A Modern Day Anthropologist Working The Online Trenches

Writing these days is like Greek or Latin. Some get it sooner than later depending on how it’s working out for you. In most cases it never works out as well as originally planned. The plan is as simple as waving a flag and to then expect winning results. Only a fool would believe such nonsense.

We start out life thinking everything will just happen at the click of a button, without any real focus. We walk into a room, flick on a switch to only find somebody else had already turned on the light of day. And now we feel like it’s us who flicked on the darkness. Equally the written word has been relegated below the image. Video has muscled in and presentations have squeezed the life out of time.

Product worshipping has replaced the need for seasons. The glass dome we live in is a giant sun room that looks like a golf ball. You can brush and polish it all you like but it won’t always yield a ‘eagle’ hole in one.

To the outside world writing seems like a boil or rash. I often get comments like how would you like to pay for some SEO. Follow me on Twitter or Instagram, never “How’s your father?”. Luckily there are still avid readers who still enjoy real cream profiteroles.

Blogging is a great way to document thoughts. You can look around all you like, follow everyone and anyone. But actually spotting talent and tracking them down is like talking Greek. It won’t be long before you’ll have them all crashing on your sofa. Most blogs are just wet beds. It’s easy to just ‘dip your toe into things’ or ‘bang in a few clichés here and there’ but actually squeezing out substance, rythmn and reason seems a whole other ball game. Is just great to have a place to kick the ball into a brick wall as hard as possible.

So is blogging a game, or is it more like a voluntary soup kitchen? We stand around ladling bowls of soup and stuffing passers by with crusty bread and butter all day. To only one day realise asperations are like ships in the night. You are attracting the rich and famous. The people who need your skills are out there dating your next girlfriend. It’s like one day that revelation reveals itself as plain as the pimple on the end of your nose. The secret is they do get behind you you only have to resume the position and simply ask. Sad really how most folks at some point made themselves recieve that sort of punishment. These sort of blocks keep people back from commenting on anything outside of their own world of problems.

Most of societies problems are amplified in solo fake news. This promoted belief is done through making readers believe they are the only ones reading things. These readers feel lonely and unique, like it’s only themselves that share each others experiences. It used to be the other way around. If you wanted someone to share your blurbs you do certain things. Techniques that make themselves different and unique. It’s this pressure that gets the heard commenting. It’s the same people who look back at other people and say ‘Jesus, I so proud of you!’. Yet all they see of themselves is the leaky cracks in their world. The mess starts within which is why we all experience guilt. This sort of guilt is rediculous, false and serves nobody.

And the hobbyhorse. We think it’s fine being left in the Postman Pat red car rocking with a collection of coins in the metre, whilst leaders and guardians go about their business in the busy shopping mall. They hang their friends out to dry like hats on a stand. So its ok to throw a ball of paper again into that little paper basket far, far away? No it isn’t and neither should you feel like a screwed up piece of paper. You see we have made this world a world of editors. Society is filled with a world of invisible criques whom rather than show themselves, they just keep on churning out the same crap.

Take photojournalists for example. You see maybe one picture of themselves in the avatar of themselves hiding behind a lens. This naturally attracts other photographers who have avatars of themselves hiding behind a lens. Its like the happy lens club. Stuff them and there silly lens avatars. If they have problems reading and writing the that’s just the way it is and those things will never change. And music fans. They listen, they learn but have lost that needed outlet of karaoke so instead they go out in the world, singing other peoples songs and expect to get paid for it, potty training comes to mind. I’m a big boy now. Its wiping time. Ben becomes the big monster gloating in the pool. The Mars or Snickers. The photographers Hoola Hoop face in a ball of fire. The literature on the lavatory wall saying call me you sissi.

Most people understandably don’t even read it. My hope is a world of more people busy writing instead of just pressing buttons thinking the rest of the world will clap at the top five names on the Pheonix, Mr Do! High score.

Democracy and healthy world peace: John Pilger

This video introduces Mr Pilger’s work and why he chose this type of research.


