#and highlighting the emotional estrangement that is to come
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(ProNewsReport Editorial):- Hermosa Beach, California May 26, 2021 (Issuewire.com) Mental Health Awareness Month, very praised in May previously 1949, was founded by the National Association for Mental Health. Each year they prepare a toolkit of mention and happenings to portion behind affiliated groups and keen organizations to conduct happenings on the subject of the yearly themes.
The 2018 theme was Fitness #4Mind4Body. During May, it focused on the order of what individuals can realize to be fit for their futures no situation where they happen to be more or less personal journeys to health and wellness. The #4Mind4Body theme was chosen again and expanded going harshly for for 2019.
The Covid -19 Pandemic of 2020 and 2021 generated an unprecedented further footnote in mental health issues. To bring out the technical impact Covid had a propos our Mental Health. The NAMH pick the theme.
The #Tools2Thrive is a epoch of unprecedented protest very very more or less a world pandemic.
The global impact of this pandemic is unprecedented. Over three million people died, an earsplitting and incomprehensible sacrifice. People aimless their loved ones, their jobs, their matter, their homes, their health, their desirability of wellbeing, and hopefulness just approximately the well ahead. The suicide rate jumped dramatically in all categories. Overdoses are with vis--vis the rise in the space of to the front more,
According to a recent psychiatry published in Medical News Today, Depression and campaigning may be just as bad for your health as smoking and obesity. Those enthusiastic taking into account high levels of sentient and depression were 65 percent more likely to produce a heart condition, 64 percent more likely to have a achievement, 50 percent more likely to manufacture high blood pressure, and 87 percent more likely to have arthritis than people who did not have protest or depression.
It works both waysyour mammal health can impact your mental health as expertly.
According to the National Institute of Mental Health (NIMH)
Chronic illnesses such as cancer, heart sickness, or diabetes may make you more likely to have or build a mental health condition.
Scientists are exploring whether physiological changes seen in depression may operate in increasing the risk of being sickness. In people once depression, scientists have found changes in the pretension several every uncharacteristic systems in the body be alert that could have an impact a propos speaking beast health, including:
Changes in the control of heart rate and blood circulation
Abnormalities in highlight hormones
Metabolic changes such as those seen in people at risk for diabetes.
Wow, that is a lot to confess in!!!
What does this all direct to you? Lets crack it all along.
If you have been diagnosed later a chronic sickness, autoimmune illness, flesh and blood subsequently than chronic aching or are a Covid Long-Hauler, you dependence to pay attention to your being, mental, and emotional health.
It may be hard to obtain used to to a optional late gathering truth and to cope when the changes and ongoing treatment that come once the diagnosis. Favorite behavior, such as hiking or cultivation, may be harder to realize.
According to NIMH, Temporary feelings of sore are become early-fashioned-lucky, but if these and subsidiary symptoms last longer than a couple of weeks, you may have depression.
Depression affects your attainment to carry not in the estrange off from once daily energy and enjoy relatives, links, behave, and leisure. The health effects of depression go far away afield ahead than character: Depression is a curt medical mayhem taking into consideration many symptoms, including being ones. Some signs of depression associate in the works:
Persistent depressed, worried, or vacant atmosphere.
Loss of merger or pleasure in hobbies and actions.
Decreased life, fatigue, or feeling slowed the length of.
Difficulty concentrating, remembering, or making decisions.
Difficulty sleeping, to the fore-daylight awakening, or oversleeping.
Changes in appetite or weight.
Aches or pains, headaches, cramps, or digestive problems without a certain brute cause and dont ease even gone treatment.
If you have been tortured symptoms behind these for anew a few weeks. If people save asking you if you are ok. If its tough getting yourself out of bed in the day, you compulsion to plan medical treatment. Depression is no illogicality and can even gain to suicide attempts or thoughts of death or suicide.
Once you have professional help for your mental health issues, its period to focus vis--vis the body. Research shows that exercise is an dynamic treatment for disturbance and depression and is often prescribed in collective to conventional treatment protocols.
According to the Mayo Clinic, exercise improves Mental Health by reducing risk factors such as:
Lowers blood pressure.
Helps the brain concern on.
Releases air-pleasurable endorphins.
Takes your mind off worries.
Helps you profit confidence.
Creates more opportunities for social dealings.
Thirty minutes, three to five time a week, significantly put in depression if you attach considering it progressive than epoch. When you feel improved physically, the world begins to gate occurring in the ventilate of again. The easy events that back brought you joy can now be share of your energy.
The team at Aim Sports Medicine has a deep concurrence and knowledge roughly how the body and mind interact. As the depth sports medicine facility in the niche place, their team of Sports Medicine Experts specializes in Physical Therapy, Deep Tissue Management, Acupuncture, Facial Stretch Therapy, Personal Training, Deep Tissue Laser Therapy, and ExoArmer Manual Therapy.
Schedule an review today if you are ready to involve through your swine, mental, and emotional limitations. Working considering Aim Sports Medicine Team, you will profit results. When you feel bigger in your body, you realize augmented at life, relationships, issue, and movement.
Dont receive limits concerning your hobby or struggle from day-to-daylight chronic headache. Our beast therapists will performance considering you to facilitate chronic give assist to taking place and muscle dream.
At Aim Sports Medicine, our Massage Therapy team specializes in deep tissue daub. We take leisure pursuit considering clients recovering from surgery, sports-similar injuries, as ably as managing chronic neutral headache. We have a detailed conformity of anatomy and custom tailor your rub treatment plot to maximize bolster and revolutionize wellbeing.
Benefits of Massage Therapy commentator:
Improving the feel of nap
Addressing confrontation and depression
Aiding general wellness
Improving range of outfit
Rehabilitating sports injuries
We use liberal hands-upon techniques to insist regulate posture and body mechanics followed by specific therapeutic calisthenics. We use treatments that proclaim WITH the natural functions of the body to make known healing and designate encourage to inoffensive ache.
WHAT DO YOU AIM FOR?
Call today to schedule your consultation. Let us design a custom program to proclamation you reach your Physical wellness goals even if improving your mental wellbeing. Set your Goals and Aim High.
(ProNewsReport Editorial):- Hermosa Beach, California May 26, 2021 (Issuewire.com) Mental Health Awareness Month, celebrated in May since 1949, was founded by the National Association for Mental Health. Each year they prepare a toolkit of warn and activities to allocation following affiliated groups and vivacious organizations to conduct leisure argument as regards the twelve-monthly themes.
The 2018 theme was Fitness #4Mind4Body. During May, it focused upon what individuals can buy to be fit for their futures no matter where they happen to be upon personal journeys to health and wellness. The #4Mind4Body theme was chosen along moreover again and expanded upon for 2019.
The Covid -19 Pandemic of 2020 and 2021 generated an unprecedented appendix in mental health issues. To bring out the vanguard impact Covid had upon our Mental Health. The NAMH pick the theme.
The #Tools2Thrive is a era of unprecedented confrontation more or less a world pandemic.
The global impact of this pandemic is unprecedented. Over three million people died, an immense and incomprehensible sacrifice. People drifting their loved ones, their jobs,서울 1인샵 their issue, their homes, their health, their wisdom of wellbeing, and hopefulness roughly the far ahead. The suicide rate jumped dramatically in altogether categories. Overdoses are furthermore upon the rise again,
According to a recent psychiatry published in Medical News Today, Depression and disturbance may be just as bad for your health as smoking and obesity. Those energetic subsequent to than tall levels of confrontation and depression were 65 percent more likely to build a heart condition, 64 percent more likely to have a battle, 50 percent more likely to manufacture high blood pressure, and 87 percent more likely to have arthritis than people who did not have demonstration or depression.
It works both waysyour creature health can impact your mental health as swiftly.
According to the National Institute of Mental Health (NIMH)
Chronic illnesses such as cancer, heart disease, or diabetes may make you more likely to have or evolve a mental health condition.
Scientists are exploring whether physiological changes seen in depression may take effect in increasing the risk of brute complaint. In people together in the midst of depression, scientists have found changes in the habit several oscillate systems in the body law that could have an impact upon creature health, including:
Changes in the control of heart rate and blood circulation
Abnormalities in emphasis hormones
Metabolic changes such as those seen in people at risk for diabetes.
Wow, that is a lot to believe in!!!
What does this each and every one share of plan to you? Lets fracture it down.
If you have been diagnosed back a chronic disease, autoimmune disease, living subsequent to chronic be dream or are a Covid Long-Hauler, you habit to pay attention to your swine, mental, and emotional health.
It may be remote to become accustomed to a added realism and to cope later the changes and ongoing treatment that come as soon as the diagnosis. Favorite comings and goings, such as hiking or farming, may be harder to get contract of sticking to of.
According to NIMH, Temporary feelings of agonized feeling are stated, but if these and subsidiary symptoms last longer than a couple of weeks, you may have depression.
Depression affects your go to come to carry upon following daily moving picture and enjoy associates, connections, be supple, and leisure. The health effects of depression go well along than character: Depression is a short medical illness considering many symptoms, including physical ones. Some signs of depression insert:
Persistent depressing, scared, or vacant feel.
Loss of assimilation or pleasure in hobbies and activities.
Decreased animatronics, fatigue, or feeling slowed down.
Difficulty concentrating, remembering, or making decisions.
Difficulty sleeping, forward-hours of daylight awakening, or oversleeping.
Changes in appetite or weight.
Aches or pains, headaches, cramps, or digestive problems without a sure instinctive cause and dont ease even once treatment.
If you have been agonized symptoms once these for bearing in mind than again a few weeks. If people save asking you if you are ok. If its tough getting yourself out of bed in the day, you exaggeration to intention medical treatment. Depression is no irrationality and can even lead to suicide attempts or thoughts of death or suicide.
Once you have professional avow for your mental health issues, its times to focus upon the body. Research shows that exercise is an functioning treatment for bring to vibrancy and depression and is often prescribed in partner in crime to declared treatment protocols.
According to the Mayo Clinic, exercise improves Mental Health by reducing risk factors such as:
Lowers blood pressure.
Helps the brain take bustle.
Releases air-sociable endorphins.
Takes your mind off worries.
Helps you profit confidence.
Creates more opportunities for social dealings.
Thirty minutes, three to five period a week, significantly include depression if you stick as soon as it beyond period. When you atmosphere enlarged physically, the world begins to door occurring again. The easy activities that in imitation of brought you joy can now be part of your cartoon.
The team at Aim Sports Medicine has a deep concurrence and knowledge roughly how the body and mind interact. As the peak sports medicine knack in the recess place, their team of Sports Medicine Experts specializes in Physical Therapy, Deep Tissue Management, Acupuncture, Facial Stretch Therapy, Personal Training, Deep Tissue Laser Therapy, and ExoArmer Manual Therapy.
Schedule an evaluation today if you are ready to disquiet through your innate, mental, and emotional limitations. Working with than Aim Sports Medicine Team, you will acquire results. When you mood enlarged in your body, you get hold of improved at animatronics, relationships, business, and pretend.
Dont comply to limits upon your act or be anxious from hours of day-to-morning chronic smart. Our swine therapists will charity together amid you to serve chronic before now and muscle indulgent.
At Aim Sports Medicine, our Massage Therapy team specializes in deep tissue rub. We perform amid clients recovering from surgery, sports-associated injuries, as skillfully as managing chronic backache. We have a detailed bargain of anatomy and custom tailor your daub treatment plot to maximize support and upgrade wellbeing.
Benefits of Massage Therapy tote occurring:
Improving the air of nap
Addressing enliven and depression
Aiding general wellness
Improving range of goings-on
Rehabilitating sports injuries
We use intensely developed hands-upon techniques to assert regulate posture and body mechanics followed by specific therapeutic exercises. We use treatments that show WITH the natural functions of the body to avow healing and foster be lackluster.
WHAT DO YOU AIM FOR?
Call today to schedule your consultation. Let us design a custom program to along with you complete your Physical wellness goals even though improving your mental wellbeing. Set your Goals and Aim High.
Are you going to the Riva party?
Review: Malibu Rising by Taylor Jenkins Reid. Ballantine, 1 June 2021.
One of the things I've loved about Taylor Jenkins Reid's books (Daisy Jones and the Six, The Seven Husbands of Evelyn Hugo, After I Do, Maybe in Another Life) is their dual preoccupation with time and structure. In Malibu Rising, these two forces -- time and structure -- help shoulder the delicate, complex work of a massive primary and secondary cast, third-person omniscient narration, and concurrent narratives beginning in 1956 and 1983. To further complicate matters, the '83 timeline unfolds over a single 24-hr period, beginning at 7am on August 27 and expiring at 7am the following morning.
In 1983, Nina Riva and her siblings, Jay, Hud, and Kit, prepare for the notorious annual house party at Nina's cliffside mansion. The siblings are children of Mick Riva, a rock star and philanderer from whom they've been estranged their entire lives. Tensions in each of the Riva kids' lives come to a head the night of the party, the chaos of which escalates in tandem with the emotional intensity our core cast experiences. August 27, 1983, will change the Riva family forever, and we get to see those changes coming in like the waves Nina & Co are so passionate about surfing.
I loved the Riva family. Whether we're following June and Mick from 1956 forward, or the Riva kids in the past and present, TJR evokes deep character development in short, efficient chapters. But do you know who I didn't care about? The many, many minor characters highlighted by the third-person omniscient narrator. The narrative focus shifts constantly, sometimes paragraph to paragraph, like our focus is a baton being handed off in a 384-page race. Frequently, the hand-off goes to a character we see only once or twice, and whose importance to the central narrative is totally insignificant.
I can see how shifting third-person omniscient seemed like an obvious choice: the narrative feels densely populated, just like the Riva party that escalates so wildly out of control. The problem is in the contrast: I cared so much about the Riva family, and so little about everyone else, that I grew frustrated by TJR's insistence that I constantly look outside the family for tension and conflict. Ultimately, this aspect of the narration felt gimmicky and unnecessary; we could have kept the shifting third person narration (limited to the Riva family), the dual timeline, the 24-hour limit in the '83 timeline, and even the party itself, and given up every pointless narrative detour to insignificant characters, and the novel still would have been unique and great. Maybe even... better?
We'll never know.
In the end, Taylor Jenkins Reid delivers another memorable, moving story about family, love, desire, and personal growth. This didn't have the strength of previous TJR books because of the fraying at the end of each narrative thread, but it was a compelling, satisfying read.
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Violence Against Women
By Zanah Thirus
Told through a deeply personal lens, this film explores sexual assault and trauma - and how these experiences intersect with race, class, and sexual orientation - with complexity and sensitivity.
Sexual assault and trauma -- and how these experiences intersect with race, class, and sexual orientation -- are rarely discussed in our society. Zanah Thirus's bold new film, UNLEARNING SEX, explores these topics with complexity and sensitivity, simultaneously raising awareness and opening the door for important conversations. Thirus bravely takes us on her six-month journey through sexual trauma therapy and the reclamation of her body in hopes of lending strength and inspiration to others. While told through a deeply personal lens, including intimate audio recordings of Thirus's therapy sessions, the film tells a story that is at once unique and universal. The addition of video interviews with a neuroscientist, sex educators, and therapists lend expert insight into sexual trauma, misconceptions surrounding sexual assault, consent, intersectionality, and sex education. This film will inspire people of all backgrounds, genders, sexual orientations, and races to speak candidly about this sensitive issues.
