Turning 18 Funny Legal Things

The circle is complete. A new terror is shaped by death, a new superstition entering the unassailable fortress of infinity. I Am Legend.

With this inscription worthy ends the life of Robert Neville, the protagonist of I Am Legend, Richard Matheson's novel and inspired several films, the latter of whom now on Italian screens. A story that is worth the expense to monitor closely, beginning with the author.

Richard Matheson belongs to the old guard of the writers of fantastic literature, those that have built and made great race: born in 1926 in New Jersey, was a skilled writer (remember Duel, the first film Spielberg), and author of short stories and novels that the film subsequently product: from The Shrinking , from which he drew the beautiful Jack Arnold The Incredible Shrinking: Shrinking Man (1957), in Hell House, which gave rise to the striking After life (1973) John Hough of .

I Am Legend (Fanucci, 2003), written in 1954, tells the story of Robert Neville, sole survivor of a mysterious epidemic that turns men into creatures similar to vampires, besieged every night at his home , mocked and threatened with the rising of the sun's up to him armed with a hammer and pegs going around to hunt them and kill them. His double role of hunter and prey, the constant flashbacks of the past with the death of his loved ones, the encounter with a stray dog \u200b\u200bthat survived after a week dies undermine his balance and pushes him towards alcoholism, but in the meantime Neville is getting closer to the truth and refinement of his art: the epidemic is a bacillus that is spread by air first, then by contagion, and he is immune to an old bat bite, garlic acts as a repellent, all the folk repertoire accompanying the vampire is just a psychological problem, a vampire fears the Christian cross, because he thinks of having to fear - is necessary for a Jew the Torah.

Matheson, in short, sets out a theory that, even if attacked from the standpoint of science fiction when it appeared, was ahead of at least thirty years to that of the chemical David Dolphin, a supporter of the thesis that "vampires" and "werewolves "Another eighteenth century were not that sick" porphyria "in which the disease damages the nervous system making them aggressive and pushing them to nocturnal habits because of photophobia ...

's encounter with Ruth Neville, a girl who he seems like a survivor, seems to be balanced for a moment the situation, until the truth is not float: Ruth is a contagious, however, belongs to a new mutation that can live in the sunshine. Its species, which kills the traditional vampires, Neville considers as a threat, a strange creature, a murderess, and decided to capture him and kill him. Neville accepts this fate, and his last words tell us the title and the final purpose of the book: a beautiful book, full of charm, far away from the vulgarity vampire in which the last two decades we have become accustomed.

found stimulating cinema remake of the classic vampire myth, and this reversal of roles and in different ways appropriated it: the first attempt to stage it in 1964, and is entitled The Last Man on Earth , written by Furio Monetti, and Ubaldo Ragona, Matheson, under the name of Logan Swanson participated in the film treatment, but disagreements with the director, the same Ragona, withdrew his name.

The film, photographed in a beautiful black and white by Tonino Delli Colli, who transformed the Eur in a kind of sci-fi horror shades, and saw the participation of the great Vincent Price in the title role here becomes Robert Morgan, Franca Bettoja (Ruth), Giacomo Rossi-Stuart and Emma Danieli. He little success in Italy and low distribution (but now there is a version on DVD, especially for outbound calling I am Legend), but the honor of an American version, a little 'different and directed by Sidney Salkow " . And to think that it is more faithful implementation of the novel by Matheson, just think of the pictures of the siege to the house of the hero, when the "infected" they call him urgently, a real masterpiece horror.

The second attempt, so that Matheson provocatively described as consistent with its original intentions, though, nothing has credited as an inspiration, is the famous work of George A. Romero, Night of the Living Dead (The Night of the Living Dead, 1969). Romero wrote the film from its subject, or so he said, and almost no funding and non-professional actors shot the film on weekends, with a 16-mm film, black and white was so strongly opposed. The story centers on the life of Ben (Duane Jones), a young African-American, and a group of survivors that are gradually wiped out from other men in the throes of a contagious kind of madness that drives people to kill and eat it. The dead, after a few minutes, the influence of the mysterious radiation from an experimental satellite rise up and start acting like their murders. Night of the Living Dead was the founder of an infinite lineage of films characterized by the presence of "living dead" later became "zombies," Romero daughters more than the films of Jacques Tourneur Haitian setting of Romero, and the Most unwatchable.