As a continuation of the post after this one more video’s from John Pilger they include include

Obama Marketing Misconceptions.

Democracy Now! - John Pilger on Empire 1 of 5

This video introduces Mr Pilger’s work and why he chose this type of research.

Democracy Now! - John Pilger on Empire 2 of 5

This second clip includes an excerpt from John’s documentary stealing a nation.

Democracy Now! - John Pilger on Empire 3 of 5

John Pilger is questioned about Islanders in the Empire and how Tony Blaire had to deal with this type of situation within the British Empire that was part of the Amy Goodman and Juan Gonzalez questions.

Democracy Now! - John Pilger on Empire 4 of 5

Vociferous groups that support Israel have been intimidating British Intelligence. ‘Freedom Next Time’ and the ‘War on Democracy’ is highlighted in this clip to demonstrate this point. Both shows again were produced by John Pilger. The clip of ‘War on Democracy’ uses the Hugo Chavez example to show how cu’s in countries can intervene in Polatics.

Democracy Now! - John Pilger on Empire 5 of 5

No Place to Hide: The Strategy and Tactics of Terrorism (1982)

No Place to Hide: The Strategy and Tactics of Terrorism. A WESTERN GOALS PRODUCTION.

Directed by Dick Quincer. With G. Edward Griffin. The operation of powerful Marxist forces behind many global terrorist networks is uncovered and researches then in 1982 the long-range strategy and tactics are understood of terrorism around the globe. It points out the merger of two countries or rather two organisations relying on each other to do their dirty laundry.
Bill McIlhany who did the McIlhany Report show was first broadcasted on public access cable TV. The studies and audio-visual materials were all included in the public access cable TV show THE MCILHANY REPORT.

Big Brother. Realism and Genre.

This research essay has drawn upon academic research and online sources to discover broad social questions of society, that may be drawn from the Reality TV’s game show Big Brother. The academic origins of media analysis have been from anthropology, linguistics and historians of the media; the research has considered an open narrative analysis of British culture. Specifically Roland Barthes a post Marxist influenced Semiotician, Noam Chomsky a linguist and media critic, Tzvetan Todorov a Bulgarian philosopher who explains genre and human happiness, as well as Annette Hill through her study of  contextual culture, by explaining accordingly audience, origins to the institutions; furthermore some coincidences are noted from other similar profit based ideas on TV.  Moreover with this idea I considered three ‘broad social questions’ of our society and who it chooses to represent then control in entertainment. Firstly the technology available evolved, then British society as apposed to the rest of the world’s society, finally the vote of the people compared to Big Brother voting consequently how this factor may be something bigger than just entertainment in Britain using descriptive analyse in effect of ‘big brother’.

The name ‘Big Brother’ have origins from George Orwell’s idea of Big brother watching over society ‘1984’, a book with ‘utopian’ (Sir Thomas Moore, 1616) ideas of control. In the book ‘1984’ it’s society raises issues about relationships and controlling the workers. Holland has been experimenting with integration of people. Amsterdam especially a man made land from sea originally was connected to Britain 8,000 years ago until the rise in tides, which begins of this idea of reality TV as unnatural. But Britain has always compared it’s self to us or them, an island separate from the rest of Europe.

Anthropologists noticed ordinary lives document back as far as the 9th century from the Arabs who created light-rooms for entertainment. They were without any script and free from any narrative, just a room that framed nature. Nature created its own natural lighting required to exaggerate experience. In the 18th century Dumfries a similar discovery from a similar period revealed the first ideas in the dark-room of ‘camera obscura to camera Lucida’ (1993,Barthes, Of Mythologies). The dark and the light of the real world described coherently as ‘transparency’. From outside looking in the second dimensional view is improved by providing a middle ‘media’(B&S, 3rded, Intro).

The codes and conventions of Barthes supported by Polysemy in Semiotics used initially to understand reading the ‘media texts’ as a format of realism, this essay’s information however suggests ‘an audience desire connection with the real world in a controllable environment’ (B&S,c5, p117).

