How Mrunal Thakur🌼 Sign Movies | She Told About Her Audience | Mrunal Thakur Interview

How Mrunal Thakur🌼 Sign Movies | She Told About Her Audience | Mrunal Thakur Interview
MrunalThakur #expression #character How Mrunal Thakur Sign Movies | She Told About Her Audience | Mrunal Thakur ...

How Mrunal Thakur🌼 Sign Movies | She Told About Her Audience | Mrunal Thakur Interview
MrunalThakur #expression #character How Mrunal Thakur Sign Movies | She Told About Her Audience | Mrunal Thakur ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Action Movie 2024 🍎 Road House 2024🍎 FULL Movie English Action Movies 2024

Action Movie 2024 🍎 Road House 2024🍎 FULL Movie English Action Movies 2024
Action Movie 2024 Road House 2024 FULL Movie English Action Movies 2024.

Action Movie 2024 🍎 Road House 2024🍎 FULL Movie English Action Movies 2024
Action Movie 2024 Road House 2024 FULL Movie English Action Movies 2024.
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

LAZY WIFE (ZACK ORJI, RUTH KADIRI) Latest Nigerian Movie 2024

LAZY WIFE (ZACK ORJI, RUTH KADIRI) Latest Nigerian Movie 2024
blackmoviestv Love is a beautiful thing, it can heal broken hearts when you fall in love with the right person. Love exists so much ...

LAZY WIFE (ZACK ORJI, RUTH KADIRI) Latest Nigerian Movie 2024
blackmoviestv Love is a beautiful thing, it can heal broken hearts when you fall in love with the right person. Love exists so much ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

BLOCKBUSTER Movie 2024 - Watch Extraction 2 | Top Action Movies 2024 in English

BLOCKBUSTER Movie 2024 - Watch Extraction 2 | Top Action Movies 2024 in English


BLOCKBUSTER Movie 2024 - Watch Extraction 2 | Top Action Movies 2024 in English

Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

The Christmas Cottage 2024 - New Hallmark Romance Movies 2024 - Hallmark Christmas Movies 2024

The Christmas Cottage 2024 - New Hallmark Romance Movies 2024 - Hallmark Christmas Movies 2024
The Christmas Cottage 2024 - New Hallmark Romance Movies 2024 - Hallmark Christmas Movies 2024.

The Christmas Cottage 2024 - New Hallmark Romance Movies 2024 - Hallmark Christmas Movies 2024
The Christmas Cottage 2024 - New Hallmark Romance Movies 2024 - Hallmark Christmas Movies 2024.
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Sarfira Smuggler Full South Action Hindi Dubbed Movie | Sree Vishnu, Amritha Aiyer | South Movie

Sarfira Smuggler Full South Action Hindi Dubbed Movie | Sree Vishnu, Amritha Aiyer | South Movie
Presenting Superhit Hindi Dubbed Full Movie HD "Warrior Arjuna " Starring Sree Vishnu, Amritha Aiyer, Naresh, Sivaji Raja, ...

Sarfira Smuggler Full South Action Hindi Dubbed Movie | Sree Vishnu, Amritha Aiyer | South Movie
Presenting Superhit Hindi Dubbed Full Movie HD "Warrior Arjuna " Starring Sree Vishnu, Amritha Aiyer, Naresh, Sivaji Raja, ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Aspiring Filmmakers కోసం #RamGopalVarma గారి Suggestion | RGV | Telugu Movies | News3People

Aspiring Filmmakers కోసం #RamGopalVarma గారి Suggestion | RGV | Telugu Movies | News3People


Aspiring Filmmakers కోసం #RamGopalVarma గారి Suggestion | RGV | Telugu Movies | News3People

Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Mega Tsunami Setinggi 500 Meter Menghantam Kota Dubai - ALUR CERITA FILM

Mega Tsunami Setinggi 500 Meter Menghantam Kota Dubai - ALUR CERITA FILM
alurceritafilm #alurcerita #recapfilm Hallo guys , Di video kali ini saya akan Merangkum seluruh Alur Cerita Film Geostorm yang ...

Mega Tsunami Setinggi 500 Meter Menghantam Kota Dubai - ALUR CERITA FILM
alurceritafilm #alurcerita #recapfilm Hallo guys , Di video kali ini saya akan Merangkum seluruh Alur Cerita Film Geostorm yang ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Dwayne Johnson 2024 New Action Movies | Best Action Movie 2024 special for USA full english Full HD

Dwayne Johnson 2024 New Action Movies | Best Action Movie 2024 special for USA full english Full HD
Dwayne Johnson 2024 New Action Movies | Best Action Movie 2024 special for USA full english Full HD Dwayne Johnson 2024 ...

Dwayne Johnson 2024 New Action Movies | Best Action Movie 2024 special for USA full english Full HD
Dwayne Johnson 2024 New Action Movies | Best Action Movie 2024 special for USA full english Full HD Dwayne Johnson 2024 ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

1993 Was An Unstoppable Year For Movies! #movies #films #1993 #90smovies #physicalmedia #blurays

1993 Was An Unstoppable Year For Movies! #movies #films #1993 #90smovies #physicalmedia #blurays


1993 Was An Unstoppable Year For Movies! #movies #films #1993 #90smovies #physicalmedia #blurays

Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Deadpool & Wolverine - Movie Review

Deadpool & Wolverine - Movie Review
Deadpool is BACK....and so is Wolverine! And they're both in the MCU now! Sounds like a lot to unpack, but don't worry, this is a ...

Deadpool & Wolverine - Movie Review
Deadpool is BACK....and so is Wolverine! And they're both in the MCU now! Sounds like a lot to unpack, but don't worry, this is a ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

IN LIFE AND DEATH (SEASON 8){NEW TRENDING MOVIE}-2024 LATEST NIGERIAN NOLLYWOOD MOVIE

IN LIFE AND DEATH (SEASON 8){NEW TRENDING MOVIE}-2024 LATEST NIGERIAN NOLLYWOOD MOVIE
latestnollywoodmovies2024 #realnollytv #nollywood #viralvideos #nollywoodmovies #nollywoodmoviesaward nollywood movies ...

IN LIFE AND DEATH (SEASON 8){NEW TRENDING MOVIE}-2024 LATEST NIGERIAN NOLLYWOOD MOVIE
latestnollywoodmovies2024 #realnollytv #nollywood #viralvideos #nollywoodmovies #nollywoodmoviesaward nollywood movies ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Doraemon New Episode 25-07-2024 - Episode 06 - Doraemon Cartoon - Doraemon In Hindi - Doraemon Movie

Doraemon New Episode 25-07-2024 - Episode 06 - Doraemon Cartoon - Doraemon In Hindi - Doraemon Movie
Doraemon New Episode 25-07-2024 - Episode 06 - Doraemon Cartoon - Doraemon In Hindi - Doraemon Movie #doraemon ...