Then came another classic, 1975: white eyes on the planet Earth (The Omega Men, 1971). Richard Neville (Charlton Heston, then in fine form) is a military scientist, inventor of a useful vaccine to eradicate an epidemic unleashed by warfare, which has had time to prove to himself that the epidemic would invest the first Los Angeles. Neville lives in the desert city barricaded the night at his home in the company of a statue with which to play chess and masterpieces that have escaped the city's museums, and during the day is around the city, projects which he knows to old movies the memory lines in a large cinema, look for his enemies to kill them. The creatures, this time, there are vampires, humans are rather albino, photophobia, made aggressive from the disease and believe that technology is evil. Armed with sticks, knives and rods, dressed in monastic robes blacks and eyes protected by dark glasses and led by Mathias (Anthony Zerbe), a former television commentator, they go around with torches and candles and tend to lie in wait ' dusk. Again the main character will be killed, but just in time to give to other young survivors, led dall'afroamericana Lisa (Rosalind Cash) a vial of serum obtained from his blood can cure the infected.

Scripted by John W. And Joyce H. Carrington Carrington, but without credit Matheson, directed with the times and ways television by Boris Sagal, the film is a kind of homage to the genre, but also a generational manifesto (in fact the survivors are young people and children) and a critique of consumerism Yankees, represented by the interchangeability of self and of objects available to the protagonist. One film in particular that influenced the 'post-atomic imagery of film, with its deserted streets and the haunting sense of loneliness.

With I am Legend Matheson finally back to the authorship of the idea, we are faced with a dash of romance, of the screenplays and several other films mentioned above. Authors of the script are Mark Protosevich and Akiva Goldsman (writer capable of highs and lows ranging from I, Robot to The Da Vinci Code), while director Francis Lawrence, from the world of music videos and author of Constantine and their work is, above all, a job that gives a nod to the genre (think the use of a black actor like Will Smith, rival Duane Jones, the insistence that use Bob Marley as a standard bearer of anti-pacifism and, with much more consistency when they used the Woodstock festival, transposed to the setting from Los Angeles to New York to "quarantine" straight out of Manhattan from Carpenter's film, the pictures that adorned the house of Neville-hour peep from Heston and Neville-Smith, the fact that while the first he knew by heart the lines of Woodstock, the second known those Shrek ...). But at the same time wants to be a film for the general public and not for a circle of fans, so that is built directly on the person of Will Smith (even before the character of Neville), functional choice, since the actor holds the camera in all possible shades, from fear, emotion, despair (think the intensity of expression with which he confronts euthanasia of his dog, Samantha, bitten and injured by the dogs of "infected" and then for the end ) but which in fact determines a phase image.

All first time slips away alternating between the present situation, the environment (a New York faithful to modern theories about the catastrophe, far from the bright Los Angeles Sagal, all rust, dirt, plants that pierce asphalt, puddles of water and wildlife, photographed with great aerial shots and long shots) and staff (Smith hounded by the lens, which, unfortunately, in tune with the modern habit of film to use hand-held camera, it ends with assuming a hopping pattern) and several flashbacks reminiscent of the epidemic, the attempted escape and the death of wife and daughter. Faithful to the teaching of the great fantasy films, the director shows the little "infected", deformed creatures, glabrous, waxy, and creates the suspense with their intuitive: the whole sequence inside a dark building where Neville was also to search for Samantha, for example, is well executed. Then, the second time, the situation worsened, and it seems to have arrived in another film. They appear to legions the "infected", all digitized and with enormous strength and agility monkey that make them look super-heroes with no reason, and the suspense is cleared in the name of the special effects, Neville is saved by a girl, Anna (Alice Braga) and his son Ethan (Charlie Tahan), a couple that are unlikely to drive around in a continent plagued by monsters, trying to reach survivors of a municipality, of which Neville and they know not; mystical drift, which is necessary in a world populated from "theocons," begins to occur when Anna says that God is talking to her and suggest the way and even more so when Neville gets worse, definitely an atheist before he died gives her a test tube with the blood and immune implies that there really is a design divine. Worse still the final, when she and the child come to town: a nice and clean rural American village, complete with church and flag stars stripes, guarded by military and surrounded by a wall that seems to be separating Israel from Palestine ...