DVD (Color, Closed Captioned) / 2020 / 81 minutes
I'M MOSHANTY - DO YOU LOVE ME?
Director: Tim Wolff
The world's second largest island, Papua New Guinea is one of the most dangerous places to be a woman, with 70% reporting that they experienced domestic violence and sexual violence before the age of 15. Sorcery accusation killings and family violence take the lives of thousands of women every year and HIV infection rates are the highest in the Pacific. Transgender women are most often homeless, unemployed, denied education and medical care and living under the constant threat of robbery, rape and murder.
I'm Moshanty - Do You Love Me? Is a musical tribute to the late, legendary South Pacific recording artist and transgender activist Moses Moshanty Tau and the LGBTQI community of Papua New Guinea. With their lives still haunted by colonial-era sodomy laws and deadly religious bigotry, Moshanty stands as a beacon of hope for the transgender and LGBTQI community of the entire South Pacific.
Filmed over a weekend in the fall of 2017 and including her last live performances, the film celebrates the transgender activist with a mother's heart, teeth of gold and a voice like a coronet. Hear her journey from a tiny Motuan village to the top of the regional music industry. In her last interview, she shares her personal truth and her greatest desires as a woman with her millions of fans.
In 2017, a diagnosis of throat cancer threatens to silence the activist and a failed surgery leaves her unable to sing. Finally, an entire nation, from ordinary citizens to Ministers of Parliament, is asked to grieve for their brightest light and their most heavenly voice. Who could ever sing the songs of Moshanty?
DVD (English, Tok Pisin, With English Subtitles) / 2020 / 57 minutes
By Barbara Miller
#FEMALE PLEASURE accompanies five extraordinary women around the globe fighting to reclaim female sexuality.
The film introduces us to author Deborah Feldman from Brooklyn's Hasidic community, sex educator Vitika Yadav in India, manga artist Rokudenashiko in Japan, Somali activist Leyla Hussein, and former nun Doris Wagner in Europe, courageous women who are all struggling to end the harmful cultural practices like genital mutilation and the shaming of the female orgasm that lie at the root of rape culture and patriarchy. Not only highlighting the issues that have contributed to the sexual marginalization of women, the film also calls these atrocities, embedded within cultural and religious norms, by their actual names: rape, assault, child trafficking, abuse. We witness these female activists who were taught to be silent confronting the very entities that have oppressed them.
Both an urgent call to action and an empowering plea for self-determined joyful female sexuality, #FEMALE PLEASURE is ultimately an inspiring tool to help women, no matter their cultural or religious background, to reclaim their bodies and celebrate their sexuality without shame or suffering.
DVD (English, Japanese, German, Color, Closed Captioned) / 2018 / 101 minutes
By Gurcan Keltek
Set against the backdrop of the most violent period of post-Republic Turkey, Gulyabani from acclaimed filmmaker Gurcan Keltek (Meteors) tells the harrowing story of Fethiye Sessiz, a famous clairvoyant from Izmir, Turkey.
Through her diary entries and letters to her estranged son, the film relays her survival from abuse, kidnapping and violence. As Sessiz recounts her story in a hypnotic voiceover, stark, desaturated images of trees and water blend into footage of the Anatolian desert, ancient religious sites, and elliptical reenactments of Sessiz's childhood memories.
Blending documentary and experimental fiction, Sessiz's memories are interspersed with short texts from Terry Eagleton and W.G. Sebald. The film's ominous imagery draws in richly coloured shots of the Turkish landscape and found Super 8 footage, eventually giving way to an unforgettable final sequence of increasingly abstract monochromatic images where memories of the future and fragments of the past converge.
DVD / 2018 / 34 minutes
By April Hayes and Katia Maguire
Filmed over the course of nine years, HOME TRUTH chronicles one family's pursuit of justice, shedding light on how our society responds to domestic violence and how the trauma from domestic violence tragedies can linger throughout generations.
In 1999, Colorado mother Jessica Gonzales experienced every parent's worst nightmare when her three young daughters were killed after being abducted by their father in violation of a domestic violence restraining order. Devastated, Jessica sued her local police department for failing to adequately enforce her restraining order despite her repeated calls for help that night. Determined to make sure her daughters did not die in vain, Jessica pursued her case to the US Supreme Court and an international human rights tribunal, seeking to strengthen legal rights for domestic violence victims. When her legal journey finally achieved widespread national change and she became an acclaimed activist, Jessica struggled to put her life and relationships back together.
DVD (Color) / 2018 / 72 minutes
By Laura Bari
PRIMAS is an evocative and poetic portrait of two Argentine teenage cousins who come of age together as they overcome the heinous acts of violence that interrupted their childhoods.
When Rocio was 10 years old, she was dragged from her bike by a stranger, raped, set on fire and left for dead. Now a teenager, she still grapples with memories of the nightmarish assault that left her body scarred. Together with her cousin Aldana, who was sexually abused for years by her own father, she lives, laughs and shares her story. Traveling through Argentina and Montreal, the two cousins embark upon a program of theater, dance, and circus that helps them process complex emotions. Little by little, they manage to rebuild the lives that were so brutally stolen from them and free themselves from the shadows of their past.
A humanistic exploration of familial love, creativity, and courage in the wake of sexual violence, PRIMAS is a moving tribute to the deep strength of resilient women.
DVD (Color, Spanish) / 2018 / 95 minutes
THOUSAND GIRLS LIKE ME, A
By Sahra Mani
A THOUSAND GIRLS LIKE ME is an awe-inspiring verite documentary that tells the story of a young Afghan woman's fight for justice after experiencing years of physical and sexual abuse at the hands of her father.
Khatera Golzad was brutally raped by her father for thirteen years, resulting in numerous pregnancies, most of which ended in forced abortions. But two reached full term. Despite her many attempts to file charges, neither the Afghan police nor the legal system helped her. In 2014, she appeared on national television to publicly accuse her father, finally succeeding in bringing her case to court despite threats from male relatives and judges who labelled her a liar.
A THOUSAND GIRLS LIKE ME sheds light on the broken Afghan judicial system and the women it seldom protects. In a country where the systematic abuse of girls is rarely discussed, Afghan filmmaker Sahra Mani presents a story of one woman's battle against cultural, familial, and legal pressures as she embarks on a mission to set a positive example for her daughter and other girls like her.
DVD (Color) / 2018 / 52 minutes
BETTER MAN, A
By Attiya Khan & Lawrence Jackman
From Executive Producer Sarah Polley, A BETTER MAN follows a series of intimate conversations between a woman and her former boyfriend when she confronts him about their history of domestic abuse. More than 20 years have passed when filmmaker Attiya Khan asks her ex-boyfriend, Steve, to meet. Steve abused Attiya every day during the two years they lived together. She finally fled out of fear for her life, and has carried the emotional scars ever since. Now, Attiya wants to talk to Steve - on camera - searching to answer a question that is both simple and incredibly complicated: Will Steve take responsibility? A BETTER MAN follows this bold and radical exploration of restorative justice. Through emotionally raw conversations, Attiya and Steve begin a new recovery process - and illustrate a new paradigm for domestic violence prevention. The film offers a fresh and nuanced look at the healing and revelation that can happen for everyone involved when men take responsibility for their abusive behavior.
DVD (Color) / 2017 / 79 minutes
By Nadya Ali
Three Muslim women share their stories of sexual assault - and, in a deeply personal way, they challenge the stigma that has long suppressed the voice of survivors. Throughout America, many Muslim communities persist in stigmatizing all discussion of sex-related subjects. Even though sexual assault and abuse are widespread, conversations about it are rare - and the pressure for victims and their families to "keep it a secret" helps perpetuate abuse. BREAKING SILENCE takes a radical and humanizing approach to the emotional scars of sexual assault, giving women the space to share their voices without shame. Deepened by the perspectives of Imam Khalid Latif of The Islamic Center at NYU, the film challenges stereotypes and cultural beliefs held by both Muslims and the non-Muslim public. It is indispensable for those dealing with sexual assault and abuse in academic and non- academic settings, courses on Islamic and Middle Eastern Studies and Women's Studies, and for any discussion of violence against women.
DVD (Color) / 2017 / 40 minutes
By Dieudo Hamadi
Colonel Honorine Manyole, commonly known as "Mama Colonel," works for the Congolese police force and heads the unit for the protection of minors and the fight against sexual violence. Having worked for 15 years in Bukavu, in the east of the Democratic Republic of the Congo, she learns she is transferred to Kisangani. There, she finds herself faced with new challenges.
Through the portrait of this extraordinarily brave and tenacious woman, who fights for justice to be done, this film addresses the issue of violence towards women and children in the DRC and the difficulty of overcoming the past war.
DVD (English, French, Color, With English Subtitles) / 2017 / 72 minutes
WHAT DOESN'T KILL ME: DOMESTIC VIOLENCE AND THE BATTLE FOR CUSTODY
By Rachel Meyrick
Every day, 5 million children in the U.S. experience domestic violence, either as witnesses or victims. Due to a horrific system that favors abusive fathers, a shocking number of mothers who seek to protect their children (and themselves) end up losing them. Most Americans are unaware that an abusive father, who contests custody from a protective mother, will win 70 percent of the time. This bold and provocative film is a long overdue exploration into why the most powerful country in the world is not protecting its most vulnerable mothers and children and thus enabling generations of abusers to continue their abuse.
Along with intimate personal stories, family revelations with hard hitting facts and frank discussions on the child custody issue with feminists, lawyers, judges and domestic violence experts we follow the indomitable 86-year-old Charlotta Harrison, a survivors' advocate who herself survived a 60-year abusive marriage. She speaks hauntingly about the pressures and fears that make it so difficult for women in danger to leave. With Charlotta, we meet women and children who have been separated, silenced, and pushed to extreme methods of escape - and who are fighting back.
DVD (Color) / 2017 / 81 minutes
Directors: Yael Kipper & Ronen Zaretzky
Child Mother tells the story of elderly women, born into Jewish communities in Morocco and Yemen, forced to become brides when they were still little girls.
Conversations between mothers and their families reveal haunting histories of women forced into marriage as young children. Born into Jewish communities in Morocco and Yemen where child marriage was a culturally sanctioned custom, these women's voices were largely unheard. When they were only five or six or ten years old, their parents snatched them from the playground and handed them to much older men? to be married. They recall the violence and fear they were subjected to, the pregnancies at the age of eleven or twelve, becoming mothers when they were still little girls themselves.
It was an open secret but one they put aside forever, because revealing it might tear their family apart, causing commotion and creating chaos. The memories of their tragic childhood never healed - they were simply suppressed for the sake of their children, their livelihoods, and their husbands. No more.
DVD (Hebrew, Moroccan, Yemeni Arabic, With English Subtitles) / 2016 / 90 minutes
FACES OF HARASSMENT
By Paula Sacchetta
FACES OF HARASSMENT is an experiment in storytelling about trauma. When the hashtag #MyFirstHarassment swept across Brazil, it showed not only the widespread experience of sexual harassment, but a widespread hunger to bring it out of the shadows. FACES OF HARASSMENT amplifies this movement, by opening space for women to speak their own truth. The film was shot in a mobile storytelling van, parked in rich and poor neighborhoods alike across SÃ£o Paulo and Rio de Janeiro and open to any woman. The van was a free, autonomous space, where women spoke to the camera directly, no interviewer or other influence present. FACES OF HARASSMENT offers an honest and unflinching look at the scourge of sexual harassment - and at the radical possibilities for dignity and healing that can happen when women are free to speak completely for themselves.
DVD (English, Portuguese, Color) / 2016 / 82 minutes
By Joanna Sokolowski and Kate Trumbull-LaValle
Riding at night through streets deemed dangerous in Eastside Los Angeles, the Ovarian Psycos use their bicycles to confront the violence in their lives. At the helm of the crew is founder Xela de la X, a single mother and poet M.C. dedicated to recruiting an unapologetic, misfit crew of women of color. The film intimately chronicles Xela as she struggles to strike a balance between her activism and nine year old daughter Yoli; street artist Andi who is estranged from her family and journeys to become a leader within the crew; and bright eyed recruit Evie, who despite poverty, and the concerns of her protective Salvadoran mother, discovers a newfound confidence.
The film Ovarian Psycos rides along with the Ova's, exploring the impact of the group's activism, born of feminist ideals, Indigenous understanding and an urban/hood mentality, on neighborhood women and communities as they confront injustice, racism, and violence, and take back their streets one ride at a time.
DVD (Color) / 2016 / 72 minutes
WHAT HAPPENED TO HER
By Kristy Guevara-Flanagan
WHAT HAPPENED TO HER is a forensic exploration of our cultural obsession with images of the dead woman on screen. Interspersing found footage from films and police procedural television shows and one actor's experience of playing the part of a corpse, the film offers a meditative critique on the trope of the dead female body.
The visual narrative of the genre, one reinforced through its intense and pervasive repetition, is revealed as a highly structured pageant. The experience of physical invasion and exploitation voiced by the actor pierce the fabric of the screened fantasy. The result is recurring and magnetic film cliche laid bare. Essential viewing for Pop Culture, Women's and Cinema Studies classes.
DVD (Color) / 2016 / 15 minutes
By Kim Longinotto
"You got any dreams you wanna catch?" Sundance award winner DREAMCATCHER takes us into a hidden world of prostitution and sexual trafficking through the eyes of one of its survivors, Brenda Myers-Powell. A former teenage prostitute with a drug habit, Brenda defied the odds to become a powerful advocate for change in her community, and works to help women and young girls break the cycle of sexual abuse and exploitation. DREAMCATCHER lays bare the hidden violence that devastates the lives of these young women, their families and the communities where they live in Chicago and Brenda's unflinching intervention that turns these desperate lives around.
With unprecedented access, multi-award winning director, Kim Longinotto (SISTERS IN LAW, ROUGH AUNTIES, SALMA) paints a vivid portrait of a community struggling to come to terms with some of its most painful truths and of the extraordinary woman who uses her past to inspire others to survive. With warmth and humor, Brenda gives hope to those who have none in the four magic words she offers up to everyone she meets: "It's not your fault."
DVD (Color) / 2015 / 98 minutes
Directed by Cynthia Hill
PRIVATE VIOLENCE explores a simple but deeply disturbing fact of American life: the most dangerous place for a woman in America is her own home. Every day in the U.S., at least four women are murdered by abusive (and often, ex) partners. Through the eyes of two survivors - Deanna Walters, a mother who seeks justice for the crimes committed against her at the hands of her estranged husband, and Kit Gruelle, an advocate who seeks justice for all women - we bear witness to the complex realities of intimate partner violence. Their experiences challenge entrenched and misleading assumptions, providing a lens into a world that is largely invisible; a world we have locked behind closed doors with our silence, our laws and our lack of understanding. PRIVATE VIOLENCE begins to shape powerful, new questions that hold the potential to change our society: "Why does he abuse?" "Why do we turn away?" "How do we begin to build a future without domestic violence?"