Doraemon New Episode 25-07-2024 - Episode 06 - Doraemon Cartoon - Doraemon In Hindi - Doraemon Movie
Doraemon New Episode 25-07-2024 - Episode 06 - Doraemon Cartoon - Doraemon In Hindi - Doraemon Movie #doraemon ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Watch this Before DEADPOOL & WOLVERINE Movie | #Yogipedia 37 | Yogi Bolta Hai

Watch this Before DEADPOOL & WOLVERINE Movie | #Yogipedia 37 | Yogi Bolta Hai
Watch this Before Deadpool & Wolverine Movie by Yogi Bolta Hai Watch this Before Deadpool & Wolverine Movie Watch this ...

Watch this Before DEADPOOL & WOLVERINE Movie | #Yogipedia 37 | Yogi Bolta Hai
Watch this Before Deadpool & Wolverine Movie by Yogi Bolta Hai Watch this Before Deadpool & Wolverine Movie Watch this ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

The Perfect Catch 2024 - Hallmark Romance Movies 2024 - Best Hallmark Movies 2024 - New Holiday

The Perfect Catch 2024 - Hallmark Romance Movies 2024 - Best Hallmark Movies 2024 - New Holiday
The Perfect Catch 2024 - Hallmark Romance Movies 2024 - Best Hallmark Movies 2024 - New Holiday.

The Perfect Catch 2024 - Hallmark Romance Movies 2024 - Best Hallmark Movies 2024 - New Holiday
The Perfect Catch 2024 - Hallmark Romance Movies 2024 - Best Hallmark Movies 2024 - New Holiday.
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

ACTION FILM | Wolverine back in time to fix past mistakes | Full Length in English HD 1080

ACTION FILM | Wolverine back in time to fix past mistakes | Full Length in English HD 1080
"X-Men: Days of Future Past" is a 2014 film directed by Bryan Singer. It's a complex and exciting installment in the X-Men series ...

ACTION FILM | Wolverine back in time to fix past mistakes | Full Length in English HD 1080
"X-Men: Days of Future Past" is a 2014 film directed by Bryan Singer. It's a complex and exciting installment in the X-Men series ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

EGAN {Silent Whisper} Latest Yoruba Movie 2024 | Wumi Toriola | Damola Olatunji | Temitope Duker

EGAN {Silent Whisper} Latest Yoruba Movie 2024 | Wumi Toriola | Damola Olatunji | Temitope Duker
Hell hath no fury like a woman scorned. Didunloyin is utterly devastated by the betrayal of those she deeply trusted, which led to ...

EGAN {Silent Whisper} Latest Yoruba Movie 2024 | Wumi Toriola | Damola Olatunji | Temitope Duker
Hell hath no fury like a woman scorned. Didunloyin is utterly devastated by the betrayal of those she deeply trusted, which led to ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Annie's Point 2024 - Best Hallmark Movies 2024 - Great Hallmark Romance 2024 - New Movies 2024

Annie's Point 2024 - Best Hallmark Movies 2024 - Great Hallmark Romance 2024 - New Movies 2024
Annie's Point 2024 - Best Hallmark Movies 2024 - Great Hallmark Romance 2024 - New Movies 2024.

Annie's Point 2024 - Best Hallmark Movies 2024 - Great Hallmark Romance 2024 - New Movies 2024
Annie's Point 2024 - Best Hallmark Movies 2024 - Great Hallmark Romance 2024 - New Movies 2024.
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Ты в игре #cinema #лучшиефильмы #кино #кино2024 #фильмы #movies

Ты в игре #cinema #лучшиефильмы #кино #кино2024 #фильмы #movies
Добро пожаловать на канал Moviechannel-Vsem-Dobra, “Moviechannel-Vsem-Dobra: Откройте для себя мир кино и ...

Ты в игре #cinema #лучшиефильмы #кино #кино2024 #фильмы #movies
Добро пожаловать на канал Moviechannel-Vsem-Dobra, “Moviechannel-Vsem-Dobra: Откройте для себя мир кино и ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

New Released💣: 7 Best INDIAN MOVIES of 2024 You Must Watch😵

New Released💣: 7 Best INDIAN MOVIES of 2024 You Must Watch😵
Best Indian Movies of 2024 Best Hindi Movies of 2024 New Released Indian Movies In 2024 Are you ready for a rollercoaster ...

New Released💣: 7 Best INDIAN MOVIES of 2024 You Must Watch😵
Best Indian Movies of 2024 Best Hindi Movies of 2024 New Released Indian Movies In 2024 Are you ready for a rollercoaster ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

An Innocent In Danger | CID Movies | 20 July 2024

An Innocent In Danger | CID Movies | 20 July 2024
Click here to Subscribe to SONY AATH Channel: ...

An Innocent In Danger | CID Movies | 20 July 2024
Click here to Subscribe to SONY AATH Channel: ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Kung Fu Hustle Movie REACTION!!

Kung Fu Hustle Movie REACTION!!
Eric, Rick, Calvin, and Aaron react to and discuss the movie Kung Fu Hustle - #KungFuHustle BEYOND members and Raw Rider ...

Kung Fu Hustle Movie REACTION!!
Eric, Rick, Calvin, and Aaron react to and discuss the movie Kung Fu Hustle - #KungFuHustle BEYOND members and Raw Rider ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

UNLAWFUL ACT - LATEST 2024 MOVIE STARRING; Odunlade Adekola, Jaiye Kuti, Jide Kosoko, Rotimi Salami

UNLAWFUL ACT - LATEST 2024 MOVIE STARRING; Odunlade Adekola, Jaiye Kuti, Jide Kosoko, Rotimi Salami
The dictionary defines an UNLAWFUL ACT as the violation of a right, an act or omission breaching a duty imposed by law or a ...

UNLAWFUL ACT - LATEST 2024 MOVIE STARRING; Odunlade Adekola, Jaiye Kuti, Jide Kosoko, Rotimi Salami
The dictionary defines an UNLAWFUL ACT as the violation of a right, an act or omission breaching a duty imposed by law or a ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

12 HOURS DRONE FILM: " JAPAN in 4K " + Relaxation Film 4K ( beautiful places in the world 4k )

12 HOURS DRONE FILM: " JAPAN in 4K " + Relaxation Film 4K ( beautiful places in the world 4k )
12 HOURS DRONE FILM: " JAPAN in 4K " + Relaxation Film 4K ( beautiful places in the world 4k ) Japan is an island nation in ...

