#use all the senses to create rich sensory pictures and focus on how the characters FEEL

[denimbex1986]

'Oppenheimer film review — Christopher Nolan delivers the bomb but can’t crack the man

Cillian Murphy’s charisma holds together a film of astonishing images but fumbled storytelling

No action figures are yet being sold of J Robert Oppenheimer, father of the atomic bomb. He is the stuff of a lavish summer blockbuster all the same: Oppenheimer, a $100mn, Imax-ready portrait from writer-director Christopher Nolan. It makes an unlikely Hollywood prospect. The film doesn’t just forgo superheroes, it is steeped in the very definition of the all-too-human. Feel the tortured ambivalence; witness the dark shadow of doubt. A popcorn trail that leads to Hiroshima: a high-risk strategy.

The star is Cillian Murphy, whose weight loss for the part leaves it looking like the bomb was created by former Talking Heads frontman David Byrne in the era of concert movie Stop Making Sense. Supporting him, a giant cast includes Emily Blunt as wife Kitty Oppenheimer and Robert Downey Jr playing Washington insider Lewis Strauss; among the throng are Kenneth Branagh, Florence Pugh and Tom Conti, as an avuncular Einstein.

The film runs three hours precisely. This is also the typical length of an exam in many British university finals, a rhyme with early scenes of the fragile young Oppenheimer at Cambridge. And with the film as a whole, in truth, which can feel like an undergraduate essay, packing in factoids to mop up marks. It also has a touch of psychoanalysis: Nolan sure that if he aims the camera at Murphy just-so, his character will crack right open.

Florence Pugh is among the supporting cast, playing one of Oppenheimer’s lovers Put like that, it sounds hubristic. The film still has much to recommend it. Nolan taps the full sensory potential of moviemaking, pushing picture and sound to meet the scale of the story: clever lines dot the script; the whole project is admirably willing to wrestle with matters of great weight through cinema. But the source is a book: a credit given to Kai Bird and Martin J Sherwin for their 2005 biography American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer.

All to the good. A gifted choreographer, Nolan has also long struggled with rendering characters in three dimensions. Bird and Sherwin have done the legwork for him: the principals come with rich biographies and ready-to-go dialogue. The book also provides the story’s basic shape: a Greek tragedy, structured around the trial-by-any-other-name Oppenheimer faced during the postwar inquisitions of Joseph McCarthy.

Physicist, womaniser, linguist, leftist, enigma, coward, genius. The film must find room for many Oppenheimers. It duly shows how illusory the divides between them were, one Oppenheimer habitually setting off chain reactions that imperil another.

And yet here, not all are created equal. Blue eyes gleaming, Murphy’s sheer charisma is often the glue that holds the film together. But the through-line from one part of his character to another can be hard to track. We see cocksure intellect, for instance, but have to take on trust that the same man could also be a shrewd handler of personnel, taking charge of the rogue elements building a nuclear weapon in desert Los Alamos, New Mexico.

That period claims much of Nolan’s focus. Of course. This is the crux; the crossroads. But you sense a second reason for Nolan glomming hard on to the moment. As a creative hub thrown up out of plywood, Los Alamos resembles a movie set as the second Oppenheimer becomes director of his band of mercurial talents, facing down bad weather while a producer hovers in the form of US Army Lieutenant General Leslie Groves (Matt Damon). At one point, the script calls its subject the most important man in history. Oh, you think: and yet here we are watching another film about filmmaking.

Still, to quote Robert Shaw in Jaws, Nolan delivers the bomb. He can be an astonishing image-maker. The test in the New Mexico desert is all that and more, the mushroom cloud a strange white apparition, dread and wonder on the watching sun-goggled faces. (“It hardens the heart,” Oppenheimer says, hauntingly.) For all Nolan’s unease with inner lives, Oppenheimer is at its most effective shrunk down to faces and human drama: Los Alamos lost in queasy jubilation after Hiroshima, the scientist’s later hounding driven by one small man’s grudge. What an indictment. The species still so petty, even now.

The film also overplays that hand. The decision to treat the background to the trial like a gaudy whodunnit is misjudged. The storytelling is fumbled too, key scenes saddled with flashbacks and distracting flips between black-and-white and colour. When Oppenheimer needs a spotlight, Nolan puts on a firework display. And the detail comes to feel scattershot; unthinking. (We still never see the moment in Bird and Sherwin’s book where, sharing a lift with McCarthy himself, Oppenheimer gave the senator a wink.)

