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Scene I

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No, I know. And it's - you know, I started making this movie because it was a way for me to explore all of these complicated feelings that I had and explore these questions that I had about, what was the ethical thing to do? And when I started making the film, I told my family about it. I said, you know, is it OK that I'm going to make this film? It might be out in the world. And I don't think any of us thought how big the film would get, you know, the reach that it would have. And in some ways, this is a very Chinese thing, at least for my family. It feels very specific to my parents, which is that they always want to underplay things because they don't want to jinx it. And so when I told them I was, you know, hired by this company - we were going to write the script - and they said, well, you've written scripts before that have not gone anywhere, so let's not get ahead of ourselves. You know, if they're paying you, just write the script. Pay your rent. You know, good for you.

aspirations of constituent groups — linguistic, religious, ethnic or political.

இஸ்லாமியர் உட்ப இவர்கள் அனைவருமே காளியை வழிபட்டு பலிகொடுத்தபின் கொள்ளைக்குச் செல்பவர்கள். காளிவழிபாடு இவர்களின் குற்றவுணர்ச்சியை இல்லாமலாக்கியது. ஆகவே ஈவிரக்கமில்லாத கொலைகாரர்களாக ஆனார்கள்.

Sociologist Michael Warner built on this some ten years later, saying:Counterpublics are spaces of circulation in which it is hoped that the poiesis of scenemaking will be transformative, not replicative merely.Poiesis is a fancy way of talking about the art and the act of creating, inventing — and it’s closely related to technique. Consciously making a scene that others can join in with.Economist Kim Crayton’s antiracism programme, Cause a Scene speaks directly to this: she is bringing a clear set of principles to life through leadership training and sharing content to achieve “strategic disruption of the status quo in technical organizations”.Making a scene is galvanising and welcoming, dynamic and inclusive by default.

potential of mise en scène for exploring thinking as something that happens in the world and in a situation of entanglement with the world

non-representationalist understanding of thinking as proposed by Gilles Deleuze and Félix Guattari in their What is Philosophy? (1994). Point of connection is the notion of mise en scène

DNA 9ngerprinting

They also found themselves unable to sustain and organize in the long term in a manner proportional to the energy they had been able to attract initially and the legitimacy they enjoyed in their demands.

German stories of ghosts,

Fra. This is most strange,That she, who even but now, was your best object,The argument of your praise, balm of your age,The best, the dearest, should in this trice of timeCommit a thing so monstrous, to dismantleSo many folds of favour: sure her offenceMust be of such unnatural degree,That monsters it: Or your fore-voucht affectionFall into Taint; which to believe of herMust be a faith, that reason without miracleShould never plant in me.

Crystal meth and ecstasy are the drugs of choice for these “instant parties” because of their psychotropic effects, and in the case of crystal meth, their ability to help people stay awake well into the night and prevent ejaculation during sex.

Avoiding ads doesn't help much either. Because brand images are part of the cultural landscape we inhabit, when we block ads or fast-forward through them, we're missing out on valuable cultural information, alienating ourselves from the zeitgeist. This puts us in danger of becoming outdated, unfashionable, and otherwise socially hapless. We become like the kid who wears his dad's suit to his first middle-school dance.

Three chief features of these clever, pointed sayings are: (1) antithesis, (2) metaphor, and (3) actuality or vividness (i.e. the power of "setting the scene before our eyes").