“This world demands the qualities of youth: not a time of life but a state of mind, a temper of the will, a quality of imagination, a predominance of courage over timidity, of the appetite for adventure over the life of ease.” – ROBERT KENNEDY
Cube is a 1997 Canadian science fiction psychological horror film, directed by Vincenzo Natali. The film was a successful product of the Canadian Film Centre’s First Feature Project.
The movie received a cult status for its surreal, Kafkaesque settings; it is set in identical cube-like rooms (hence the name) with each room being a different color (white, blue, green, amber and red), and no background story is revealed for the characters or the reason they were left in the Cube. The film also doesn’t demonstrate any clear plot regarding the Cube’s background, creation, purpose and its location. The timeframe of the story is also left unknown.
In order to respect the concept of Christian Marclay’s work, viewers should kindly play the above video starting at 0.04 pm, local time. If that time is passed, please wait for tomorrow or another day same time. Thank you.
The Clock is an art installation by video artist Christian Marclay (born 1955). It is in effect a clock, but it is made of a 24-hour montage of thousands of time-related scenes from movies and some TV shows, meticulously edited to be shown in “real time”: each scene contains an indication of time (for instance, a timepiece, or a piece of dialogue) that is synchronized to show the actual time. The Clock debuted at London’s White Cube gallery in 2010.
The film incorporates classic scenes such as Gary Cooper in High Noon, Woody Allen in Mighty Aphrodite at 2.59, Peter Fonda in Easy Rider at 11:40, and Patrick Macnee as John Steed looking at his elegant pocket watch at 12.05 in The Avengers.
“This race is like a war. Nobody knows if they are going to return”.
The 24 Hours of Le Mans is the world’s oldest active sports car race in endurance racing, held annually since 1923 near the town of Le Mans, France. Commonly known as the Grand Prix of Endurance and Efficiency, race teams have to balance speed against the cars’ ability to run for 24 hours without sustaining mechanical damage to the car and manage the cars’ consumables, primarily fuel, tyres and braking materials. The endurance of the drivers is likewise tested as drivers frequently spend stints of over two hours behind the wheel before stopping in the pits and allowing a relief driver to take over the driving duties. Drivers then grab what food and rest they can before returning to drive another stint. Today it is mandated that three drivers share each competing vehicle.
The race is organised by the Automobile Club de l’Ouest (ACO) and runs on the Circuit de la Sarthe, a circuit containing a mix of closed public roads and specialist motor racing circuit that are meant not only to test a car and driver’s ability to be quick, but also to last over a 24 hour period. The competing teams will race in groups called classes for cars of similar specification while at the same time competing for outright placing amongst all of the classes. Originally, the race was held for cars as they were sold to the general public which were then called Sports Cars compared to the specialist racing cars used in Grands Prix. Over time, the competing vehicles evolved away from their publicly available road car roots and today, the race is made of two classes specialised enclosed-bodywork two-seat Prototype sports cars and two classes of Grand Touring cars which bear much closer resemblance to high performance sports cars as sold to the public.
Competing teams have had a wide variety of organisation, ranging from competition departments of road car manufacturers who are eager to prove the supremacy of their products, to professional motor racing teams who represent their commercial backers, some of which are also road car manufacturers attempting to win without the expense of setting up their own teams, to amateur race teams, racing as much to compete in the famous race as to claim victory for their commercial partners.
The race is held near the height of the European summer in June, leading at times to very hot weather conditions for the drivers, particularly in closed roof vehicles whose cabins can heat up to uncomfortably hot temperatures with generally poor ventilation; rain, however, is not uncommon. The race begins in mid-afternoon, racing through the night and following morning before finishing at the same time the race started, the following day. Over the 24 hour period modern competitors will complete race distances well over 5,000 km (3,110 mi). The present record is 5,410 km (3,360 mi), recorded in the 2010 race. It is a distance over six times longer than the Indianapolis 500, or approximately 18 times longer than a Formula One Grand Prix.
While dreamcatchers originated in the Ojibwa Nation during the Pan-Indian Movement of the 1960s and 1970s, they were adopted by Native Americans of a number of different nations. Some consider the dreamcatcher a symbol of unity among the various Indian Nations, and a general symbol of identification with Native American or First Nations cultures. However, other Native Americans have come to see dreamcatchers as over-commercialized.
According to the Encyclopedia of Insects, spiders had a great impact on the Native American culture that related to dreamcatchers. Each tribe had a different significance relating the two. As for the Cherokee people, the spider brought fire. Naʼashjéʼii Asdzą́ą́ʼ was the “Spider Woman” in Navajo culture and taught the women in the culture how to weave, and she was the “core of creation” in Pueblo legend. In the Sioux Indian tribes the term dream catcher means “spun by a spider” and they are used to catch good dreams.
American ethnographer Frances Densmore writes in her book Chippewa Customs (1929, republished 1979, pg. 113):
Even infants were provided with protective charms. Examples of these are the “spiderwebs” hung on the hoop of a cradle board. These articles consisted of wooden hoops about 3½ inches in diameter filled with an imitation of a spider’s web made of fine yarn, usually dyed red. In old times this netting was made of nettle fiber. Two spider webs were usually hung on the hoop, and it was said that they “caught any harm that might be in the air as a spider’s web catches and holds whatever comes in contact with it.”
Traditionally, the Ojibwa construct dreamcatchers by tying sinew strands in a web around a small round or tear-shaped frame of willow (in a way roughly similar to their method for making snowshoe webbing). The resulting “dream-catcher”, hung above the bed, is used as a charm to protect sleeping people from nightmares. As dreamcatchers are made of willow and sinew, they are not meant to last forever but are intended to dry out and collapse as the younger sleepers enter the age of wonderment.
The Ojibwa believe that a dreamcatcher changes a person’s dreams. According to Konrad J. Kaweczynski, “Only good dreams would be allowed to filter through… Bad dreams would stay in the net, disappearing with the light of day.” Good dreams would pass through and slide down the feathers to the sleeper.
Another explanation of Lakota origin, “Nightmares pass through the holes and out of the window. The good dreams are trapped in the web, and then slide down the feathers to the sleeping person.”
These conflicting accounts about how a dreamcatcher works may be proof of its antiquity. While this traditional symbol has survived, its original meaning has been lost and subsequently reinterpreted in many different ways.
Peeping Tom is a 1960 British thriller film directed by Michael Powell and written by the World War II cryptographer and polymath Leo Marks. The title derives from the slang expression ‘peeping Tom’ describing a voyeur. The film revolves around a serial killer who murders women while using a portable movie camera to record their dying expressions of terror.
The film’s controversial subject and the extremely harsh reception by critics effectively destroyed Powell’s career as a director in the United Kingdom. However, it attracted a cult following, and in later years, it has been re-evaluated and is now considered a masterpiece.