For all the hint of Hollywood in Los Alamos, Christopher Nolan isn’t Robert Oppenheimer. Nor is he Stanley Kubrick, who gave us that deathless nuclear comedy, Dr Strangelove. Kubrick was brilliant; Nolan is proficient. You may still find that his new film stays with you for days, turning itself over in your mind. And if that owes as much to Oppenheimer as Oppenheimer, the pair do have much in common: each as bold as they are flawed, two contradictory equations.

★★★★☆

In cinemas from July 21.'

[angrycollectordaze-me-blog]

Paper代写：Korean disaster movie

本篇paper代写- Korean disaster movie讨论了韩国灾难电影。灾难是人类生存与发展面临的共同挑战，灾难电影是没有国界的，它所呈现的灾难场景和人间真情都是具有普世意义和公共性。韩国灾难电影让更加关注观众生存环境、对未知灾难的防范、对生态状况和生存危机的担忧，更多关于个体的心灵震撼、生命力的体悟和人类众生一体永恒的思考。这种浸染了强烈的忧患意识和集体主义精神文化，让韩国灾难电影的叙事空间上升到一个新的审美高度，韩国灾难电影与韩国的民族精神融为一体，展现出持久、旺盛的生命力。本篇paper代写由51due代写平台整理，供大家参考阅读。

Disaster movie is a kind of movie with horror, panic, tragic plot and disastrous landscape as the main viewing effect. As early as in the era of silent films, disaster themes were scattered in all kinds of films. After the initial period, development period and prosperity period, disaster films gradually developed into a mainstream type of films, attracting a large number of audiences. With the development of science and technology, digital special effects are better used in the film, the theme of disaster films has been expanded, the screen show effect is more rich and realistic, the audience's interest in watching movies has never been higher, making its production a new climax. Led by Hollywood, countries have invested in the production of disaster movies, disaster movies gradually become synonymous with high investment and high box office.

In recent years, South Korean films, with their diverse and rich themes, superb narrative skills and true and touching emotional expression, have risen to prominence, winning awards and attracting attention from audiences all over the world. In May 2016 at the cannes film festival screened in the midnight screening of the busan line as Asia's first real zombie theme of disaster movies, get all the audience stood up and applauded, and on the first day of its release a south Korean film and television a single-day record, has also become South Korea's highest box office record 2016 movie, a remarkable achievement for academics and began to focus on Korean disaster movie. Haeun-tae, a 2009 film about the tsunami disaster, is considered to be the first disaster film in the history of Korean cinema, and the fifth film in the country to make more than 10 million box office hits. Since then, the subject and contents of the disaster film, tells the parasite erosion of the wireworm invasion, the brain tells of the fire accident "skyscraper", under the present climate change the fate of mankind "snow country train", the flu virus from human sentiment changes in temperature the "flu" and so on, have to refresh the box office, to the audience by surprise. In addition to the sensory impact brought by visual effects and the attraction generated by the broad subject matter, there must be deep reasons for the success and approval of Korean disaster films, which are also worth exploring and studying.

In terms of audience acceptance psychology, audiences tend to read stories that are interesting or can trigger audience's curiosity psychology. A good movie must be a movie that can tell a story. Only a good story can attract people, and storytelling is narrative. From the perspective of narrate, film narration can depict images and events through the arrangement and combination of a series of shots, thus obtaining a powerful narrative expression. Therefore, film, as a time-space art, is different from other art forms and becomes unique and more attractive. Study film narrative space, "by analyzing the relationship of film narrative space and narrative function, to interpret the film narrative space in the element and different space level, and thus to form a film narrative unique personality with a particular style, so for the study of narrative space become an essential part of film narrative research. This paper will analyze Korean disaster films from the perspective of narrative space and deconstruct their narrative space from three aspects: story space, picture space and aesthetic space.

