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~"Arrivals and Departures" exhibition~

🎥 Activity title: "Arrivals and Departures" exhibition

🎥 Duration and Amount: October 19th, two hours

🎥 Type of activity: creativity

~ Activity Description ~

The students of Visual Arts went to see the "Arrivals and Departures" exhibition that was being held at Banja Luka's Museum of Contemporary Art. The exhibition's author is Mladen Bundalo, an interdisciplinary artist born in Prijedor who has moved away and now lives in Belgium. Through his works, he wished to capture the transience of life, as well as childhood nostalgia, and the effect they have on one's current and future identity.

We were introduced to Isidora, a friend of the author who worked on this project along with him. She provided us with background information on how these works came to be and told us a bit more about the idea behind each work. She also told us that the name of the exhibition was a play on words, since the museum we were in was once a railway station.

The first work we were introduced to was "Knots", which consisted of a bunch of different, framed knot designs. This work came about from the fact that there is not a single knot that is the same; every knot that we tie comes out differently. For me, this work represents the different paths we take in life and how they all enrich us in some way.

The poem "Universe" explains this work even further.

This four-player chessboard was handmade by the author. It's hardly noticeable, but there is a faint line cutting through the middle. Though it was an accident, it worked in the author's favor since he ended up really liking it, which is why he kept it. The pieces are movable, so if anyone wishes to play chess while they're there, they're free to do so.

There was one other interactive work that those who attended the exhibition on the opening evening had the chance to participate in. There were 50 pieces of white fabric on which everyone was to draw their ideal world — a perfect place for living. Each piece of fabric was then placed on a separate wooden pole, which resulted in 50 different flags.

We had the opportunity to watch a movie about the author's life. The movie contained bits and pieces of not only his life but also parts of his friends and family's lives. It was made up of a number of clips; some of them were in his mother tongue, while others were in French. One clip that was comical but also a bit horrific was the one in which he, along with his wife, who is from Belgium, had to prove their marriage was real to the legal authorities. From the way it was presented, it seemed like a traumatic experience to be continuously doubted and questioned about whether you truly love someone you consider family.

This next work was one of the most difficult ones to make since it required a real bus. Not only that, the piece had to be cut perfectly so that it would fit. They also had to make it look good, which was not easy considering the fact that they used a damaged vehicle. There was a film being projected on the wall next to the windows, so we were able to watch it while seated, giving us a feeling as if we were traveling along with the moving pictures.

~ Reflection ~

This exhibition definitely hits close to home. Having had close family members move away while I was still young, I'm not unfamiliar with migrations and how they can affect a person's well-being, especially if they're moving far away from their family. It's usually accompanied by a deep sense of nostalgia as well as homesickness for things that we usually take for granted. I think everyone should visit this exhibition, especially the younger generations, since it is related to them. There will come a day when we experience true longing for something or someone. But there's nothing to fear since we're bound to find another path that will lead us somewhere new or lead us back home. To a place where we belong.

~ Learning Outcomes ~

🎥 Demonstrate how to initiate and plan a CAS experience

🎥 Show commitment to and perseverance in CAS experiences

🎥 Demonstrate engagement with issues of global significance

[democanna]

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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.

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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.

[theradioghost]

Can you talk more about the history of the language and storytelling techniques/conventions of audio dramas? That's an incredibly intriguing concept but I wouldn't have the first idea where to look for more info about it. It reminds me a lot of the idea of video game literacy and how a lot of games aren't accessible to people who are brand new to video games because there are so many established conventions that aren't explained to new players

It has taken me nearly a month to reply to this, which I know is in reply to this post, and I am sorry for that! But also, yes!!!!! Hell yes, yes, I see exactly what you mean about the video game stuff.

Unfortunately I think there’s not much out there already written about the developing conventions of the new wave of audio drama. In large part, I think, because coverage of new audio fiction from outside the community has been so notoriously poor. But maybe also partly because there seems to be a strangely negative take on classic radio drama from a lot of the US sector within that community? Which I think really comes down to exactly the things I was talking about -- Old radio drama feels wrong to a lot of people now, because its storytelling language just doesn’t exist in our culture the way it once did; and even fewer people are familiar with late-20th-century American audio fiction like ZBS that might feel more comfortable or closer to other present-day mass media storytelling techniques. I see it claimed sometimes that there’s something inherently unsophisticated about old time radio storytelling, which is just flat out untrue, and I would highly encourage anyone who’s wondering to check out something like the “Home Surgery” episode of Gunsmoke or “The Thing on the Fourble Board” from Quiet, Please to see just how effective and well-done a lot of those old shows were.