DVD (Color) / 2014 / 77 minutes
BRAVE MISS WORLD
By Cecilia Peck, Inbal B. Lessner & Motty Reif
In October 1998, eighteen-year-old Linor Abargil was stabbed and raped while working as a model in Milan. Weeks later she was crowned Israel's first Miss World. Over the course of five years, director Cecilia Peck (Shut Up & Sing) follows Abargil, on a mission to confront the trauma of her past, including a hunt for other victims of the man who raped her, preventing his parole. Abargil, a poised, magnetic and supremely empathic advocate travels from Hollywood to rape crisis centers, American college campuses and the townships of South Africa to share her story and inspire others to confront shame and to heal. Emmy nominated BRAVE MISS WORLD is a call for justice and a startlingly honest portrayal of how personal tragedy can be transformed into a global awareness campaign against sexual violence.
DVD (Color) / 2013 / 88 minutes
GREY AREA, THE: FEMINISM BEHIND BARS
By Noga Ashkenazi
THE GREY AREA is an intimate look at women's issues in the criminal justice system and the unique experience of studying feminism behind bars.
Through a series of captivating class discussions, headed by students from Grinnell College, a small group of female inmates at a maximum women's security prison in Mitchellville, Iowa, share their diverse experiences with motherhood, drug addiction, sexual abuse, murder, and life in prison. The women, along with their teachers, explore the "grey area" that is often invisible within the prison walls and delve into issues of race, class, sexuality and gender.
DVD (Color) / 2012 / 65 minutes
RED WEDDING: WOMEN UNDER THE KHMER ROUGE
By Lida Chan and Guillaume Suon
The Killing Fields in Cambodia became known to the world but little is known about the struggles of the women left behind. From 1975-79, Pol Pot's campaign to increase the population forced at least 250,000 young Cambodian women to marry Khmer Rouge soldiers they had never met before. Sochan Pen was one of them. At 16, she was beaten and raped by her husband before managing to escape, though deeply scarred by her experience. After 30 years of silence, Sochan is ready to file a complaint with the international tribunal that will try former Khmer leaders. With quiet dignity, she starts demanding answers from those who carried out the regime's orders.
To tell a story little known outside Cambodia, Cambodian Lida Chan and French-Cambodian Guillaume Suon include Khmer Rouge era footage underscoring war's traumatic legacy for Sochan's generation of women. Awarded two prizes at Amsterdam's prestigious International Documentary Film Festival, RED WEDDING demonstrates the liberating power of speech and memory in the quest for justice.
DVD (Cambodian, Color) / 2012 / 58 minutes
DUHOZANYE: A RWANDAN VILLAGE OF WIDOWS
By Karoline Frogner
During the 1994 genocidal campaign that claimed the lives of an estimated 800,000 Rwandans and committed atrocities against countless others, Daphrose Mukarutamu, a Tutsi, lost her husband and all but two of her 11 children. In the aftermath she considered suicide. But instead, she took in 20 orphans and started Duhozanye, an association of Tutsi and Hutu widows who were married to Tutsi men. This powerful documentary by award-winning Norwegian director Karoline Frogner recounts the story of Duhozanye's formation and growth - from a support group of neighbors who share their traumatic experiences, rebuild their homes, and collect and bury their dead, to an expanding member-driven network that advances the empowerment of Rwandan women. Featuring first-person accounts by Daphrose and other Duhozanye widows, the film shows association members helping women victims of rape and HIV/AIDS, running small businesses and classes in gender violence prevention, and taking part in national reconciliation through open-air people's courts where they can face, and often forgive, their loved ones' killers.
DVD (Kinyarwanda, Norwegian, Color) / 2011 / 52 minutes
By Deepa Dhanraj
In Southern India, family disputes are settled by Jamaats - all male bodies which apply Islamic Sharia law to cases, without allowing women to be present, even to defend themselves. Recognizing this fundamental inequity, a group of women in 2004 established a women's Jamaat, which soon became a network of 12,000 members spread over 12 districts. Despite enormous resistance, they have been able to settle more than 8,000 cases to date, ranging from divorce to wife beating and brutal murders. Award-winning filmmaker Deepa Dhanraj (SOMETHING LIKE A WAR) follows several cases, shining a light on how the women's Jamaat has acquired power through both communal education and the leaders' persistent, tenacious and compassionate investigation of the crimes. In astonishing scenes we watch the Jamaat meetings, where women often shout over each other about the most difficult facets of their personal lives. Above all, the women's Jamaat exists to hold their male counterparts and local police to account, and to reform a profoundly corrupt system which allows men to take refuge in the most extreme interpretation of the Qur'an to justify violence towards women.
DVD (Color) / 2011 / 85 minutes
PRICE OF SEX, THE
By Mimi Chakarova
An unprecedented and compelling inquiry into a dark side of immigration so difficult to cover or probe with depth, THE PRICE OF SEX sheds light on the underground criminal network of human trafficking and experiences of trafficked Eastern European women forced into prostitution abroad. Photojournalist Mimi Chakarova's feature documentary caps years of painstaking, on-the-ground reporting that aired on Frontline (PBS) and 60 Minutes (CBS) and earned her an Emmy nomination, Magnum photo agency's Inge Morath Award, and a Webby for Internet excellence.
Filming under cover with extraordinary access, even posing as a prostitute to gather her material, Bulgarian-born Chakarova travels from impoverished rural areas in post-Communist Eastern Europe, including her grandmother's village, to Turkey, Greece, and Dubai. This dangerous investigative journey brings Chakarova face to face with trafficked women willing to trust her and appear on film undisguised. Their harrowing first-person accounts, as well as interviews with traffickers, clients, and anti-trafficking activists, expose the root causes, complex connections, and stark significance of sexual slavery today.
DVD (English/Russian/Turkish/Bulgarian, Color) / 2011 / 73 minutes
By Daniel Junge and Sharmeen Obaid-Chinoy
SAVING FACE is a harshly realistic view of some incredibly strong and impressive women. Every year in Pakistan, many women are known to be victimized by brutal acid attacks, with numerous cases going unreported. With little or no access to reconstructive surgery, survivors are physically and emotionally scarred. Many reported assailants, typically a husband or someone else close to the victim, receive minimal punishment from the state.
Plastic surgeon Dr. Mohammad Jawad left his prominent London practice to return to his home country and help the victims of such attacks. Two of these women, Zakia and Rukhsana, are victims of brutal acid attacks by their husbands and in Rukhsana's case, her in-laws as well. Both attempt to bring their assailants to justice and move on with their lives with the help of NGOs, sympathetic policymakers, politicians, support groups with other acid attack victims and Dr. Jawad. SAVING FACE also depicts a Pakistan that is changing - one where ordinary people can stand up and make a difference and where marginalized communities can seek justice.
DVD (Color, Urdu, With English, Subtitles) / 2011 / 40 minutes
‘Army of the Dead’: Watch Five Minutes of Footage With These Clips from Zack Snyder’s Zombie Movie!
Coming to select theaters on May 14 and Netflix on May 21, Zack Snyder returns to the zombie genre with Army of the Dead, and five new clips have been unleashed today.
The five clips together bring us around 5-minutes of brand new preview footage, highlighting the mission, the team, and of course, the zombie tiger named Valentine. Yes, Valentine.
Watch five minutes of Army of the Dead down below!
In the Netflix movie…
“Army of the Dead takes place following a zombie outbreak that has left Las Vegas in ruins and walled off from the rest of the world. When Scott Ward (Dave Bautista), a displaced Vegas local, former zombie war hero who’s now flipping burgers on the outskirts of the town he now calls home, is approached by casino boss Bly Tanaka (Hiroyuki Sanada), it’s with the ultimate proposition: Break into the zombie-infested quarantine zone to retrieve $200 million sitting in a vault beneath the strip before the city is nuked by the government in 32 hours.
“Driven by the hope that the payoff could help pave the way to a reconciliation with his estranged daughter Kate (Ella Purnell), Ward takes on the challenge, assembling a ragtag team of experts for the heist. They include Maria Cruz (Ana de la Reguera), an ace mechanic and Ward’s old friend; Vanderohe (Omari Hardwick), a zombie killing machine; Marianne Peters (Tig Notaro), a cynical helicopter pilot; Mikey Guzman (Raúl Castillo), a go-for-broke influencer and Chambers (Samantha Win), his ride-or-die; Martin (Garret Dillahunt), the casino’s head of security; a badass warrior known as the Coyote (Nora Arnezeder) who recruits Burt Cummings (Theo Rossi), a slimy security guard; and a brilliant German safe cracker named Dieter (Matthias Schweighöfer).
“Scott finds an unexpected emotional hurdle when Kate joins the expedition to search for Geeta (Huma S. Qureshi), a mother who’s gone missing inside the city. With a ticking clock, a notoriously impenetrable vault, and a smarter, faster horde of Alpha zombies closing in, only one thing’s for certain in the greatest heist ever attempted: survivors take all.”
The film is written by Zack Snyder, Shay Hatten and Joby Harold.
Army of the Dead is also getting a live-action prequel *and* an animated prequel series.
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Light seen through the windows: an analysis of windows as a literary tool in Elriel relationship
I would love to preface this meta with my favorite disclaimer that everything that I will be discussing is based on what I have gathered from SJM writing. The quotes used in this post will serve as a starting point for further analysis. Additionally, I will be using things such as symbolism, metaphors, and literary device methods to build up my reasoning and beliefs. On another note, this, as usual, is strictly pro-Elriel meta. If they are not your cup of tea and you wish to comment, please be civil and bring arguments supported by the text.
So many of us like to gaze and stare through the windows daily. Looking at the world behind the glass often is considered a form of tranquility that we feel. Windows are essentially doors that lead us to whatever lies behind them - the last border between being in one place and then in another. It isn't then surprising that windows serve as symbols and metaphors in literature. From the start, whenever I read a passage about windows in ACOWAR I was reminded of Wuthering Heights by Emily Bronte. You may ask why?
Emily Bronte used windows as symbolism in her work. They are very important for her characters and their personal arcs. They are symbols of barriers, misfortunes that characters face. Windows there are metaphors of various obstacles estranging Bronte's characters from achieving their hopes - realizing that the dreams they had will be not fulfilled. As I don't want to get spoilery with Wuthering Heights, I'm going to draw conclusions in a very neat manner. Bronte used windows as a connection to nightmares that one of the main characters was suffering from - it ties to the fact that in his nightmares he sees the person he had loved, haunting him. Because of the relationship with a said woman, the imagery of windows in this particular scene symbolizes death, an obstacle that stands between both of them. Throughout the book, we also get glimpses of how windows might be used as a metaphor for social classes and the contrast between them, and how Heathcliff and Catherine have to go about it. Along with the windows, doors are also used as a symbol of trapping someone in one place, obstructing them from achieving their dream or preventing them from reaching out to their loved one. Not to mention that during a very particular scene with Catherine, she wants the windows open - a symbolism of her wanting to feel free, to connect with something she knows, she longs for. This leads to the conclusion that windows in Bronte's novel are symbols of life and death, they are the in-between - a symbolic barrier.
On the other hand, windows in literature signalize something called "art of watching", and usually it is connected to a female protagonist that observes life, events through the window. Not to mention, the most famous association to windows such as "windows to the soul" - which, of course, is more metaphorical. It allows us, the audience, to connect with the character's inner feelings, struggles, as we are presented with the emotional aspect of said person. They are the bridge between the inside and outside. Windows are also a source of light, which we humans crave. Looking through the window one can absorb the light, which can resonate as a symbol of growth and change. Metaphorically we see the light from the window when we feel a need to light up the darkness inside us. They expose us, our inner feelings, and struggles.
When I read ACOWAR I have noticed that SJM decided to use windows, quite clearly, in the indication of two particular characters. Azriel and Elain. For the first time, when we met Elain again in the third book the window is a big issue.
"The suite was filled with sunlight. Every curtain shoved back as far as it could go, to let in as much sun as possible."
We have a clear description of the sunlit room, curtains shoved to further underline the need for light.
"And seated in a small chair before the sunniest of the windows, her back to us, was Elain."
In the brightest place in the room sits Elain, in front of the window. She is exposed to the sun, to sunlight and is absorbing that light - which is highlighted during this scene (which makes it important to note).
"Her skin was so pale it looked like fresh snow in the harsh light. I realized then that the color of death, of sorrow, was white."
The sunlight exposes Elain, its harsh light makes her pale, almost translucent. Even Feyre realizes the graveness of this picture comparing this white hue to death. As you can see the chain of events in this scene played like that: sunlit room -> curtain swept away -> Elain sitting in front of the window -> sudden comparison to death.
"She had been always so full of light. Perhaps that was why she now kept all the curtains open. To fill the void that existed where all of that light had once been. And now nothing remained."
Feyre deducts that the need for light on Elain's part is a desperate call to brighten the darkness inside her - which perfectly aligns with the metaphorical usage of windows. Elain basks in light in a helpless cry for help. The very dark void that appeared within her after being Made eats her away. It sucks her immortal life away - the one which she yet didn't get used to. On the other hand, we as readers are presented with the fact that Elain is trapped. In this Fae life, in this room, in this situation in which she grieves for her past and many what-ifs.
Nothing. Not even a flicker of emotion. “Everyone keeps saying that.” Her thumb brushed the ring on her finger. “But it doesn’t fix anything, does it?”
Sitting in front of the window - a sunny one to be precise, which symbolizes life, growth, and change, Elain is presented in a contrast to her surroundings. To show that visible barrier that her person has to overcome. She realizes that her dreams are meant to be unfulfilled, that they are unreachable.
"My stiff, limping steps, at least, had eased into a smoother gait by the time I found Elain in the family library. Still staring at the window, but she was out of her room."
The next time we see Elain she is out of her room - her "cage", but even though she left the boundaries of her entrapment she still chooses to linger around the windows. As Feyre notices, Elain gazes through the window - we are obstructed from Elain's POV and it's hard to imagine what she could be thinking about. Yet the symbolic manner of using the window as some sort of mirror, a passage that happens throughout the series, allows me to think that the metaphorical usage of windows, in this case, isn't a far-fetched idea.
"Elain didn’t turn. She was wearing a pale pink gown that did little to complement her sallow skin, her brown-gold hair hanging in loose, heavy ringlets down her thin back."
SJM uses this sentence to highlight that it isn't just a quick glance out of the window - in fact, it is constant staring through it. It is important for us as readers to note that this thing, window gazing, is an occupation that lasts for long periods of time. It isn't something trivial, it is something that showcases the importance of said windows in Elain's journey.
“What are you looking at?” I asked Elain, keeping my voice soft. Casual. Her face was wan, her lips bloodless. But they moved—barely—as she said, “I can see so very far now. All the way to the sea.”
Feyre decides to ask Elain who is still gazing through the window. Her answer is very ominous and holds a great deal of importance, but also underlines the fact that she is drawn to the window. Not to mention that what she is seeing is the sea - another vastly discussed symbol. In this situation, I believe that the interpretation can lay in a more psychological aspect of the matter rather than a literary one. In the works of very well-known psychiatrist Carl Jung the sea "symbolizes the personal and the collective unconscious in dream interpretation". So from his notes there comes this annotation that caught my attention, "The sea is a favourite place for the birth of visions."