The case study of John Dovey (2001,135) is referred to explaining an audience as the public sphere for the creation of a community of ordinary people who by explaining the various technical practices will soon adopt there own interpretations through there own eyes. Specifically like online forums. He also speaks of a ‘window on the world’ but to explain this idea in more detail the apparatus available today is considered. (et.al,B&S,ch3,p62).

Today’s introduction of technology consists more of hidden cameras or surveillance video footage focused on ordinary lives. Wherever creating a 3D illusion but this must not be confused with the secretive camera’s of ‘The Truman Show’ movie (Jim Carrey, 2005). More interested in surveillance that has elements of promoting a lack of privacy and more set toward control by re-branding a new identity through the eye of a lens.  HD television improve our visual experience of viewing by filming from various angles otherwise repeating this should not be confused with the lighting and filming. Format of music may well change the surround settings, that I suppose could be argued it contributes  to the ‘deep focus’ upon any unscripted reality appose to the cinematographic opposite ‘shallow focus’(Hill,2002), Barthes accepts these as codes(et-al,B&S,ch2,p33.).

Terrestrial television here in United Kingdom has provided great statistical data thanks to BARB (Broadcasters’ Audience Research Board) this data has relevance to the media’s commercial market, that attracted sponsors like Car Phone Warehouse. 

Factors such as these have contributed to profits from text messaging and the ‘access’ activity that are made from reducing salaries and creating cheap news and like the cinema it also profits from advertising. Advertising is based upon artistic franchises that cost money so for Channel 4 to justify the cost it must show an audience. Adverts support the reality TV for entertainment as well as profit. This synergy (VOD) of working together supportively adds to the illusion of reality through products, fashion, toiletries, music and banks to inter-act with. (B&S,chp6, p165.)

Based in Hilversum, Holland, ‘Endemol’ has scripted (comedy and drama) and non-scripted (reality TV and talent shows) programmes and is the originator of the Big Brother show. Big Brother is basically twelve people, who have never met before, live together for approximately 100 days in a fenced-off compound. They are isolated from the outside world. No phones, newspapers, radios or televisions. No contact with loved ones. They’re all alone except for the millions of viewers watching. Housemates are recorded, broadcasted on television and the internet, and even sent through text messages to mobile phones about the evictions. On a regular basis, the participants are required to nominate two or more housemates. By voting, the viewers decide who leave the house. The last participant to leave the house is the winner. (Endemol,2006.)

Edemol in 2002 had 19 different countries that use the similar idea. Already Big Brother is annually creating a made lineage of previous contestants. These contestants are rewarded with work, there views are requested by understanding new contestants, unlike the British elite this luxury was not inherited. But globally this is a process of  ‘sorting out the winners from the losers’. Contestants are played upon like real life. (Ellis,2001.)

Described fully in ‘Hyperdermic model’ (Chapter6, p148) of quickly introducing to the young or naive a package in this case like a narcotic injected into there lives that they must purchase to be part of that will guarantee pleasure, but it’s life expectancy is short unlike a classic movie or an ongoing soap more an instant fix, how else could one justify observing people sleeping for hours. Simultaneously this generation of couch potatoes (I Ang, 1991, p149) is affective and we see this from statistical figures of all those actively watching ‘Big Brother’. How long will this product remain worthy of watching?

The cognitive therapeutic viewing of bizarre wallpaper Zap Happy Britain (ch6,p160) appeals to the audience anticipation by Endemol of  votes are cast also by pressing the red-button on there remote control another technological extension of realism with there on the spot spin.

“We may be in the early stages of a new social movement for which democratization of the media will be a central focus of discussion, activism and reconstruction.” – Noam Chomsky.