According to the big bang theory, after the singularity explosion, the state of the universe was divided by the initial "one", which resulted in different forms of existence and states of motion. "Space" is understood as the difference in position between objects, while "time" is used to measure the change in position. Human beings are in a large space, and the time-space art of film also needs a fixed space setting. "The so-called movie narrative space refers to the activity place or existence space created or selected by the film maker to carry the things in the story or event to be narrated. It ACTS on the audience's vision and hearing through the direct representation of moving images and sounds. The story space is the main part of the movie narrative space, that is, the space where the whole story unfolds, in which the conflicts and the beginning of the story develop into the climax. Hollywood disaster movies are positioned in a global perspective and usually set up a huge story space. The disasters they describe are also global, such as the day after tomorrow, 2012, I am a legend, etc. However, Korean disaster films that pursue the integration of local narration and Oriental ethics tend to set the story space in a relatively small scope. From the objective reason analysis, can reduce the big scene, the high difficulty special effect production, reduces the film shooting cost; From the perspective of narratology, the narrow and narrow story space can accelerate the progress of the plot and intensify the conflicts. Through the confrontation between the little people and the catastrophe, the humanity and theme can be highlighted and deepened.

Haeundai's story of the tsunami disaster in a south Korean seaside town revolves around the changing relationships of several families before and after the disaster and the moving details of how they help each other in times of disaster. In "flu" virus began in a small container, crossing over from southeast Asia and then spread to the whole city, the cities all people infected by the virus are quarantined, firefighters "Jiang Zhijiu" together with the female doctor "Jin Renhai" on the road to find virus antibody, eventually save themselves and saved the isolated population. "Pandora" is because a nuclear power plant accident triggered a nuclear leak, dozens of miles and even half of South Korea will face nuclear pollution, a group of nuclear power plant workers came forward, sacrifice themselves and minimize the risk of this nuclear leakage accident. In the snow country train "and" busan ", is even more aggressive in its narrow space to the story on a moving train, the skyscraper is a story happened in the fire accident on the skyscrapers, "tunnel" tells the story of an ordinary car salesman lee jung-su trapped in collapsed pursues tunnel live under 35 days was finally rescue story. By induction, we found several stories are good at in linear narrative chain to show a strong narrative space, the story full of emotional appeal, fully highlighted the disaster point and the safety of sharp contrast, the face of disaster, both the dirty and ugly, and the glory of the human nature, the spirit of the highlighted don't abandon don't give up, self-sacrifice sense of justice, the beauty of the human psyche.

The picture space of a movie is a dynamic place of moving images in time series, and also an important part of the narrative space. The picture space is the space and activity scope of the narrative subject in a single shot, and also the place where a story happens. The structure of the picture space gives the audience the most direct visual experience, and also tests the director's scene scheduling and the photographer's composition choice. With scientific and technological progress and improvement of living standards, people life gradually become inseparable from the mobile phones, televisions, computers and other kinds of emerging high-tech equipment, these media and film naturally involved in the narrative, such as video calls, broadcast live on television, network, etc., to deepen the conflict, promoting the development of the plot. In disaster films, suffering groups are often isolated from the outside world, and this emerging medium naturally becomes an important means of communication to participate in the narrative and the construction of picture space. All the passengers in "train to busan" are trapped on a train bound for busan. The zombies are slaughtered outside the train. The number of infected people inside the train keeps rising. In Pandora, when people are in the hospital, they also watch the President's live speech on TV and know the crisis of the situation, so they decide to sacrifice themselves to save their loved ones. When the volunteers go deep into the reservoir inside the nuclear power plant, they connect the TV pictures through the live camera equipped on the helmet, and broadcast the rescue scene simultaneously, showing the exciting plot. Both of them make full use of the picture-in-picture mode to expand the picture space. The difference is that the former makes a sharp contrast between the critical situation of the survivors and the TV news reporter's false report that the disaster was mild and the government was actively sending troops to maintain stability, which greatly satirizes the news media's cover-up of the truth and the government's incompetence and inaction. In this narrow space, the lonely and helpless people in the foreground and the dignified media people in the background are increasingly depressed. The emotions of the audience are greatly mobilized, and the sense of identity substitution and on-site experience are strengthened to the greatest extent. However, the TV character in Pandora is a good one. Despite the opposition of the prime minister and the council, the President resolutely takes decisive measures to scrap the nuclear power plant to save the nation as much as possible, and works with the volunteers in the scene to fight against the disaster. At this time, both inside and outside the painting, the narrative subject and the audience have reached a high degree of emotional unity, and a positive energy and patriotic feelings that human beings must win arise spontaneously, and the theme of the film has been sublimated. Different from Hollywood disaster movies with big scenes and big narrative space, south Korean disaster movies pay more attention to the grasp of details. Their grasp of small picture space extends the narrative space, enriches the narrative Angle and narrative language, and is more powerful and refined in emotional expression. This is a unique Oriental narrative.

Bazan's research on film space inspired us deeply. Zhou chuanji thought that films were developed in a deep and closed space, which gave us a further understanding of film space. "The direct perception of film narrative space comes from life, and it is also a sublimation of life, which is an important part of the aesthetic of film art." Film makers use the narrative space of films to imply or express some ideas or consciousness, while audiences reconstruct a new space based on their own knowledge reserves or movie-watching experience, which is called aesthetic space. If compared the picture space in a ship traveling on the sea, so is the whole story space area, both the major parts of the narrative space expression comes out, and really complete narrative space but also see the picture of the hearts of the audience, this part scratching can't be seen from space, it is the most important part of the aesthetic value of film.

Disaster movies provide people with "not only an aesthetic satisfaction, but also a certain social and cultural psychology, showing the philosophical significance of ultimate concern for human destiny on earth." Disaster consciousness is a special kind of disaster consciousness of human being as a social person, and it is because of this kind of disaster consciousness that human being can prepare for the rainy day or make up for the late sheep, survive in the fight against various natural and man-made disasters, and promote the progress and development of human civilization. Disaster films in socialist countries often outline a social picture of solidarity, mutual assistance, harmony and stability for the audience through panoramic and group-image characterization. Hollywood disaster movies pay more attention to typification and commercialization, pay attention to the visual and auditory effects of disaster rendering and the heroic spirit of beating the disaster to save human beings to promote; However, south Korean disaster movies stand alone, and often take the most ordinary class little people in the society as the main character. In order to save their relatives and friends, they come forward, gradually become strong and brave, complete self-redemption and social redemption, and finally escape from the disaster and remove the dilemma. The wireworm invasion of the protagonist is a working staff and the police, "flu" narrative subject is a single mother and firefighters, "Pandora" savior is a group of plant personnel, every ordinary person in front of the disaster maximize their life values, critical moment to seek solutions, against disaster, against the human side of the dark. The exciting scenes infect the audience, and the profound theme inspires the audience. At this time, the story of the film and the audience in front of the screen jointly shape a new aesthetic space.

"Disaster is a common challenge for human survival and development. Disaster movies have no national boundaries, and their scenes and human feelings are universal and public." The inspiration of south Korean disaster movies is not only the attention to the living environment, the prevention of unknown disasters, the worry about the ecological situation and the survival crisis, but also the individual's spiritual shock, the perception of vitality and the eternal thinking of human beings. It is this "hate" culture imbued with a strong sense of anxiety and collectivism that elevates the narrative space of Korean disaster films to a new aesthetic height, and integrates the Korean disaster films with the national spirit to show lasting and vigorous vitality.

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[kidslovetoys]

Toy box essentials

How many toys does your child actually need? 

A thought experiment I often return to is to wonder whether it's possible to devise a toy box that will see a child through from birth to five that is rich in experiences yet costs less than £100. Sometimes I even wonder what the £0 toy box would look like. This post on toy box essentials is a first attempt at tackling these questions. 

Look out for our upcoming posts on the £0 toy box and the £100 toy box. I'd love to hear what you would include. Please leave a comment below.

What toys to include?

Like starting any new job, parenthood is easier if you have the right kit. At One Hundred Toys we believe good toys can not only help children develop important skills, but also give worn-out parents a helping hand, by encouraging independence and self-directed play.

But how do you know which toys to give them and when? Why do they ignore things one week and won’t put them down the next? Which toys help develop which skills? What materials are best and safest? And how do you do it on a budget?

A toy guide for the under 5s

We’ve put together this list of toy box essentials to help. Like a capsule wardrobe or a first aid kit, you’ll find everything you need in here for five years of successful play. We’ve ensured they provide a rich variety of experiences and help to develop important skills such as fine-motor development, gross-motor development, creativity, focus and perseverance - skills they’ll need when they start school. You’ll also find they’re all open-ended, meaning they can be used in any number of ways and adapt with a child’s physical and imaginative growth, over a long period of time. And best of all, lots of them are free! And the ones that aren’t will last you forever. There are no costly one-hit-wonders here.

