Differenze tra le versioni di "Utente:Mariajones10"

Versione attuale delle 15:23, 25 mag 2011

Benvenuto, se hai bisogno di qualcosa puoi contattarmi sulla mia pagina di discussione. Ho rimosso il precedente contenuto della pagina in quanto non pertinente con questo sito: ho pensato che si trattasse di una prova. Ciao --Massimop 14:23, 25 mag 2011 (UTC)

@@ Riga 1: / Riga 1: @@
-== Into Eternity ==
+Benvenuto,
+se hai bisogno di qualcosa puoi contattarmi sulla [http://www.armoriale.it/wiki/Discussioni_utente:Massimop| mia pagina di discussione]. Ho rimosso il precedente contenuto della pagina in quanto non pertinente con questo sito: ho pensato che si trattasse di una prova. Ciao --[[Utente:Massimop|Massimop]] 14:23, 25 mag 2011 (UTC)
-Aspect instructional video, portion existential head-trip, Michael Madsen's [http://www.signal9.com/into-eternity-2010 Into Eternity] can take a deeply humanistic and ahead-considering initiative, that of the Finnish government's construction of an elaborate and unbelievably expensive collection of tunnels manufactured to shop nuclear waste until finally it is rendered harmless - roughly one hundred,000 many years. Dubbed Onkalo (Finnish for "hiding place"), the web page itself serves as a showroom for pieces of substantial futuristic equipment used to very virtually dig us out of difficulty. But then, this film has quite little to do with us and almost everything to do with long run generations and poses numerous of its heady concerns in relation to men and women you and I will by no means meet but by some means ought to talk with. Certainly, the film is subtitled "A Movie for the Foreseeable future."
-This diversion absent from how we entered the nuclear age to how we are heading to cope with the out-products exorcises the lookup for a perpetrator and lifts the burden of asserting blame off the viewer. Madsen - a Dutch artist who appears certainly absolutely nothing like Mr. Blonde - considerations himself with the staff that is in charge of overseeing the building of Onkalo and the specs of the undertaking, traveling deep into the hole to check out employees and demolition authorities toiling at a challenge that they will possible under no circumstances straight reap the rewards of. Neither engineers nor researchers look to be capable to give a concrete solution to the central query: How do we retain people today out of Onkalo right after the waste is in put and is sealed off?
-Madsen's dialectic approach, which essentially considers no matter if an knowledgeable public will "bear in mind to forget" about Onkalo, yields a bevy of intriguing and sudden conversations which touch on every little thing from the lack of consensus at the heart of creative interpretation and the feasible worth of nuclear waste in a planet hungry for plutonium and uranium. Like a advertising and marketing agency, the researchers and engineers deliberate above the most primal way to get their message throughout with out slipping into the vagaries of interpretation. Does a skull-and-cross-bones symbol do it? How about the radioactive symbol? Will these factors suggest the similar matter right after unfathomable centuries have passed? The notion that we need to revert to previously varieties of communication to absolutely embrace the potential can make Into Eternity an odd but worthy candidate for a double-bill with Andrew Stanton's animated masterpiece, WALL-E.
-Madsen's vision doesn't involve robots in adore but it does have its sweeping moments of mechanized and technological magnificence contrasted with the stark, wintry would-be floor zero that will 1 day mask the contents of Onkalo. A single of the film's initial photos is an exhilarating tracking shot into the mouth of Onkalo and Madsen, aided by DP Heikki FÃ¤rm, keeps his digital camera transferring during the movie, at instances even connecting it to items of storage tools. Even when he prefers still compositions, even so, Madsen's film exerts a formal radiance (no pun intended) that flies in the face of the astounding horror that the extremely inception of Onkalo calls forth in the brain. But the imagery is without a doubt more the stuff of science fiction than most documentaries 1 may possibly encounter and I have to admit that the movie reminded me of Nikolaus Geyrhalter's great Our Every day Bread a lot more than as soon as in its skill to make gentleman-manufactured mechanisms look beamed from an alternate dimension and landscapes glimpse like alien terrain.
-During the film, Madsen swings the digital camera onto himself to deliver summations and ruminations on the factors that have arose by means of his questioning. He delivers all of these diatribes by the mild of a lit match and it's challenging to dismiss the blunt symbolism of the act and, for that make any difference, the director's laughably self-essential delivery. But the movie is in the end a proponent of a staggeringly selfless act of humanism, a person which would be most helpful only if the total project alone would be forgotten on its private completion. Madsen can be forgiven a particular earnest purposefulness in his framing of the tale due to the fact in several methods, his film's fate is tied to Onkalo. It in simple fact may be for the very best if the audience forgets about Into Eternity soon after seeing it but that's not to say that that is a basic request.

Differenze tra le versioni di "Utente:Mariajones10"

Versione attuale delle 15:23, 25 mag 2011

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