(Leaving the UK out of this, because audio fiction stayed way more prominent there and I do not think the same problems exist, and leaving everywhere else out because unfortunately I just don’t know enough about how the medium fared elsewhere, or how it’s doing now. Alas.)

I’ve been thinking lately about parallels to this in other media that I have been able to study and read other people’s writing on, and I think a good comparison is possibly novels? The western “novel” as we think of it is really something that didn’t exist at all until about the 18th century (there are earlier works that have been kind of retroactively labeled ‘novels,’ some of them centuries earlier, but even if they have the characteristics of what we now call a novel, they’re very much disconnected from the evolution of the novel as something we have a name and a definition for). There are no novels from the medieval period, from the Renaissance. There are books as long as novels, but they’re not novels.

The thing is, when you read 18th and even 19th century novels, it shows, because the techniques for telling a story in that form hadn’t been really figured out yet. What you get is a lot of meandering, episodic doorstoppers, some of which have hundreds of pages before the main characters even enter the picture. A lot of writers at the time, and into the 19th century, actually hated the whole concept of novels. I think it’s a bit like going back and watching Monsters, Inc. and then watching Monsters University. The first one was revolutionary, yeah, and it’s a good movie still, but it’s not hard to see the visual difference between the two just in terms of the tools that the people making them had available to them. Before you can write a story or animate hundreds of thousands of individual hairs on one character, you have to figure out how.

One of the big, obvious things about novels from that period, though, is that many of them are first-person, and many are epistolary. It’s hard to find one that isn’t supposedly a memoir or a journal or a set of letters. The third-person perspective in long-form prose was something that had to be figured out; it didn’t just exist in the void, automatically summoned into existence the moment we started writing novels, which I think is really fascinating. There’s a lot of work in those early novels that’s being put into explaining why, and how, and to whom the story is being told. Because otherwise, how does it make sense that the book exists? It’s not a poem, or a play; it’s not taking the form of a traditional story or myth, not attempting to be an epic. Those early novels were about contemporary, real-seeming people, so the writers and audiences wanted an explanation for how the story had been recorded that relied on other existing forms of writing -- letters, journals, memoirs, sometimes claiming to be older texts that had been “found” (gothic novelists seemed to like this one). Sometimes the narrative voice is just the author using first person to actively tell you the story. They hadn’t yet bought into the presumption that we take for granted now, that a novel can have a voice that knows everything, without being the voice of any character in it.

And I think that it’s fascinating how similar that is to the heavy use of recording media as frame narrative in modern audio drama. It’s worth noting: classic radio drama doesn’t do this like we do now. By far, the standard for OTR is the same as the third-person omniscient perspective, the film camera; the storytelling presumes that you’re not going to need an explanation for how you’re hearing this. The audiences those shows were made for were used to fiction told solely in audio, in a way that a lot of modern audiences are not, and so that narrative leap of faith was kind of inherently presumed.

There’s also a way more common use of omniscient or internal narration in old radio drama that I feel like I mostly see now only in shows that are deliberately calling back to old styles and genres. A good example is The Penumbra; we hear Juno’s internal thoughts, just like so many of the noir-style detectives from the 40s and 50s I grew up listening to, and we never really ask why or how. (Except, of course, when the show pokes fun at this affectation, which I think really only works because it feels more like lampshading the stock character tropes of noir, as opposed to the actual audio storytelling technique it facilitates.) To take it further, there are some old radio shows like the sitcom Our Miss Brooks which go so far as to use an actual omniscient narrator to facilitate a lot of the scene transitions, but do so in a much more confident and comfortable way than modern shows like Bubble, where the narration reeks of “we’re making this audio drama in the hopes we can finally make the TV show, and we actually hate this medium and don’t know how to work in it, so rather than learning how to make what’s happening clear with just audio, we’re going to tell you what’s happening and then reference that we’re just telling you what’s happening.”

