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Also, I'm not trying to dig on the more grounded independent productions, but there's only so many ways you can tell the same stories time and time again. Barring major shifts in technology and culture, it becomes increasingly difficult to keep standard narrative and characterization fresh. Formalism is a fast way to sidestep the problem, and its quality is entirely contingent on the filmmaker's knowledge of film history and their discipline behind the lens. Helene Cattet and Bruno Forzani, an Italian wife and husband filmmaking duo, have previously been recognized for their stunning gialli deconstruction, 2009's Amer. By playfully subverting tropes of the not-so-bygone genre with loving homage to its techniques they might not have added much to the conversation, but they have certainly put Tarantino's similar genre fetishes to shame. In Let the Corpses Tan they have managed to hybridize gialli with another great product of Italy, the spaghetti western. There are none better to fit the mood of both styles than a man who helped craft their sound, Ennio Morricone. His score here is nothing short of his best works, proving he has only gotten better with age. A group of swarthy, amoral men rob an armored truck for the many bars of gold contained therein. They hide away in the ruins of a convent inhabited by a crazy artist lady and her novelist friend. After some unexpected guests arrive, things go south quickly, and it becomes a gloriously gory shoot-em-up in the Corsican mountains overlooking the sea. All the creaking leather and practical blood splatters remind us constantly that we are rotting carcasses waiting for the flies to come down on us. Ants feature prominently in the more abstract portions of the film to bring to mind the frenetically structured pace of life amidst double crosses and love losses. Then there are these gorgeous scenes of a silhouetted woman blocking the sun with her nude visage, occasionally she is worshipped, at other times she is bound and preyed upon by a horde of men covering her in gold, simultaneously oppressing and beautifying her. This fine line of objectification and materialism might be better discussed in a classroom as it all seems to be lost among the exploitative, sensational aspects of the film. Like a Jodorowsky film, the profundity is inversely correlated to one's perceived pretension of the director. In hyper-Brechtian impulse, minute to minute updates of what time each scene is occurring break up some scenes into alternate perspectives on a single action.

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To achieve this so-called apotheosis, spiritual discipline is not needed, only a good robot-surgeon. The term video-game addiction encompasses all genres of games, but it is often associated with MMORPGs, as several high profile deaths of MMORPG addicts have been heavily publicized. An example of one such addict, is a South Korean who fatally collapsed after playing an online game for 86 hours uninterrupted without eating or sleeping. 74 Addiction of online games has been specifically highlighted after the above incident, by the Thai government, imposing a curfew on online games 75, and Europe s first video-game addiction clinic has opened in Amsterdam. 76 The question arises: what causes these addictive relationships to form in the first place. An in-depth research, done by J M Parsons, on Internet addiction in the context of Massively Multiplayer Online Role-Playing Games (MMORPGs), indicates that Internet addiction is a widespread problem, impacting the lives of an estimate 4-10 percent of all Internet users. Addiction is a subjective loss of control, which invariably leads to a physical and Psychological addictive behaviour; 2. Throughout the evolution of the MMORPG genre, community has been the deciding factor, and that without it; there would be no game; 3. All the motivational factors associated with creating the desire to play MMORPGs can lead to addiction. 78 It was predicted that the online community of players would reach the 100 million mark by Assumptions can be made that the addiction associated with MMORPGs is only going to rise. An investigation into the relationship between addiction and massively multiplayer online role-playing games (MMORPGs), is of immense concern, whilst also providing a deeper Theological understanding of addiction in online games. The aim and scope of this hypothesis will be to discuss, in the context of a brief investigation, the reasons addiction occurs, and to compare them to the reasons people play online games. In view of this, one could inquire whether it is possible for Satan to manipulate people through changing their normal God-given brain functions. Satan is here to tempt and deceive mankind, and through his crafty methods, he can deceive millions on a small and big scale, with astronomical consequences. The ultimate consequence of yielding to Satan s temptations, however always leads to pain; shame; guilt; suffering; captivity and ultimately death. Playing an online computer game using a virtual Avatar is a spiritual and physical matter. It is physical, not so much relating to the hours spent in front of a computer screen, but also to the complexity of the wiring of the brain.

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Meanwhile, his friend Joo-joong is given the task to stop Chi-sung, forcing him to choose between the bond of friendship and loyalty towards the gang. From the time he broke into the realm of theatre in 1995 with critically acclaimed plays like Heotang, he has developed a unique style that mixes humor, melodrama, and a keen observation of society. JANG's experience in film first began back in 1995 when he assisted with the screenplay of the critically acclaimed. JANG's biggest box-office success to date was with (2001), a comedy about four talkative assassins that was a major hit in Korea, and is also being remade for the Chinese market. One day, her sudden suicide attempt is foiled when someone takes her in his arms and saves her. He asks for nothing, but perhaps he knows that for some people, just living is hard enough. Yoon-hee goes looking for Hyung-jun, and from the moment she sees him, she senses that he already loves her deeply. Because she knows it is totally impossible to be free from her prison of a marriage, the peace and happiness she feels at Hyung-jun s side is heartbreaking and frightening. Hyung-jun, used to his life of loneliness and despair, loves Yoon-hee at first sight, but as he can t do anything for her, just lets her go. The only thing he can do is to offer her and himself a brief consolation. Born in 1968 in Seoul, MOON graduated from Lodz Film School in Poland. With the short films shot during his study abroad, he received several awards from the Seoul Short Film Festival. After his feature film debut (1997), a Korean-Polish co-production, he returned to Korea. It s difficult for them to adapt to the stifling atmosphere of the women s lodging institute and to get along with each other due to their differing personalities. Yoo-jin has the most difficulty with the stuffy institute life; she begins to have visions of events that took place at the institute in the past like a tragic fire that occurred several years ago. Yoo-jin gradually becomes consumed with fear, and the relationship among the four intimate friends begins to suffer. KIM s short films Blink, Music Box, and Fragile have attracted considerable attention from many international film festivals.

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