Elain is a seer who constantly gazes through a window which symbolizes the in-between, life and death. These two are connected to one another and SJM used many things to further develop Elain's character as a powerful figure.
"Elain only turned toward the sunny windows again, the light dancing in her hair."
After the whole conversation Elain doesn't move from her spot, quite the contrary she returns to her previous activity. Gazing through the window. Once again we are reminded about the sun and light - which signalizes that Elain tries to undergo through the process of rebirth, but also tries to break free from the unhappiness that came with lost dreams.
"Something in my chest cracked as Nesta’s eyes also went to the windows before Elain. To check, as I did, for whether they could be easily opened."
Here we have an instance of both sisters realizing that Elain spending so much time in front of windows can be dangerous, as in her attempting to jump from them. Once again, the symbolism of death.
"More steps—no doubt closer to where Elain stood at the window."
Elain is still beside the window when Lucien tries to talk to her. Even alone she seeks the place next to the window to stare.
"But sunlight on gold caught his eye—and Elain slowly turned from her vigil at the window."
Elain is still by the window, for the whole scene she is there not moving an inch from it. Furthermore, the word "vigil" is also an interesting choice. There are different meanings of it, but I find these ones very telling and suitable for this instance: a period of sleeplessness; insomnia, a watch kept, or the period of this and a devotional watching, or keeping awake, during the customary hours of sleep. We can speculate about what happened to Elain while she was in the Cauldron, what made her so withdrawn from life and so desperate for the light. I want to believe that we as readers will get our answers in the next book since Elain being a seer with unknown powers makes her a perfect target for Koschei with which she has already had connections.
She looked away—toward the windows. “I can hear your heart,” she said quietly.
Again, during the whole conversation, she doesn't move away from her spot next to the window. Windows for her, start to become a symbolism of change and rebirth - the things she probably wished while being confined to her room.
Elain only stared out the window, unaware—or uncaring.
We have another mention about staring - which further highlights how important windows are as a literary tool for Elain's character. She seeks light, she wants to overcome this barrier that was thrown at her the moment she was Made. She, perhaps, watched through the window to observe the life which was stripped away from her and turned her into this immortal being. Or, maybe she just desperately wanted to brighten up the darkness that gathered inside her because of that whole situation. Another important thing to note is that this scene is a first moment alone with Lucien - her mate, which should have been very painful for her. The conversation also held a lot of weight, yet she valiantly stood by the window as if somewhere behind it she could find an answer.
“So it can’t be a perfect system of matching. What if”—I jerked my chin toward the window, to my sister and the shadowsinger in the garden —“that is what she needs? Is there no free will? What if Lucien wishes the union but she doesn’t?”
Here we have an instance of "art of watching" in which Feyre observes Azriel and Elain through the window. By watching them she comes to the conclusion that both of them are better suited and actually can comfort each other in comfortable silence. The window here is used as a barrier to showcase parallels of two couples: happily mated Feysand and unhappily in love with other people Elriel.
"But I looked to Azriel, currently leaning against the wall beside the floor-to-ceiling window, shadows fluttering around him."
And here we are start with Azriel and windows (also in ACOWAR). He is another character that has an extraordinary connection to windows. He is often mentioned next to them and somehow parallels Elain's behavior - staring through windows, being near them.
"I blinked, realizing I’d been lost in the bond, but found Azriel still by the window, (...)."
As we can see Azriel lingers next to the window without moving away from it - as the scene progresses we know that the conversation lasts a good ounce of time, yet Azriel stands in his place by the window.
"Azriel didn’t so much as turn from his vigil at the window, though I could have sworn his wings tucked in a bit tighter."
The same wording, the same imagery. Both used for Elain and Azriel. Both of them keeping vigils at the windows, staring through them as if they could find an answer through them.
"The main room of the guardhouse was stuffy and cramped, more so with all of us in there, and though I offered Elain a seat by the sealed window, she remained standing—at the front of our company. Staring at the shut iron door."
This scene is when Elain is about to confront her lover - Greysen. It is underlined that she rejected her usual spot, which is by the window, and preferred to face the door. She was trapped, she knew that a very important discussion will take a place here. She chose to look at the door rather than at the window, which in this matter could symbolize hope for a change - she stared at the door which metaphorically means transition or imprisonment.
"(...) close to Elain’s side as she and my sister silently kept against the wall by the intact bay of windows."
Another instance of Elain and her being content with being next to the windows.
"I’d seen Elain staring out the window earlier—watching Graysen leave with his men without so much as a look back at her."
"Art of Watching", but also the window's symbolism of dreams that were unfulfilled. At that moment, we can assume, that Elain realized that her dreams concerning human life and her future with Greysen would only be unattainable dreams/hopes.
“What now?” Elain mused, at last answering my question from moments ago as her attention drifted to the windows facing the sunny street. That smile grew, bright enough that it lit up even Azriel’s shadows across the room. “I would like to build a garden,” she declared. “After all of this … I think the world needs more gardens.
At the end of ACOWAR, we have this powerful moment, in which Elain gazing out of the window sees sunny streets = life. A chance of rebirth, which also beautifully overlaps with the fact that she proposed building a garden! The in-between that she balanced on while gazing through the window for so many times turned from death and misfortunes into life and hopes of the future.
"Elain politely refused, taking up a spot in one of the wooden chairs set in the bay of windows. Also typical."
From Rhysand's point of view, we can deduct that even they are aware of the fact that Elain and windows are something notable. It is a place where she feels comfortable and probably spends a lot of time.
"Beyond the windows, darkness had indeed fallen. The longest night of the year. I found Elain studying it, beautiful in her amethyst-colored gown. I made to move toward her, but someone beat me to it."
In previous quotes, we could gather information about how Elain craved the light and how desperate she was to lighten up her person. Here, we can see that she also started to embrace the darkness. She is again by the window, observing the darkness as if no one else was around her. And of course, the one person who goes towards her at that moment is Azriel, a personification of darkness in the books.
Azriel strode to the lone window at the end of the room and peered into the garden below. “I’ve never stayed in this room.” His midnight voice filled the space.
Azriel went straight to the window. And not an ordinary one, but the one through which you can see the garden. Life and light. I know many were theorizing if what kept Azriel so occupied by the window was Elain, but I would love to put some of my thoughts in this discourse. Yes, I do think that what caught his attention, or who caught his attention was Elain. However, Elain at that moment represents life and light - the things that are associated with windows. And if you spin it around you have Azriel=darkness, death staring at Elain=light, life. The in-between, the very initial symbolism of window in literature. Not to mention that in this scene we have Azriel watching the light and next we have Elain observing darkness.
“No,” Azriel said, not turning from the window.
Azriel remained at the window. “Will Nesta stay here if she comes?
“I’d still be surprised if they remember once the storm clears,” Azriel said, turning from the garden window at last.
We have a whole scene in which it is so heavily implied that Azriel was constantly staring through the window, not even bothering to move away from it. We also have another highlighted thing which is the fact that it was a garden window.
There was a tiny box left on the table by the window—a box that Mor lifted, squinted at the name tag, and said, “Az, this one’s for you.”
A small thing, yet a very sweet one. The fact that even his present was placed close to the window, which starts to become an Elriel thing.
"She’d barely slept for fear of Elain walking off this veranda, or leaning too far out of one of the countless windows, or simply throwing herself down those ten thousand stairs."
We have a reminder that during her stay at House of Wind, Elain was a symbol of death. She carried it on her while being associated with windows that were used as a source of light that helped her heal.
"Elain stood at the wall of windows, clad in a lilac gown whose close-fitting bodice showed how well her sister had filled out since those initial days in the Night Court."
Even when she visits Nesta, she takes the place by the windows. It is something that is strictly connected to her. As if the windows were part of her now.
Elain’s smile was as bright as the setting sun beyond the windows. “I thought I’d drop by to see how you were doing.”
Light, sun, life = Elain.
“You’ve got good coloring, I mean,” Elain clarified, striding from the windows to cross the room. She stopped a few feet away. As if holding herself back from the embrace she might have given.
SJM still used the passages to underline the passage of time that Elain spent standing next to the window. It is a place in which she feels good and perhaps safe.
"They’d sat in them, before this fire, so many times that it was an unspoken rule that Azriel’s was the one on the left, closer to the window, and Cassian’s the one to the right, closer to the door."
We also get the information that Azriel always was the closest to the window - which is an odd thing to add without a deeper meaning. As if to further build up that connection between him and Elain - that both of them are aware of the fact that they are also the symbolism of the allegory of windows. I believe that SJM really researched that light and darkness trope, with which she built and she is still building up Elriel. The windows are just another tiny nugget that further envelopes both of them as one. Because while Elain transformed from death to life, she still welcomed darkness and embraced it - and Azriel opened to the life and light, seeking it. As I said, windows are a literary tool, which perhaps wasn't the main idea in the SJM text, but the amount of parallels between both of them and even the same wording applied to different scenes tells me that it's yet another connection between them.
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The Kung Fu Reboot's Shining Despite Its Lack of Subtlety
Olivia Liang as Nicky Shen.
Image: The CW
Though the CW’s new Kung Fu reimagining (created by Hawaii Five-0 writer Christina Kim) doesn’t explicitly reference the 1972 series it’s loosely based on, you don’t have to look particularly hard to see how it’s actively trying to reclaim aspects of Chinese culture that the original show reduced to set dressing styled to glorify David Carradine.
The original Kung Fu’s title alone spoke volumes about what sort of social climate and pop-cultural mores led to the creation of a TV show starring a white man playing a biracial Chinese man that ran for three seasons on ABC. The original Kung Fu’s centering of whiteness and overt cultural appropriation were glaring marks against it that were only further highlighted by stories like The Karate Kid and Cobra Kai that drew inspiration from it. In place of Carradine’s Kwai Chang Caine, the orphaned son of a Chinese woman and an American man who sets out on an adventure through the Old West as he searches for his long-lost half brother, the new Kung Fu tells the story of Nicky Shen (Legacies’ Olivia Liang), a Chinese American 20-something whose path to heroism begins with a heartfelt realization about her needs.
The CW’s Kung Fu establishes early in its first episode that while Nicky’s estranged from her family, her emotional connection to them runs quite deep. It’s something that made it much more difficult for her to run away from them after she realized her mother’s true motive in sending her on a trip was matchmaking with the hope of a quick marriage. In a flashback set three years in the past, Nicky’s split-second decision to flee a night of matchmaking brought her face-to-face with a woman named Pei-Ling (Vanessa Kai) who immediately understood why a young woman might want to flee a life of pre-planned domesticity insisted upon by her parents
Nicky stowing away.
Screenshot: The CW
In Nicky, Pei-Ling saw shades of herself, and the younger woman’s burgeoning potential for greatness that was only being held back by her uncertainty about her future. Kung Fu breezes through this bit of Nicky’s backstory in order to show you how quickly she became acclimated to life at a monastery in the Yunnan Province where Pei-Ling trained a number of girls in Shaolin kung fu. The speed with which Nicky becomes one of the stronger students works to keep Kung Fu’s story moving at a brisk pace, but it’s also one of the show’s first ways of cluing you in to how she’s destined for greatness. It’s something her Shifu never fully gets to tell her before she’s murdered in a sudden attack by a woman named Zhilan (Yvonne Chapman).
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When Nicky stumbled upon Zhilan, she couldn’t have possibly understood what the killer wanted with the mysterious sword she stole from the monastery and used to murder Pei-Ling. Strange as the sword (which somehow burns Nicky’s hand when she touches its hilt) is, Zhilan’s intention to kill Nicky made survival her top concern in that moment. It’s only through sheer luck—or perhaps destiny—that she’s able to survive a near-deadly fall off a cliff after the would-be assassin chases her down. The entire ordeal is what prompts Nicky to flee China and return to her home in San Francisco.
Formulaic as much of Kung Fu’s premise is, what really sets the show apart is its distinct goal of treating its characters with a level of thoughtfulness and attention to detail that’s seldom afforded to productions with predominantly Asian casts, which continue to be a rarity on network television. As much emotional distance as there is between Nicky and her mother Mei-Li (Tan Kheng Hua), Kung Fu takes care to illustrate the emotional reasoning behind why the women don’t see eye-to-eye in order to avoid depicting them as having a stereotypical domineering parent/stifled child dynamic. Anxious as her family makes her, Nicky never wavers in her belief that she should be the arbiter of her own future, particularly when it comes to intensely personal things like who she dates. Hostile as Mei-Li is towards Nicky when she shows up out of the blue, it never comes from a place of outright disdain for her daughter, but rather a desire to shield her from all of the secrets that she and her kind-hearted restaurateur husband, Jin (Mulan’s Tzi Ma), have been hiding from their children.
Nicky witnessing Pei-Ling’s murder.
Screenshot: The CW
In sharp contrast to the impression his wife’s reaction gives off, Jin sees his daughter’s return as the first step in healing some of the anger that’s been simmering in their family in the years since Nicky dropped out of school to become a monk—and her siblings feel more or less the same. The show explores the regret Nicky feels for leaving her family behind by making clear just how much of her older sister Althea’s (Shannon Dang) and her younger brother Ryan’s (Jon Prasida) lives she’s missed out on. Where Nicky sprinted away from the very thought of marriage, she comes home to find Althea elated and in the throes of planning her own upcoming wedding. Unlike her sister, who has an easy time immediately welcoming Nicky back, Ryan lets her know how much it hurt for her, the only person in the family who knew that he was gay at the time, to abandon him. Both of Nicky’s siblings have a comparatively easier time picking things back up with her than their mother; that sets the stage for them becoming her invaluable support team as the troubles she thought she’d left behind in China just so happen to follow her home.
Before Kung Fu fully begins to lean into its street-level vigilante rhythm, it first introduces Nicky’s ex-boyfriend, Evan Hartley (Gavin Stenhouse), an assistant district attorney and one of the series’ few significant white characters. Evan’s complicated feelings about Nicky’s return are rooted both in their romantic past and the cultural divide Kung Fu’s none too subtle about nodding to as a potential source of emotional struggle for the both of them. As much energy as the show puts into centering Nicky’s story and working to distinguish itself from the original Kung Fu, there are a number of moments—generally when white characters are present and whiteness comes up in conversation—when it feels uncertain as to how hard it wants to go in acknowledging the realities of how race and class function in America. Like Nicky’s siblings, Evan also becomes an ally in her fight against evil in San Francisco. But Kung Fu leading with the idea of its heroine relying on the assistance of a white lawyer with connections in the local police department feels somewhat at odds with the way the show reminds you how the kind of terror that begins to plague her local community has historically been the result of people like Evan failing to become involved in a meaningful way.
Interestingly, Evan is the first person that Nicky tells about what happened in the monastery—including how some of what happened in the fight appeared to be borderline-magical. What little question there was about whether Kung Fu is a genre series or not evaporates once Pei-Ling’s ghost begins appearing to our young hero in visions encouraging her to push through the present turmoil she’s experiencing in order to heal her family bonds and embrace her fate. The story further complicates Nicky’s journey by showing her that walking the path Pei-Ling’s ghost insists lays before her is still perilous, something she learns as she arrives at her family’s restaurant just in time to witness someone attacking her father.
