An article written for the dossier Nocturno currently on newsstands.
thirty-seven years after his fleeting appearance on the screen - just enough time to catch a Golden Leopard at the Locarno Film Festival, only to vanish oblivion - They changed the face has become one of those cult fed by years of unavailability, but then, once emerged, they prove able to survive the vision. Hard to say if it's all about the film or a historical situation like the present one, where most of those who then might seem paradoxical narrative have long become reality. Paraphrase stokeriana filtered through the theories of Marcuse - as well as several years of experience in the advertising and troubled author of the economic boom - have changed the face is a vampire story in which the metaphorical game, which outlines the ways in where the progeny of dracula has learned a indossare il doppio petto del potere economico e politico o il gessato dei capimafia (una categoria, quest’ultima, che, come ben sappiamo, ha saputo a sua volta cambiare faccia e uniforme, mescolandosi irreversibilmente alla prima) e abbia saputo ricavarsi nuovi spazi, consolidando il proprio potere e anzi incrementandone la portata in modo esponenziale. Così, il supervillain Giovanni Nosferatu è descritto come un potente uomo d’affari con un controllo pressoché assoluto su importanti settori dell’industria, che da tempo ha allungato i suoi tentacoli su banche e assicurazioni, che possiede giornali e televisioni e, pur non esponendosi in prima persona (e qui la realtà ha da tempo superato la fantasia) is the owner of certain political parties.
yet be wrong to reduce They changed the face a political pamphlet (especially since this film was just as charged, politicized by the fringes of film criticism at the time, a point of view sufficiently revolutionary). Because if there is no doubt that vampires have changed their appearance to continue to perpetuate their control over mankind occult, we can similarly argue that the metaphorical element of the film is essentially a new face that enables a vampiric kind of renew and the resumption of basic mechanisms in a novel way otherwise exploited until the last drop of blood. The fact that the monsters guarding the Villa Nosferatu are a bunch of cars can be lethal and sixteenth white bed so allusive, but it is still a ferocious mastiffs guard. What hypnotic language of the vampire has become a pervasive advertising that comes out even from the showers does not mean that it is an effective method of conditioning the will. The servants of the Count - pardon, the engineer - are in a suit and tie when not in cardinal stole, does not make them less dangerous and devotees.
The secret of the enduring charm of They changed the face is mostly this: It is not a political film disguised by vampire movie, but quite the opposite - work that uses the translation of the myth of Dracula in terms of sociological satire to make, without realizing and getting out to many of the traps of those who are merely following established recipes, genre films . And that, precisely for this reason, it still works today on both floors.
XVI NATIONAL FOOTBALL LEAGUE TO FIVE. FINAL TOURNAMENT RESULTS
ITALIAN CLUBS NATIONAL ASSOCIATION OF UNIVERSITY in cooperation with the Group Orovacanze
PRESENTS
XVI CHAMPIONSHIP National Team A 5
RESERVED FOR EMPLOYEES OF THE UNIVERSITIES 'ITALIAN
Location: Rossano Calabro (CS) Period: Sunday, June 7 to Sunday, June 14, 2009 Accommodation: Club Hotel Itaca **** and **** CLUB EUROVILLAGE NAUSICAA The Orovacanze CLUB HOTEL CLUB ITHACA EUROVILLAGE NAUSICAA and are located in one of the most prestigious historical parts of Calabria, on the coasts where the Byzantines and Greeks, fascinated by the clear sea, founded their colonies. They have 550 rooms (double, triple and quadruple) with private bathroom with shower, asciugacapelli, telefono, TV, frigobar, aria condizionata, cassette di sicurezza, balcone o finestra. Disponibili anche camere per i soggetti diversamente abili. Ad ogni camera viene garantita, per l’intera settimana, un ombrellone, un lettino ed una sdraio nella spiaggia riservata ai villaggi. Saranno a disposizione del gruppo le piscine attrezzate con ombrelloni e sedie sdraio, piscina per i bambini, e gli sport inclusi nella