Activism is a term used to explain a social change that I believe contextually Big Brother intended to do, by noticing the numbers of young actively studying media. Chomsky talks about Globalization and this idea is drawn from by paying to vote the audience are far more satisfied compared to the reputations on television. But to assume that technology will improve our reality’s in Britain or to adopt America’s successful idea of Democracy as stated by Chomsky would be contrary to history’s myth of independence (1775–1783) where by the British elite were expelled from America. Other research of political attitudes gives a hint that ‘Big Brother’ may even introduce democracy in Britain, understanding European ideologies, after all the UK is part of the EU.       (B&S, C6)

From further research I noticed GMTV, Richard & Judy’s (Cactus TV) shortcomings. Trust in televisions inter-active TV is depleting. From so many viewers with mobile phones we are well aware of the profit they make from voting. Reinforcing this example laws exist about consent of using the home phone if below the age of 18 (B&S,ch6) but how can these laws be reinforced?

NVLA now known as Mediawatch UK who used to employ Mary Whitehouse is a contemporary movement voice that observes and challenges any violence on TV. They are looking for sexual and profanity matters with an emphasis of any violence. Channel 4 targets a youthful audience prior to the Watershed. Late night viewing was regulated by dubbing the sound out and replacing the sound with birds chirping replacing the real with something close.

Their views are moulded more from ‘Little Brother’(B.B.L.B.) hosted by Dermot O’leary who interviews the stars and the public, ‘Big Mouth’ is hosted by Russell Brand who from Sunday to Friday straight after the show speaks with his audience in London. Both the hosts selected West Endemol were young up and coming comedians. Also Big Brain on channel 4 hosted a more psychological profile of body language and profiling, they call it exposing the intelligence.(Big Brother, 2007) All of these shows contribute to ‘objectivity’(Barthes) of the shows genre.

That is to say by in discussions the shows views become a new perspective all these factors and discussions may help understand their personal views. A good example of controversy arising from the audience observing real life television was Celebrity Big brothers argument between Jane Goody and Shilpa Shetty consequently issues of racism and bullying were raised.

The cat-walk scene of evictee’s greeted by Davina McCall:  The camera and lighted entrance justify this panning around the perimeters’ of the house by the camera crew then narrative sets up expectations of a good speech about the competitors. Horizontally for the audience at home as well, the thousands cheering outside know this realism is pre-ordained and un-rehearsed. Todorov spoke about endings of characters in the story of a film westerns, Barthes through several ways of explaining the Format, that is the contextual linguistic terminology that explains the Media text or the presentation to the audience.

We see the losers rejoicing and cheering eviction, restoring the equilibrium somehow to guarantee celebrations. A happy ending.

This realism has turned over large amounts of money. Concluding that ‘Realism’ as a package on TV has been successful. Although this lack of control within what happens especially with the Jane Goody incident cost West Endemol its sponsors Car-phone Warehouse.

But more importantly of the technological advancement information whereas in life, the internet, You-Tube and forums. Finally the codes incorporated to Big Brother’s Genre is just as valid in this country as it would be in America, it’s only the audience who can also influence anything they don’t like, and traditionally they do. In conclusion this reality TV package delivers an atmosphere where you don’t have to go out and meet people but my reality is what’s real has to excite all of the senses. Not just watching. We all pay rent , or all have mortgages and bills looming overhead; it’s this realism that this era of disaffected and disempowered young middle class may reach out too. Replacing the dissatisfaction so subsequently keeps the young inside the country, an important addictive healthy option.

Footnote:  Russell Brand has announced that he has quit. Edemol this week just purchased The Hammer house of Horror a new element am sure that may influence the format or comedy genre of big brother in UK. Meanwhile this week begins a new episode of big brother. The only contestants I’ve met who has been on big brother is Goldie, Bez and Ken. I have met all the comedians who host the shows and have just noticed a new advert on the web-site ‘Celebrity Big Bubble’ “Stay in and get tanked”, Marilyn Manson appears to be the winner.


Ang, I.(1991) Desperately Seeking the Audience. London: Routledge

Barthes, R (1993) Mythologies. London: Vintage Big Brother(2007): http://www.bigbrother.co.uk/ (signified 12/5/2007)

Branston, G and Stafford, R (2003): The Media Student’s Book, Third Edition. London and New York: Routledge.