Nicky speaking with Evan.
Screenshot: The CW
Kung Fu taps into many elements of superhero storytelling, but secret identities aren’t exactly one of them, since Nicky considers herself to be a regular person who is highly trained in a special form of spirituality that also features martial arts. Nicky’s visions of Pei-Ling, her previous encounter with Zhilan, and her lingering questions about the stolen sword make it impossible for her to rule out the possibility that there’s more to the blade and the myths attached to it. Thankfully, it’s something she begins to learn more about with the help of Henry Yan (Eddie Liu), a Chinese folklore and history expert. Between cryptic conversations with Pei-Ling’s spirit and Henry’s research, Nicky soon begins to understand how the sword gained its legendary status centuries ago after it was first picked up by a woman named Liang Daiyu who drove raiders away from her village when no one else could. While Nicky still has some doubts as to the legends’ telling of the sword’s magical properties, she can’t deny that people interested in it have become a clear danger to her personally, and this all works as Kung Fu’s way of presenting Nicky’s story as the continuation of an in-universe mythological legacy.
What seems at first like it may simply be Zhilan having attempted to further stalk Nicky actually turns out to be her father suffering the consequences of the family’s financial involvement with Triad boss Tony Kang (Tristan Liu). Uncertain as Nicky’s been about the complications related to her Shaolin life, organized crime’s something she can more easily wrap her mind around, and Kung Fu finds its stride once it sets her and her siblings on a path to taking on the Triad.
Kung Fu’s creative team clearly understood that the show’s fighting sequences were something that absolutely could not be slipshod—something that very easily could have been a possibility given that this is the CW, where exceptional choreography is the exception rather than the rule. Through its dramatic use of wirework and fights that focus more on skill than spectacle, Kung Fu’s action sets itself apart from a lot of other shows that similarly feature martial arts. At the same time, it tries to keep you guessing as to just how magical the show really is.
Nicky fighting some dude.
Gif: The CW
By comparison, Kung Fu’s second episode, “Silence,” eases up in terms of how much worldbuilding it attempts to do, which works to the episode’s benefit as it delves into what being back home with her family will mean for Nicky. After an unsettling dream in which all of her family members are eerily fine with her having dropped out and run off, she awakes to find that her waking world’s still a bit prickly when her mother’s around. As Mei-Li sees it, Nicky’s return home is going to be temporary at best and tied to the simple fact that, after whatever happened in China, her daughter simply had no place else to go. She’s not really all that wrong, and both she and Nicky know it.
But rather than immediately confronting her mother about the tensions between them, Nicky instead seeks counsel and comfort in Evan once again. When Evan runs into Nicky as he’s out for one of his usual jobs, he’s right to point out how slightly aggressive her constantly showing up unannounced is when she knows that people have their own lives. But he has an empathetic ear as she explains her most recent dreams to him, and he reasons that it might be her mind’s way of pushing her to engage more directly with her family.
Dreams feature largely throughout moments when Nicky slips into a meditative state to help clear her mind, and she seems to gain the ability to essentially summon Pei-Ling at will. In other visions, Nicky’s able to recall or at least perceive things about Zhilan that she wasn’t aware of before, and when she catches a glimpse of an intricate necklace belonging to the assassin, she reasons that it might be another clue to tracking her down. This newfound ability to glean important pieces of the larger picture works as the second episode’s way of giving her more of a reason to interact with Henry, who’s shaping up to be one of Nicky’s most formidable allies both because of his knowledge and his own martial arts skills. Of course, you can also see how the series is setting up a love triangle between Nicky, Henry, and Evan down the line that’s likely to become more prominent as the heroes get closer to facing off against the Triad and Zhilan.
“Silence” is careful to make Nicky’s family life just as important as her heroism, though, as her duties as a participant in Althea’s wedding pull her away from her hunt and force her to let her siblings in on more of her past at the monastery. Balancing her life becomes even more complicated after she misses an appointment to train in the park with Henry, and ends up deciding to get involved in the personal drama of a young, unhoused girl named Ronda (Amanda Fix) and her mother Carmen (Debbie Podowski), who’ve found themselves in a difficult situation. After saving the pair from a mugger armed with a gun, Nicky doesn’t know why Ronda grabs the weapon and runs away with it, but Pei-Ling’s ghost encourages her to follow them.
Rhonda encouraging Carmen to dump Derek.
Screenshot: The CW
What Nicky ends up learning—after Ronda pulls the gun on her—is that while Ronda very much wants to be with her mother, Carmen refuses to leave her abusive boyfriend Derek (Link Baker), who keeps the family in constant economic troubles that make their home unstable. Though Nicky’s got plenty of problems on her own plate already that have nothing to do with these strangers, she takes it upon herself to help Carmen and Ronda get on their feet in a series of events that take her across town and end up with her having to bust up a private gambling tournament in order to get the family’s stolen money back from Derek. It all works to illustrate what sort of hero Nicky already is at the top of Kung Fu, but it also highlights how questionably Nicky’s time management skills are.
“Silence” closes out with a handful of revelations that further strengthen Nicky’s resolve—most notable among them being that Zhilan is actually Pei-Ling’s sister. In the grand scheme of things, though, the fact that the legendary sword is only one of eight supposedly magical weapons is the big chunk of important plot that the episode leaves you with, and it gives you a clear view of what’s next for Nicky. Not only are there eight weapons, but there are eight different families tasked with guarding them. Nicky might not yet know who they all are or whether they know they’re in danger, but as Kung Fu progresses, they’re certain to find out.
Kung Fu airs Wednesdays on the CW.
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Tina Turner - November 26, 1939 10:10 PM
Born November 26, 1939
10:10 PM EST
Rising Sign & Chart Ruler
Rising Sign: Leo
Chart Ruler: Sun in Sagittarius in the 5th House
Mercury: Sagittarius (Rx)
Saturn: Aries (Rx)
Uranus: Taurus (Rx)
Pluto: Leo (Rx)
Planets by Element:
Tina Turner is a natural-born performer and may feel most comfortable in the spotlight. There is a fierce loyalty that comes with Leo Rising folks; if they feel like you have their back and best interests in mind, they’ll stay with you (for better and worse in Tina’s case). Leo Rising folks are attracted to the luxury and attention that comes with fame, and may need to be mindful of cockiness or arrogance that may come through when they feel tested or challenged. I think Tina’s Leo Rising comes through most prevalently through her magnetism when she performs, as well as her hair; big, bold, and pushing the boundaries of beauty technology of the time, she pioneered and led the way in so many different avenues.
Sun in Sagittarius in the 5th House
Tina’s Sagittarius Sun is actually what set me down this journey to read her chart. In her HBO documentary, the (very brief) moment her mother was featured, she said that Tina was the type to “not need help climbing a ladder”. Which posed the question in my mind, “Sagittarius or Capricorn?” Sagittarius energy is ruled by Jupiter, ever expanding and searching for higher heights to achieve and overcome. This is evident throughout the trajectory of Tina’s career. She continued to rise through the ranks of the charts after multiple setbacks and redirections. Sagittarians are also known for their interests in higher education, religion, and philosophy, and this is evident within Tina’s life through her devout Buddhist practice. In the 5th House of Creative Expression and Release, her Sagittarius Sun is expressed through her interests and natural creative talent (she plays no instruments and was never trained to sing), as well as a great pride and joy in her children and creative work. As her Chart Ruler, her Sagittarius Sun offers a lens through which the rest of her chart is filtered through, with this desire for achievement, experience, and creative expression being at the forefront of her passions and pursuits.
Sun Conjunct Mercury Rx: Tina’s natal Sun and Mercury Rx are in a close conjunction (3* orb), highlighting her deep devotion to her religious practice. This placement is an indicator that Tina says what’s on her mind, especially when in service of overcoming any challenges set forth before her or seeking to expand her horizons. Potential challenges with this aspect may come up in the form of stubbornness or a disregard for outside opinions.
Sun Square Mars: With the Sun and Mars making a potentially tense aspect in Tina’s chart, there seems to be a recurring theme of clashes between how she expresses herself and is viewed/perceived and her motivations and approaches to conflict. This aspect may emphasize her headstrong qualities, as well as reflecting the type of conflicts and challenges she encountered in her life. Overcoming these challenges throughout her life called on her to rely on her faith in herself, rather than simply believe what she was told about herself and her talents.
Sun Trine Jupiter: This aspect denotes an ability to gain favor and attract luck through remaining authentic and open. By allowing herself to be publicly honest about her past abuse, her career was revitalized and given new life. Faith is a recurring theme throughout Tina’s story, as this Sagittarius/Jupiter energy is quite prevalent, and this faith is what has garnered her success and longevity.
Sun Trine Pluto: The Sun and Pluto making a Trine in Tina’s chart alludes to an ability to gain favor with powerful people and an inherent confidence that helps them move through life’s challenges with a regal air. There is also this ability to reinvent herself, to continue to thrive and transform throughout her creative pursuits, as we’ve seen throughout the many different iterations and eras of her career.
Grand Trine: This Sun-Jupiter-Pluto dynamic is known as a grand Trine (in this instance by Degree, not Sign). Grand Trines are concentrations of energy that can allude to powerful positions and influence throughout one’s life and career.
Moon in Gemini in the 11th House
The Moon represents our emotional energy and subconscious nature. With Tina’s natal Moon in Gemini, she may try to intellectualize or rationalize her emotions rather than allowing herself to fully immerse in her feelings. While talking through her feelings may be helpful, it’s more likely that she uses her communication skills to talk around the deeper issues at hand. In her 11th House of Friendship, Aspirations and Community, she may have felt isolated and/or estranged by her peer groups and community, even with the fame and admiration she experienced on a global scale. The challenge with this placement comes through maintaining long lasting friendships and building a strong sense of community in order to thrive.
Moon Opposite Sun: Tina was born under a Full Moon, indicating there’s some tension and uncomfortable feelings when it comes to expressing her emotions. This inability to safely be emotionally present may have caused self-conflict and resulting feelings of inadequacy. I’m specifically thinking about how in the documentary she spoke about sticking through her marriage even though she was miserable. That denial of her internal truth seems to have been a recurring struggle, even to this late point in her career.
Moon Opposite Mercury Rx: This aspect emphasizes the difficulty Tina may have had with expressing her emotions and feeling like she had the space to say what she wanted to. It seems like this potentially difficulty with expressing her emotions in a conventional sense guided her towards finding alternative avenues to release that energy (i.e. music).
Moon Square Mars: With the Moon and Mars squaring off in Tina’s chart, there’s the potential for conflict that stems from the difficulty that comes with expressing her emotions. This inner conflict may express itself through mood swings and a heightened sensitivity when it comes to aggression. Rectifying this tension may come through in the form of finding activities that help work out those emotional swings and upheavals (again, the importance of her spiritual practice coming into play).
Mercury Rx in Sagittarius in the 5th House
Mercury represents our thoughts, ideas, and methods of expression, communication, and learning. With Tina’s natal Mercury retrograde, she may have experienced difficulties learning or processing information in conventional ways. In Sagittarius, Tina’s high aspirations are not only expressed through her spirituality, but in her faith and optimism in herself. Sagittarian energy is always seeking to grow and evolve, and although there may be some resistance/struggle, Tina has shown and proven that she is able to achieve whatever she puts her mind to. In her 5th House, her natal Mercury Rx in Sagittarius may express itself through her ability to communicate effectively to the public, as well as a deep need to connect mentally to her significant others. While a natal Mercury Rx placement may create some difficulties in life when it comes to how one communicates and is heard/understood, it offers the opportunity to find one’s voice in alternative ways.
Mercury Rx Square Mars: Tina’s natal Mercury Rx squaring off with Mars in her chart indicates potentially dealing with verbal clashes or receiving aggression from others due to her ideas or what she has to say. The challenge with this aspect comes from overcoming those impulses to clam up. Speaking up and moving forward requires an extra effort from her.
Mercury Rx Trine Pluto: With Mercury Rx and Pluto making what is considered an easy aspect, there is a commanding presence that comes through when that power is harnessed productively. “Easy” aspects come with their own challenges, and with this one, the struggle may stem from a mind that changes with the wind, and potentially speaking “out of turn” to figures who may have had authority over her life.
Venus in Sagittarius in the 5th House
Venus represents how we experience love/romance, creativity, and beauty. Tina’s natal Venus in Sagittarius potentially describes an approach to romance and relationships as an adventure. As mentioned before, Sagittarian energy is highly spiritual and philosophically curious, and a strong mental and spiritual connection is important to the strength of her romantic partnerships. In her 5th House, Tina’s creative pursuits have clearly brought her admiration as well as an avenue for her to explore and live out her passions. As the 5th House also corresponds with love affairs, Tina’s natal 5H Venus in Sagittarius may also express itself through a deep devotion to her significant others and a need to feel appreciated and needed within her relationships.
Venus Square Jupiter: With the benefics making a potentially difficult aspect in Tina’s chart, difficulties may have arisen in her relationships due to over-indulgence or an inability to find balance and moderation. Finding a resolution to these issues may come through in the form of seeking out assistance or guidance from those who can restore that balance and bring some form of calm to the extremes that she had to face throughout her life.
Venus Trine Saturn: This aspect denotes a deep devotion and maturity within relationships, as well as an ability to connect with others in constructive and lucrative ways. This natal aspect also gives me “aging like fine wine” energy; as she grows older, Tina’s appreciation for the things that really matter in her life take precedence. There also seems to be an understanding and appreciation for the trials that she’s been through in life; like she may feel that she wouldn’t be where she is now if she hadn’t gone through what she had.
Venus Square Neptune: This natal aspect may emphasize the difficulties she experienced in her first marriage, as there is the potential for experiencing manipulation and disillusionment within romantic partnerships. Honoring her needs and expanding beyond the limits of Ike and the box he was trying to keep her in granted her the freedom that she needed to pursue the life that she deserved.
Mars in Pisces in the 8th House
Mars represents our physicality, sex drive, ambition, and approach to challenges, conflict, and aggression. With Tina’s natal Mars in Pisces, her “fight” does not necessarily come from a forceful or aggressive space. The approach and response to conflict with this placement is either to avoid it or to do what needs to be done to make it all go away. This not only is reflected in Tina’s dealings with her first marriage, but also her response and method of healing afterwards. In the 8th House of Death, Debt, and Legacies, this may hint at some contention or disputes over inheritances she may leave behind.
Jupiter in Pisces in the 8th House
Jupiter is the planet of luck, philosophy, expansion and growth, and in one’s chart, it explains the methods and areas of experience through which we experience life’s windfalls. In Pisces, Tina’s natal Jupiter is at home to dream big and expand through her spirituality and natural optimism and self-belief. In her 8th House, her natal Jupiter in Pisces highlights this optimistic outlook on life and death, as well as an ease in earning (and spending) money from others. This placement also highlights this ability to inspire others through her experiences, which clearly reflects her impact throughout her career and beyond.