tessera club gratuita. Corsi collettivi di aerobica, acqua-gim, danza, nuoto, tennis, tiro con l’arco, windsurf, canoa, balli di gruppo, ping pong, piscina olimpionica a norma F.I.N / F.I.N.A., piscina per bambini, piscina con idromassaggio, campo polivalente (tennis, calcetto, basket, volleyball), 3 tennis courts, four bocce courts and a skating rink. Baby Club from 3 to 6 years - mini club from 6 to 12 years - junior club from 12 to 16 years, all programs with fun recreational and cultural activities articulated with a fixed schedule. The entertainment team will entertain and involve the group in various activities: swimming in water gymnastics, stretching, sports tournaments, group lessons, games and swimming at the beach. The evening at the amphitheater, will be held the evening with variety, cabaret shows and then continue in the piano bar and disco. Will be available in Group 2 restaurants with buffet service and wine and water on tap. Daily i buffet offriranno una grande varietà di pietanze. Bar, sala tv, ristorante e sala colazioni con aria condizionata, reception 24 ore su 24, anfiteatro, discoteca. A pagamento, nolo biciclette, pedalò ed imbarcazioni, illuminazione campi. Servizio medico con tariffe agevolate. Parcheggio scoperto incustodito. Vengono accettate le principali carte di credito (VISA- MASTERCARD- AMEX) RISTORAZIONE Prima colazione, pranzo e cena con servizio a buffet, acqua e vino della casa inclusi. QUOTE DI PARTECIPAZIONE: Adulto in base doppia Euro 325,00 Infant 0-2 anni Culla gratuita Bambini 2-12 anni Riduzione 50% 3°, 4°, 5° letto oltre i 12 anni Riduzione 20% Camera singola Euro 465,00 LA QUOTA Includes: ° Accommodation at the Club and Ithaca Nausicaa · Treatment full board ° drinks with meals: wine and water in a jug • Service with a beach umbrella and two chairs · Animation day and night · Free admission Disco · exclusive use of three to five football fields in a village at Ithaca, one at the Village Nausicaa and one located outside near the two villages. Excludes: drinks in addition to those listed, trips, tips, personal extras and anything not specified above. Gratuity will be granted to participating groups free every twenty-five adult paying full price (26 °, 52 °, etc ...). Reservation Policies Each club will pay the fees by booking with the following references: Payments will be made on the following bank account all'ANCIU: UNICREDIT Banco di Sicilia - Agenzia di Palermo - Via Roma - IBAN IT 33 Q 01 020 04 600 000 300 536 888 and sending e-mail the attached form, completed in its entirety. For children who use the reduction as falling within the age group 0 to 2 years and from 2 to 11 years, you must attach a copy of the book a valuable document which indicates the age of the child before STAGE: BOOKING LIMITED TO TEAMS FROM 23.02.2009 TO 15.04.2009 MAX Each team will have 10 rooms, either double, triple or quadruple. SECOND PHASE: BOOKING OPEN TO ALL MEMBERS FROM 16.04.2009 TO 16.05.2009 ANCIU - 1st 30% deposit upon booking, with the number of transfer and communication CRO - 2 nd deposit of 60% by 15 May 2009, with bank statement and the number of CRO - balance of 10% by May 25, 2009 by wire communication and the number of CRO; Failure to pay installments on time will result in automatic forfeiture of the reservation. Booking: Orovacanze Ref: Michele Matassa 3283060123 - michele.matassa @ orovacanze.it Rif. Anciu: Barravecchia Domenico – seaol@unipa.it Penali: in caso di annullamento della prenotazione verranno applicate le seguenti penalità per ogni singola prenotazione disdetta: - 40% per annullamenti comunicati in un periodo compreso tra 15 e 08 giorni prima della partenza; - 80% per annullamenti comunicati in un periodo compreso tra 07 giorni fino ad un giorno prima della partenza; - 100% per annullamenti o no show comunicati dal giorno prima al giorno stesso della partenza. -
E’ possibile stipulare la polizza di assicurazione per il rischio di annullamento del viaggio .
L’ISCRIZIONE DELLE SQUADRE AL CAMPIONATO DOVRA’ AVVENIRE CONTESTUALMENTE ALLA PRENOTAZIONE DELLE CAMERE DELLA PRIMA STAGE OF BOOKING. The participation fee is € 800.00 to € 200.00 which deposit will be refunded at the end of the tournament. Indicate the reason for payment: Registration Futsal Championship 2009.