These images, in a sort of short circuit, they quickly saw the review: the virus outbreak which originated from cure for cancer instead of a germ warfare, the destruction of bridges connecting Manhattan to the mainland with strokes of explosion; checkpoints like in War of the Worlds ; signs of a cinema that is around half if the Typically, the other half comes out, and instead worry, as it should be his own, reassuring the audience on the survival of the "dream American. " And the last words, which would explain the meaning of the title seem a parody of the speech Matheson: Neville is a legend for all, because he died to find the cure to the disease. Improvident a role reversal which is yet another betrayal of the great writer.

Ulysses Ursini

Medical Malpractice Sample Complaint Pennsylvania

I Am Legend The Golden Compass

The Church, as we all know, looks warlike intentions against human expression that does not fit with its diktat: a fear of losing support, true, money and power mean that time with precise regularity arises from all forms of culture which does not comply, supported the left-right axis, completely prone to his will (in ancient times is enough to remember solidarity with a foreign head of state, called in Italy and later canceled the unwelcome visit, which would be better to give the citizens of Campania, grappling with problems more serious than a citation of the philosopher Paul K. Galilean Feyerabend). From the "satanic rock" the new age, from horror to minority religious groups to Rowling's Harry Potter, was a series of allegations, among the many we want to remind those around The Golden Compass, the movie Christan Weiz director has scripted and directed from the novel by Philip Pullman.

Philip Pullman

The Golden Compass, released in 1995 (thus before the Harry Potter series, set to begin in 1997) is a wonderful book of fiction for children, also suitable for adults and more of the various obscenities that the market is usually pouring out, and is the first volume of the trilogy His Dark Materials: The Subtle Knife (1997) and The Amber Spyglass (2000), all published in Italy by publisher Bloomsbury. The novel is essentially an alternative world, a universe ucronico, in which the laws of science and physics are different from ours, and the story took an unexpected turn, the geography has other names, the technology is different and borders with the magic, the Church became a Catholic-Calvinist attempts to transform this and other worlds in a theocracy (some would say that this is not ucronia, but actually); witches hover in the sky and live for centuries, and there is a realm inhabited by the Nordic panserbiǿrne , giant polar bear warriors (which is not difficult to recognize the famous warrior-bear the berserker Germanic), endowed with great intelligence and speech, as well as experts in the arts of metal.

Humans also live with a daimon, or an animal companion, and his soul corporizzazione indivisible externally what we call the totem animal, in short, but perhaps it would be better to call in diction of heathen British "human person". In children, the daimon has not yet stabilized, changes shape, adults assume an identity corresponding to the final of the individual personality. It is worth recalling that in ancient Greece daimon was the intermediary between humans and gods (role to be supplanted by the Hebrew Malakhi and then by ' anghelos Christian), and then assume, with Socrates and Plato, the form of consciousness.

short, Pullman has a cultural substratum exquisitely traditional greek and Norse. And in addition to well-versed in fantasy literature (his imaginary world is indebted to a lot of darkness Dawn, a 1950 novel by Fritz Leiber, in which the church governs a future world using science to produce miracles, opposed by witches and wizards) must have read his book and made by Julian Jaynes, The collapse of the bicameral mind and the birth of consciousness, a text in the seventies opened a long debate on the human psyche. The psychologist suggested that existed in the greek world the ability to communicate with your daimon, which is a kind of second conscience, the basis of the typical phenomena of trance and possession of the oracles. And this capacity throughout childhood, we believe in it only in the form of "imaginary playmate", destined to disappear with the installation of consciousness, but could somehow be helped to stay alive.