Chandler, D.(2002):Semiotics: The Basics. London: Routledge

Chomsky,N.(1991):Deterring Democracy. South End Press

Derrida, J.(1997): Of Grammatology: Translated by Gayatri Chackravorty Spivak.The john Hopkins University Press

Dovey, J.(2001): Reality TV, in Creber, Glen(ed.) The Television Genre Book. London: BFIDyer, R.(1977): Entertainment and Utopia. London: Routledge

Eagleton, T.(1996): Literary Theory: An Introduction. Chapter 3 – Semiotics

Ellis, J.(2001) Reality TV, in Creber, Glen(ed.) The Television Genre Book. London:BFI

Endemol(2006): http://www.endemol.com/ (signified 10/5/2007)

Goody J(22/1/2007)http://news.bbc.co.uk/2/hi/south_asia/6285717.stm (signified 16/5/2007)

Hall, S.(1974) The television Discourse- encoding and de-coding Education and Culture No.25(unesco) Reprinted by A. Gray and J. McGuigan

Hawkes, T. (1977): Structuralism and semiotics. University of California Press

Hill, A.(2002): ‘Big Brother: the real audience,’ Television and Media.(eds)(1997) Studying Culture, London: Arnold

Orwell. G. (1949): 1984.London. Martin Secker & Warburg

The Truman Show(2005): http://www.imdb.com/title/tt0120382/  (signified 15/5/2007) 

History Of Films.

Question 8.

Using no more than three films as examples assess the importance of technological developments for the movie industries.

In this broad context of films we may understand why we go to see them but are we aware of what goes on behind the scenes and how tricky it may have been to originally get the film on big screen.

how the big screen came to be so big and why this industry still today continues to create revenue for it’s Director’s, writers with there space brokering reviews.

Actors and bloopers, make up artists applying the new cosmetics quicker or how they’d had to adjust to changing pixels.

The cameramen and stunt men’s training and pushing boundaries through time and space as the diverse public demanded more.

The three films are two from the film noir era from Universal in 1925 The Phantom of the Opera.

To a personal favourite The Maltese Falcon starring Humphrey Bogart under the wing of Jack Warner.

Then the colour movie from British low budget cinematographer  My Little Eye – 2002, 95 minutes long another Thriller, that incorporated the big brother plot, so its 20’s, 40’s then into the 21st century.

The synopsis of each individual film in detail will have not enough relevance to the technological change but selected extracts may by example refer to the requirements.

Before all this cinematography and prestige through Mike Chopra Grant’s lecture a brief synopsis of how it used to be up to the cinema we know and love today.

‘In 1834 the Zeotrope was released by William Horner manufactured and patented for it’s moving pictures in a cylindrical container. 1888 the invention of the flexible film by  Eastman Kodak. 1891 Edison patented the Kinetograph a camera that projected in Kinetescope and two years later Edison  set up a film studio called Kinetoscope films then a year later the open and closing camera was invented my Thomas. By 1896 he’d also became famous for his vitascope projector. Mutoscope 1894 the spinning cards create a very short movie.

Early Black and white films were screened at a ratio of 133(1.37):1 (Academy).

Then colour came and described this as high fidelity 185:1 (Vista vision).

In Cinema scope the screen lengthened in size to 2.35:1 (Cinemascope).’                                                                        

Researched  by  Mike Chopra Gant(2006) The Phantom of the Opera has been remade since the early release back in the twenties not just in the cinema’s but also in the West End by the late Ken Hill who also wrote Crossroads a British soap in the late seventies and early 80’s.

But the original 1926 version was released by or at the Paris Opera it has been running for 17 years now.

Warner Bros re-released the film recently applying Andrew Lloyd Webbers version to cinema this film is a perfect example of the genre and following of what could only be classed as an original thriller that possibly influenced Tony Robbins comic cartoon and cinema rehash of V for Vendetta.

This Arty concept of the disfigured musician haunting the theatre began in 1910 in a French authors book called ‘Le Fantome de l’opera’ by Gaston Leroux.

The Universal Studio’s team had remarked whilst filming the original starring Lon Chaney that mysterious occurrences on set happened and also at that time the public were hideously shocked by the make up used to portray his disfigurement.

