ellauri069.html on line 207: Dr. Fu Manchu is a fictional character first featured in a series of novels by English author Sax Rohmer during the first half of the 20th century and later extensively in cinema, television, radio, and comics.
ellauri069.html on line 212: Arthur Henry Sarsfield Ward (15. helmikuuta 1883 Birmingham, Englanti – 1. kesäkuuta 1959 White Plains, New York, Yhdysvallat), oli nimellä Sax Rohmer tunnettu brittiläinen kirjailija. Hänet muistetaan parhaiten romaaneistaan, joissa esiintyi kiinalainen mestaririkollinen Fu Manchu.
ellauri069.html on line 214: Tohtori Fu Manchu on englantilaisen kirjailijan Sax Rohmerin 1900-luvun alkupuolella romaaneissaan käyttämä julma kiinalainen rikollisnero. Hahmo on esiintynyt myös elokuvissa, televisiossa ja sarjakuvissa. Fu Manchu on muodostunut erääksi rikollisen neron ja kiinalaisiin kohdistettujen rasististen stereotypioiden arkkityypiksi.
ellauri069.html on line 216: Ensimmäinen Fu Manchu -tarina ”The Mystery of Dr. Fu Manchu” julkaistiin jatkoromaanina vuosina 1912–1913. Rasistinen ja vauhdikas tarina, jossa Nayland Smith ja tohtori Petrie kohtasivat maailmanlaajuisen ”keltaisen vaaran” salaliiton, oli välitön menestys. Rohmer ansaitsi hyvin Fu Manchu-, Gaston Max- ja Morris Klaw -tarinoillaan, mutta hoiti sangen kehnosti raha-asiansa.
ellauri488.html on line 54: My Night at Maud's (French: Ma nuit chez Maud, 1969), directed by Éric Rohmer, is a classic French New Wave film centered on long, philosophical conversations about Pascalian faith, chance, morality, and love. The story follows a Catholic engineer (Jean-Louis Trintignant) who unexpectedly spends a night, purely in conversation, with a free-spirited divorcee named Maud in Clermont-Ferrand during Christmas. Spoiler: no actual fucking shown. Was Eric a faggot? Apparently not, though his kid brother was an inveterate sodomist. Apparently Eric was just a repressed catholic.
ellauri488.html on line 56: Short takeaway: Catholic guilt tends to be framed by institutional rules, sacraments, and communal duties; Protestant guilt centers more on individual conscience, scripture, and personal standing before God—though in everyday experience the two overlap considerably. Short summary: Most of Rohmer’s “guilt trips” are rooted in Catholic forms of conscience (confession, penance, sacramental status, mortal/venial distinctions) and would feel distinctly Catholic to many viewers; Protestants would still recognize themes of sexual anxiety, moral responsibility, and fear of scandal, but they’d likely interpret and feel them differently. Short answer: Rohmer’s films were critically acclaimed and found strong audiences in Catholic-majority France and in international art-house circles, but they also went well with secular and Protestant audiences — there’s no clear evidence Protestants “stifled yawns.” Over the years, Rohmer has been accused of being contradictory, conservative and chauvinist. Politically, he may have inclined to the right. But, while his gaze rarely veered away from the educated, articulate and somewhat self-obsessed bourgeoisie, few had a firmer grasp of shifting social mores. There isn't even one proper penetration in all films by him. He was probably profoundly boring.
xxx/ellauri177.html on line 205: The 24th feature from Hong Sangsoo, doppelgänger of the talkative celeb guy in the last scene of the movie THE WOMAN WHO RAN follows Gamhee (Kim Minhee), a florist and the wife of a translator who never in 5 years time has left her for a moment from his sight. She has three separate encounters with friends while her husband finally is on a business trip. Youngsoon (Seo Youngwha) is divorced, turned lesbian (the couple likes to feed alley cats) and has given up meat and likes to garden in the backyard of her semi-detached house. Suyoung (Song Seonmi) is divorced, has a big savings account and a crush on her architect neighbor and is being hounded by a young poet she met at the bar. Woojin (Kim Saebyuk) works for a movie theater and hates it that her writer husband has become a celeb. Their meetings are polite, but not warm. Some of their shared history bubbles to the surface, but not much. With characteristic humor and grace, Hong takes a simple premise and spins a web of interconnecting philosophies and coincidences. THE WOMAN WHO RAN is a subtle, powerful look at dramas small and large faced by women everywhere. Basically, they are 40+ ladies who may have met at some art school and get a chance to compare notes on how well their childless lives have turned out. Gamhee used to be the celeb's girl friend until the movie theater attendant stole the guy. Now both of them are sorry that she did, but really not that much. The Éric Rohmer of South Korea.
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