And the daimon is one of the main points of the novel. Because as soon discover Lyra Belacqua, a girl and her eleven-year daimon Pantalaimon, the idea of \u200b\u200bthe Magisterium (the political arm of the traditional Church) is to divide the human and animal, to seize power, and to prevent the spread of dust, the "physical evidence of original sin," capable of made "aware" people can make choices about good and evil, including the rebellion. The story revolves around all ' alethiometer, the "Golden Compass", a mechanical device that serves to understand the truth of things, and winds through several events: the attempted murder of his uncle Asriel, a scientist accused of heresy but also explorer who sets out in search of powder, the meeting Lyra with Mrs. Coulter, the "dark lady" of the situation, from her kidnapping by the mysterious Gobblers, the thieves of children, rescue work by Gyptians, a nation of sailors, and then the long journey north in search of the abducted children, including his friend Roger, the encounter with the witch Serafina Pekkala, the bear Iorek Byrnison el'aeronauta Texan Lee Scoresby, to reach a place called Bolvangar where children kidnapped by the Gobblers are deprived of their daimon, and where rincontrerò Lyra's friend Roger, until the reign of the ice bear warrior Iorek where resume possession of the throne that is rightfully ... the twists are succession, and the final taciamo than the reader ...

A short book, overflowing with ideas, criticisms, archetypes, a text that should be carefully read and pondered by adults because it puts in place very specific ideas about free will (the dialogue between Scoresby and Pekkala is illuminating in this regard), over paganism, the alternative worlds, and sull'insostituibile human dignity which is realized through the choice of way of life, and not to its imposition, in the style of life and not on its withdrawal. A book that has moved the waters Christian evangelicals first, then the Catholics (but which has little shaken Anglicans and Lutherans used to discuss the book will, from time immemorial), committed to accuse Pullman of every possible crime. The author, not content to defend positions Gnostic hours, now Pagan, now atheist, but anti-clerical, he repel attacks church, adding surplus in the finding that his criticism was any kind of abuse dogmatic, leading to parallel the ' Inquisition and the USSR as methodologies coartative ...

A book by Chris Weiz which drew in 2007 a film that, even before it came out in Italian cinemas, had given the go down to the whining and insults from the leaves of baciapile speed and no, not that they had not even taken a taste to see it, but only to continue the wave of protests Yankee, which involved even Kidman ...

A book of which the director Chris Weiz told only a part, written text directly. This has simplified and reduced many aspects and psychology of the story, cutting the story, after changing the order of the narrative, research by the children of Asriel, the bear and Scoresby. The characters were equal: Lyra (in the film, the talented Dakota Blue Richards), Asriel (Craig David, at ease in the part of lord adventurer, although its presence is only barely visible), Marisa Coulter (Nicole Kidman: as good as always at the In this case, the dark lady, but who pays the price for a certain role-typing), Lee Scoresby (Sam Elliott the steel, in his usual role), and Serafina Pekkala (Eva Green, a figure almost lunar) But the reduction of the text has ended up breaking the unity of the narration, which does not proceed in a linear fashion.

The staging of this world and very much nineteenth-century London, imbued with extraordinary inventions (such as electric cars that seem Landau) and even more amazing reworkings (images Zeppelin and the balloon, more like to that of Father Lana Montgolfier brothers') seems to be rooted in that imaginary proto-science fiction, retrofuturistico of a literature that call for children would be reductive, that of Jules Verne and HG Wells, Jean De La Hire, and Our Salgari and Luigi Emilio Motta, rather than the American science fiction, and with a taste so typically European, just think of the aerial shots from the edge of the Zeppelin, in a scene in which "real" overlaps a scenario invented. The first fight between the bears and the great battle in the midst of snow, which sees the disorderly band of Gyptians Iorek the bear fight against the Tartars and their daimon, while from witches spoke of heaven, besides being an exquisite intersection between the Nordic tradition, and spirit greek Norse saga is also a set of sequences, taken from different angles, very effective. And above all, even in the digitization of special effects (from small animal companions of humans, bears the great warriors) can not perceive the gap that is increasingly manifesting between what is real and what is virtual. The film, always taking into account its destination (a kids' movie) works, despite the lack of, and could not be otherwise, the tension that is felt rather epic in the text; problem of simplification, but also the difficulty of dealing with a scientific topic under Profile mythical, or better still try the limit between science and magic. The above-mentioned Feyerabend would say that science is much closer to myth than a scientific philosophy imagine, but that every new idea in a scientific field, which also violates the rule serves to widen the horizons of knowledge. Even if it is powder or alethiometer . With all due respect to those who have seen the film and saga in the usual mysterious conspiracy against Catholicism, Catholicism is rather than how to plot against freedom and knowledge.

Ulysses Ursini

Breast Milk And Coffee

AIDS orphanage KOSOVO IS SERBIA

The National Autonomous Bardonecchia yesterday afternoon, have donated to the children of the orphanage Balangero (in Canavese) used clothing and various toys.

During the meal some children have come to thank us and invited us to their "game room".

It 'been a wonderful experience that made us understand even better than with simple gestures you can make people happy and' more 'unlucky you.

come back very happy and thank Matthias Alexander and for designs that have given us.

Supports national autonomy

Doujinshi Naruto Fakku

Dennis Gansel - The Wave

The film often produces films whose importance goes beyond the intentions of 'author, cultural objects worthy of analysis and discussion but often end before you start. The wave phenomenon happened with (2008), the last work of the young Dennis Ganzel, who already Napola (2004) had shown to be able to move within the sociology of youth.

The film's story seems to tell the truth, very articulate. In the sixties, at a school in Palo Alto, California, the history teacher Ron Jones decides to teach children the origins of totalitarian systems and create a movement that's soon out of hand. After a few mishaps (fights and beatings, no wonder, given the years), the professor concludes the experience. It is silent until 1972, when the story was taken up by American journalist and writer Todd Strasser The sign will dell'0nda (Archimedes, p. 160, € 8.20,) novel for teenagers very popular in Germany. Dennis Ganzel has scripted with Peter Thorwarth, drawing a film that reconstructs the current situation in Germany and in the story. The teacher Rainer Wenger (Vogel Jünger), much loved by children, young and mild anarchist sympathies, the lessons in the week "theme," robbed of his course on anarchism, is to hold a course sull'autocrazia; and usual question (could return to Germany the Nazis?), in which children with more common sense of adults, answers no and that it is time that the Germans stopped the current bear not blame them, decided to demonstrate in vivo the genesis of an autocratic group: like not to Hitler as so many have wanted to see, one of the many political groups of every sign, from Plato's Republic forward. Order, strength, discipline (now removed all concepts from education) turn boys who find a leader, the professor, a name, the Wave, then a symbol, adopt a uniform, greeting, shaking each other and they help out in schools. The situation soon escapes from the hands, especially by the reprobate, and leads to a brawl during a game of water polo. Now all against Wenger, his wife, Anke, who leaves him, his colleagues and the dean, and reluctantly decided to dissolve the Wave. Catalyzes the last meeting the need of a scapegoat against Mark (Max Riemelt) and it does "stop" and then highlights the situation, The wave melts and invites children to go home. One of the loyalists, who wanted to be his bodyguard pulls a gun to stop the comrades; stupidly injures one of them and then killed himself. The police take away the teacher between the eyes of the distraught students, and a still image frame is on its last expression dismayed about what happened.

The film is told from the point formal honest direction, with a lot of pace, many concessions to the style of the show, good music that emphasizes the highlights. What does a good job in Gansel, you guys do not move in stereotyped forms of the many show (Or tv-movie, as are now called) for adolescents, but in their adolescent spontaneity. They say, for good and evil, absolutely credible. Some sequences, like that night when the boys put their mark throughout the city, which winks at The Warriors (1980) by Walter Hill, the use of editing and music that refers to John Carpenter, the sequence of the party on the beach or the terminal nell'asettica hall where students gather with their uniform, they betray a certain skill but never takes the situation in hand. Maybe it's the script to fail, compressing the transition from group fed up with students a strong community within a week.