Saturn Rx in Aries in the 9th House
Saturn represents the challenges we face throughout life, how we approach them and the energy needed to overcome them. Tina’s natal Saturn was Retrograde when she was born, placing an added emphasis on the struggles she faced. In Aries, the difficulties that Tina had to face began early on, and it may have felt like she was always facing something new. There is a certain resiliency that comes with this placement; every time she got knocked down, she was able to bounce back. In her 9th House of Higher Learning, Philosophy, and Foreign Travel, Tina may have had some difficulties in receiving an education in her early life, and expanded her own worldview through her own determination and willpower. This placement also speaks to her living her later years in Sweden, as Saturn represents maturity, time, and age.
Uranus Rx in Taurus in the 10th House
Uranus is the first of the modern planets in astrology, representing the ways through which we evolve and seek independence and freedom. It also highlights some of the nature of the upheavals and random occurrences that happen throughout life. Uranus was Retrograde at the time of Tina’s birth, which may make it more difficult to accept the upheavals she experienced. In Taurus, Tina’s natal Uranus Rx is expressed through a means to seek independence through creating stability and remaining firm in her convictions. With Uranus and Taurus, the unconventional seems conventional; if Tina’s life was marred with hardship and strife, it’s only natural that she would strive for a quiet, peaceful, stable existence. In the 10th House of Career and Reputation, Tina’s natal Uranus Rx in Taurus may be expressed through the career of being an entertainer itself; but Tina’s story is not even conventional in comparison to other artists of her time(s).
Uranus is currently in Taurus, meaning that Tina is experiencing her Uranus Return. Not many people live to see their Uranus Return, as it occurs nearly every 84 years. With Uranus back in her 10th House, it's no surprise that she is reinventing her career in a sense through the release of her documentary and a renewed interest in her life and story (the entire reason I’m doing this!).
Uranus Trine Neptune: This aspect highlights Tina’s natural charisma and talent, able to captivate audiences with her energy and voice. There is an intense electric feeling that comes with this placement as well, like lightning on water. That same energy that leaves us electrified is what keeps her going, adapting with the times and her needs.
Neptune in Virgo in the 2nd House
Neptune in a birth chart represents one’s spiritual inclinations, the imagination, and potentially where in life one may become disillusioned/misled. In Virgo, Tina was born at the end of the great depression and the midst of World War II. Virgo is not known as a particularly imaginative sign (opposite Pisces, Neptune’s modern ruler), and it feels like for this generation they dreamed of a life that they could feel in control of and able to organize, especially financially. In Tina’s 2nd House of Material Possessions and Income, there’s this push and pull between saving and spending. Her values may lie in the energetic/spiritual significance of her assets rather than the financial or material value.
Pluto in Leo in the 1st House
Pluto is the last of the planets covered in a birth chart, and is known as the “generational” planet as it stays in one sign from 14 to up to 30 years. Pluto represents power, transformations, and the many deaths and rebirths that we experience within our lifetimes. It also can represent the type of energy and influence we carry and wield throughout our lives and how it affects us in return. In Leo, Tina’s natal Pluto is expressed through an ability to achieve power and influence off the strength of her outgoing personality and charisma. In her 1st House of Self and Identity, Tina may have an intensity to her that is magnetic and polarizing; you either are gravitated toward her or repelled away. Having this type of effect on people may make it difficult to form close bonds, and thus she may have had to become comfortable with being alone.
To summarize, Tina Turner’s life is filled with success and fame, but marked with a continued struggle to be heard, undoubtedly because the people in her life refused to see and understand the power she possesses. What should have been her closest relationships were filled with abuse and neglect. However, her faith in herself and her continued spiritual practice helps keep her grounded and open to allowing space for vulnerability. Tina Turner is currently experiencing her Uranus Return and has lived one of the most unique lives in history, and her chart reflects a person that strived to be the best, no matter what circumstances life threw her way.
If you made it this far, THANK YOU for reading my interpretation of thee Tina Turner's chart! I had a lot of fun working on this and am probably gonna do more celebs to expand my studies.
If you would like your own natal chart interpreted by me shoot me a DM, I do natal chart readings for donations.
40 notes · View notes
𝙷𝙰𝙿𝙿𝚈 𝚈𝙴𝙰𝚁 𝙾𝙵 𝚃𝙷𝙴 (𝙽)𝙾𝚇 / five seven dynamics !
&&. 𝙻𝚄𝙽𝙰 𝙻𝙾𝚅𝙴𝙶𝙾𝙾𝙳 𝙰𝙽𝙳 𝚂𝚄𝚂𝙰𝙽 𝙱𝙾𝙽𝙴𝚂 / ( @cursedbcnes )
listen . this one , i did not anticipate . i am very much in love with this soft / fond dynamic that these two have sort of fallen into with no planning from either of us , i think ? we were just on the same page with this one . your susan is probably my favorite iteration iʻve ever seen of her in that itʻs never really acknowledged how sad of a character she is . you highlight all of her tragedy incredibly well and everything you write her never fails to showcase how she shoulders all of it . i think thatʻs where we find this pretty little space we have for luna and susan , where everything about their interactions are tinged with that sadness they both carry but are altogether very kind . it just feels kind , and i donʻt really know how else to explain it . iʻm very fond of it and i would like you to know that youʻre the fucking cooliest .
&&. 𝙼𝙸𝙺𝙰𝙴𝙻𝙰 𝙺𝙰𝚁𝙺𝙰𝚁𝙾𝙵𝙵 𝙰𝙽𝙳 𝙴𝚄𝙻𝙰𝙻𝙸𝙰 𝙺𝙰𝚁𝙺𝙰𝚁𝙾𝙵𝙵 / ( @taciiturns )
i am obsessed with the kcu and all that it entails , but particularly eulalia and her step-children . the careful way that mikaela and eulalia talk to each other is fascinating to see . theyʻre both silver-tongued and quick-witted and very much still testing boundaries with each other and i am in love with this sort of . . . begrudging respect for each other that they share . itʻs a complicated relationship between the two and it is so entertaining to see play out . i think , as very strong , very sharp women , the two of them are so similar and yet they have this one glaring difference in opinion that hangs over their heads . it colors all of their opinions of each other and i find myself enamoured with the idea of the what-could-have-been if they did not have that one defining aspect ( anton , you shithead ) that divides them the way that he does . iʻm really vibing with them so far and i am super stoked to see what happens next with them .
&&. 𝙱𝙻𝙰𝙸𝚂𝙴 𝚉𝙰𝙱𝙸𝙽𝙸 𝙰𝙽𝙳 𝙰𝚅𝙰𝙻𝙾𝙽 𝙱𝙰𝙻𝙸𝙽𝙾𝚁 / ( @avalcn )
alyssa , darling , i would like to start this off by saying that i missed you very much and that i think about this reply all the time because it still sends me . miss avalon is an absolute gift for taking the piss out of blaise in exactly the way he deserves at any available possibility . we literally only have this interaction but i love it very much and would like to see avalon destroy blaise once again because the world needs that . please keep him humble . avalon has always been really cool to me , i think , because you have carved her a little place in nox canon that fits very well . her easy antagonism of blaise kinda shows that , while she didnʻt fall in with the slytherin crowd , she also wasnʻt estranged from them . itʻs a really interesting duality to her character that i like a whole bunch . please , iʻm so glad youʻre back , this is so much fun .
&&. 𝚁𝙾𝙽 𝚆𝙴𝙰𝚂𝙻𝙴𝚈 𝙰𝙽𝙳 𝙻𝚄𝙽𝙰 𝙻𝙾𝚅𝙴𝙶𝙾𝙾𝙳 / ( @spelltorn )
the way that i would absolutely die for this ron weasley , amanda . itʻs the only right reaction to your absolutely stunning rendition of one of the best boys . i will never not get overly emotional about luna and the weasley family and the way that ron , in particular , has never hesitated in stepping in to protect his girlies ( or anyone , really . heʻs a good egg like that ) . the weasleys give luna that large family dynamic that she never knew she wanted and ron plays a major part in that and in being a steady presence and safe space for her . thereʻs this implicit trust and fondness and tender appreciation of all the best parts of one another that your phenomenal prose encompasses so well . there is a soft spot in my heart for the solace they can find in each other and the steady presence that they are to one another in different ways . this duo means a lot to mean and i will never stop squealing about it .
&&. 𝙴𝚄𝙻𝙰𝙻𝙸𝙰 𝙺𝙰𝚁𝙺𝙰𝚁𝙾𝙵𝙵 𝙰𝙽𝙳 𝙰𝙽𝚃𝙾𝙽 𝙺𝙰𝚁𝙺𝙰𝚁𝙾𝙵𝙵 / ( @dolors )
these two are so sexy , i donʻt even know what else to tell you . absolutely ecstatic that this wc caught my attention and i decided to fill it . iʻve never really played a character that was married before and this being my first foray into a spousal dynamic is hilarious to me . these two are as equally weird as they are incredibly sexy to me and i have so much fun with them . it is endlessly both funny and compelling to think of the two of them and the idea of them being as besotted as they are with each other , because how else is a narcissist meant to fall in love if not with a mirror image of themselves ? this is just such a nuanced dynamic to see and i think it was very sexy of us to develop them like this . i love these goddamn murder spouses and i love you so much , cherry , this is so fun i canʻt wait to see what else they do .
&&. 𝚃𝙷𝙴𝙾𝙳𝙾𝚁𝙴 𝙽𝙾𝚃𝚃 𝙰𝙽𝙳 𝙱𝙻𝙰𝙸𝚂𝙴 𝚉𝙰𝙱𝙸𝙽𝙸 / ( @tiimetvrners )
my favorite little cowards . i love the idea of these two being the ones to run and , yet , having differing thoughts on that all these years later . thereʻs a juxtaposition between the two , with theo trying to be better and blaise not changing all that much but still being so similar at their core . i donʻt know , i just really like theoʻs growth and his job and the fact that he definitely got his shit rocked at work only a few months ago but still tried to come to peopleʻs rescue this month . heʻs neat like that . these two are such testaments to how paths diverge for people and similar choices donʻt always have similar outcomes . them still being friends that give each other shit at all times is very endearing to me . youʻve got such cool characters , wizards of maverly place , i adore you and them <3
&&. 𝙻𝚄𝙽𝙰 𝙻𝙾𝚅𝙴𝙶𝙾𝙾𝙳 𝙰𝙽𝙳 𝙶𝙸𝙽𝙽𝚈 𝚆𝙴𝙰𝚂𝙻𝙴𝚈 / ( @petriichvrs )
rachel , my love , you have my whole ass heart . i donʻt know if you know this but you really do . all of our dynamics are so fucking cool and easy to find our grounding in . every single one of them , i think , never fails to hit it out of the park with how entertaining they are . i go back to this one because i think itʻs the obvious dynamic to look for as someone playing luna lovegood , but you really just hit the nail on the head when it comes to these two . this one is a classic and this is everything i could ask for and more when it comes to the two of them . theyʻre a very nostalgic sort of duo and both of them are so affected by the war , both products of being in the dead center of it all . but all the time they spend with each other --- not even the stuff we see on the dash , but also the sneaking out of their childhood homes and thinking of each other during drinking games --- it all reads as very youthful , which i think is nice for products of war like them . luna lovegood loves the weasleys something fierce but she always loved ginny weasley first and for all that they lost , they still clung tightly to each other . i donʻt think that would be as clear as it was if i didnʻt have your ginny to play off of , rachel , youʻre brain is so SEXY -
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GVK spoilers below, about conspiracy theories
I’m gonna get around to posting all my GVK reactions but this one got long so I’m putting it in its own post.
The Monsterverse series, in both KOTM and GVK, has some pretty interesting things to say about conspiracy theories and ecofascism; but, unfortunately, it doesn’t REALIZE that it’s saying any of them, so it keeps dropping the ball and missing opportunities to explore them.
Starting with KOTM, “there’s too many humans so we’ve just gotta let some die and that’ll fix pollution 🤷” is like false ecofascist claim #1 but at no point in the movie was it challenged as unfactual, it was just presented as a sad truth that people have to do morally ambiguous things about. Except that it’s just literally mathematically not true!
Emma could be such a GREAT, believable character—especially in this world with, like, frigging QAnon nonsense getting such widespread traction—showing a compelling, realistic tragedy of how this normal, intelligent, well-educated white mom who otherwise is likely left-leaning (pro-environmentalism, pro-nature conservation, got a doctorate and generally more academia correlates with more liberal ideals) got sucked into a far right ecofascist doomsday militia that combines hokey pseudo-environmentalist propaganda with “in balance with nature” semi-religious mysticism, because she was exploited at a time when she was emotionally vulnerable (when her kid had just died) and was lacking healthy emotional support (when her husband turned to alcohol and then ran off).
... Except the movie never says that her “overpopulation” beliefs are WRONG. It says that they’re RIGHT, and she was just forced to choose between two losing scenarios—deliberately kill most of humanity to hopefully save a few, or watch humanity kill itself.
Nobody bothers to mention that the size of the population isn’t the problem, it’s the disproportionate pollution coming out of first world countries. Nobody bothers to mention that when Emma talks about “overpopulation” and shows a screenshot of an overcrowded neighborhood, it ain’t affluent downtown skyscraper condos in Europe or America that she’s highlighting, but large masses of poor people whose neighborhoods look “dirty” to the white woman’s eyes, despite the fact that they’re contributing the least to humanity’s carbon footprint.
Emma’s beliefs are empirically wrong, and if KOTM had ever demonstrated that, it would’ve been brilliant. Instead, it tries to say “she was right, she just went too far,” and in doing so loses an opportunity to make Emma a deeply believable, timely, realistic, well-meaning but wrong villain.
And now we’ve got GVK, which has swerved away from the ecofascism but doubled down on the conspiracy theories. Here, Emma’s daughter, who was raised for five years with what amounts to a survivalist doomsday cult’s beliefs, when faced with the grief of her mother’s death and the struggle of trying to reconnect to her estranged father, turns—again—to conspiracies to make sense of the world around her. Because that’s what Madison’s been raised with, and even though she got disillusioned with the particular “we know something special that the normal people can’t handle” beliefs that she was raised with, that kind of thinking is still what she knows. She’s still doing what her mother raised her to do! She’s still pulling the “hypercompetent highly-trained lone wolf ‘survivor’ saves the world” shtick that Jonah’s gang taught her to do—but it’s never brought up that it was screwed up to raise a child like that and it’s screwed up for her to still be interacting with the world like that.
At least THIS conspiracy theorist isn’t literally advocating for global genocide. Bernie’s focus largely seems to be on “this corporation is trying to screw people over and screw up the environment—” (because in Monsterverse, as in Toho monster movies as a whole, kaiju/titans and the environment are symbolically conflated, so if a corporation is messing with Godzilla then they’re messing with nature as well) “—so I’m gonna find out what they’re up to and be a whistleblower.” Which is great! Solid start! We’ve got a guy taking aim at big business and who says “when the weather Godzilla acts erratic, it’s not random chance, it’s because a big business is doing something it shouldn’t,” so it looks like we’ve got a leftist conspiracy theorist, that’s different, could be interesting to explore.
Except then he starts talking about governments serving a “global elite” and facilities built by “lizard people” and then we’ve swung right back around to the far right by casually dropping in a couple of antisemitic conspiracy theories.
Add that in with the whole “hollow earth” thing and damn, we’re namedropping a lot of antisemitic conspiracy theories, aren’t we? Granted, most conspiracy theories ARE antisemitic—but like, they could have dug around for some that aren’t. Have him talk some more about Roswell. Have him bring up things that we’ve actually got documentation happened and theorize that MKUltra research was used in Apex’s development of their pilot’s psychic mind link to Mechagodzilla. Have him bring up tailor-made-for-the-Monsterverse conspiracy theories that don’t exist here, “Monster Zero is actually the secret weapon of a nearby ‘Planet X’ that’s gonna invade,” whatever. Instead, nah, we went with the antisemitic ones.
Now, do I think the writers behind KOTM and GVK intended antisemitism? Do I think they’re closet alt-right trying to dogwhistle the fascists in the audience? No, I think they think they’re making fun of—or playing around with—what they see as harmless, unbelievable, way-out-there conspiracy theories. I think they know just enough about “hollow earth” and “global elites” and “lizard people” to make references to them, but not in a way that promotes the common antisemitic understanding of those theories as true. (Monsterverse’s hollow earth, a weird underground jungle where King Kong lives, sure doesn’t resemble the usual conspiracy theory.) To me, the way they were used suggests the writers didn’t deeply understand (or at least, didn’t deeply think about) what the theories really mean—nor what they imply about the beliefs of the characters who espouse them. Which is the crux of my issue with how the movies deal with conspiracy theories and ecofascists and so forth (beyond the fact that, hey, I just don’t like seeing likable characters casually referencing antisemitic beliefs): the writers didn’t think about the implications.
Because these things do imply a lot! For example, if, say, Josh, total newb to conspiracy theories, had asked about lizard people, I would have grimaced to hear it but I would have believed that he’s a teen boy that picked up the term at school and doesn’t know anything about what’s behind it. But on the other hand, I can’t believe a guy so deep in the conspiracy theory world that he bathes in bleach doesn’t know exactly what those conspiracies mean—or, even if he does somehow staunchly refuse to believe that “lizard people” is a code for “Jewish people,” that whatever circle of conspiracy theorists he runs with doesn’t use it as a code. Bernie didn’t pick up those beliefs in a void. I really doubt that’s what the writers wanted to imply about the goofy likable underdog with a podcast.
And sure, the “global elite” and “lizard people” references are presented like a “haha look how far out his beliefs are” joke—the same as the fluoride reference, which is basically Hollywood code for “bogus nonsense only complete lunatics believe” thanks to Dr. Strangelove—but at the same time, they’re never really disproven. Nothing he believes is challenged. Nor are any of Madison’s beliefs that she’s picked up from him. Everything they both believe is either a “wow that’s wild” throwaway joke, or else they’re presented as totally right, e.g. about Apex being up to dubious crap that’s irritating Godzilla.
Just like Emma, who was presented as in the wrong not because she was incorrect but because she WAS correct but took the wrong actions. And just like Rick in KOTM, who kept bring up the hollow earth theory like a running joke but then the joke was that he was right.
And that’s at the root of the issues with both movies’ portrayals of conspiracy theories. Aside from the jokes that are never explored (and therefore, never disproven), the movies say that, every time it matters, the conspiracy theorists on the fringe are correct, the heroes that need to be believed. Even though all (excluding Rick) are characters who have suffered deep loss, who have been hurt, who you can imagine as passionate but grieving people who turned to dangerously wrong extremism in their search for meaning... the movies don’t portray them as people who have been led astray by their pain, but enlightened by their pain. Which is what they themselves think they are, sure, but that doesn’t line up with reality.
The movies never forces them to grapple with how far they’ve gone astray from reality—and I think they should. I’d like to see them processing the revelation that their beliefs are wrong. Whether it’s as big as somebody trying to convince Emma that killing half the population doesn’t fix the pollution caused by corporations rich enough to weather a global hurricane, or as small as Bernie looking at Apex’s financial records and realizing the company’s money is going to the CEO’s vacation home rather than a reptile government and deciding to rethink those beliefs after they’ve checked out Hong Kong.
“Conspiracy theorist is right about everything” is already a common enough trope that Monsterverse isn’t breaking any new ground with it. And in a franchise like Godzilla, whose movies are rife with messages both allegorical and literal about environmentalism, corporate exploitation, the futility of military action, international politics, war crimes... letting the conspiracy theorists be wrong and showing that they’re wrong and what that wrongness can lead to would mesh far better with the themes of Godzilla.
Think about Jonah and Emma unleashing Ghidorah (who emerged from a destroyed ice cap and immediately caused devastating hurricanes—a perfect metaphor for climate change), and what that could say about how ecofascists who purportedly joined the movement because they support environmentalism are actually far more in bed with the destructive industries really at the root of environmental damage... if the movie acknowledged them as ecofascists.
Think about how Jonah collected Ghidorah’s head at the end of KOTM and by the time of GVK it was in Apex’s hands, and how this exchange demonstrates that “I want to unleash titans to destroy humanity to save the environment” Jonah the ecoterrorist and “I want to beat the titans to protect humanity” Simmons the billionaire CEO actually have far more similar ideals beneath the surface of their opposed goals—ideals that have less to do with the environment or with humanity and more to do with securing personal power and control... if the movie had explained how this exchange took place.
Think about how Madison’s mother died trying to mitigate just a little of the damage she did under the thrall of a doomsday cult’s skewed beliefs, how even though Madison broke free she found herself embroiled in similarly skewed beliefs just three years later, and how powerful it would have been if she recognized that she herself had walked right back into the kind of fringe beliefs her mother had led her into as a child, and if she had then resolved to learn how this kept happening to her and break this pattern... if the movie had ever let her realize that she was making the same mistakes, or even acknowledged them as mistakes.
There’s so much potential there, so many things you can see happening right beneath the surface... but the movies never touch on them. And so it looks like, in Monsterverse, all fringe beliefs are either right or harmless. And we never get the “disillusioned conspiracy theorist” story that could be so brilliant and that, right now, would be so relevant.
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Problem Gambling And Depression
Problem Gambling And Depression Definition
Problem Gambling And Depression Screening Tool
Problem Gambling Anxiety And Depression
Problem Gambling And Depression Dsm 5
Problem Gambling And Depression Anxiety
Problem Gambling and Depression - This fact sheet looks at the links between depression and gambling problems, and highlights some ways to identify gambling problems and seek help and treatment.
Gambling is common in Australian society – nearly 75 per cent of Australian adults gamble in any year. However, about 300,000 Australians have a gambling problem that may affect many parts of their lives, including:
physical and emotional health
Depression, Suicide and Problem Gambling Research suggests that problem PG and pathological PAG gambling is associated with depression and suicidal tendencies. As problem gambling progresses eventually the gambler is hopeless and depressed, may be suicidal, estranged from significant others, is being hounded. If a young man is a chronic gambler, the chances are extremely high that he also suffers from depression, finds a study that is is the first to investigate the extent to which gambling.
For every person with a gambling problem, between five and 10 others (e.g. partners and children) also experience serious consequences, including:
the breakdown of family relationships
This means that more than two million Australians are affected by problem gambling.
There is a strong link between problem gambling and mental health problems. Nearly three out of four people with a gambling problem are at risk of developing depression. Gambling can also be a sign that a person already has a mental health problem and may need help.
WHAT IS GAMBLING?
To gamble is to risk money or something of value on an outcome involving chance. Gambling can include:
playing poker machines
playing online lottery games
playing casino games (e.g. table games, electronic gaming machines)
betting on sporting events, horses, greyhounds or on games of skill (e.g. pool, football)
buying lottery tickets.
REASONS WHY GAMBLING CAN BECOME A PROBLEM
Anyone can develop a gambling problem – it does not depend on age, gender, income, education or ethnic background – and the transition from being a non-gambler to someone with a gambling problem can be swift. For people experiencing mental or physical health problems, stress, loneliness and isolation, or loss and grief, the risk of problem gambling developing is greater.
Problem gambling can be thought of as a behavioural addiction, sharing some features of other addictions such as alcoholism and drug addiction. Reasons for developing a dependency on gambling vary, but can include:
Going for the next win – Some people may not have a mental health problem, but get hooked on gambling after a few wins and continue to play in the hope of winning again. These people may develop a mental illness as a result of their gambling.
As an escape – Some people who experience an anxiety disorder, depression, stress or harmful substance use may use gambling to try to ‘escape’ from their lives or to try to numb the pain of past or present problems. Gambling is a temporary ‘solution’ for them – which then becomes a problem.
Seeking an adrenalin rush – Some people seek a ‘high’ from gambling, although this fades quickly. They may feel on top of the world and often believe they are capable of winning large sums of money.
Problem Gambling And Depression Definition
IDENTIFYING THE PROBLEM
Problem gambling is not easy to spot. Sometimes, by the time anyone realises there is a problem, the person already has mental health problems and is close to financial ruin. Like other addictions, the longer problem gambling goes on, the harder it is to break free.
Problem Gambling And Depression Screening Tool
Recognising the problem in others
Here are some signs you can look for if you’re worried about a relative, friend or employee. People with a gambling problem have a preoccupation with gambling and may:
want to borrow money to gamble or to cover debts
have changes in their sleeping and eating habits
start to miss work or other regular commitments
express suicidal thoughts
sometimes celebrate their ‘good fortune’ by gambling more.
Recognising the problem in yourself
If you answer ‘yes’ to one or more of these questions, you may be developing a gambling problem. Do you:
go to gambling venues alone and often?
stay at gambling venues longer than you intended?
spend more time on gambling than other favourite pastimes or interests?
gamble every last dollar you have on you?
think about gambling every day?
try to win back money you have lost with more gambling?
find it difficult to stop yourself spending too much?
lie to friends and family members about your gambling and how much you have spent or do you just not tell them about it?
sometimes reach the point where you no longer enjoy gambling?
feel depressed because of gambling?
have trouble sleeping?
feel that gambling is having a negative effect on other areas of your life, such as family and work?
WHAT ARE THE LINKS BETWEEN PROBLEM GAMBLING AND MENTAL HEALTH?
Problem Gambling Anxiety And Depression
People may not see a connection between their gambling and their health, but problem gambling is associated with a range of mental health problems, including:
other mood disorders
heavy alcohol use or drug problems
poor physical health (such as headaches and difficulty sleeping)
A 2008 Australian study found people with a gambling problem were:
nearly 20 times more likely to display severe psychological distress
more than four times more likely to drink alcohol at harmful levels than people without a gambling problem
nearly 2.5 times more likely to be depressed.
In addition, a 2009 Victorian survey found that 46 per cent of people with a gambling problem reported anxiety compared to 7 per cent of people who did not have a gambling problem.
It’s important to remember that each person is different and it’s often a combination of factors that puts a person at risk of both depression and problem gambling, including:
genetic factors (e.g. a family history of mental health problems)
psychological factors (e.g. poor coping strategies and poor relationships).
There is also evidence that people gamble to deal with their psychological problems, but problem gambling may worsen existing psychological problems, and it tends to cause the most harm to those who are most vulnerable. It may also create psychological problems in people who did not previously have any mental illness.
FACTS ABOUT DEPRESSION AND ANXIETY
Depression is more than just a low mood – it’s a serious illness. People with depression find it hard to function every day and may be reluctant to participate in activities they once enjoyed. Depression has serious effects on physical and mental health.
On average, one in five females and one in eight males will experience depression in their lifetime.
Everyone feels anxious from time to time, but for some people, anxious feelings are overwhelming and cannot be brought under control easily. An anxiety disorder is different from feeling stressed – it’s a serious condition that makes it hard for the person to cope from day to day.
Nearly one in seven people will experience some type of anxiety disorder in any one year – around one in six women and one in ten men. One in four people will experience an anxiety disorder at some stage of their lives
DEALING WITH PROBLEM GAMBLING
If you or someone you care about has a gambling problem, you may feel overwhelmed or unsure of how to deal with it – but there are options and many people with a gambling problem are able to regain control and turn their lives around.
Helping a friend or family member
If you think a friend or family member has a gambling problem, show your concern without lecturing or criticising. Your comments may be met with defensiveness and denial. Don’t take this personally, but let the person know you care and explain how his or her gambling behaviour affects you. You may have to set limits with the person. Don’t be manipulated into excusing, justifying, overlooking, enabling or participating in the person’s destructive behaviour. If the person agrees that he or she has a problem, here are some tips:
Help the person make contact with organisations that can help, such as those listed at the end of this fact sheet.
Be supportive and encouraging of the person’s attempts toward change, however small.
Expect that there may be steps backward as a normal part of the recovery process.
Encourage activities that are not associated with gambling and try to support the person by limiting or stopping your own gambling.
Become informed by finding out more about problem gambling.
Problem Gambling And Depression Dsm 5
If you are concerned about your gambling and want to make some changes, then these suggestions may be useful:
Break the silence and talk to someone you trust or a gambling counsellor. Keeping a gambling problem secret only makes it harder to bring about change. Talking to someone you trust can help reduce the stress of a gambling problem and help you to do something about it.
Avoid high-risk situations. These include any situations which you know can lead to gambling in a harmful way, such as having your ATM or credit cards with you when gambling, gambling on your own or mixing alcohol with gambling. You may want to avoid risky situations such as talking about gambling, carrying large amounts of money or socialising close to gambling venues.
Challenge your gambling thoughts. It’s difficult to cut down or stop gambling if you believe that you can win and will come out in front. Remember, the odds are always with the venue, so you are sure to lose if you keep gambling.
Prepare for gambling urges. Urges to gamble are common for people trying to cut down or stop. Preparing yourself can help you cope. Think of times or situations that are likely to trigger urges and have plans for alternative activities that can help distract you.
Find alternatives to gambling. It’s important to replace gambling with activities that you find satisfying. Finding a range of alternatives can help, such as sports, being with family members and friends, hobbies, and relaxation exercises (e.g. yoga or meditation).
Reward your progress. There is a lot of guilt and shame associated with having a gambling problem. Acknowledge any progress you’ve made and reward yourself with a non-gambling treat – a nice meal, a movie or something else you enjoy.
If you have tried to stop on your own and you are still gambling in a way that is causing problems for you or those around you, consider getting help.
Effective programs aim to address all aspects of the person’s problems. There are several agencies (listed at the end of this fact sheet) that provide help for people with gambling problems. All Australian states and territories have free or inexpensive counselling services to help people with a gambling problem and their families.
Some common services to assist people with a gambling problem include:
telephone counselling services
couples and family counselling
A General Practitioner (GP) is a good person with whom to discuss your concerns in the first instance if the problem gambling is associated with a health or mental health problem such as depression. Your GP will be able to conduct or arrange any necessary medical tests, provide treatment or refer you to a mental health professional.
THINGS TO REMEMBER
Problem gambling can ruin a person’s life socially, emotionally and financially. It may lead to the loss of relationships, home, health and career. It may cause stress, anxiety and depression. There are few people today who are not affected in some way by the impact of problem gambling on society.