All these factors created a coherent message upon cultural and ideological concepts of the public that still progressed even now, you could I presume call this an institution.

Created by Hollywood’s stamp and a great novel with room to incorporate music all major factors of today’s media but remember this film was around the silent period, the music may have been played live upon an organ or gramophone.

At this time also the frames were less per second as well as the obvious invention of colour missing. The vocals supplemented with speech cards that bullet pointed the story and scene.

The French have always had interest in the cinema although America has had 80-85% of the revenue market and French by some as cited by Anne Jάckel as avant-garde surrealism and blockbusters such as these that come away from the EU’s branding of ‘auteur cinema’ and synonymy’s world-wide in this case. In 1993 a campaign called cultural exception in France revealed American films exported generated revenues of more than £2.5 billion so again it’s this revenue that created the Phantoms prestige today. This explains the horror value challenged assumptions about childhood innocence early said about penny dreadful and how the provincial audience are victims of the Medias effects more inclined towards middle brow radio listeners and ‘its The B movie was a direct response by Hollywood to the falling cinema audiences of the early Depression years.’(modern Times).

The big five in Hollywood in the 1930’s was Warner Brothers, Loews-MGM, Paramount, RKO and twentieth Century Fox. The little three were Universal, Columbia and finally United Artists. The first movie in New York had 5490 seating capacity and was classed as an A movie. (top quality film) this was set up in the radio musical Hall. 1948 the paramount decree stated a divorce between studios and there production from distribution and exhibition.

Moving on to the forties the infamous Humphrey Bogart (Sam Spade). Los Angeles again in Black and White with normal sound and dialect as we know today but in mono by RCA Sound Systems. Utilising the locations that merely added to Warner Bros theatrical illusion.

Casablanca journey and musical quotes of Play it again Sam that has been displaced humorously for television adverts selling Holstein Pils or the display of the importance of smoking at that time.

It was sold as good for you and advertised as a relaxant unlike today’s medical experiences and of course smoking in the auditoriums would have had sections for smokers that has often also been depicted in film clippings of say the soldiers watching projections the light silhouetting the smog.

Today television would be used or if you were lucky to see this film in the IMAX in 3D not the Creature of The Black Lagoon 3D of red and green goggles but some other pixel adjusted Jaws 3 version.

The film’s at this time shown would have been surrounded by political messages about the War the contingency of ‘Man’s ego and pride’ is levied in this American stars character. Even today we don’t see Russian characters fighting for us.

Ever since the cold war prior to the filming of this period but Kasper Gutman played by Sydney Greenstreet and Spades Yiddish comment to Alisha Cook Jr. who plays a woman with her own surname called Willmar Cook a ‘Gunsel’. The English interpretation of this being goose I use this only as a hint of the funding of Warner Bros Jewish influence.

Film financing was taxed on cinema tickets that increases the prices and it’s this key factor that contributed to the film companies introducing the class of movie, today I personally would class the Maltese Falcon [1941]  as a B movie.

Repeated on T.V year after year by BBC2 a (PG) film released at an expensive budget due to some of this film actually being filmed on location that merely adds to the tax exchange that would increase a revenue market for application before filming, the producers and director John Huston would have also lived this jet set lifestyle although his profile would not have been celebrity status as today with the improvement of new synergy around films and DVD’s of today’s home entertainment.

Incidentally internationalisation and it’s expansion since 1989 compared to 1999 figures in Spain (nearest the Madagascar) of the country’s investment in films has become threefold. 

By the 1960’s due to technology peoples lifestyle changed the locations seen on the big screen as a kid was now possible to be seen. For much more people they could relive the fantasy they derived from watching the movie, this universalisation and homogenisation was a consequence of these factors.

Unlike BBC’s early motto of education, inform and entertain the cinema has been more interested in action, visual drama no cliff hangers and incite happiness or rather feelings by showing locations, certain actors and great cars.

Today’s negative influence of reality TV influences many a conversation world wide.

Orson Wells notion of Big brother is watching us I chose an English funded film My Little Eye (2001)(95 mins) shot in Nova Scotia directed by Mark Evans idea of any Joe Bloggs being a star that adds to the five minutes of fame.

In 2001 WT Venture LLC when this production was released on DVD in this country two years later the synergy behind it’s double CD package (CD being a big part of the Silicone revolution) was equal I personally feel to the film, with directors explaining the filming, characters analysed through a computer interactive type affect that increase the analyse of film even though lacking any amazing plot the suspense as in all these films builds it up a merit that deserves mention.

Paul Du Gay: The circuit of culture intertwine between representation, identity,   production, consumption, regulation and representation and all contribute to the final film that which we see in the cinema remembering that technology does have a certain part to play but more so now than the majority of the 20th century. 

The Medias registers revolved around these movies, and how they conformed to the social attitudes at that time and suggest how values may have also been influenced be it the powers of the Warner Brothers.

Explained also the modes and conventions at the time of each movie and the conventions they were governed by at that particular time to how the film rose to almost and how dynamic cult status arrived remembering that America was an early player but striving to look globally of the movie industry’s effect on man and the Media.

l have analysed the dialogue of each film and my own dialogic. Briefly mentioned the synergy around the films then and now. The importance of amplification in the cinemas and the big screen and described each licence for the appropriate time of the film released to the re-runs today the B movies.


http://us.imdb.com/title/tt0033870/ Briggs, A & Burke, P(2002) A Social History of the Media. Polity Press

Briggs, A and Cobley, P eds.(2002) The Media:An Introduction. 2nd Edition: Chapter 11. Cinema(Anne Jackel). Harlow Essex: Pearson Education Limited

Course Handbook. London North.(2006) BSc(Hons) Media Studies. Londonmet.pdf
BRITISH FILMS http://www.britmovie.co.uk/genres/horror/filmography/033.html

Neil Youngs Film Lounge http://www.jigsawlounge.co.uk/film/mylittleeye.html

HUMPHREY BOGART:http://bogart-tribute.net/bio.shtml

PHANTOM OF THE OPERA:http://www.eurekavideo.co.uk/classics/the-phantom-of-the-opera/

Web CT by Mike Chopra-Gant.

Lectures by Dr Anna Gough-Yates, Dr. Chopra-Gant, Gholam Khiabany, June Porter, James Bennett, and finally Dr. Bill.
Work was done between Ladbroke House and the tower building in Holloway’s London Metropolitan

Hello world!

The emotions of the thinking is what encapsulates change, you could say it’s a bit like hexy decimal of infinity hence the ramifications of making the natural simplification

So many minds incorporate the air of today, some of these minds become Orated through a simple construct with a certain eloquence as all good Orators do, but these truths need to be amalgamated and simplified for the common good of Planet Earth.

Our brains populate a nebulous inside ourself’s that luckily never truly merits the capabilities existing today, tomorrow and last week. The emotions of the thinking is what encapsulates change, you could say it’s a bit like hexy decimal of infinity hence the ramifications of making the natural simplification honoured by every household of every nation vital in order to continue existing comfortably on a long term basis, with scaremongering the common worker. Workers and thinkers alike all are conscious of the new muddy ground that we’ve all contributed on trampling upon.

So if these new boots are indeed to be worn who is going to manufacture them, maybe some Marxist provocation without any real solution, or a varied amount of questionnaires debarked from what’s left of recycled paper or just dumped on the Internet space, waiting for that desperation that encapsulates all our futures, being careful to check for the existence of loose change still pouting the pockets like security guards protecting something that will never happen or the conditioning existing between humans and faith, come on folks where can we really draw the line of illiterate provocation.

Seekers of the truth beware time is running out.

Environmentalists stop translating your stuff, share it with the rest of us.

Politicians speak like you intend to continue, think small as appose to the big pitter patter of fluctuating frequencies ac-curring upon every satellite hovering upon every last google earthed land mark, and keep watching yourself as would a personnel trainer in-order that he may continue in his work successfully.