Bubble’s narration doesn’t work, because it’s actively pushing against the show, telling you things that sound design could have told you just as easily, sometimes actively acknowledging that the narration feels wrong instead of just not using narration. Our Miss Brooks is admittedly not one of my favorite old radio shows, but its use of narration is much smoother, because it’s written with a confidence that it’s only being used to clarify the the things that would be the absolute hardest to show with audio alone; confidence that they know how to tell everything else with sound. Internal narration from the likes of Juno Steel or Jack St. James or my favorite classic detective Johnny Dollar works because noir as a genre is inherently tied to the expressionist movement, where the (highly idiosyncratic) personality and worldview of the characters literally shapes how the world around them appears to the audience; it works to hear their thoughts, because we’re seeing the world through their eyes. We don’t have to know how they’re saying this to us, they just are.

None of which is at all to say that there’s anything inherently wrong with using framing devices! Actually the opposite, kind of. First of all, because I genuinely do think that it’s a sign that we are actively, at this moment learning how to tell these stories, and how to listen to them, which is just so, so exciting I don’t even have words to express it. And secondly, because as a person who loves thinking about stories and storytelling enough to write this kind of ridiculous essay, I am obsessed with metafiction. I’m a sucker for the likes of Archive 81, The Magnus Archives, Welcome to Night Vale, Station to Station, Greater Boston, Within the Wires. They’re stories that take the questions that framing devices are used to answer for writers and audiences who don’t feel comfortable not asking them -- Why is this story being told? Who is telling it? Who is it being told to? -- and use those questions to the full advantage of the story, exploring character, creating beautifully effective horror, creating a bond with the listener. (Hell, one of the admittedly many things that Midnight Radio was about for me was exploring how much value and comfort I have found in listening to stories that acknowledged I was listening to them.) I think, though, that not all stories necessarily are their best selves when they feel like they have to address those questions, and as fiction podcasts become a bit more mainstream I’m really hoping that writers will feel more comfortable in trusting the audience to suspend that disbelief, and that audiences will feel more comfortable doing it, and that framing devices will be less unjustly maligned.

Of course, all of that is focused on writing techniques, and I think that’s because I’m a writer who has studied writing! I know very little concretely about the part of audio storytelling that relies on sound design, so while I have a definite feeling that classic and modern audio fiction is using different sound design languages, or that the audio language of British audio drama (where there’s much more continuity in the history of the medium) is different from audio fiction from elsewhere, that’s a lot harder for me to put into words like this. It’s something I would desperately love to see explored by someone who did know that field intimately, though.

[listenboforeyousingfilm]

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

#聽見歌 再唱 #聽見歌 再唱加拿大 #聽見歌 再唱2021 #聽見歌 再唱澳大利亚 #聽見歌 再唱香港 #聽見歌 再唱singapora #聽見歌 再唱澳門 #聽見歌 再唱马来西亚 #聽見歌 再唱台灣 #聽見歌 再唱新加坡版 #聽見歌 再唱线上看 #聽見歌 再唱線上看 #聽見歌 再唱hd #聽見歌 再唱電影 #聽見歌 再唱上映 #聽見歌 再唱小鴨

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，并以娱乐形式呈现。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:)*

**~ Watch Free Movies and TV Shows OnlineYou’re in the right place if you’re into love with watching movies.

Movies and TV serials are a fun area where people love to spend their leisure time. Making a visit to the cinema or movie theatre

sometimes seems like a waste f time and money.

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In short, it is regarded as one of the best websites to watch TV shows as well as movies from different origins.

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.

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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.

>>> TV MOVIE >>>

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower

starting in the 1930s. 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 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. The first national live television broadcast in the US took place on September 4, 1951 when President Harry

Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and

microwave radio relay system to broadcast stations in local markets.

The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following

ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was

announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first

all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color,

resulting in the first completely all-color network season.

>>> 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 some change happened to the characters’ lives during the episode,

it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many

MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of

the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later

MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.

[citvatio””&n needed]

In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also

noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting

on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that

people who want to see stories that have those kinds of qualities are watching television.

>>> Thank’s For All And Happy Watching>>>

Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch

on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy,

drama and Anime Movie.

Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you

watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s

all from us, greetings!

Thanks for watching The Video Today.

I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited.