12 HOURS DRONE FILM: " JAPAN in 4K " + Relaxation Film 4K ( beautiful places in the world 4k )
12 HOURS DRONE FILM: " JAPAN in 4K " + Relaxation Film 4K ( beautiful places in the world 4k ) Japan is an island nation in ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Vettaiyan Official Hindi 2024 Rajnikanth Amitabh Bachchan #actionmovies # hindidubbed #2024

Vettaiyan Official Hindi 2024 Rajnikanth Amitabh Bachchan #actionmovies # hindidubbed #2024
Vettaiyan Official Hindi 2024 Rajnikanth Amitabh Bachchan #actionmovies # hindidubbed #2024 2024 New Blockbuster Hindi ...

Vettaiyan Official Hindi 2024 Rajnikanth Amitabh Bachchan #actionmovies # hindidubbed #2024
Vettaiyan Official Hindi 2024 Rajnikanth Amitabh Bachchan #actionmovies # hindidubbed #2024 2024 New Blockbuster Hindi ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

TAARIKH - तारीख | NEW BHOJPURI MOVIE 2024 | SAMAR SINGH | AKANSHA DUBEY | CAPTAIN WATCH HITS | 4K

TAARIKH - तारीख | NEW BHOJPURI MOVIE 2024 | SAMAR SINGH | AKANSHA DUBEY | CAPTAIN WATCH HITS | 4K
Movie - तारीख - Taarikh ▻Cast - Samar Singh, Akansha Dubey, Shallu Singh, Somiya Pandey, Madhu Trishakar, Mukesh ...

TAARIKH - तारीख | NEW BHOJPURI MOVIE 2024 | SAMAR SINGH | AKANSHA DUBEY | CAPTAIN WATCH HITS | 4K
Movie - तारीख - Taarikh ▻Cast - Samar Singh, Akansha Dubey, Shallu Singh, Somiya Pandey, Madhu Trishakar, Mukesh ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Pavi and Indian2 OTT Release Confirmed |7 Movies OTT Release #Dileep #Pavi #Indian2 #Prime #Netflix

Pavi and Indian2 OTT Release Confirmed |7 Movies OTT Release #Dileep #Pavi #Indian2 #Prime #Netflix
Pavi and Indian2 OTT Release Confirmed |7 Movies OTT Release #Dileep #Pavi #Indian2 #Prime #Netflix #Dileep #Pavi ...

Pavi and Indian2 OTT Release Confirmed |7 Movies OTT Release #Dileep #Pavi #Indian2 #Prime #Netflix
Pavi and Indian2 OTT Release Confirmed |7 Movies OTT Release #Dileep #Pavi #Indian2 #Prime #Netflix #Dileep #Pavi ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Ternyata Bapaknya Seorang Pembunuh Bayaran - Alur Cerita Film Action

Ternyata Bapaknya Seorang Pembunuh Bayaran - Alur Cerita Film Action
alurcerita2024 #film2024 #spoiler #spoilerfilmaction #action #braymovie #alurcderitafilm #braymovie #filmjasonstatham ...

Ternyata Bapaknya Seorang Pembunuh Bayaran - Alur Cerita Film Action
alurcerita2024 #film2024 #spoiler #spoilerfilmaction #action #braymovie #alurcderitafilm #braymovie #filmjasonstatham ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

Aguadu - Xor Eta Adi - ጾር እታ ዓዲ - New Eritrean Movie 2024 - Part 18 - 18ይ ክፋል

Aguadu - Xor Eta Adi - ጾር እታ ዓዲ - New Eritrean Movie 2024 - Part 18 - 18ይ ክፋል
ሰላም ተኸታተልቲ መደባትና። ብናይ ፌስቡክ ፔጅና ፎሎው ብምግባር ኣዛናጋዕትን ኣዛናይን ሓጸርቲ ኮሜዲታት ...

Aguadu - Xor Eta Adi - ጾር እታ ዓዲ - New Eritrean Movie 2024 - Part 18 - 18ይ ክፋል
ሰላም ተኸታተልቲ መደባትና። ብናይ ፌስቡክ ፔጅና ፎሎው ብምግባር ኣዛናጋዕትን ኣዛናይን ሓጸርቲ ኮሜዲታት ...
Tag:-satta, kalyan big boss, dp boss, satta matka results, gali satta today, luck satta matka trick, kalyan satta matka, satta matka fire 🔥,

130 CASTLE OF OWLS

 

Welcome back to the Summer of Ninja here at Heroes Three podcast. This week we are thrilled to be joined by Keith J Rainville, the masked lord of Vintage Ninja, to discuss the criminally under-represented Castle of Owls directed by Eiichi Kudo from 1963!

Full cast and credits - HERE

Find us online - https://linktr.ee/Heroes3Podcast

Email us! - heroes3podcast@gmail.com

Check out some H3 art and merch! - https://www.teepublic.com/user/kf_carlito

 Download the episode here!

 Make sure to head over to Vintage Ninja for all your ninja needs!

Castle of Owls GIFs!

Auguri a Renato Pozzetto, genio del nostro cinema

Renato Pozzetto è uno dei più grandi artisti nati in Italia. Ha iniziato a fare cinema nel 1974, tre anni dopo il filone della Commedia all'italiana con la C maiuscola si è concluso con "Un borghese piccolo piccolo" a firma di quel Monicelli che è stato il regista probabilmente più importante di questo genere. Pozzetto non ha potuto far parte di una hall of fame di artisti solamente per ragioni anagrafiche. Perché di talento Renato ne ha sempre avuto tanto.

E il suo talento lo ha messo al servizio della nuova commedia all'italiana di fine anni '70 e degli anni '80, influenzata dalla commedia "Made in Usa" e caratterizzata da tanti elementi favolistici.

Spesso ha salvato commedie inguardabili. Negli anni '90 ha diradato le sue apparizioni, fino ad eclissarsi perché non poteva far più parte di quel tipo di cinema. Perché la commedia all'italiana stava affrontando un'altra mutazione, da una parte tendendo a dar spazio sempre più all'introspezione e meno alla critica sociale, dall'altra parte mettendo in risalto il "Neri Parentismo" da lui vissuto in prima persona con le modestissime comiche: "Neri Parentismo" che sfocerà nel boom del cinepanettone.

E quel Massimo Boldi che di Pozzetto era stato abilissima spalla, basti guardare Saxophone o Sono fotogenico, diventerà protagonista in coabitazione con quel figlio d'arte, De Sica, che con Pozzetto ha recitato in un film, "Ricky&Barabba", letteralmente tenuto in piedi da Renato.

Un gigante del nostro cinema per la capacità di dare vita a diversi personaggi mantenendo però quella mimica forgiata sui palchi del cabaret, l'umorismo surreale, il tormentone mai insistente e sempre intelligente, sublimato ne "Il ragazzo di campagna", film cult ingiustamente snobbato dalla critica.

Il picco del cinema di Renato Pozzetto rimane l'episodio che apre "Io tigro, tu tigri, egli tigra" e che esprime pienamente il gusto per il surreale, elevando il demenziale a forma d'arte. La scena della trattoria "Semivuota" è un esempio di perfezione cinematografica: non c'è virgola o battito di ciglia sbagliato.

Pozzetto non è un giullare: è un genio, è un gigante della nostra settima arte, da riscoprire film dopo film, canzone dopo canzone.  

Πέθανε η Σάνεν Ντόχερτι, η «Μπρέντα» στο Beverly Hills, σε ηλικία 53 ετών

 medlabnews.gr iatrikanea

Σε ηλικία 53 ετών η Σάνεν Ντόχερτι άφησε την τελευταία της πνοή - Είχε πρωταγωνιστήσει σε πολλές σειρές και ταινίες, ενώ είχε μείνει στην ιστορία για το ρόλο της «Μπρέντα» στο Beverly Hills. Θλίψη στον κόσμο του κινηματογράφου και της τηλεόρασης σκόρπισε η είδηση του θανάτου της Shannen Doherty. Στα 53 της χρόνια η γνωστή ηθοποιός άφησε την τελευταία της πνοή μετά από μάχη που έδινε με τον καρκίνο,

«Με βαριά καρδιά επιβεβαιώνω τον θάνατο της ηθοποιού Σάνεν Ντόχερτι. Το Σάββατο, 13 Ιουλίου, έχασε τη μάχη με τον καρκίνο μετά από πολλά χρόνια μάχης με την ασθένεια», ανέφερε η δημοσιογράφος Leslie Sloane.

«Η αφοσιωμένη κόρη, η αδερφή, η θεία και η φίλη ήταν περιτριγυρισμένη από τους αγαπημένους της καθώς και από τον σκύλο της, τον Bowie. Η οικογένεια ζητά την ιδιωτικότητά τους αυτή τη στιγμή, ώστε να μπορούν να θρηνήσουν με ειρήνη», συνέχισε.

Η μεγάλη μάχη με τον καρκίνο

Η Shannen Doherty διαγνώστηκε για πρώτη φορά με καρκίνο του μαστού το 2015. Μετά τη θεραπεία που ακολούθησε ο καρκίνος ήταν σε ύφεση για δύο χρόνια όμως το 2019 επέστρεψε.

Τον Ιούνιο του 2023 η Doherty ανακοίνωσε ότι καρκίνος είχε κάνει μετάσταση στον εγκέφαλο της και λίγους μήνες αργότερα πήγε στα κόκκαλα. Η Shannen Doherty συνέχισε να δίνει τη μάχη της μέχρι και την τελευταία στιγμή, όμως δεν κατάφερε να βγει νικήτρια.

Η σπαρακτική τελευταία ανάρτηση λίγο πριν πεθάνει

Η θρυλική πρωταγωνίστρια του «Beverly Hills 90210», Σάνεν Ντόχερτι, μοιράστηκε μια τελευταία ανάρτηση στο προφίλ της στο Instagram, λίγο πριν πεθάνει από καρκίνο σήμερα Κυριακή (14.07.2024).

Η γενναία σταρ Shannen Doherty, δημοσίευσε στις 25 Ιουνίου, ένα βίντεο από το τελευταίο επεισόδιο του podcast της, Let’s Be Clear, στο οποίο μιλάει για την πραγματοποίηση περισσότερων χημειοθεραπειών, καθώς συνέχιζε την πολυετή μάχη της με τον καρκίνο του μαστού

Πηγή: medlabnews.gr iatrikanea https://medlabgr.blogspot.com/2024/07/shannen-doherty-53-y-o.html#ixzz8g1y2YI9n

“Neo in Nomansland” (Women in African Animation)

 “Neo in Nomansland”

(Women in African Animation)

 

Description (LithaFlora African Botanicals)

Neo is on a quest to reconnect with herself and the land.  Who and what she meets along the way will inform, entertain and inspire.

 

Created as an output of our second-year running, 2D professional internship at LithaFlora African Botanicals, this animated ebook has been designed and created, to deliver the confluence of indigenous #afrofuturistic storytelling, health & wellness, ecological conservation and cultural preservation.

 

"Indigeneity & Biomimicry in African Animation", is a 2.5 month highly demanding, fully remote and online programme targeting early career female animation professionals, in Africa.

 

Follow link:

https://www.youtube.com/watch?v=xxg49cWkeQI&list=PLI0AOfBJir0VFOG_3bsbhMkgAx9R2Hide 

Ram Gopal Varma Blog #203. Why Cinema Exaggerates..?

Ayn Rand said “if you see a beautiful woman with a pimple on her face you would think nothing of it but if an aritiste draws a painting of that same woman without removing the pimple it will seem offensive. Of course there could be some people who would like the pimple being there and they will be ones who will have the same character as that of the particular artiste and that in effect would reflect their own personal view of life.”

But unlike in life, in cinema when a director uses style, dialogue, background score, characterizations etc to capture reality he will be just wanting to enhance and beautify what could be very ordinary in real life. He in effect is trying to show what is, in a manner of what it could be and what it should be and that would be his view of life.

And from that very specific point of view of his towards life is where his personal art will arise from. Whether his art is good or bad is subjective depending on who’s perceiving it from which background.

It’s nothing but a filmmakers interpretation and presentation of an emotion which creates a feeling in a viewer sitting in the theatre. The way the director presents his own view is where we as an audience will just get sucked into. So once we finish watching, his view will become a part of our view.

What a filmmaker is really saying through his film is “this is how I want to see things ” Read it as “ this is what life means to me ”. and also very rarely a filmmaker’s purpose would be wanting to communicate his view of life to the audience. His intentions will be more to capture his personal view in a physical quantity on the screen. But since cinema involves commerce and various peoples time and efforts he has no choice but to bring it down to communicable terms unlike a painter who while painting would never think of what will make people buy his painting.

Since we always strive to reshape the world for our own specific purpose we have to first identity our own individual value systems so as to have a specific personal view of everything in life in order to reshape both the world and ourselves. To an extent we can possibly reshape ourselves both physically and mentally but it’s only from our desire to reshape the world where our art arises from.

For instance if I have depicted gangsters in “COMPANY” in a certain way that’s just my artistic interpretation of the underworld. It says about my desire to see a guy like malik in the underworld but not necessarily it tells that there is a guy like malik in the under world. Similarly in “SARKAR” what I am saying is “this is how I would like to see Bala Saheb Thackeray” thereby giving my personal view of him.

On the other hand for a guy who has no personal view of anything in life at all the concertized projection of his malevolent non view towards anything and everything in life will serve not as an energy to move forward but as a delusional moral premise to stand still and just make mindless comments on people who move forward. These are the inane majority who keep screaming that values are unattainable that struggle is futile, that fear, guilt, pain and failure are mankind’s predestined end.

Between these two there also lie a sea of other minds with completely mixed premises whose issues in life will inevitably and permanently remain unresolved as most of the time they just precariously balance on the edge of their little or no logical brain.

In cinematic art It’s my conviction that more than the story it is the style in which it is told which is most creative and the most beautiful in it’s sheer artistic representation. A story is given and a scene is given and a character is played by an actor which is a physical quantity, but how they are amalgamated by the director with the use of the cinematic medium in his style is what which creates a sum total emotional catharsis in a viewers mind.

Of course it goes without saying that style cannot stand in for lack of content but at the same time without the application of style there cannot be cinema.

This best was put in the words of a corporate executive who once said about a certain film “ It’s quite a nice story but if the director did not apply any cinematic style to it why did he make a film out of it.” I completely agree with that executive because style is truly where a director comes in. He might have other talents such as writing etc… but primarily by definition the director is the link between the performing and the primary arts. He is a performer in relation to the primary work of others namely actors, music director, cameraman etc… in the sense that they are a primary means to what he is designing with his style to be his specific end.

But to integrate the primary arts he will require a first hand understanding of all the arts applicable to cinema and then he will have to have a very individualistic view of them combined with an unusual power of abstract thought and above all aided by cinematic imagination.

Directors with this kind of tremendous sense will be of course rare. Most of us directors most of the time ride on the talents of others and merely put the actors and technicians through randomly thought motions which will accidentally result sometimes in a great movie and most times in a movie with clashing intentions of all concerned due to the lack of a central thought to guide the film towards it’s emotional finale.

A film is at the end of the day an emotional experience. It can make you cry, it can make you laugh or it can thrill you etc… and a good story gives the director a means to heighten that emotion and a great director will enhance and beautify that emotion with his artistry. For example if the script says “ she is very beautiful” in a cinematic application the director can make people in the theatre feel “she is verrrryy beeeauttifull.”

In written language this will come across as wrong grammar but in cinematic language the girl will come across verrrryy beeeauttifull and that ‘s why I love cinematic EXAGGERATION

Fashion: The Cinema of Haute Torture

Supriya Suri



Once the thesis(film) by Madhur Bhandarkar is out, you know the controversies will be there for his authenticity in exploring the industry, and presenting before us the reality about them. His films are based on a great amount of research, which we all are yet to see being presented in a cinematic way. The research so widely advertised about his movie does not come across in a ways that could be attributed to cinema; its ontological values, and not just interviews, observation, research and his thesis put across the screen that, I believe, could be better suited for a some other medium, but definitely not cinema.

More than understanding the topic, the content, the story, that apparently in our country marks the distinction between other oeuvres and the greatness of a filmmaker. It's the exploration of the form that is something requires immediate attention. Because there is a need to explore its dimension, since cinema is not just about content, or form alone, but it's the balance of both that gives rise to an expression, it's exactly such element that is missing from this movie due to the absence of the former and, the lack, of which makes ' realistic' movies like Fashion a mockery of the word realism itself.

The director Madhur Bhandarkar is known for his off- beat subjects and themes (content) but Fashion for me was just another mundane venture that swept away the audience emotionally inside the theaters and got them back to their respective lives once it was over- in other words failed at provoking the audience to think. I don't remember the last time in years when I came across a Hindi film that provoked me to think over the subject, to have a discussion on, to have an urge to find out on what was being talked about. It is just for those hours that we experience; sway along to what we see and then the lives move on, nothing changes. Films here in general fail to make us reflect upon what has been said inspite of the fact that their research and realism set out to do the same.

Fashion is a chaotic attempt in exploring the fashion industry on film. The narrative is told via three models: Kagna Renaut, Priyanka Chopra and Mughda Godse. The reason I said chaotic attempt was because in the entire film neither did we get an insight to the characters nor did we get familiarize with the space enclosed around the fashion industry. Apart from that we saw a lot of characters and scenes that the film could do without. I would like to quote here what Robert Bresson once said:-

"Cinema is about subtraction and not addition."

The film was full of added sequences for example, characters like Priyanka Chopra's uncle and aunt in Mumbai whom she lives with and then is forced to leave the house. Similarly, there was another scene where we saw the director himself in a special appearance being talked by the models for his attitude of presenting realistic cinema before us. This scene reminded me of Emir Kusturica's documentary, Maradona, where he kept cutting away to his own films and talked about them. This modesty publicity sequence has a resonance to the shot of Madhur Bhandarkar that seemed like a subtle advertisement (this is where we humans start becoming brands as well). The film had many more of these modest publicity stunts because the director is most interested in making 'realistic cinema,' as he naturally used: real actors, models, designers in the film that would enhance the realistic approach irrespective of their acting potential. The film included Konkana Sen, Karan Johar, Ranvir Shorey and many more such human brands and the product brands like Reebok, Sunsilk, Kimaya having a win-win situation where fashion needed them and vice versa.


Madhur Bhandarkar has been one of the few directors who tries to use songs in a very non- conventional manner, using them as an important part of developing the storyline yet his effort falls under the same conventional league of directors because there is no growth in the approach of developing the story formally. The movie had three such songs showing an important plot development through added montage and dissolves. For eg we see Priyanka and Arjan Baweja falling in love in the first song and then a montage of Priyanka Chopra gaining confidence (a character transition) with various auditions through a montage. The repetition of using these conventional montage and dissolves have narrowed down the entire potential of the form. Even if, in the whole conventional aspect, the director tries to break free from the traditions and conventions of narrative and story telling structure and is interested in giving something new in the content; the clichés in using techniques like these makes us anticipate 'the new' that he wants to present. So the cliché of using background music, songs, dissolves, the hand held shaky camera and other repetitive techniques have 'also' started making us anticipate the obvious or even the unobvious("which earlier the cliché in narrative or the story line did").

