It's not a fun fight, and many fights have ended in vote abandons because the three strike rule and the single healer is just too punishing. It's not the speed of the mechanics, its not the lack of telegraphs, it's not even the dodge and no healing of the second phase. It's the fact that three deaths and you are back to start, and its incredibly easy to get those deaths if the healer is the. Define behemoth. Behemoth synonyms, behemoth pronunciation, behemoth translation, English dictionary definition of behemoth. Something enormous in size or power. Often Behemoth A huge animal, possibly the hippopotamus, described in the Bible. Behemoth - someone or something that is abnormally large and powerful. Hey guys hope you enjoy the video, if so turn notifications on on twitter and youtube. