Greetings!

 

Sorry for having been disappeared for long time^^

 

I'm back!

 

Unfortunately,for the past two months,all the stuff seems to be in a tangle.

The extremely heaven burden of study,being in ill health,difficulties in doing my volunteer work.

But I've gone through all of these.

 

Looking forward to a brand new week~

 

Oh,I managed to finish my marathon last weekend.Although I didn't get any prizes,I'm satisfied with myself.

And about the competition of starting an enterprise(it's mock,just for training.) ,I guess my team has a terrific plan.We have a very good chance to win.

Also,hope the debate this afternoon a success.I've been preparing for it wholeheartedly.

 

Show you some funny pictures I made.Enjoy them~

 

Take care

Love,Michelle

A noted historian once wrote, "An attraction to anarchy is the ultimate indulgence of a bourgeois culture" and, if that's true, then V for Vendetta is one of the first bon-bons of the post-9-11 society.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

Set against the futuristic landscape of totalitarian Britain, V for Vendetta tells the story of a mild-mannered young woman named Evey (Natalie Portman) who is rescued from a life-and-death situation by a masked man (Hugo Weaving) known only as “V.” Incomparably charismatic and ferociously skilled in the art of combat and deception, V ignites a revolution when he urges his fellow citizens to rise up against tyranny and oppression. As Evey uncovers the truth about V’s mysterious background, she also discovers the truth about herself – and emerges as his unlikely ally in the culmination of his plan to bring freedom and justice back to a society fraught with cruelty.

It is a movie that made me wonder."How the heck did this get released in our country?"It is an unapologetic attack on how we live right now,a film that not only has us rooting for a terrorist but makes us look at government satire and then say"Wait a minute,this ia not too far from what we see right now."

While V is not an action-packed film,the action that you do see is executed beautifully.The sword-fighting,knives,and guns all play like instruments in a big opere.The interesting part about the action is that even in the scenes in which you do see action,it is all about enhancing the story and not driving it.The music in the film also fits the theme perfectly.

All of this is also connected to an English tradition and some English history. It involves Guy Fawkes and the plot to blow up Parliament and King James 1 in 1605. Fawkes and twelve other conspirators carted 36 barrels of gunpowder in a cellar under the House of Lords, hoping to change the policy towards Catholics by eradicating the King and most of the Court. The plot failed and Guy Fawkes, who was caught in the cellar, and several others were captured, tortured, and drawn and quartered (which involved disemboweling him while still alive; in the movie Fawkes gets off easy and is hung). The British still celebrate Guy Fawkes day, burning the traitor to the crown in effigy and even creating a lovely bit of doggerel for the occasion "Remember, remember the 5th of November, the gunpowder, treason, and plot. I can think of no reason, the gunpowder treason should ever be forgot."

There are ideas in this film. The most pointed is V’s belief: “People should not be afraid of their governments. Governments should be afraid of their people.” I am not sure V has it right; surely in the ideal state governments and their people should exist happily together. Fear in either direction must lead to violence. But V has a totalitarian state to overthrow, and only a year to do it in, and we watch as he improvises a revolution.

The film deftly juggles three plot strands. One is of V maneuvering through the city, largely undetected, eluding capture. His methods of subversion are extremely clever. Despite his low odds of success, he finds innovative ways to execute his plans. One oddity is that he always wears a mask. And without facial expression, it hinders the audience's ability to connect with his mission. Despite that, and our character's penchant to spit out breathless numbers of words per minute, emotion abounds. His spirit, thanks to the perfect-for-the-stage voice of Weaving oozes with confidence. It is more important to remember the ideal and not the man, after all.

The film deftly juggles three plot strands. One is of V maneuvering through the city, largely undetected, eluding capture. His methods of subversion are extremely clever. Despite his low odds of success, he finds innovative ways to execute his plans. One oddity is that he always wears a mask. And without facial expression, it hinders the audience's ability to connect with his mission. Despite that, and our character's penchant to spit out breathless numbers of words per minute, emotion abounds. His spirit, thanks to the perfect-for-the-stage voice of Weaving oozes with confidence. It is more important to remember the ideal and not the man, after all.

That's what movies are for, to live out fantasies. It's a luxury to live in a free society that allows such productions and dabble, in the abstract, with the thought of utter anarchy; V for Vendetta is the proof that we are. 

                            

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Yeah....the new semester is coming.I am going to be a sophomore.I guess this time the studies must be pretty much tougher.Coz in my first year of university,I fairly feel free and at leisure,with almost nothing to do.No team work,less individual learning.Uh-huh,That is 'it.

