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She took part in seances, where she sat with paper, pencils, and gouache, and drew her pictures from the energy, words, and images the spirits used to communicate with her. Her first spirit guides were deceased relatives and friends, in particular, her late sister Zilla. Later, she said her spirit guides included the Renaissance artists Titian and Correggio which were mighty fine talents to commune with. Often, on the back of her pictures, she explained how her drawings were made—on one occasion explaining how Titian had worked through her to create a picture. Whether we believe Houghton’s supernatural claims is irrelevant. What is important is Houghton’s artwork which is mesmerizingly beautiful, utterly original, and denies any easy classification—though some critics have (perhaps rightly) described Houghton as “ arguably the first ever abstract artist. Houghton was producing her abstract image long before Kandinsky and Mondrian and even another spiritualist Hilma Af Klimt, who is also often credited as the first Abstract artist. She used these seances as a means to focus her artistic talents and produce her astonishing watercolors and undoubtedly believed she was communicating with the dead. It should be noted that it was very difficult for women to become artists in Victorian society. The art world was dominated by men who excluded women from their guilds and art clubs that promoted their work. Women had to find other ways to express themselves and their talents. Houghton found hers through the ethereal world of the spirit world. At a time when figurative and narrative art was the dominant genre, Houghton’s strange, swirling, peacock-feathered watercolors look like the psychedelic creations of some hip 1960s artist. She was expressing a deeply private world—a belief system and her feelings towards it. Many of her drawings featured the eye an all-seeing God which is arguably a reflection of her own subconscious feelings about the unrelenting and controlling male gaze of the world in which she lived. There are also the expected drawings of her religious icons like Jesus Christ and the Virgin Mary. The perceived irrationality of Spiritualism has in the past been used as an excuse to systematically belittle the importance of Houghton (and other female artists such as Hilma af Klint) within a history of abstract art.

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Nintendo has since downplayed Birdo’s gender completely, treating her entirely as a female. Often considered the first transgendered character in gaming, Poison has a fairly checkered history thanks in part to publisher Capcom. Originally a female enemy (alongside the palette-swapped Roxy) in Final Fight in Japan, Poison and Roxy were planned to be cisgendered females but were then changed by Capcom to be “shemales” due to, of all things, concerns over violence against women. Capcom would further censor the game for western release by removing both characters completely, replacing them with two male thugs by the name of Billy and Sid for the 1991 SNES port release. People who worked on Final Fight have also given mixed responses to Poison’s gender over the years. Final Fight designer Akira Nishitani has stated that it is up to the player to decide, while Street Fighter IV producer Yoshinori Ono has stated initially Poison was post-op only in the West but has changed his stance on the matter twice since then. To say the least, Poison’s gender and status as a transgender character are left ambiguous by Capcom. Much of her character’s gender identity has shifted over the years due to changes in culture and representation, with her becoming, at least in the eyes of many fans, one of the few transgendered characters in a video game, with the only other AAA example being Cremisius Aclassi from Dragon Age: Inquisition. In the West, only adventure and computer games made direct references to queer characters, but they were often overtly stereotyped. The first speaking role for a gay character, for example, was the FMV game Dracula Unleashed, but the character, the co-owner of a bookstore named Alfred Horner, was portrayed as a pervert. A really passionate friend who lives in an England-like place. In a normal, real-life society, there are gay children, and I have many gay friends as well. So I thought it would be nice to add one in the game, too. —Shigesato Itoi. The second game in the Phantasmagoria series, which intended to be an anthology of FMV-styled point and click adventure games, was not a big hit when released in 1996, with most complaints being leveraged to the absurdity of the game’s puzzles and an incoherent B-movie storyline with low production values. One scene in the game has Curtis admit to a therapist that he has feelings towards his flamboyantly gay co-worker Trevor Barnes—at one point almost sharing a kiss with Trevor late in the game. While somewhat provocative in 1996, Phantasmagoria was one of the first games to depict homosexual characters in an everyday, even positive light.

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I certainly never pictured my career advancing this quickly, though I always hoped it might. I mostly deal with it by keeping my head down and working very hard, because there’s this feeling that if I stop working this whole bubble could burst. If I’m not writing, it’s only because I’m editing. We have several other films in the pipe as well, and they always seem to be getting more and more ambitious, which is key. Jason is a force of nature, and a prolific producer. These men have accelerated my career in huge ways and I owe them quite a lot. The mechanics are all still there, and the experience of working on set is basically the same. The equipment gets cooler, and the crew gets bigger, but the rest is surprisingly similar to my DIY indies. We still don’t have enough time in the day, we still don’t have enough money, and we still have to cross our fingers and pray it doesn’t rain sometimes. Technology has made it so that you can keep generating work, and that’s the most important thing. What’s your biggest take away from this experience, and do you think it will ultimately affect the life of the film. The only festival screening we had was at Fantasia last week. While Relativity was dealing with its bankruptcy, the film was basically in limbo for several years. During that time, several international territories released the film, which is how it became pirated. It’s definitely damaged not only the film’s prospects upon release, but it’s made it harder for me to take the kind of narrative risks that Before I Wake takes. But pirating movies like this one only lower the perception of the film’s performance, and that perception is the only thing that matters when people consider taking risks in the future. A few were apologetic, but most were completely clueless as to why I’d be offended.

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Standing straight and speaking clearly and distinctively he was acting more tywin’s equal than his minion. His doddering old hunchbacked fool act is akin to Manderly's hour-long squats. I don't think it's because of any sentimental feelings toward Tyrion if that's what you're getting at. Rather it's that Tyrion was made hand by Tywin and Pycelle did not trust Tywin's judgment on this matter and effectively undermined Tywin's authority. Much like Tywin refusing to allow Tyrion to sail with Gerion, he didn't want a Lannister to be seen as a fool. I guess I'll just have to live with perhaps never knowing what Varys said to him before he killed him. wonder what he'd have to say. There are a lot of interesting things about him, and he always struck me as somebody we were supposed to underestimate. But the quality that most defines him is his apparent loyalty to Tywin. Until now that is. This is a really beautiful delve into his character, and the only satisfactory explanation I've found for that loyalty. In the start of the second-to-last paragraph where you mention Pycelle would have burned Edric, or taken the ships, killed the child-hostages, and the Red Wedding. Because for the character you're describing, I think he'd advise somebody else to do those things, but the limit of his bravery is telling somebody to open a gate. So he wouldn't do those things, he'd be in favour of those things, which explains the hero-worship. He wouldn't put the torch to the pyre or take the initiative, but he'd vote for it just as he did with sending an assassin after Dany, which I essentially considered the moral-equivalent. Also, wasn't there a Tyrell Maester at the RK attending to the Tyrells, if there was why not ask him, he's bound to be more loyal and keep their confidence. Or why not seek some healer in KL who can provide the brew.

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Our digital technologies and mediums are not something to-be-looked-at, but something which, themselves, “look” back at us, recirculating our gazes in perfect loops with no generation loss. I think in a previous question I mentioned how the cameras in the Paranormal films were in fact haunted. They are haunted with our own images, staring back at us. This intense, narcissistic self-reflection means that one of the signatory outposts of the cinematic avant-garde—a relentless survey of its own practices, which separated it in important ways from the “invisible” style of mainstream film—has now been so thoroughly colonized that it ceases to exist, unless it is called into existence. It is this conservative, nostalgic nature of the avant-garde that is its most radical contradiction, its most radical secret. Indeed, this recursive dimension allows the most “advanced” avant-garde films—such as Michael Snow’s Wavelength (1967)—to refer back to the most “primitive” of cinema. Likewise, the fixed cameras with their single takes in Paranormal 2 rely on the Lumiere films not only for their formal constraints (one shot, no edits) but also for the relationship they create between the subject and the camera. For, like the people in the Lumiere films, the Rey family in Paranormal 2 know they are being filmed, and on two levels: as characters they know they are being taped by the surveillance cameras they themselves installed, and as actors they understand of course that they are being filmed for a movie called Paranormal 2. In a previous answer, Steve mentioned several critics he preferred to Jean Baudrillard, and yet Baudrillard’s importance has much to do with the surprising, poetic, aphoristic style and structure of his writing, a writing which overpowers its own “content. This is also true of avant-garde film, where the “ideas” of a film are often secondary to technique. In writing, however, we still tend to think of an over-focus on technique as gimmicky, as if realism were in fact natural rather than a historically constructed aesthetic, or as if it were the best conduit to generate knowledge, a subject tackled with eloquence in Robert Ray’s How Film Theory Got Lost and Other Mysteries in Cultural Studies. How might we generate, then, a different sort of knowledge about the questions Therese has asked. What counts is the poetic singularity of the analysis. That alone can justify writing, not the wretched critical objectivity of ideas. . But most of those who tried their hands at something in those days are all dried up today—they’re afraid, they’ve become big-shots, they’re in charge of everything everywhere—while Leth keeps on trying new things. .

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Lewis adaptation of Homer’s The Iliad focused on Achilles and featured an ensemble including Alexander Scourby and Dorothy Hart, and She Stoops to Conquer starred Michael Redgrave with Barbara Jefford, Hermione Gingold, and Walter Fitzgerald. In Betrayed by Innocence Barry Bostwick finds his marriage and career on the line when an extramarital fling turns out to be with a lying 15-year-old policeman’s daughter. In Night of Courage, Barnard Hughes plays a homeowner whose curious failure to provide a safe haven for an eventual teen murder victim is investigated by an intrigued teacher (Daniel Hugh Kelly). In Rich Men, Single Women, three of the gold-digging latter hope to rope three of the former by exploiting their access to a mansion, where they throw a party to lure deep pockets. The three women were played by Heather Locklear, Suzanne Somers, and Deborah Adair. Fight for Life starred Jerry Lewis as an Ohio optometrist who campaigns to influence the Federal Drug Administration to sanction a narcotic used in the UK that would help ease his daughter’s epileptic seizures. In Blindfold: Acts of Obsession, psychiatrist Judd Nelson advises Shannen Doherty to involve her husband in kinky sex games to reignite the passion. ANTHONY SIMMONS b. December 16, 1922, West Ham, London, England BBC2 Play of the Week: On Giant’s Shoulders (1979) Play for Today: Life After Death (1982) Movie: The Day After the Fair (1987) Simmons produced John Arnold’s Passing Stranger (1954) starring Diane Cilento, and Joseph Losey’s Time without Pity (1957) with Michael Redgrave. Simmons directed Peter Sellers in Tudor Gates’s adaptation of Simmons’s novel of the same name, The Optimists (1973). Simmons directed Black Joy (1977) about a Guyanese immigrant in a London ghetto. In an eclectic career including screenplays, Simmons directed episodes of Inspector Morse and A Touch of Frost. On Giant’s Shoulders was the true story of the middleaged Wileses, a British farm couple, who adopt a black youth of Jamaican and Anglo lineage with no arms, the result of the effects of thalidomide. Judi Dench and Bryan Pringle starred with Terry Wiles, who played himself. Dench received a British Academy of Film and TV Arts Award nomination for her performance. Rachel Billington’s Life After Death starred Ben Cross and Dorothy Tutin. Gillian Freeman adapted Frank Harvey’s play, The Day After the Fair, derived from Thomas Hardy’s novel, On the Western Circuit, for Simmons’s period piece.