Moving on to the cinematography, most of the directors in Bollywood score full marks in mugging up in how to establish the content before us and so has Madhur Bhandarkar. Most of the directors and cinematographers have a very fixed pattern in their shooting styles which have become equivalent to stock shots stored in their brains. Fashion represented the same monotonous use of these stock shots, the only difference lies is that every director re-shoots these stock footage with new actors and have mastered the art of cheating. The continuous mis-use of close-ups leading to cutting between the space, manipulating emotions and bringing down the potential of cinematography, acting, art decor has let the whole process being very mechanical and deceptive. The abuse of lenses for e.g. in the film, the director used telephoto lenses while cutting a conversation between Priyanka Chopra and another actress in an office that marked cutting between space, which represents the easy solution to stage a scene and has deep resonance to the style and methods of television shooting.

These methods of using easy methods for a shot has exploited the role of many people involved in the cinematic process. It is not only the various elements in cinema that have been narrowed down in terms of its usage, exploited in their exploration but also the people involved in creating these elements. For e.g. Through the extreme usage of close-ups or these lenses, henceforth restricting the space, actually makes one feel what exactly was the value of the art decor or the location, the surroundings in the film. After the film got over, I didn't remember one single surrounding or space or any location, all I remembered were the dresses and the faces, it was then I wondered the what exactly Nitin Desai had to do in the film?

From these camera tricks to the casting, everything was a cliché and stereotyped. The way homosexuals were represented in such an obvious manner creates a wrong preconceived impression among the laymen. Apart from generalizing the homosexuals the director carried forward the tradition of repeating Kagna Ranaut in a role that seems to have become part of her career graph. Since this not the first time that she played the role of being an alcoholic and drug addict. As a result of which we didn't see anything new coming out of the actress. Although her attitude and expressions did show her potential, yet there was a sense of repetition.


It has become quite often that acting skills and talents have been overshadowed by their looks in our industry. I read in an interview where a designer of the film said, "We used Kagna's hair in an exotic manner; we cut it short but kept her mop of curls to make her look more vulnerable when she loses it all". He also added, "During that phase she is also shown sporting log tee shirts that would make the audience feel sorry for her." With make up, camera and costumes all trying to force us to feel the emotions that the characters are going through, it makes me wonder again how we are actually underestimating and not fully realizing an actors potential. It is this example that again adds up to another example of exploitation of exploration in cinema, the unexplored potential of the actors.


Despite of all of this some of the actor's potential did come across the screen well. I especially enjoyed Priyanka Chopra's acting skills and felt in a few scenes she did quite a remarkable job; first was when she comes near the mirror and tries to wipe her tears after she sleeps with a stranger, then a scene where she restarts her career and walks the ramp then freezes thinking about her past and the last scene where she walks the ramp and flashes attitude and anger together. Even though the dialogues of the film did feel a bit weak in some places, her acting was commendable. Mughda Godse, although in the beginning we saw a bit over, yet the subtlety in her acting came as the story developed.

The whole potential of acting, cinematography, editing, songs, music, art decor, space, narrative technique, in short the mise-en-scene has still remained unexplored. And it is this lack of understanding that is failing in evolving cinema, making it a very mechanical and stagnant process. With no experimentations in any form, the growth of many people associated in the process and the directors themselves have remained very confined. And to the launch of Fashion, the director added "For me, every film I make is like an experimental cinema." An experiment where we have failed to evolve the form and are regressing with every film we make and cinema is being a medium where evolution is has turned to an opposite way in the graph.

ESSAY: THE ROMANCE OF CINEMA HALLS

 

Cinema in the time of COVID-19: an ode to the romance of movie halls and watching films with strangers

The sun was out but it was not uncomfortably warm. Vehicular pollution was not the mass murderer that it is today, so it was natural for my parents to take the kids along – as other families did that day – on the walk from South Extension to the All India Institute of Medical Sciences (AIIMS), Delhi, for a film show. I am not certain of the year (it has to be in the 1980s), but I do recall that happy holiday as we made the trek on a service road parallel to Ring Road, from home to an auditorium on the sprawling AIIMS campus to see Manjil Virinja Pookkal. 

My sister remembers the film, not the occasion. She was amused earlier today as I recounted details of the outing to her. Such as the fact that it was Dad’s hand I clung to, which means Mum was most likely carrying her in her arms. That the distance felt longer to my little legs than my cellphone’s GPS now tells me it is. And that the screening was organised by a now-long-gone club called Kairali Film Society, no trace of which I can find on the Internet. 

I suspect I can picture it as vividly as if it happened yesterday because this is my first ever memory of watching a film in a theatre. There had been other films before Manjil Virinja Pookkal, viewed with the family huddled around our black-and-white TV set in the days when Doordarshan was our only salvation. This was a different world though, and I remember it all. The mass of people in the hall. The weather outside. A coy Poornima Jayaram. The villainous Mohanlal. The title song about flowers that blossomed in the dew, that I most likely did not understand but instinctively found beautiful. 

Such pleasant reminiscences have been floating around in my mind in the weeks since the novel Coronavirus began keeping me away from one of my favourite haunts: movie halls. Much before the government declared a national lockdown due to COVID-19 (coronavirus disease), my cautious nature had prompted me to practise social distancing, heeding the advice of experts quoted in the global media. This means that March 2020 will go down in history (yes, I did say that, *inserts smart-ass emoji*) as perhaps the first month in a decade that I watched just three films in theatres – each one strictly for reviewing purposes. 

A lot has happened for film buffs since a tiny girl was mesmerised by the moving images on what felt like a colossal screen at AIIMS. Colour TVs came to India in the 1980s, satellite TV followed in the 1990s, over time the stubborn exhibition sector has opened up to a point where, sitting in Delhi, we can now watch films in multiple Indian and foreign languages, not English and Hindi alone, and in recent years, the advent of online streaming platforms has left us spoilt for choice. My work primarily involves writing on cinema, so obviously I am and I am required to be a voracious consumer of films. I have no reservations about watching them on cellphones, tablets, laptops or televisions, at festivals, premieres, previews, upon their theatrical release or online, but if my schedule and budget permit it, I would pick a cinema hall over every other available option any day.

There is something magical about sitting in a large darkened theatre, gazing at a giant screen, savouring the unexplainable, precious solitude of the movie-viewing experience even when watching with a crowd. To my mind, this is why people continue to fill theatres although we all now have cellphones, which makes us all, in a sense, potential theatre owners. This is why theatres will never die. 

