juliet 01:59 The Girl with a Pearl Earring 02:02 The Fellowship of the Ring 02:06 Secretary * 02:10 Kill Bill Vol. 1 02:13 Le Escaphandre et le Papillon 02:16 Strangers on a Train 02:21 Funny Games * 02:23 In the Line of Fire 02:25 Fight Club 02:27 Misery 02:31 Clockwork Orange 02:34 The Silence of the Lambs 02:37 Metropolis 02:39 Sunset Boulevard 02:42 Psycho 02:47 The Shining 02:48 Mars Attacks! 02:49 Bronson * 02:50 Evil Dead II 02:52 Austin Powers: The Spy who Shagged Me * 02:53 Rashômon 02:55 Black Swan 02:57 The Exorcist 02:58 The Night of the Living Dead 02:59 Les Yeux Sans Visage 03:01 Nosferatu 03:03 Vertigo 03:05 Invasion of the Body Snatchers 03:07 Home Alone * 03:09 True Lies 03:10 A Christmas Story 03:12 Robocop 03:14 Full Metal Jacket 03:15 Do the Right Thing * 03:17 The Silence of the Lambs 03:19 Dead Man 03:20 Bad Lieutenant 03:22 Bad Boys 03:23 Dip Huet Seung Hung (The Killer) 03:24 Idi i Smotri 03:25 Goodfellas 03:27 Hanna 03:28 The Great Train Robbery 03:30 La Haine 03:32 Saturday Night Fever 03:35 Stranger Than Fiction 03:38 Super 03:40 Steamboat Bill, Jr. 03:43 Tangled 03:44 Trainspotting 03:47 Rango 03:49 Enter The Void 03:52 The Royal Tenenbaums 03:54 Black Narcissus 03:55 American Beauty 03:57 Lady in the Lake 04:00 The Virgin Suicides 04:02 Rear Window 04:03 À Bout de Souffle 04:04 Little Children 04:05 Nine 1/2 Weeks 04:06 Spellbound 04:07 Splice 04:09 25th Hour 04:10 Cat People 04:11 Strange Days 04:12 Duck Soup * 04:14 Annie Hall * 04:17 The Kid 04:20 Neverending Story 04:21 Zoolander 04:23 High Fidelity * 04:25 JCVD * 04:26 Oldeuboi (Oldboy) 04:28 Raging Bull 04:30 Gran Torino 04:30 Ying Xiong (Hero) 04:33 Shoot'em Up 04:35 Jaws 04:36 Addams Family Values 04:37 Escape from LA * 04:37 Donnie Darko 04:39 The Darjeeling Limited 04:40 Hugo 04:41 Persona 04:42 The Red Shoes 04:43 Magnolia * 04:45 Le notti di Cabiria * 04:50 The Truman Show