문화/연예 · "TRAPPED" · 총 4건
필터 보기현재 지수
50.3
0 = 부정 우세
50 = 중립
100 = 긍정 우세
최근 7일 기준 79,811건을 분석한 결과, 뉴스 심리지수는 50.3(균형)입니다. 긍정 3,906건(4.9%)·중립 74,023건(92.7%)·부정 1,882건(2.4%)이며, 중립 비중이 뚜렷하게 높습니다. 성향 지수는 종합 13.2(중도 균형)입니다.
Riders were forced to squeeze out of their 'doom buggies' after the ride stalled due to a malfunction.
La Brea Tar Pits – the only urban, active ice age excavation site in world – gets a mammoth face lift for the first time in nearly 50 years Los Angeles is known for famous museum such as the Getty and the Lacma, but perhaps fewer people are aware that – in the heart of the city – lies a museum that contains one of the world’s most remarkable fossil sites. The La Brea Tar Pits and Museum is home to the remains of more than 2 million ice age flora and fauna, including mastodons and saber-toothed cats, that became trapped in oily pools that still bubble up today. Continue reading...
A new film, Blondi, takes audiences inside the Führer’s bunker in the final days of the Third Reich, from the point of view of his beloved dog When Benedict Morrison, who runs the London comedy festival, stood up to present Blondi – a new film about the dying days of the Third Reich – at its premiere at a cinema in Brixton earlier this month, he went in big. Picture the scene, he told the audience: it’s 1924 and FW Murnau has just strapped a movie camera to a bicycle and invented subjective cinematic perspective. The result was The Last Laugh which captured the precariousness of life in Germany after the first world war with such poignant precision it foreshadowed the following decade – and revolutionised cinema. For Blondi, shot 100 years later, the camera was strapped to a dog. Lexie, a seven-month-old German shepherd, is both the title character – Hitler’s last dog, possibly the most famous hound in geopolitics – but is also the co-director of photography, or cinemadographer if you prefer, as both Pablo Álvarez-Hornia (the film’s producer) and Jack Salvadori (its co-director) certainly do. It makes for a novel cinematic experience. Sometimes you feel a bit sick at the sudden changes of pace and freaky angles. “Some things need to be made uncomfortable,” says Álvarez-Hornia, “and, in a way, it needed to be dirtier and grittier and uglier for it to work.” Continue reading...
In this lurid, big-boned, often brilliant book about a sculptor and a true-crime documentary, state-of-the-nation commentary and gruesome chills combine Claire Fuller is fascinated by corpses: by the moment when a supple, beloved body turns into inert, heavy matter. In her masterful 2021 Costa winner Unsettled Ground, adult twins veer between pathos and gawky comedy as they attempt to dress and bury their dead mother, floored by the sheer, awful weight of her. Now in Hunger and Thirst, Ursula’s destiny is shaped by encounters with two cadavers. And as the book oscillates between social realism and gothic horror, these two unruly corpses destroy her life. The first is Ursula’s itinerant, troubled but loving mother, who’d been busking with her child alongside her since giving birth at 16. Aged seven, Ursula spent an appalling two days stuck in a bathroom in Morocco, with the door trapped by her mother’s dead body after she died of dengue fever. By the time the novel opens in 1987, Ursula is 16, and has been moved between seven children’s homes before ending up at a “halfway house” alongside recovering addicts and released prisoners. She lands a trial job in the postroom at Winchester School of Art: there she makes friends with bold, madcap Sue, who thrusts on Ursula an unfamiliar intimacy, introducing her to her enviably warm and rambling family. Ursula is narrating the book 40 years later, and it’s clear from the start that something will go so horribly wrong between Ursula and Sue that a prurient documentary-maker will end up making a film about Sue’s murder. Scenes from this documentary, Dark Descent, punctuate the book, adding to the sense of foreboding. Continue reading...