The full name of Dreamworks - the mini-major founded by Spielberg more than a decade ago and, recently absorbed by Universal, is "Dreamworks SKG". In this acronym, Jeffrey Katzenberg is the "K" (the "S" is the director of Duel, of course, while the "G" is David Geffen, tycoon discography) e all'epoca della fondazione qualcuno aveva fatto notare che, dei tre soci fondatori, fosse l'unico che non portava in dote un capitale miliardario ma solo il talento dimostrato negli anni passati alla Disney, dove aveva avuto un ruolo determinante (sia pure, da qualcuno, ridimensionato rispetto a quel che si diceva in giro) nel rilancio del cinema d'animazione sul finire degli anni Ottanta. A Katzenberg si attribuisce in gran parte la responsabilità della doppia svolta avvenuta con La sirenetta - il film con cui la Disney uscì dalla crisi che ne attanagliava da tempo la produzione di lungometraggi animati, riaprendo il mercato, da tempo ridottosi a quello dei ragazzini, anche al pubblico degli adolescenti e degli adulti - And the cornerstone of Who Framed Roger Rabbit .
With "DreamWorks' Katzenberg has alternating high and low - nothing revolutionary, in fact, but at least two sets of overwhelming success as Shrek and Madagascar and average production is more than adequate. And now, with Monsters vs. Aliens , which appeared in our country on April 3rd (just a week after the U.S. release) is launched on the market with the decision of three-dimensional cinema, swears, is the future of cinema itself. Is it true? Of course, less than sixty years since its first mass-market debut in film (the film was Bwana Devil , 1952), 3D seems to have achieved thanks to digital quality can compensate for the discomfort of viewing with the infamous glasses - which, moreover, have become sophisticated enough to reduce almost to zero in the past complained of discomfort from some viewers.
In terms of history, Monsters vs. Aliens does not say much new, but the technical level of 3D certainly deserves a chance to see him - at the cost of chasing the rare film in which salt is proposed three-dimensional version, just 60 screens on 550 (and no one in Rome: what a shame). With Katzenberg, compared to the years that Disney claims to have reduced much of his creative efforts on films it produces, in favor of a more organizational and, say, the facilitation for authors who work for him, I spoke mainly of technological innovation and new perspectives. Below is the full transcription of the meeting.
is usually said that cinema is more than half based on the figure of the director while the TV is connected to the producer. At that point we can locate the animation? Halfway between one another, or anywhere else?
is different from both. The analogy that I have always done is ... I think that the films are driven by true mostly by one person. And all are in the service of that one person. Animation - In which every single thing you see is produced by the imagination of someone is more like a team effort. It's like football. Do you want us attackers, scorers, defenders - a whole group of very different talents. There is a team leader, of course, who is the director of the animation. The wonderful thing about animation is that we are almost the opposite of cinema from the truth. The live action film are made from a series of compromises. Each obstacle on the road, every practical matter force you to find a compromise. And the difference between a good movie and a bad film makes those who can anticipate compromised or circumvented. Spielberg: the shark and he stops working on moment, a sudden brilliant way [to evoke]. For us ... we do not compromise - for almost nothing. It is a process so long that we can see what we're doing and improve it constantly.
So, how far she has creative control of a film like Monsters vs. Aliens ? In this case one of the directors is also the author of the screenplay, which does not happen very often.
I believe in the mythology of what I do and the fact there is a big difference. (Laughs) Well
, Disney spoke of himself as a busy busy bee to pollinate the work of its employees - but his were mostly Disney films ...
My job is to put together a great creative team. And then support them, encourage them and give them the resources they need, challenges for the entire journey. It's a little 'what makes a good editor with a writer. I do not write anything but help them to realize the best version of what they want. But it is true that once was not. When I started I was an author, contributed to the film, I attended every day to achieve. But do not do it again some time - which is probably why the movies are better!
In over twenty years of his career, quanto è cambiata l’animazione? Lei ha avuto un ruolo fondamentale in due dei film che di fatto hanno rilanciato un genere che alla fine degli anni Ottanta sembrava in crisi - La sirenetta e Chi ha incastrato Roger Rabbit ...
Trovo che sia più interessante il fatto che fra tanti cambiamenti sia rimasto invariata l’importanza capitale del modo di raccontare. Gli strumenti e i mezzi sono passati attraverso una quantità incredibile di cambiamenti e innovazioni - ciò che la tecnologia offre continuamente di nuovo ai narratori è stupefacente, ci sono stati cambiamenti mozzafiato. E questo è vero nell’animazione molto più che nel cinema dal vero. Keep up with all this is a big investment but it also offers immense opportunity - every time someone sees one of our films there is always something that drives us to say "Wow, these people continue to raise" ... and it is so for fifteen years. And when I ask what can we expect for the future I say "more." The future is more .
Increasingly, a film is no longer just a movie but the center of a number of operations performed on different mediums - from animation has always been a vehicle for merchandising. With that advance studies the synergy between the film and possible parallel applications the characters?
Almost does not happen. The ideas are from the perspective of the film story - some have great potential for the merchandising, others do not have it at all, and this has no weight in our decision whether to make a film or not. For this film we have designed the monsters in a way that best serves the narrative purpose of the film - and then some people came and told us: "Oh, we could make toys ... but not vice versa. We have not called toy manufacturers asking them: "Describe the toys and then try to do a movie."
The 3-D exists in several versions, for quite some time - but this is perhaps the first time that many filmmakers series A show a real interest in this technology. What, in the past two or three years, pushing many directors to overcome the obstacles that until now had always stopped the spread of three-dimensional cinema?
The film saw him, no? Have you ever seen something like this? I do not want to do but to answer a rhetorical question. You can see today what we saw three years ago, something amazing, something that changes everything he knew of cinema. And all the best filmmakers - those who have always been pioneers in adapting and exploiting new technologies, Spielberg, Zemeckis, Jackson, Lucas, Cameron - sono quelli che sono sempre stati all’avanguardia della tecnologia. Tutti noi abbiamo capito nello stesso momento, tutti noi ci siamo detti: “Questo è il futuro”, e ci permette di raccontare meglio le nostre storie. Per cui siamo saltati tutti sul carro.
Quindi a fare la differenza è la maturazione della tecnologia? All’epoca del primo boom del 3D forse fu Hitchcock il solo regista di serie A a cimentarvisi, e in un film soltanto...
Non c’è dubbio che sia la tecnologia. Bob Zemeckis è la persona che si è lanciata per prima in questa avventura tre anni e mezzo fa, con Polar Express . E io posso parlare della mia esperienza. Ho visto Polar Express in 3D in una sala IMAX e ci sono rimasto secco: fu una esperienza sensazionale, eccezionale e ho capito che dovevo capire come fare qualcosa del genere nel mio settore. Sono tornato al mio studio e ho detto ai miei responsabili della tecnologia: “Questo è il futuro, dobbiamo farne parte”. E tutto si riassume in una parola sola: digitale. Digitale, digitale, digitale. Proiezione digitale, strumenti di authoring digitali, distribuzione digitale - è tutto questione di digitale. Cambia tutto. [impugna un Blackberry ] Pensi a cosa fa questo oggetto. Non esisteva nemmeno, dieci anni fa - non esisteva nemmeno cinque anni fa. Quando pensa all’iimpatto che questa rivoluzione digitale ha sulla qualità delle nostre vite, beh, adesso sta accadendo anche nel cinema.
Al di là dei film realizzati direttamente per il 3D, si parla anche di tridimensionalizzare film realizzati in precedenza con metodi tradizionali - da Guerre stellari ma risalendo anche a Casablanca . La cosa interessa anche il suo settore?
So che c’è chi ci sta lavorando ma non sono aggiornato su a che punto sia la ricerca in proposito e a che livello di qualità siano arrivati. Ma non è che ci tenga a vedere realizzata questa particolare iniziativa - così come non ci tenevo a vedere cosa sarebbe successo quando hanno cominciato a colorizzare i film in bianco e nero - qualcosa che non mi è mai piaciuta, perché non penso che fosse un miglioramento. Potrebbe essere una sfida vedere se sia possibile prendere un vecchio film in 2D e rielaborarlo in postprouzione ottenendo una versione in 3D con una qualità che giustifichi lo sforzo. Posso dire che se un film non è stato prodotto in 3D, a livello di progettazione delle inquadrature... beh, è come ai tempi in cui operatori e registi giravano film in bianco e nero, li studiavano sulle sfumature del grigio fra il nero e il bianco - non c’era proprio l’intenzione del colore. Penso che il discorso valga anche in questo caso: in un film in 2D non c’era l’intenzione della profondità e di come la camera will move. So I am curious to know how to do. I'm not skeptical, I'm just curious. I do not know. I know that give color to black and white film did not work.
Well, in the case of computer animated feature film produced by Dreamworks - in a sense are 3D, as any object or character, there is a three-dimensional model. It would be relatively easier to recover material for a possible three-dimensional version? And there are plans in this regard?
We could do it, but not now. Today, still costs too much. To do so, and maintain a quality to match our needs we should spend an excessive amount - but it is technically possible. We should go back and start again with a lot of render elements, drawings, models of things that work perfectly in 2D but also in 3D, and therefore should be redone. The cost of such an undertaking for a 90 minute film is still prohibitive.
Three out of four monster characters are virtually identical to the SF American cinema of the fifties - the monster from the Black Lagoon, the 50-foot tall woman and the blob - another is clearly inspired by the scientist of The Fly. The subject had characters like the originals or from the beginning the idea was to take inspiration from them without them directly?
the outset, the intention the authors was to pay tribute to those characters without having to use literally.
Monsters vs. Aliens has some scenes that use 3D so presumptuous as it was once - even the scene of the racket on the ball spring is a quotation of 'House of Wax André de Toth - but overall it seems to avoid the temptation to use 3D as a gimmick. How did you work to integrate technology in history?
Every single shot has been thought of in terms of 3D. I think that's why there is a quality and unique immersive experience that 3D had never given before. The script has worked for over a year and a half each from the first storyboard artist who worked on the film he thought everything in three dimensions.
"Eudeamon" (2009) by Erica Moak (Zero91 Publisher)
is now in the library "Eudeamon", a book whose publication is Part of the responsibility - to the point that the publisher asked me some time ago a sort of afterword. Here it is, with the permission of Zero91, which of course thank you.
"Everyone here are from Rick," said Captain Renault to Major Strasser in one of the opening scenes of Casablanca , and he was right: between smugglers and spies, pickpockets , Nazis, spacciatori di lettere di transito, partigiani, nobili decaduti, al Rick's Café Americain si poteva incontrare un campionario umano estremamente variegato che rappresentava trasversalmente la maggior parte delle nazioni del mondo sconvolto dalla Seconda Guerra Mondiale. E sebbene il film sia del 1943, la tradizione continua: il libro che avete appena finito di leggere non esisterebbe, probabilmente, se non fosse per un incontro fortuito, avvenuto al Casablanca Café - un night club ispirato al film che, per un po' di tempo, ha costituito un ritrovo ideale per i cinefili del metaverso.
Coniato dal romanziere Neal Stephenson nel suo fondamentale Snow Crash (1992), il termine metaverso indica un ambiente virtuale tridimensionale nel quale gli esseri umani possono entrare in qualità di avatar (rappresentazioni grafiche di se stessi) interagendo fra di loro ma anche con semplici software più o meno evoluti. È quel mondo che qualcuno ancora chiama realtà virtuale, che sempre più si delinea come uno degli sviluppi più interessanti dell'interazione a distanza, e di cui Second Life è, a tutt'oggi, la modalità che fin qui ha suscitato più eco attraverso i media - prima grazie un hype forse esagerato, in seguito a causa del prevedibile contraccolpo. Il destino di qualsiasi moda, si sa, è sempre il passare di moda and this is also the case for the metaverse created by Linden Lab, which has slowed its exponential growth but which continues to thrive and, for years now, the virtual world is far richer, more complete, diverse and stable that has been achieved . The Casablanca Café, like many companies in the real world, have recently experienced some vicissitudes related to the recession, but in 2008 I happened to like to spend several evenings, mainly to earn a few dollars by participating in the virtual cinema quiz organized by the owner, Daedalus Lemuria. And it was one of those evenings that I happened to meet Winthorpe Foghorn Zinnemann.
There and then nothing Win distinguished from many other avatars that I had not crossed during my frequent explorations on Second Life (the metaverse are almost all young and attractive), but I realized very early on that film knew enough to be a formidable competitor: when she was there, my earnings are halved. Perhaps less known titles than me, but type a lot faster and ended when both knew the answer almost always beat for a few seconds. When I discovered that, despite its name, was Italian, we began to chat about this and that. It was precisely at the tables of Casablanca after one of those races, Win began to talk about Eudeamon .
The premise was not the most convincing. He had heard of the book, I said, Blog Marine Kelley - a name that meant nothing to me but I have found to be a kind of myth to a certain category of visitors to Second Life . A couple of years ago, Marine Kelley began producing and selling a line of objects in the metaverse Real Restraints baptized and whose functionality is very special: it's handcuffs, ropes, belts and gags designed to simulate all ' Internal Second Life, the feeling of being prisoners of someone. The avatar who buys them and wears them becomes, from that moment, vulnerable the activities of other avatar who can steal the keys and handcuff him, or tie or otherwise make prisoner without the victim can no longer rid itself. These objects run in a particularly effective with a specially modified version, the same Kelley, the client of Second Life (ie the launching program which you can enter the metaverse) and there is a vast community of people who make point of honor to use only one. Boasting that, if they are captured by someone in those conditions, have no way to free yourself up to when their captor not deign to give them freedom.
Win I discovered at that time, was one of those fans virtual bondage. Not only intensely lived his second life , going looking for trouble and adventure in areas filled with cages, chains and traps, but told in detail in a blog illustrated by photographs, that she snapped, as she put it, in-world. A blog, however, rather than followed by several loyal readers that, as I have seen often Win attended the metaverse, and sometimes they themselves came to be part of the game - and I say game in the absence of a better expression, because I had the feeling that many (and Win it) sometimes take it very sul serio. Andai a leggere la pagina del blog, in cui Win si entusiasmava su Eudeamon paragonandolo a grandi autori di SF come Philip K. Dick e Robert Sheckley, poi andai a leggere quello della Kelley trovando anche lì lodi sperticate. E scoprendo, come se non bastasse, che la creatrice di manette aveva messo a punto, all'interno di Second Life , un suo personale Progetto Banishment che consentiva a chiunque lo desiderasse di provare direttamente (o meglio, per interposto avatar) un'esperienza analoga a quella della protagonista, Katrina Nichols. Win stessa, scoprii, era stata in passato un Bane e, da qualche tempo, era entrata a lavorare alla Kelley Technologies come Bane Operator .
There was a bit 'of fanaticism in all this? How was it possible that if the novel really was so nice to unleash the phenomena of religion, had not yet found a publisher, and was freely downloadable from the author? Yet all this excitement I felt at least necessitate a review: I went to visit Erika (a site that is itself a world, and sometimes disturbing, to be explored: http://www.evil-dolly . com / ), I pulled down the Word file and I began to read. Will soon realize that those pages, which I expected, at best, a form of fan fiction more or less were acceptable, however, quite different: an articulate and compelling story to begin with, but above all able to move from fantasy fetishist who undoubtedly had inspired the idea central to the upper level of a text full of metaphorical meanings ... a book about loneliness and love - indeed, of Love with A, and maybe all the other letters, upper case ... an all-encompassing love, total acceptance of others and the fact that, for this very reason, perhaps the only religion or insanity, or narcissism led to the disease, they can promise in this world. A love that is then turned down by the author in ways that lead far from trivial, to quote the same Win, a "moving developments, full of joy, even exciting ... but also of mourning, desire for revenge, and, ultimately, solidarity, love for others, desire to share the most extraordinary gift of life - at least those who have the courage to openly address their most secret desires. "
But there was something else: even if it is set in a metaverse, Eudeamon has to do with virtual worlds, today fewer and fewer products from drugs and more driven by technology - worlds together new forms of communication are changing very rapidly and deeply the very way we perceive and decode the world around us. Seizing perfectly what it means, in this era of globalized communication, instant and ubiquitous, the denial of the communication.
arrived last page I agreed with Win and the Kelley: Eudeamon was left for too long a jewel reserved for the worship of a few fans, and absolutely necessary to find a publisher. Win had already obtained an approval in principle by Erika Moak, but had made contact with a couple of small publishing houses that had not shown particular interest - perhaps because it is difficult for a publisher to take seriously proposals from an avatar of Second Life that refuses to reveal the slightest details of his real life. My one small matter, throughout this story, was to act as an intermediary between the virtual and Win Two concretissimi, founders of Zero91 (whom I knew as my father's last novel publishers, L 'Invasion of Ultragay ) and suggest that they would read, evaluate and, where appropriate, published. The outcome of these negotiations is in your hands: this Italian translation is still the only printed edition of Eudeamon is from here that beyond the metaverse. And we only weekly quiz at the Casablanca Café, and my encounter with the charming girl of pixels I spoiled the square.
That girl, however, later proved far less innocuous than it seems when en passant, I was informed of the initiative I mentioned above - that of the virtual banishment organized by Marine Kelley. If, as was obvious, the book I liked so much, why should not I try to live a similar experience in Second Life? After all, Win now worked for Kelley as Bane Technologies Operator, and I have reserved a special treatment, and, indeed, in my case, she was prepared to anticipate the security that I had to pay, and I would pay her his skin And it was a unique opportunity, and then I could tell it around, and after all I might have understood how the experience could be intense. E, e, e. .. at the end, I must admit, I was convinced. I downloaded the modified client (essential and indispensable), I logged my avatar to the metaverse and I introduced myself to Zhora, home of the Kelley Tech, where Win had given me an appointment. To become a Bane.
omit the details of the "procedure" to which I, or rather my avatar unfortunate, was the subject: those who have read the novel know that the experience was very similar to that of Nichols, and simply report that the cordial Win friendly and I had met at Casablanca has dissolved completely, becoming a professional in the banishment cold, relentless and ruthless. It transformed me into yet another faceless Bane, for wandering around Second Life without being able to communicate with anyone. The slightest breach of an impressive list of rules is punished by sentence extensions for hours. I had opted for a sentence, which seemed to me an interim of 24 hours per game, but the violations that I almost immediately started to accumulate rapidly brought me over a hundred hours to be served. At this point, I doubt that the commitments of my real life will allow me to connect to Second Life for long enough to allow me never to leave my banishment virtual: the rare times that I still can not connect are reduced to wandering aimlessly, looking at other avatars from far away, unable to communicate with not many people that I happened to attend. And sometimes I hear inside my helmet, the mocking voice of Win, my relentless Operator, which occasionally allows me to communicate with her through the Vox , the tool that makes it, temporarily, the voice of the Bane.
I could reconnect with the client normal, and get rid of the infernal Custodian , but it would be like cheating - and on Second Life, Win only repeats with a lovely smile and even affectionate way, cheating is considered a capital offense. In those circumstances, frankly, I begin to lose hope of seeing my avatar back, one day, his (second) normal life. I still do not know if Win decided to wait until I find my personal Eudeamon or if you simply likes to keep me prisoner. Certainly, the restrictions imposed by Banesuit prevent me to investigate about the merits of a terrible suspicion that, recently, came to my mind - that took advantage of Win Banishment to back off of that, to the film quiz Casablanca Café was a competitor for her a bit 'too annoying.
The only person you can ask and Win but in the rare cases in which I will return the word is she lead the conversation. The few times I try to make them the question, smiling enigmatically. It disables the Vox. Help .
thirty-seven years after his fleeting appearance on the screen - just enough time to catch a Golden Leopard at the Locarno Film Festival, only to vanish oblivion - They changed the face has become one of those cult fed by years of unavailability, but then, once emerged, they prove able to survive the vision. Hard to say if it's all about the film or a historical situation like the present one, where most of those who then might seem paradoxical narrative have long become reality. Paraphrase stokeriana filtered through the theories of Marcuse - as well as several years of experience in the advertising and troubled author of the economic boom - have changed the face is a vampire story in which the metaphorical game, which outlines the ways in where the progeny of dracula has learned a indossare il doppio petto del potere economico e politico o il gessato dei capimafia (una categoria, quest’ultima, che, come ben sappiamo, ha saputo a sua volta cambiare faccia e uniforme, mescolandosi irreversibilmente alla prima) e abbia saputo ricavarsi nuovi spazi, consolidando il proprio potere e anzi incrementandone la portata in modo esponenziale. Così, il supervillain Giovanni Nosferatu è descritto come un potente uomo d’affari con un controllo pressoché assoluto su importanti settori dell’industria, che da tempo ha allungato i suoi tentacoli su banche e assicurazioni, che possiede giornali e televisioni e, pur non esponendosi in prima persona (e qui la realtà ha da tempo superato la fantasia) is the owner of certain political parties. 
yet be wrong to reduce They changed the face a political pamphlet (especially since this film was just as charged, politicized by the fringes of film criticism at the time, a point of view sufficiently revolutionary). Because if there is no doubt that vampires have changed their appearance to continue to perpetuate their control over mankind occult, we can similarly argue that the metaphorical element of the film is essentially a new face that enables a vampiric kind of renew and the resumption of basic mechanisms in a novel way otherwise exploited until the last drop of blood. The fact that the monsters guarding the Villa Nosferatu are a bunch of cars can be lethal and sixteenth white bed so allusive, but it is still a ferocious mastiffs guard. What hypnotic language of the vampire has become a pervasive advertising that comes out even from the showers does not mean that it is an effective method of conditioning the will. The servants of the Count - pardon, the engineer - are in a suit and tie when not in cardinal stole, does not make them less dangerous and devotees. 
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