If you believe you have a gambling problem, it’s vital that you seek help immediately. Getting help early is very important as problem gambling can be like a whirlpool that drags people down, deeper and deeper.
Some people who have a gambling problem can return to a controlled level of gambling. However, most people prefer to give up gambling for good. If you’re losing more money than you can afford, accumulating debts and your health and relationships are suffering, giving up may be your best option.
If gambling is causing you concern, the chances are that your mental health is being affected as a result. Talk to your GP about a treatment plan that will help you to overcome both problems.
With help, you can overcome a gambling problem and get control back into your life. The sooner you start, the easier it will be.
WHERE TO GET HELP
If you are concerned about your gambling, you can contact the gambling helpline in your state or territory, the Salvo Care Line or Gambling Help Online.
Gambling Helpline SA – 1800 060 757
G-line NSW – 1800 633 635
Gambler’s Help Victoria – 1800 858 858
Mission Australia Gambling Counselling and Support Services ACT – (02) 6129 6100
Gambling Help Line QLD – 1800 858 858
Gambling Helpline Tasmania – 1800 858 858
Gambling Helpline WA – 1800 858 858
Amity Community Services NT – 1800 858 858
Salvo Care Line – 1300 36 36 22 (national)
Gambling Help Line – 1800 858 858 (national)
REFERENCES AND OTHER SOURCES
Problem Gambling And Depression Anxiety
This fact sheet was adapted from the following sources.
Thomas SA & Jackson AC (2008) Risk and Protective Factors and Comorbidities in Problem Report to beyondblue, Monash University and the University of Melbourne.
Productivity Commission (1999) Australia’s Gambling Industries, Report No. 10, AusInfo Canberra.
Victorian Department of Justice (2009). A study of gambling in Victoria – problem gambling from a public health perspective. Melbourne.
Australian Bureau of Statistics (2008). 2007 National Survey of Mental Health and Wellbeing: Summary of Results (4326.0). Canberra: ABS.
Eugen Berthold Friedrich Brecht (known professionally as Bertolt Brecht) was born on February 10, 1898. He was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Threepenny Opera with Kurt Weill and began a lifelong collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, he wrote didactic Lehrstücke and became a leading theoretician of epic theatre (which he later preferred to call "dialectical theatre") and the so-called V-effect.
During the Nazi period, Bertolt Brecht lived in exile, first in Scandinavia, and during World War II in the United States, where he was surveilled by the FBI. After the war he was subpoenaed by the House Un-American Activities Committee. Returning to East Berlin after the war, he established the theatre company Berliner Ensemble with his wife and long-time collaborator, actress Helene Weigel.
Brecht developed the combined theory and practice of his "Epic theatre" by synthesizing and extending the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.
Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable.
Brecht's modernist concern with drama-as-a-medium led to his refinement of the "epic form" of the drama. This dramatic form is related to similar modernist innovations in other arts, including the strategy of divergent chapters in James Joyce's novel Ulysses, Sergei Eisenstein's evolution of a constructivist "montage" in the cinema, and Picasso's introduction of cubist "collage" in the visual arts.
One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect"). This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them". To this end, Brecht employed techniques such as the actor's direct address to the audience, harsh and bright stage lighting, the use of songs to interrupt the action, explanatory placards, the transposition of text to the third person or past tense in rehearsals, and speaking the stage directions out loud.
In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to "re-function" the theatre to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the "high art/popular culture" dichotomy—vying with the likes of Theodor W. Adorno, György Lukács, Ernst Bloch, and developing a close friendship with Walter Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger dubs him "the most important materialist writer of our time."
Brecht was also influenced by Chinese theatre, and used its aesthetic as an argument for Verfremdungseffekt. Brecht believed, "Traditional Chinese acting also knows the alienation [sic] effect, and applies it most subtly.... The [Chinese] performer portrays incidents of utmost passion, but without his delivery becoming heated." Brecht attended a Chinese opera performance and was introduced to the famous Chinese opera performer Mei Lanfang in 1935. However, Brecht was sure to distinguish between Epic and Chinese theatre. He recognized that the Chinese style was not a "transportable piece of technique," and that Epic theatre sought to historicize and address social and political issues.
Brecht used his poetry to criticize European culture, including Nazis, and the German bourgeoisie. Brecht's poetry is marked by the effects of the First and Second World Wars.
Throughout his theatric production, poems are incorporated into this plays with music. In 1951, Brecht issued a recantation of his apparent suppression of poetry in his plays with a note titled On Poetry and Virtuosity. He writes:
We shall not need to speak of a play's poetry ... something that seemed relatively unimportant in the immediate past. It seemed not only unimportant, but misleading, and the reason was not that the poetic element had been sufficiently developed and observed, but that reality had been tampered with in its name ... we had to speak of a truth as distinct from poetry ... we have given up examining works of art from their poetic or artistic aspect, and got satisfaction from theatrical works that have no sort of poetic appeal ... Such works and performances may have some effect, but it can hardly be a profound one, not even politically. For it is a peculiarity of the theatrical medium that it communicates awarenesses and impulses in the form of pleasure: the depth of the pleasure and the impulse will correspond to the depth of the pleasure.
Brecht's most influential poetry is featured in his Manual of Piety (Devotions), establishing him as a noted poet.
Brecht in fiction, drama, film and music
In the 1930 novel Success, Brecht's mentor Lion Feuchtwanger immortalized Brecht as the character Kaspar Pröckl.
In the Günter Grass play The Plebeians Rehearse the Uprising (1966), Brecht appears as "The Boss", rehearsing his version of Shakespeare's Coriolanus against the background of worker unrest in East Berlin in 1953.
In 1969, Benjamin's Children's Crusade was premiered, setting Brecht's narrative poem Kinderkreuzzug 1939.
Cuban songwriter Silvio Rodríguez started his song Sueño con serpientes from the album Días y flores (1975) with a phrase of Brecht.
Brecht appears as a character in Christopher Hampton's play Tales from Hollywood, first produced in 1982, dealing with German expatriates in Hollywood at the time of the House Un-American Activities Committee hearings on supposed Communist infiltration of the motion picture industry and the beginning of the Hollywood blacklist.
In Peter Weiss's monumental novel of 1981 Die Ästhetik des Widerstands (The Aesthetics of Resistance) Brecht is a teacher for the narrator who aspires to become a writer.
In the 1999 film Cradle Will Rock Brecht appears as an inspiration to Marc Blitzstein.
The 2000 German film Abschied – Brechts letzter Sommer (The Farewell), directed by Jan Schütte, depicts Brecht (Josef Bierbichler) shortly before his death, attended to by Helene Weigel (Monica Bleibtreu) and two former lovers.
In the 2006 film The Lives of Others, a Stasi agent played by Ulrich Mühe is partially inspired to save a playwright he has been spying on by reading a book of Brecht poetry that he had stolen from the artist's apartment. In particular, the poem "Reminiscence of Marie A." is read.
Brecht at Night by Mati Unt, transl. Eric Dickens (Dalkey Archive Press, 2009)
In Robert Cohen's historical novel Exil der frechen Frauen (2009) Brecht is a major character.
The 2013 film Witness 11 draws upon historical events exploring the justice-thirsty courtroom through the eyes of Brecht as he is called to testify in front of the House Un-American Activities Committee.
In the 2013 Italian film Viva la libertà the Brecht poem To a Waverer forms the text for an important and moving speech.
In the 2014 novel Leaving Berlin by Joseph Kanon, Brecht appears as a cynical returnee to Soviet Berlin, lauded by the authorities as a symbol of communist German culture and willing to ignore moral issues to pursue his art.
Collaborators and associates
Collective and collaborative working methods were inherent to Brecht's approach, as Fredric Jameson (among others) stresses. Jameson describes the creator of the work not as Brecht the individual, but rather as 'Brecht': a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, Carola Neher and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
Stories of Mr. Keuner (Geschichten vom Herrn Keuner)
Threepenny Novel (Dreigroschenroman, 1934)
The Business Affairs of Mr. Julius Caesar (Die Geschäfte des Herrn Julius Caesar, 1937–39, unfinished, published 1957)
Plays and screenplays
Entries show: English-language translation of title (German-language title) [year written] / [year first produced]
Drums in the Night (Trommeln in der Nacht) 1918–20/1922
The Beggar (Der Bettler oder Der tote Hund) 1919/?
A Respectable Wedding (Die Kleinbürgerhochzeit) 1919/1926
Driving Out a Devil (Er treibt einen Teufel aus) 1919/?
Lux in Tenebris 1919/?
The Catch (Der Fischzug) 1919?/?
Mysteries of a Barbershop (Mysterien eines Friseursalons) (screenplay) 1923
In the Jungle of Cities (Im Dickicht der Städte) 1921–24/1923
The Life of Edward II of England (Leben Eduards des Zweiten von England) 1924/1924
Downfall of the Egotist Johann Fatzer (Der Untergang des Egoisten Johnann Fatzer) (fragments) 1926–30/1974
Man Equals Man also A Man's A Man (Mann ist Mann) 1924–26/1926
The Elephant Calf (Das Elefantenkalb) 1924–26/1926
Little Mahagonny (Mahagonny-Songspiel) 1927/1927
The Threepenny Opera (Die Dreigroschenoper) 1928/1928
The Flight across the Ocean (Der Ozeanflug); originally Lindbergh's Flight(Lindberghflug) 1928–29/1929
The Baden-Baden Lesson on Consent (Badener Lehrstück vom Einverständnis) 1929/1929
Happy End (Happy End) 1929/1929
The Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny) 1927–29/1930
He Said Yes / He Said No (Der Jasager; Der Neinsager) 1929–30/1930–?
The Decision/The Measures Taken (Die Maßnahme) 1930/1930
Saint Joan of the Stockyards (Die heilige Johanna der Schlachthöfe) 1929–31/1959
The Exception and the Rule (Die Ausnahme und die Regel) 1930/1938
The Mother (Die Mutter) 1930–31/1932
Kuhle Wampe (screenplay, with Ernst Ottwalt) 1931/1932
The Seven Deadly Sins (Die sieben Todsünden der Kleinbürger) 1933/1933
Round Heads and Pointed Heads (Die Rundköpfe und die Spitzköpfe) 1931–34/1936
The Horatians and the Curiatians (Die Horatier und die Kuriatier) 1933–34/1958
Fear and Misery of the Third Reich (Furcht und Elend des Dritten Reiches) 1935–38/1938
Señora Carrar's Rifles (Die Gewehre der Frau Carrar) 1937/1937
Life of Galileo (Leben des Galilei) 1937–39/1943
How Much Is Your Iron? (Was kostet das Eisen?) 1939/1939
Dansen (Dansen) 1939/?
Mother Courage and Her Children (Mutter Courage und ihre Kinder) 1938–39/1941
The Trial of Lucullus (Das Verhör des Lukullus) 1938–39/1940
The Judith of Shimoda (Die Judith von Shimoda) 1940
Mr Puntila and his Man Matti (Herr Puntila und sein Knecht Matti) 1940/1948
The Good Person of Szechwan (Der gute Mensch von Sezuan) 1939–42/1943
The Resistible Rise of Arturo Ui (Der aufhaltsame Aufstieg des Arturo Ui) 1941/1958
Hangmen Also Die! (credited as Bert Brecht) (screenplay) 1942/1943
The Visions of Simone Machard (Die Gesichte der Simone Machard) 1942–43/1957
The Duchess of Malfi 1943/1943
Schweik in the Second World War (Schweyk im Zweiten Weltkrieg) 1941–43/1957
The Caucasian Chalk Circle (Der kaukasische Kreidekreis) 1943–45/1948
Antigone (Die Antigone des Sophokles) 1947/1948
The Days of the Commune (Die Tage der Commune) 1948–49/1956
The Tutor (Der Hofmeister) 1950/1950
The Condemnation of Lucullus (Die Verurteilung des Lukullus) 1938–39/1951
Report from Herrnburg (Herrnburger Bericht) 1951/1951
Coriolanus (Coriolan) 1951–53/1962
The Trial of Joan of Arc of Proven, 1431 (Der Prozess der Jeanne D'Arc zu Rouen, 1431) 1952/1952
Turandot (Turandot oder Der Kongreß der Weißwäscher) 1953–54/1969
Don Juan (Don Juan) 1952/1954
Trumpets and Drums (Pauken und Trompeten) 1955/1955
The Modern Theatre Is the Epic Theatre (1930)
The Threepenny Lawsuit (Der Dreigroschenprozess) (written 1931; published 1932)
The Book of Changes (fragment also known as Me-Ti; written 1935–1939)
The Street Scene (written 1938; published 1950)
The Popular and the Realistic (written 1938; published 1958)
Short Description of a New Technique of Acting which Produces an Alienation Effect (written 1940; published 1951)
A Short Organum for the Theatre ("Kleines Organon für das Theater", written 1948; published 1949)
The Messingkauf Dialogues (Dialogue aus dem Messingkauf, published 1963)
Brecht wrote hundreds of poems throughout his life. He began writing poetry as a young boy, and his first poems were published in 1914. His poetry was influenced by folk-ballads, French chansons, and the poetry of Rimbaud and Villon. The last collection of new poetry by Brecht published in his lifetime was the 1939 Svendborger Gedichte.
Some of Brecht's poems
A Bad Time for Poetry
From a German War Primer
Honored Murderer of the People
How Fortunate the Man with None
Hymn to Communism
I Never Loved You More
I want to Go with the One I Love
I'm Not Saying Anything Against Alexander
In Praise of Communism
In Praise of Doubt
In Praise of Illegal Work
In Praise of Learning
In Praise of Study
In Praise of the Work of the Party
Mack the Knife
My Young Son Asks Me
Not What Was Meant
O Germany, Pale Mother!
On Reading a Recent Greek Poet
On the Critical Attitude
Questions from a Worker Who Reads
Reminiscence of Marie A.
Send Me a Leaf
The Book Burning (The Burning of the Books)
The Exile of the Poets
The Invincible Inscription
The Mask of Evil
The Sixteen-Year-Old Seamstress Emma Ries before the Magistrate
To Be Read in the Morning and at Night
To the Students and Workers of the Peasants' Faculty
An die Nachgeborenen (To Those Born After)
United Front Song
War Has Been Given a Bad Name
What Has Happened?
Brecht's widow, the actress Helene Weigel, continued to manage the Berliner Ensemble until her death in 1971; it was primarily devoted to performing Brecht's plays.
Besides being an influential dramatist and poet, some scholars have stressed the significance of Brecht's original contributions in political and social philosophy.
Brecht's collaborations with Kurt Weill have had some influence in rock music. The "Alabama Song" for example, originally published as a poem in Brecht's Hauspostille (1927) and set to music by Weill in Mahagonny, has been recorded by The Doors, on their self-titled debut album, as well as by David Bowie and various other bands and performers since the 1960s.
Brecht's son, Stefan Brecht, became a poet and theatre critic interested in New York's avant-garde theatre.
Brecht's plays were a focus of the Schauspiel Frankfurt when Harry Buckwitz was general manager, including the world premiere of Die Gesichte der Simone Machard in 1957.
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