When I am lost in a film, I often have a blinkered vision directed at the screen. Sometimes though, it is worth absorbing the sociology and psychology lessons on offer off screen and the pockets of drama among the audience. There was that one time in Gurgaon when a massive family including grandparents and kids turned up for the Hindi version of Delhi Belly, but after an eye full of male butt cracks and Tashi pleasuring his girlfriend, the entire platoon scurried out with many a “Chhee” and “Hawww” and exclamations of disgust. Clearly they had not bothered to check the certification (Delhi Belly was A-rated) or read reviews out of concern for the children in the group, but hey, let’s not take responsibility for our own irresponsibility. Clearly too, the multiplex management, like so many others in India, had not enforced the rating – if they had, children would not have got in in the first place.

Then there was that other time, when a group of what I assume to be Mommies brought a bunch of very small children to a single-screen complex in Delhi for My Super Ex-Girlfriend starring Uma Thurman. (Don’t judge me – I was there for work.) The kids were, understandably, bored by that dreadful film and started running up and down the aisle, until that first scene in which the protagonist has wild sex and ends up demolishing a bed. At that point the little ones froze in wonderment and one of them cried out at the top of his voice, words to this effect, “Mummy Mummy, voh apni boyfriend ko kyun maar rahi hai (Why is she beating her boyfriend)?” Mummy shushed him, the kids continued to be a nuisance to the rest of us, and the show went on.

Sometimes an audience seems like a microcosm of the world outside, sometimes inhabitants of a universe far away. In the summer of 2017, as the results for the Uttar Pradesh assembly elections were being announced, I headed out to watch the Malayalam film Oru Mexican Aparatha in a multiplex in a state bordering UP. While the sweep of UP by the right-wing Bharatiya Janata Party was becoming evident, I was startled and then amused to hear audience members raising the Left’s favoured slogan, “Lal Salaam”, in support of Oru Mexican Aparatha’s Communist hero.

The research for my book, The Adventures of an Intrepid Film Critic (Om Books, 2012), included watching every single Bollywood film released in a theatre in the National Capital Region in one year. The project resulted in numerous occasions when I found myself alone in a theatre – because there are that many unknown, unmarketed films produced by the Mumbai-based film industry, some terrific, some terrible. Watching the good ones among them all on my own only served to underline for me the romance of the big screen and the reason why I became a critic: to inform people about great films they may not otherwise have heard of or considered watching.

My library of anecdotes – about empty and packed halls, fights I have had with managers to get them to start shows they were hoping to cancel because no one other than I had bought a ticket, parents who refuse to control their restless offspring, and couples making out – is a testament to the number of trips I make to a theatre in a week.

In recent weeks, as dread and uncertainty over COVID-19 have clouded our lives, as the lockdown appears to have unlocked further reserves of online hate, as those depressing images of the impoverished masses trudging hundreds of kilometers to their villages have been unleashed on us, I have, as always, taken refuge in reading, writing, films and TV shows. Now, more than ever before, I am grateful for the likes of Netflix. There is no getting away though from the fact that my glucose is community viewing in a theatre.

Where else can you watch a live show of a couple squabbling over whether or not they should give up on Terrence Malick’s The Tree of Life? For the record, he wanted to leave, she wanted to stay as I gathered from the fact that they had a furious whispered exchange of words part way through the film, he stormed out, returned to coax her to leave, stormed out again, returned, then stormed out again, before giving up and sinking back into his seat because the young woman refused to budge.

A friend wrote on Twitter the other day that once the Coronavirus pandemic is over, he doubts he will ever again feel safe in teeming public places. Me? I am dying to get back – to hugging loved ones and holding hands, to walking down streets and train stations, to flights and the Delhi Metro, to scouring well-stocked markets and bustling malls. And of course, it goes without saying, to watching films in the dark with strangers at multiplexes.

Reservoir Dogs The Audio Drama (Preview)

 

 Hello everyone 

This is the first few minutes of an all new audio drama adaptation that I am working on.  We are doing Quentin Tarantino's Reservoir Dogs but with an all female cast.

Im very proud of  the voice cast for this and I cannot thank these laides enough,

Jaylan Salah from Insession Films as Mr. Orange

Leona Zolota as Mr. White

Nikki From Trivial Theater as Mr. Blue and Mr. Blonde

Linda Castro  as Joe and Mr. Brown

Erin from The Podcast That Wouldnt't Die as Mr. Pink and Holdaway

Jeanette Miller as Nice Guy Eddie and The Cop

Read more »

HOW CINEMA WORKS

 

Thoughts On: The Functioning of Cinema

A structuralised breakdown of cinema and its function.

If one is to speak about cinema, about its construction and reception, I believe they will inevitably speak in terms of four attributes of the art: drama, mode, form and genre. I have arrived at these four attributes not through an arbitrary collection of terms, but in an attempt to categorise the processes of a film's unfolding. The question underlying these four terms is then: How does space and time move in a film?

There are three fundamental assertions that must be made as to frame an answer to this question: 1) movies have to be made, 2) movies have to be screened and, 3) movies have to be seen. This means that, for cinema to exist, there has to be a group of filmmakers to create a film, a means through which the film has to be shown (a screen of sorts) and an audience to view the finished product. Without these three components, cinema cannot exist; try to deduct one from the equation and a to-be film ceases to be cinema.

Now we have the parameters of a film's existence, a film's existence being a body or entity that we shall call a cinematic space. Because a cinematic space is a construct of a filmmaker(s), audience and screen, we have to question how time and space move within it through these entities.

On the fundamental level of story, cinematic spacetime moves via conflict: drama. Drama is the prerequisite for the existence of cinema; drama is action, drama is what makes space and time initially move in a cinematic space. To understand drama as such, it must be framed as meaning both conflict and action itself. Drama is how we know art exists. It is only because some force moves against another that there can emerge an idea, substance, affection and meaning. Even in the most abstract of paintings, one can identify drama:

There is almost unending drama in this, a Pollock painting. Here we have colour, shape, line, depth, shade, layers and more. Each line and drizzle of paint put upon this canvas interacts with what it lies upon and with all that resides near it. It is then possible to contemplate this painting, to try and see its life, to bring it to life, to identity emotion and mood within it, because there is this movement, this action, this conflict, this drama - without this, we couldn't call this artefact art.

Even in this Fontana sculpture/painting - slits in a red canvas - there is drama. Here we have a conflict between what is and what isn't a surface. There is also a conceptual conflict presented: What does it mean to create art through a canvas instead of upon it? Yet there is further drama in the mere form of the holes. Quality and depth in drama is not an inherent factor, but the presence of drama is what makes this art. And if one can understand this with abstract art, then one can easily conceive of this in cinema.