Sprinkle cheerful smile so that the world back in a variety of colors.~**

[jeremy-ken-anderson]

Monster Hunter Movie

Spoilers Will Be Present.

There are a lot of things one can say about the badness of the film.

To me there are two basic issues, which interconnect: Tone and Respect.

At the core of things the studio and director considered their own brands more important than the brand of their source material. This is an understandable mistake to make when you’re thinking business - after all how would you survive as a brand if you granted primacy to other brands all the time? - but concessions must be made or else you’re just appropriating the aesthetics.

That’s what happened here. And it’s half of what made the movie a bad movie.

I went in expecting it to be real bad and as a result I was only mildly disappointed in some missed opportunities as opposed to legit incensed the way some MH bloggers are. But I do not blame them for being angry.

The plot, basically, is: Some army folks include Artemis, who you probably know is the main character because a) she’s the captain b) she’s Milla Jovovich and c) she’s the character you played as in the movie crossover event in MH World two weeks prior. They’re looking for Bravo Team when they get sucked into a dimensional rift and dropped in the land of Monster Hunter. So far so Isekai.

They encounter a Black Diablos which doesn’t act much like the monster from the games. Also a hunter played by Tony Jaa fires a paint bomb warning shot at them - It’s unclear whether he was trying to get them to leave or just thought the paint bomb would let them know they were in mortal danger.

The Black Diablos kills one of them and they run into some rocky terrain to escape.

This turns out to be the nest of roughly a thousand Nerscylla - horrible spider monsters. These kill everyone else over the course of an 11-minute, uh, tribute to Starship Troopers I guess we’ll call it. Artemis survives. There’s a 20-second sequence I thought was very good as a scene but belonged in a non-MH film, where she escapes the nest where she just watched eggs on her buddy burst with baby Nerscylla and then suddenly rips off her army gear to check herself for eggs in this frenzied panic. Seemed like both a smart thing to do and a reasonable trauma response to expect from someone.

But it shouldn’t have happened at all.

Backing it up, the 11 minutes before it shouldn’t have happened.

Nerscylla isn’t a pack hunter. They don’t grow in gigantic broods. But more than that the whole scene was...mean-spirited, and ugly.

Something that is important to understand about Monster Hunter as a franchise is that the seriousness of the stakes - the town is always under attack, or some ancient species of monster has awoken, or some new deviant mutation is driving smaller monsters into settled areas - is always, ALWAYS tempered by a fundamental directorial optimism. I think this film may be the first Monster Hunter thing where anyone dies and we see it happening. There have certainly been characters who mourned or wanted vengeance (more in the manga than the games) but that’s always something that happened before what we’re watching, and that’s really important to the tone.

Jovovich also has absurd plot armor, which, frankly, would have been fine - possibly even admirable - if they’d been adhering to the “nobody dies on screen” rule. Having someone get blasted across the landscape and get knocked out for a bit...as a player I’d have found this hilarious. As it is, there’s definitely a “why is this lady still alive” vibe that keeps cropping up because the movie’s taken a lot of time telling us that people in its setting are fragile chunks of meat that can be torn asunder at any moment.

Anyway, after all this trauma she encounters Tony Jaa and they fight. Why? Probably because he’s a martial artist and they wanted to get some mileage out of that fact. This is extremely dumb. Again, the only place where I’ve seen anything more than casual ribbing between humanoids in anything MH is the manga, and even there it didn’t come to blows. And within the context of this film these people have no reason to think the other’s an enemy and two extremely deadly reasons - the nearby monsters - to work together. Both have been presented as smart enough to know this. But fight scene. Long, stupid fight scene.

The fight nearly becomes fatal, and they realize it’s dumb. There’s another 5-10 minutes of bonding. This is fine! Jovovich and Jaa have decent chemistry (never aimed at romance, which is kind of refreshing) and there’s a really cute Demon Mode reference and also a product placement that turns out later to be a pretty cool linguistic joke (she gives him chocolate, calls it chocolate, he later uses the word chocolate to mean tasty).

They have a plan to get Nerscylla venom and use it to hurt Diablos, maybe paralyze or put it to sleep, so they can get across the dunes it’s guarding toward Jaa’s team and the dimensional storm Jovovich came through from.