Blocks

Our number one essential toy, blocks can be anything and everything. Start early and use them as grasping toys or for stimulating eyesight with bright colours and shapes. Later on children can use blocks for construction and pattern-making, small world play and tessellation. They’re also great to transport in in baskets or strollers. As imaginative play develops, blocks provide useful props, they can be cars one day and asteroids the next, and combined with fabric or junk modelling they’re a useful addition to small world play.

The simplicity of Grimm's natural blocks offers the perfect backdrop for small world play.

Used creatively, a single stacking toy offers many possibilities.

Grimm's giant building blocks are great for bold structures and rapid construction. 

Figures

Children recognise themselves and their families, friends and pets in play figures. Playing with them helps them compound their understanding of the world, from driving a car to cooking in the kitchen. Pre-schoolers are often particularly interested in exploring the boundary between good and evil, which is why 'superhero' play is so popular at this age.  If you have boys and are concerned that they play exclusively with trains or dinosaurs and spend their days choo-chooing or roaring, try adding a few figures to their play. A train driver or passengers in a train set encourages dialogue between characters and makes children more likely to narrate the action, both fantastic ways to promote language development.

  Ostheimer lioness and zebra. The secret to assembling a box of essentials is to have a purpose when choosing toys. How will they fit together? Which combination of toys will maximise the play possibilities? To read more about this subject, take a look at our post on small world play with just a handful of figures: Three goodies and a baddie: tell almost any story with just a handful of figures.

Feel the tension as the unguarded sheep cower from the wolf.

Our hero arrives just in time. 

Fabric

Have some generous pieces of fabric tucked away in your toy box and you’ll be surprised by how often they come out to play. Fabric is so versatile. It can make a river or a desert in imaginative play, it can make a den over a table or washing line, and wrapped around a middle it can become a bridal gown or a wizard’s cloak. Tie a piece to the end of a stick and you have a streamer - zooming ribbons through the air is an early form of writing.

Teddy bear with a sling. 

Balls

Balls are endlessly fascinating to young children. Babies like soft ones they can grasp, or ones with bells inside they can push and track the sound of. Older babies and toddlers develop hand-eye co-ordination and grip strength throwing and skimming, kicking and eventually catching. Roll them down slopes and see which ones go fastest, pretend they are peas on a giant’s dinner plate, or make a collection of different sizes and bounciness. Even young children can play catch or a kind of hockey if you swish the ball across the floor, so they’re great for playing with friends, too. They are just endless fun.

  Grimm's wooden balls

Beads and threading

A bowl of colourful beads is a wonderful thing to keep on the kitchen table, ready for those times when busy hands need occupying. Stringing beads (or for a free version try pasta shapes, bottle tops, conkers - you get the picture) together is absorbing and requires great focus. Colourful beads are also a fun way to learn colours, start to count and to make patterns. 

These monochrome beads by Grimm's have many facets, making them easy for small hands to hold steady whilst threading.

Play dough

Playing with dough is a fun sensory activity most children enjoy. Moving and moulding the soft putty in their hands works on their fine-motor development, strengthening their fingers - important for holding a pencil later on at school. Being creative with the dough, rolling it into shapes, pinching and squeezing it, stabbing it and slicing it, also develops hand-eye co-ordination and precision, as well as focus. You can have as much fun making dough as playing with it. By making your own (follow our simple recipe here) children learn to follow instructions and gain a sense of achievement. Try including different colourings and aromas, and textures like rice, sand or oil.

Mark-making materials (pencils, paints, chalk)

Babies don’t really need mark making toys as they can simply run their fingers through sand or make a ripple in the water. Later on, try chunky chalks on the patio, or paint an internal door with blackboard paint. As grip strength grows and children learn they can communicate feelings and thoughts with lines and pictures, crayons, charcoal, paints, pens and pencils will all be welcome diversions. Mark-making of any kind is a powerful tool for thinking, reasoning and problem solving.

Basket (with handle)

A basket full of things is a box of treasure to a child. One with a handle is even more exciting. It doesn’t have to be fancy or look like a supermarket basket - although these are always fun. It just needs to be able to hold very important toys and be light enough that they can carry things from A to B, especially when they are playing postman or doing the shopping with you. For small babies who are interested in textures and sounds, fill the basket with interesting items like pine cones and fabrics and let them discover what’s inside.

A simple basket has endless uses

Bucket and spade 

Much like a basket a bucket is great for transporting important finds but has the added bonus of being waterproof and capable of making sandcastles. Throw in a spade and you have hours of absorbing fun digging and scooping, patting and burying. If the beach isn’t close by, the garden will do. 

Jugs and beakers

A set of solid jugs and plastic beakers will provide hours of scientific experiments and discovery. Even very young children love to see what happens when you pour liquids, or sand or beads, from one jug into another. How quickly does it fall? How much does it splash? As they get older they begin to explore capacity and understand the properties of different liquids. Food colouring, sequins, old shampoos and anything else you can think of can bring fresh angles to their experiments. In the bath, jugs and beakers are all that is needed for hours of soaking and splashing with siblings.

Scissors and glue

No need for convoluted craft sets - a good pair of children’s scissors and some decent glue is really all they need. Using scissors is a pretty sophisticated skill requiring grip strength and precision, so invest a pair that have been designed for small hands and have safe, rounded ends - but make sure they are sharp enough to work. Choose a non-toxic glue that's strong enough to stick heavier collage pieces down. Glue sticks are an effective, if expensive, option. But it's hard to beat that old primary school favourite, PVA. Apply it with a brush or spreader for best results. It can even be used to seal collages and pottery, and mixed with paint gives models a lovely sheen. Keep a supply of old magazines, leaves, fabric and tissues paper to hand and your children will be busily creating for hours.

Soft toys 

A soft toy with a friendly smile and soft, tactile texture, is a loyal buddy for your child to rely on and care for. Soft toys provide a reassuring presence in new scenarios and situations, and make excellent guests at tea parties. The less pre-determined their character is (a classic bear or animal is ideal, rather than say a character from a film) the more children can imagine a personality for them.

A soft toy, like this duck from Happy Horse, can be a close companion for many years. Not all children warm to soft toys, but for those that do, they can be a source of fun and comfort for many years.

Loose parts

Cotton reels, buttons, bottle tops, Rainbow Friends: whatever you can collect small groups of, qualifies as loose parts. Loose part play is an endless game. Children can stack and count with parts one day, build and construct with them the next. They can use them as props in imaginative play, or as pieces in their small world creations.

Loose parts for sorting

It's clear that pattern-making is a form of early maths. 

Natural materials

Nature provides children with plenty of toys - go on a walk with any pre-schooler and you’ll usually find pockets full of pebbles or stones, acorns and sticks. Embrace this instinct to collect and curate from nature’s toy store and you’ll never be without something they love to get out and examine and covet. Natural materials can be anything from shells and seaweed to rocks and conkers. Clumps of moss make great football pitches for play figures, pine cones are excellent Christmas trees, or stuck to a stick a pop-star’s microphone. Keep rotating and changing the natural materials and you’ll find they never get bored of playing with them.

A simple arrangement of an old fence post and some pebbles can provide the setting for small world play. 

These Ostheimer deer are spending a quiet afternoon amongst seedheads.

Knight with flowers: introducing even a single natural element can really lift toys and bring them to life.

Knights with seedhead swords

Optional extras

Puzzles, board games, card games, tools, trays, vehicles. These are all good things and add variety and fun to any toy box.

eeBoo puzzle

These child-friendly tools are from HABA, but you can just as easily use those that you find in your own tool box (vetting for safety and under strict supervision, of course).

And finally:

If you only buy two things:

Invest in a set of good quality wooden blocks and a number of solid generic play figures  (people and animals if possible) and you have the basics of all play. The rest you can beg, borrow and steal (from nature).

A toy box should be a simple thing, a resource rather than a source of entertainment. The more you fill it, the less room there is for imagination.

Don't forget to leave a comment below if you have any suggestions for the upcoming £0 and £100 toy box articles. I'd love to hear what you would include. 

from One Hundred Toys - The Blog https://ift.tt/2A5DBKR