In chaos theory, the butterfly effect is the sensitive dependence on initial conditions, where a small change at one place in a deterministic nonlinear system can result in large differences to a later state. The name of the effect, coined by Edward Lorenz, is derived from the theoretical example of a hurricane’s formation being contingent on whether or not a distant butterfly had flapped its wings several weeks before.
Although the butterfly effect may appear to be an esoteric and unlikely behavior, it is exhibited by very simple systems: for example, a ball placed at the crest of a hill may roll into any of several valleys depending on, among other things, slight differences in initial position.
The butterfly effect is a common trope in fiction when presenting scenarios involving time travel and with hypotheses where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes.
Waiting for Godot, the play in which ‘nothing happens – twice’ is now recognised as a major influence on post war drama. ‘It was about two tramps waiting nowhere in particular for someone who never shows up.’ The two tramps (Vladimir and Estragon) are waiting for someone called ‘Godot’ although they are vague as to why, who he is, and whether he will come. To occupy the time they eat, sleep, converse, argue, sing, play games, exercise, swap hats, and contemplate suicide – anything “to hold the terrible silence at bay”. Author Samuel Beckett refused to explain the piece, but the wait can be seen as a metaphor for life, and our need to give it meaning and purpose.
When Peter Hall had staged the British premiere in 1955, the play’s avoidance of a clear linear plot, or any attempt at realism, caused consternation among the critics. While a few recognised its brilliance, many saw no literary merit in the form of the piece. ‘His work … holds the stage most wittily, but is it a play?’ said one. Audiences were also divided, and ‘Godot’ became a hot topic in the media. Now the play is recognised as probably the single most influential work of the 20th century, which inspired future writers such as Harold Pinter, Joe Orton, Edward Bond and Tom Stoppard to name a few.
L’Age d’or, The Golden Age (1930) is a French surrealist comedy directed by Luis Buñuel about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church. The screenplay is by Salvador Dalí and Buñuel. It was one of the first sound films made in France.
In a series of thematically-linked vignettes, a couple’s attempts at a fulfilling and consummated romantic relationship are continually thwarted by the bourgeois values and sexual mores of Family, Church, and Society. In the course of seeking sexual release and satisfaction, the woman sublimates her sexual passion by fellating the toe of a religious statue.
The final vignette is an allusion to the Marquis de Sade’s novel 120 Days of Sodom; the intertitle reads: 120 Days of Depraved Acts, about an orgy in a castle, wherein the surviving orgiasts are ready to emerge to the light of mainstream society. From the castle door emerges the bearded and berobed Duc de Blangis (a character from de Sade’s novel) who greatly resembles Jesus, the Christ, who comforts a young woman who has run out from the castle, before he takes her back inside. Afterwards, a woman’s scream is heard, and only the Duc re-emerges; and he is beardless. The concluding image is a crucifix festooned with the scalps of women; to the accompaniment of jovial music, the scalps sway in the wind.
Historically, katana were one of the traditionally made Japanese swords that were worn by the samurai class of feudal Japan, also commonly referred to as a “Samurai Sword”. Modern versions of the katana are sometimes made using non-traditional materials and methods.
The katana is characterized by its distinctive appearance: a curved, slender, single-edged blade with a circular or squared guard and long grip to accommodate two hands. It has historically been associated with the samurai of feudal Japan and has become renowned for its sharpness and strength.
The first episode of the American television anthology series The Twilight Zone, broadcast on Friday October 2, 1959.
A man finds himself alone walking towards a diner. Inside he finds a jukebox playing loudly, and coffee hot on the stove, but no one else. He inquires for some breakfast, but no chef or waitress is to be found. He is dressed in an Air Force flight suit, but he does not remember who he is or how he got there.
There was a man of the Pharisees, named Nicodemus, a ruler of the Jews:
The same came to Jesus by night, and said unto him, Rabbi, we know that thou art a teacher come from God: for no man can do these miracles that thou doest, except God be with him.
Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God.
Nicodemus saith unto him, How can a man be born when he is old? can he enter the second time into his mother’s womb, and be born?
Jesus answered, Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God.
That which is born of the flesh is flesh; and that which is born of the Spirit is spirit.
Marvel not that I said unto thee, Ye must be born again.
While the goal of all movies is to entertain, the kind of film in which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience. It stimulates thought and sets the mental juices flowing.