The venom doesn’t visibly have any effect, which makes the whole planning thing feel wasteful.

Also, everyone’s use of the basic Alloy and Bone set of weapons gives people who’ve played MH the impression that none of these hunters have successfully hunted any monsters ever. One of the core points with the games is the loop of fighting monsters, carving them up, and using their parts to make weapons and armor you use against other monsters. But more than that, the presence of monster-armor on your npc fellow hunters in camp makes the world feel lived in, makes the people feel like part of the ecosystem.

So with a bunch of needless gore, they kill the Diablos. I actually was kind of excited that she carved a piece off of it - ah, she was going to make armor or weapons out of this near-bulletproof monster’s hide! No, she made a pallet to carry Tony Jaa, who got hurt in the fight. Then when he can walk they leave the big ol’ scale behind. OK.

Did I mention Ron Perlman’s in this film? Well he is, and while it’s a good visual match to have him as The Admiral he’s also - like the film at large - not optimistic enough. The character he’s playing is an old warrior who’s survived tons of battles and laughs in the face of danger. Perlman’s rendition is moody and serious, which once there are fight scenes is a mismatch with his fighting style.

Like I said way up top, there’s a willingness to use the aesthetics of the beloved franchise. Just not the themes. They aren’t willing to present things from a Monster Hunter Franchise perspective, because these gritty, brutal worlds are the brand of this director. When the franchise he was working with was Resident Evil, gritty, gory brutality was a brand match and the resulting film was one of the better video game movies out there (yes, I know that’s not a high bar). Here, it led to a movie with a lot of visually beautiful work but a tone that seems directly disrespectful to its source material.

So that’s a problem.

I said the tone made one of the two big problems. The other would be an issue even if I knew nothing about Monster Hunter, which is a series of structural flaws in the direction - mostly around the pacing of the film.

Army opener, fine. Trying to set up rapport. Diablos fight, too long. Nerscylla scene, WAY too long. Jaa-Jovovich fight, WAY too long. Bonding scene, fine. Planning to fight Diablos, too long. Diablos fight, fine. Jaa’s desert near-death experience, too long (didn’t need to happen at all). Jungle region, a little long but not bad. Rathalos encounter, fine. Ship scene, exposition dump, long and also boring. Rathalos fight...

The Rathalos burns two hunters to death on screen. See above, this is bothersome. It’s also chucking people across the landscape. Jovovich gets tossed into a portal back to earth.

Also off a cliff. We’re back to the “how’s she alive?” problem. She gets rescued by the army, they start to take her for treatment, the helicopter is attacked by the Rathalos.

For a tonal mismatch this is probably the best scene. I think this idea, very Reign of Fire, is what the director really wanted from the film. MH monsters in NYC, Lagiacrus attacking surfers from underwater, all that. We couldn’t afford those sets, so we get a dragon attacking army toys in a desert.

Dragon wins. I honestly appreciated the sale of how a dragon could win this engagement. I think the direction and editing successfully created a scene where the army losing the fight felt plausible.

Of course, this makes Jovovich and Jaa taking it down feel a bit much, but okay.

And we finish with what amounts to a tease of the idea of a series. I don’t get the sense that this is a genuine appeal. I think the “idea of more fights” is the ending. It doesn’t work, mind you, but this has become a kind of trope for one way to end a video game movie.

The thing I like least about this trope is that to hype up the audience the characters in the film all seem suddenly excited to be engaging in the activity we’ve been shown to be terrifying and deadly for the whole film. NOW they think it’s fun.

And that’s an extra layer of disappointment, because it indicates that we could have been having fun this whole time, if the director weren’t obsessed with brutality.

[who-wish-me-dead]

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Un adolescente testigo de un asesinato es perseguido por dos asesinos gemelos a través de las tierras salvajes de Montana. Aunque cuenta con un experto de la supervivencia para evitar que los secuaces le den caza, un incendio cercano pronto amenaza con robar la vida de todos los implicados.

Lanzamiento: 2021-05-05

Duración: (100) minutos

Género: Suspense

Estrellas: Bron Studios, Film Rites, Creative Wealth Media Finance, New Line Cinema, Warner Bros. Pictures, Bosque Ranch Productions

Director: Canada, United States of America

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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.

❍❍❍ TV MOVIE ❍❍❍

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. 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 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. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.