 

For the past two-month summer holidays,I felt my whole life was thrown into disarray,really.So many things just came out of the blue and finally my plan messed up.All right,I 've wasted so much time.Now....it's the time to catch up.

 

Basic English,Listening & Speaking,Extensive Reading.

Economic Statistics,Micro-economics,International Settlement.Jesus,so hard!

Also,the ones I am looking forward to:Chinese classic literature.

Besides,I will have French as my minor.Deserving great diligence.

Then it comes Spanish,5 hours every Sunday.Quite tough....But what matters is that I dream of going to Spain.Oh.still dreaming....

 

What I have to admit is the weather in Shanghai really sucks.There happened to be several typhoons,but they didn't seem to work.The sun was giving out a fierce  heat all the time.....Most of my friends are on the military training these days.I feel so lucky I have finished it last year.Hold on,guys.

 

I've been suffering from a fracture of knee.And....it still hurts when I'm up and down the stairs.Hope it can get back to work as soon as possible.Coz I don't want to miss my outdoor sports any more.

 

Wish everyone well in your new semesters.

Take care.

 

 

 

 

 

Whereas in "The Crying Game" Jordan mixed the dicey elements of mysterious sexuality and political violence with artistically and commercially combustible results, similar territory is traversed less inventively this time around. Overriding limitation is a principal character who grows from deprived youth to beautiful cross-dressing hooker without acquiring dimensionality; he's a leaf in the wind who floats from one circumstance to another in the most emotionally superficial way, complaining only when something strikes him as too "serious."

If one decides, then, not to take the film too seriously, there are diversions to be had, beginning with the immediacy with which young Patrick Braden (Conor McEvoy, then Murphy) embraces and flaunts his gender proclivities in the Church-dominated Ireland of the early '60s. Placed as an infant on the doorstep of Father Bernard (Liam Neeson) in Tyreelin, Ireland, Patrick is raised by a tough foster mother, begins donning dresses and lipstick from an early age and inevitably raises the hackles of his Catholic school superiors, particularly when he writes a short story in which he impudently (but plausibly) makes himself the illegitimate sprig of Father Bernard and the latter's attractive blond maid. His sense of flagrant Otherness eventually leads him to take the nickname "Kitten."

Pic adopts a fanciful, visually playful approach to the unlikely eventualities of Patrick's life once he becomes a slim androgynous teen. His first amorous encounter of significance is with a tough-looking troubadour (Gavin Friday) who falls for him, disastrously puts him onstage as an Indian squaw and even more perilously installs him in a coastal trailer home where he hides artillery intended for the IRA.

Sporting a mop of curly hair and a spiffy wardrobe on a budget, Patrick continues his picaresque adventures in glam-rock London, where he's heard his Mitzi Gaynor-lookalike mum -- his "Phantom Lady" -- has been spotted.

After casually slipping into streetwalking, he's taken in by a kindly, middle-aged club magician (Stephen Rea), who treats him well and makes the boy part of his act. This relationship seems so mutually pleasing it comes as an unwelcome surprise when Patrick unprotestingly allows himself to be abruptly dragged away by a mate from his old life. But that's the way he is -- a man with no will of his own, going wherever the current takes him.

Although some dramatic seeds have been quietly planted, a huge act of violence that soon follows comes as a shock, one that Jordan handles superbly. With the raised stakes, expectations are also increased that the film, and its main character, will broaden its wings in the final stretch, but the extended wrap-up is emotionally conventional.

Moving in stages toward total female impersonation by the final act (but never revealing an interest in actually becoming a woman), Patrick maintains an adamant superficiality that makes him a rather frustrating figure on which to hang a whole movie. Murphy's exceptional looks make him agreeable enough to watch, but the thesp's voice acquires a hoarse rasp when artificially pushed to higher registers. More problematic is the character's apparent lack of inner growth and self-knowledge; if an eventful life journey doesn't produce maturity or just simple insight, it doesn't feel terribly worth it.

Secondary characters come and go, with Rea making the best impression as the only person whose influence on Patrick's life seems essentially favorable.

Pic's mood is predominantly set by the pop favorites that turn up with jukebox-like regularity. As a collection of tunes for a soundtrack, it's fabulous; as accompaniment to the action, the song choices are as often too-on-the-nose as they are inspired.

Division of the screenplay, co-authored by Jordan and McCabe, into 36 identified chapters probably serves to make it seem even more episodic than it is. For all the sexual subtext, pic is very chaste, with nothing overt shown onscreen.

Physically, the film looks great, with Declan Quinn's lustrous lensing enhancing nice contributions in the production, costume, makeup and personal effects departments.