Several critics have tried to establish parallels and connections between Wave and other films. From the recent class (2008) by Cantet, in which the subject was that of racial integration, the most daring have taken (wrongly) to Lord of the Flies (1963) by Peter Brook, based on the novel William Golding, where the return to the "state of nature," diligently transformed a group of British students in a "Wild Bunch". In fact wave is nothing but the "dark side", the Shadow, the reverse the lucky (and overrated) Dead Poets Society (1989) by Peter Weir. Laggù Professor Keating (Robin Williams) calls himself "my captain" ideal connection to Whitman and the "American myth", here Reiner returns to the traditional hierarchy and re-become "Professor Wenger", and there is to warn Americans of the fifties on guard against conformity, here to explain to the young Germans of the new millennium as a movement not approved structure which is likely to produce conformity, and there the faithful re-build a professor of youth artistic coterie, The Society of dead poets, heir to Keating, organize here scratch a political movement, which they themselves baptized, and there the teacher pushes the students to find their own individuality and explore their own egos, but here leads them to withhold their individualism and to explore the self in the community form, in both cases the teacher, loved and esteemed by the children, is viewed with suspicion by colleagues who do not forgive him the charisma and originality of his work, in both cases one ends up killing the faithful, decreed the deportation and death (and presumably in the case of Wenger crash) teacher.

dark side, shadow, negative aspect. Good feelings against evil teachings. European American democracy against autocracy. Like most critics have flayed hands applauding the goodness of pedagogical Keating, now wonder about the result (neo-Nazi). Because if the operation starts from the initial application of the Wave, its meaning is lost. Critics 'democratic' is out of hand the matter, the similarity between the Wave and the totalitarian system, for convenience let's call it Nazi, is not less than the totalitarian system, which for convenience we call communication. And the uniform (white shirt and jeans) that all equate to Nazi uniform, is no different from the common currency (the one of the Pioneers, all'eskimo and red scarf, up to today Cuban hat and a sweater) or that of another group, dall'hippy paninari seventies to the eighties yuppie incravattato, from punk to the skin. And the processes of exclusion / inclusion in the group are equal in all primary and secondary groups, from middle-class town on the outskirts of the band, from the Communion and Liberation FGCI when there, away from the group of trade unionists that the ultras . So there is no need to bother the Nazis to realize that in every group there are specific roles that range from the viceleader leader, knows that any freshman psychology.

But let's get out of that eighth, which was once called social democratic or petty bourgeois and look at the sociological phenomenon and its future. Are we really sure that a movement of groups of young people, even suspicion of autocracy, is really a regressive? However, which resulted in a totalitarian regime? What really suppress individuality to the community? Replacing the values \u200b\u200bof primary-group defined as a "band" than those of the primary group defined as a "family" is necessarily negative educational impact? That the figure of the leader has a negative function anyway?

Reading the film beyond the intentions, beyond the didacticism inherent and politically correct teaching of a film that will not be boycotted, we realize that is not true. That perhaps Ganzel is playing dirty. Before we have a group of students from families with poor examples, little motivation to study, lack of values \u200b\u200band identity, existential loneliness and mired in political and racial and economic diversity that sets them against each other. In a second step we have a community of equals, where the distinction turkish-East German-West German has lost its meaning as the term has lost its meaning rich-poor or gender, where everyone helps and protects the other and Everyone feels strong and accepted, and where you do not accept the new order is simply asked to leave and not is persecuted. Reason initiators of the various troubles that occur are strangers wave, punk band from the Karo brother, Marcus's ex-girlfriend (Jennifer Ulirch) that blocks the entrance to the pool, or fugitives, as the same that Karo with its leafleting against the Wave exacerbates the tensions of a normal game of water polo. And victims of the wave systems are particularly weak points, those who were in another system.

So what's the problem? The suspicion is that the critics "democratic" use the bogeyman "Nazi," not to think about the outcome of the various totalitarian Marxism, or maybe not talk about the group itself heal the contradictions of the individual, and indeed, as taught Proudhon is more than the sum of the individual. Or as he put Eizenštejn, the individual took place in the collective. Maybe what we want to suggest is that every political movement is in fact totalitarian, and therefore the only way of doing politics and non-political (ol'antipolitica?) And the mea culpa that the good Professor Ron Jones recited about his experiment was aimed at the "democracy"-type liberal that he (unknowingly) put in doubt by the Black Panther against whom the Weathermen, the Tupamaros, the Vietcong and Feydhain around the world was struggling. This democracy liberal who comes from overseas, exported to blows air strikes, passed off as the only non-totalitarian dimension of existence, "open society" Popper, contrary to the "closed societies" from Plato onwards. Because if the Wave is undemocratic, it is also revolutionary, and alive. Paraphrasing our Yankee masters, the only good democracy is dead.

Ulysses Ursini