The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ 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 some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.[citvatio””&n needed]

In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All And Happy Watching❍❍❍

Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie.

Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings!

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[grigori77]

2019 In TV - My Top 10 Shows

This past year may have sucked balls in a lot of ways, but we certainly never got short-changed when it came to our TV.  There was an absolute WEALTH of truly cracking TV around, both on regular networks and on the various on-demand platforms, and so here is my pick of the best, my absolute favourites of 2019.

10.  WATCHMEN

Lost co-creator Damon Lindelof brings us a blinding sequel to comic book legend Alan Moore’s legendary graphic novel with a delightfully trippy, ruthlessly efficient rug-puller that seems pretty tailor-made for HBO.  Old faces return in interesting ways, while there are some cracking new “masks” on offer, particularly Regina King’s Sister Night and the always-brilliant Tim Blake Nelson as morally complex antihero Looking Glass (in some ways very much the show’s own answer to Rorschach).  It never goes where you expect it to go, and refuses to give easy answers to the questions it raises, effortlessly paving the way for more next year ...

9.  THE BOYS

Amazon offers up its own edgy, thoroughly adult superhero property with this darkly funny antiheroic gem based on the cult Garth Ennis comic, expertly adapted by Supernatural creator Eric Kripke.  Karl Urban dominates as Billy Butcher, the foul-mouthed, morally bankrupt “leader” of a makeshift crew of mercenaries, hitmen and psycho killers devoted to “taking care of” superheroes when they inevitably go bad.  Season 1 ultimately serves as an origin story, showing how the team come together, laying quality groundwork for the incoming sophomore tour that promises to open the already fascinating world out significantly.

8.  PREACHER (SEASON 4)

More Garth Ennis, namely this blinder of a closing season for AMC’s consistently impressive adaptation of his best known series for Vertigo comics.  Surprisingly epic, deliciously subversive and constantly, darkly hilarious, this thoroughly non-PC series from showrunners Sam Catlin, Evan Goldberg and Seth Rogen (yes! I Know!) certainly went out on a high note, providing its loyal followers with perfectly-pitched bow-outs and sometimes heartbreaking goodbyes for all its players, especially its dynamite leads, Dominic Cooper, Ruth Negga and, in particular, Joe Gilgun as unapologetic bad boy vampire Cassidy.  A worthy end to one of my all-time favourite TV shows.

7.  THE WITCHER

While it’s clearly taken its look from the wildly successful video games, Netflix’s second most ambitious long-form offering of the year takes its lead from the fantasy book series by Polish author Andrzej Sapkowski that started it all.  With its somewhat episodic set-up and decidedly twisted narrative timelines, it take a few chapters to get the hang of it, but there’s plenty to draw you in, from the exotic world-building to the frenetic action and compelling collection of richly crafted characters.  Henry Cavill is the titular hero, lovably grouchy mutant monster-hunter Geralt of Rivia, but the real scene-stealer is co-star Anya Chalotra as roguishly self-serving mage Yennefer of Vengenberg.

6.  CARNIVAL ROW

One of the year’s two big sleeper hit TV surprises for me was this inventively offbeat allegorical Amazon fantasy series from The 4400 creator René Echevarria and screenwriter Travis Beacham. Orlando Bloom and Cara Delevigne are the star-crossed lovers at the heart of this intriguingly dark and dirty murder mystery thriller set in Victorian London-esque city-state the Burgue, in which humans struggle to co-exist alongside a struggling disenfranchised underclass of fae (fairies, fawns, centaurs and the like).  The racial turmoil undertones are writ large throughout, but this is far more well-written and lavishly appointed than you might expect on first glance, and almost ridiculously addictive viewing.

5.  LOVE, DEATH + ROBOTS

My other big TV surprise was this wonderfully bizarre sci-fi anthology series of animated shorts from Netflix, mostly adapted from an eclectic selection of short stories from a wide range of top-notch literary talent including Peter F. Hamilton, John Scalzi, Marko Kloos and Alastair Reynolds (a particular favourite of mine).  As you’d expect from the brainchild of Deadpool director Tim Miller and producer David Fincher, this is edgy, leftfield stuff, frequently ultra-violent and decidedly adult, and the wildly varied nature of the material on offer makes for a decidedly uneven tone, but there are some absolute gems on offer here, my favourite being Suits, an enjoyably simple tale of salt-of-the-earth farmers on an alien world utilising clunky mech suits to protect their settlement from rampaging giant xeno-bugs.