If drama is the most fundamental aspect of art, of a cinematic space, then how is the movement and presence that drama allows to emerge into existence shaped? It is here that we must question the presence of the artist and audience in the process of a film's creation and come to modes.

Mode means method. For us, it means intention; how one intends and wants to shape and use drama. In cinema, some of the most obvious methods or approaches to cultivating a cinematic space concern the treatment of the reality that drama is bound to (drama being imitative of reality). It is difficult to conceptualise of how we treat the reality of drama in a film when we do not realise that we already know. What, then, are the most different kinds of film that can be made? Could we not suggest that narrative cinema is most different from documentary - so different that, though both are kinds of film, we rarely associate them?

The difference between documentary and narrative cinema is precisely their treatment of the reality bound to drama. Narrative cinema contrives a vision of reality; documentary attempts to capture reality itself. Narrative and documentary are not the only two modes of cinema; one could make a case for avant-garde or experimental cinema as well as animated cinema being fundamental modes or approaches to creating film. After all, the means through which a film is made and watched differs incredibly depending upon it being a live-action narrative film, a documentary, an animated film or an experimental film.

There are other ways in which filmmakers and audience members can approach film. However, we shall return to this topic at a later time. For now, it is important to define mode as, most fundamentally, the initial manipulation of drama at its very base via a developed philosophy or system of thought around reality/drama; this is the most broad and accurate definition.

We move on from here to form. If mode implies what is intended to appear on screen, form defines what actually appears on screen. Form must then be thought of as the rules of a cinematic space. Where these rules come from is multitudinous. Alas, they so often descend from specific schools of thought around mode. All cinema has drama, many kinds of cinema are narrative-based, but not all narrative films have a similar form. One of the basic ways of recognising this is the nationality of a film. Speaking in very general terms, it is very easy to distinguish a European film from a Hollywood (American) film, a French film from a British film, an Indian film from a Japanese film. The reason for this is that each of these regions cultivate cinematic industries and cultures that, in turn, cultivate rules and philosophies of practice. The form of an Indian film is then descendent of India itself; and because India is very different - though not nearly irrevocably so - from, for example, America, so are the forms of their respective cinemas. Indian films then treat the narrative film very different from Americans with general rules outlined as to satisfy regional audiences, filmmakers and means of exhibition.

One can see this best when they contrast regional African cinemas with, again, American cinema. In West African countries such as Ghana and Nigeria, the majority of film production is extremely low budget, the films are so often shot in a few days and then sold as VCDs and DVDs to be seen on television. This dictates to a very extreme degree what appears on screen and how it looks - equally so, so does the fact that huge Hollywood studios (Disney or Marvel, for example) are so developed that they can spend over $100 million on a film. Because Hollywood can afford to, they have contrived a set of rules for their cinematic spaces a world apart from independent, much smaller cinemas across the world. One of the major rule-setters in modern Hollywood cinema is CGI. Whilst we all may want to make a movie about aliens, the form of our film will be dictated by our access to CGI; thus, it is not likely we're going to get that 15 minute long-shot of a spaceship dog fight.

There are a myriad of details that influence form, but many are self-evident: economy, culture, budget, the philosophy of the auteur, censorship, technology, etc. We find the formal stipulations of a film behind every single one of its shots and set-ups. Thus, this is a deeply important aspect of a cinematic space's facade that is most intrinsically connected to those that make it: the audience, filmmakers and the screen.

Finally, we come to the final major influence of how space and time operate in cinema: genre. Genre is a huge topic, too difficult to describe in full. It is, however, profoundly affective in a cinematic space because it so often lies at the forefront of popular, narrative cinema. Genre can then so easily come to overwhelm form, mode and especially a filmmaker if they've not the skill or care to wield genre instead of being wielded. This is because genre is style; it is the flair, accent and articulation attached to story. Genre can so easily be the soul teacher of a filmmaker and/or audience and can become possessive over all of cinema - it is all too easy to find this to be true in so many contexts.

To take a step back, genre can be thought of as similar to fashion and clothes. Who we are, as humans, is built and understood over years of existing and acting in the world; years of mistakes, of effort, of stumbling, guessing, growing, learning and more. Because we are social beings, we, to some degree or another, wear who we are. We wear our inner self as we walk, talk and, generally, present ourselves. Clothes and fashion are one of the key ways in which we represent who we are on the inside, outside. Alas, all too easily, clothes can fail to express the deeper truth: the years that our self has developed and changed to get to this one moment in time. Clothes can be deceptive in this respect, they can even be used as a shield and means of lying. Such is also true of genre. The truth of any story lies in the years of its specific development, from the time it took to formulate as an idea inside someone's head, to the time it took to get on a screen, to be story-boarded, understood by actors, filmed, edited and then exhibited. There is even deeper truth in stories that lies in the history of the artist it belongs to, the history of their industry, culture, in the history of the genre, form or mode that the art belongs to, or the history of all drama, all action and being itself - which stretches back to the beginnings of time. Genre is the clothes on the back of this history and hidden truth. Audiences can then so easily be mystified by it and see this abstract facade alone. Filmmakers can even think of their own art as the genre it falls into and thus generate a copy of other genre films as opposed to cultivate a film from the level of drama, up to mode, up to form and then up to genre (if the final step is even necessary - which it often isn't). Genre, structurally and anatomically speaking, can then be quite a dangerous or overwhelming presence in story. Alas, it is genre that dictates the stylings of form and mode.

To speak specifically of genre can be exhausting, but, to be brief, genre so often requires certain kinds of characters, certain plots, a certain mood, certain themes, etc. Elements such as mood and tone are aesthetic and so attributes of form. Theme, character and plot on the other hand are so often formulated by a mode or approach to film. Alas, genre can manipulate these items. If allowed to possess a film, genre will wholly contrive them.

To clarify our general picture of how cinema works, we shall use this diagram:

Here we have the cinematic space as the black triangle in the centre. This is within the domain of the larger triangle, each corner of which is under the control of certain symbols. At the bottom left is the audience, at the top is the filmmaker, and at the bottom right is the screen. The colouration used here is inspired by Taoist thought and the famous designation of dark and light, of positive and negative. However, this is not the time to discuss the specifics of the colour distribution as we'd have to first understand what is within the cinematic space to better understand this. To provide minimal insight, however, white is tantamount to achieved potential and black unachieved potential; white is whilst black is becoming.

To look within the cinematic space we find four symbols 0, (, | | and S. 0 represents the fundamental, whole singularity of a cinematic space: drama. ( is the initial bending and moulding of the space via logic, it is mode. | | are the rules, direction and boundaries given to a space; it is the form. S is style, is is genre. To conclude, this then embodies everything we have so far discussed and more: