Sharks haunt the human imagination more than vampires, werewolves or ghosts. Sensational
representations make the shark the villain of each piece as the top predator of even
humanity. Yet since its Gothic beginnings in Anglophone representation, the shark has been
the victim. The word sharke comes from slavers tongues when the first of its kind was
brought ashore to be flayed, eaten, and its inner bowels excavated and examined. In
reading and writing the shark, humanity opens up the belly of the beast to express the
repressed and to give utterance to that which cannot be uttered– the uncanny. The argument
that follows isnt that we should read the shark as a Gothic figure, but that we already
performed well, with its domestic (USA) gross figure of $142,598, 364,
and international gross was $383,400,000 forming a combined box office
gross of $525,998, 364. The secondary release – through Blu Ray, digital
download, and 4K – is to be in late-2018, and no doubt will prove
equally as popular.
Although the film had a clear
marketing strategy – giant, prehistoric shark battling Jason Statham
heart pounds, my seasick stomach
knots coldly, and the back of my hands, head and neck prick sharply, like the skin
is lifting up from the muscle and bone. Even though I accept the crew’s reassurances that it was only a flying fish drawn in by the boat’s lights, all I can think
about – irrationally, disproportionately – is sharks, and I am more viscerally
frightened than I can ever remember being before a swim. The crew is waiting for
me to jump, and I feel momentarily trapped and full of despair – another wave of
nausea from the rocking of the boat and a fresh
. ‘Understood’ need not imply reflective, conscious understanding, however; and a sign's effect is as likely affective or behavioural as cognitive. Music's meanings often manifest in the way in which they make us feel or inspire us to act, only becoming reflective later, if at all. Film music is a great source of examples of this. Whenever Jerry Goldsmith's ‘Ave Satani’ begins to play during The Omen I feel fear rising within me. Likewise, the simple alternation between E and F on the tuba which comprises the essence of ‘the shark theme’ in John Williams’ Jaws soundtrack
This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.
Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power. This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.
The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.
introduced into the
screenplay, along with the strips and logos of the featured teams,
including the Miami Sharks, Minnesota Americans, Chicago
Rhinos and New York Emperors.
A brief pause ensued in early December, as Warner Bros.
assessed the option of shutting down the production. Stone argued
Th e ci nem a of Ol iver S to ne
for a continuance and pressed on with script revisions, eventually winning the argument. Before the New Year, the project was
underway once more, now budgeted at just over $48 million with a
sixty-day shoot. The budget included
. Funny thing about this:
the internet, email, twitter … it’s so recent. But
it’s everywhere. Only the box is new though. What’s
inside is what’s always been. It’s like a sea, the
net, with depths and tides and … sharks. Oh yes, sharks.
Know what happens when you meet a shark? You – Well,
I’m getting ahead of myself … Click
demand), iTunes, web sites – I’ve tried the lot.
Well, almost the lot, because till recently I steered clear of distributors. I saw them as blood suckers. Sharks. Well that was till I met Gary
Gladman, who showed me that agents could be human, funny, and
The scene was the MEDIMED documentary conference at Sitges,
which I mentioned in Chapter 8. Commissioning editors turn up.
TV executives are in attendance. And eager filmmakers come by the
score, plus their girlfriends and boyfriends. MEDIMED serves as a film
market and also as a pitching opportunity