4.  THE DARK CRYSTAL: AGE OF RESISTANCE

The show with the biggest cinematic wow factor in 2019 had to be this long-awaited prequel series to Jim Henson’s classic fantasy movie masterpiece, created for Netflix by, of all people, Louis Leterrier (yes, the director of The Transporter, Now You See Me and Clash of the Titans, if you can believe it). The technology may have evolved in leaps and bounds, but there’s a wonderfully old school vibe in the delightfully physical puppet effects used to bring the fantastical world of Thra and its denizens to life, so that it truly does feel like it’s based in the same world as the film.  This was EASILY the most visually arresting show of 2019, packed with exquisite character, creature and set design that perfectly complements the awesome work done by Henson and Brian Froud on the original, while the writers have created a darkly rich narrative tapestry that makes Thra seem a more dangerous place than ever.

3.  THE UMBRELLA ACADEMY

I was a HUGE fan of My Chemical Romance frontman Gerard Way’s magnificently oddball alternative superhero comic, so when I learned that Netflix were adapting it I was a little wary because I knew how spectacularly hard it would be for ANY showrunners to get right.  Thankfully Steve Blackman (Fargo season 2) and Jeremy Slater (The Exorcist TV series) were the right choice, because this perfectly captured the outsider nature of the characters and their endearingly dysfunctional family dynamic. Ellen Page, Tom Hopper (Black Sails, Merlin), David Castañeda and Emmy Raver-Lampman are all excellent as the more “functional” Hargreeves siblings, but the show is roundly stolen by Misfits star Robert Sheehan and Nicky, Ricky, Dicky & Dawn’s Aidan Gallagher as nihilistic clairvoyant Klaus and the old-man-in-a-child’s-body sociopath known only as Number Five. Consistently surprising and brilliantly bonkers, this was definitely the year’s most wonderfully WEIRD show.

2.  STRANGER THINGS (SEASON 3)

Writer-director duo the Duffer Brothers’ ultra-nostalgic 80s-set coming-of-age sci-fi horror series remains the undisputed jewel in Netflix’s long-form crown with this consistently top-drawer third season expertly maintaining the blockbuster-level standards we’ve come to expect.  This year the cross-dimensional shenanigans have largely been jettisoned, replaced by a gleefully nasty through-line of icky body horror that would make major influences like David Cronenberg and Stuart Gordon proud, as perennial teenage bad boy Billy Hargrove (the fantastically menacing Dacre Montgomery) becomes the leader of an army of psychic slaves under the control of the Upside Down’s monstrous Mind Flayer.  The kids are all brilliant as always, Winona Ryder and David Harbour really get to build on their strong-yet-spiky chemistry, and the show is almost effortlessly stolen by Joe Keery as one-time golden boy Steve Harrington and series-newcomer Maya Hawke as his nerdy new foil Robin Buckley, who were very nearly the cutest couple on TV in 2019.  Another gold standard season for a true gold standard show.

1.  GOOD OMENS

Sadly, legendary author Terry Pratchett died before he could see the adaptation of one of his most beloved novels (and one of my all-time literary favourites too) see the light of day, but at least his co-author Neil Gaiman was around to bring it to fruition with the aid of seasoned TV director David Mckinnon (Jekyll, Doctor Who, Sherlock), and the end result sure did him proud, perfectly capturing the deeply satirical voice and winningly anarchic, gleefully offbeat and gently subversive humour of the original novel.  David Tennant and Michael Sheen could both have been born to play Crowley and Aziraphale, the angel and demon nominally charged with watching over the young Antichrist in preparation for his role in the End Times, even though they would both much rather the world just went on quite happily the way it is, thanks very much. This is about as perfect an adaptation as you can get, the six hour-long episodes giving the surprisingly complex story time to breathe and grow organically, and the result is the most fun I spent in front of my TV this year.

[kampokez-teljes-film-2021]

MAGYAR [Kampókéz Teljes Film Magyarul] Mozi

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Eredeti Cím: The Hitman's Wife's Bodyguard

Linkek:  https://watch.kingmoviesfox.site/hu/movie/565028/candyman

Guy rádöbben, hogy valójában háttérszereplő egy nyílt világú videojátékban. Úgy dönt, kezébe veszi az irányítást és ő maga lesz saját története főhőse – ő lesz az a fickó, aki e korlátokat nem ismerő terepen kiigazodva megmenti a világot, de a maga módján… amíg még nem késő.

felszabadított: 2021-08-11 Runtime: 115 percek Műfaj: Vígjáték, Akció, Kaland, Sci-Fi Csillag: Ryan Reynolds, Jodie Comer, Lil Rel Howery, Joe Keery, Taika Waititi Rendező: Marlene Stewart, Beat Frutiger, Leslie E. Rollins, Josh McLaglen, Josh McLaglen

A gyilkosnak nem jár felmentés. Kivéve, ha ártatlan. Ed és Lorraine Warren (Patrick Wilson és Vera Farmiga), a legendás démonűző pár mindig a jót szolgálta, de néha a gonosz eszközévé válik. Ezúttal egy olyan ügyben harcolnak a nem evilági hatalmak ellen, amelynek során valaki meghalt – és a brutális gyilkosságot talán egy ártatlan ember követte el: akit a benne bujkáló démon kényszerített szörnyű tettére.

A Warren-házaspár úgy érzi, akkor is választ kell találnia a kérdésre, ha közben a saját életük kerül veszélybe...

Az elmúlt évtized talán legsikeresebb és legkülönösebb horrorfilmjei a Démonok között-sorozatból kerültek ki. A hátborzongatóan rémes történetek különlegessége, hogy megtörtént esetek alapján készülnek: a démonűzéssel foglalkozó Warren-házaspár valódi feljegyzései alapján.

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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.

❍❍❍ TV Streaming ❍❍❍

first television shows were experimental, sporadic broadcasts viewable only within a very short range from broadcast tower starting in 1930s. Televised events such as 1936 Summer Olympics in Germany, 19340 coronation of King George VI in UK, David Sarnoff’s famous introduction at 1939 New York World’s Fair in US spurred a growth in medium, but World War II put a halt to development until after war. 19440 World Streaming inspired many Americans to buy their first television set then in 1948, popular radio show Texaco Star Theater made move became first weekly televised variety show, earning host Milton Berle name “Mr Television” demonstrating that medium was a stable, modern form of entertainment which could attract advertisers. first national live television broadcast in US took place on September 4, 1951 when President Harry Truman’s speech at Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable microwave radio relay system to broadcast stations in local markets.

first national color broadcast ( 1954 Tournament of Roses Parade) in US occurred on January 1, 1954. During following ten years most network broadcasts, nearly all local programming, continued to be in black — white. A color transition was announced for fall of 1965, during which over half of all network prime-time programming would be broadcast in color. first all-color prime-time season came just one year later. In 19402, last holdout among daytime network shows converted to color, resulting in first completely all-color network season.

❍❍❍ Formats Genres ❍❍❍

See also: List of genres § Streaming television formats genres

Television shows are more varied than most other forms of media due to wide variety of formats genres that can be presented. A show may be fictional (as in comedies dramas), or non-fictional (as in documentary, news, reality television). It may be topical (as in case of a local newscast some made-for-television Streamings), or historical (as in case of many documentaries fictional Streaming). They could be primarily instructional or educational, or entertaining as is case in situation comedy game shows.[citation needed]

A drama program usually features a set of actors playing characters in a historical or contemporary setting. program follows their lives adventures. Before 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, main characters premise changed little.[citation needed] If some change happened to characters’ lives during episode, it was usually undone by end. Because of this, episodes could be broadcast in any order.[citation needed] Since 1980s, many Streaming feature progressive change in plot, characters, or both. For instance, Hill Street Blues St. Elsewhere were two of first American prime time drama television Streaming to have this kind of dramatic structure,[4][better source needed] while later Streaming Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed]

In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than Streaming.[5] Some also noted increase in quality of some television programs. In 2012, Academy-Award-winning Streaming director Steven Soderbergh, commenting on ambiguity complexity of character narrative, stated: “I think those qualities are now being seen on television that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All Happy Watching❍❍❍

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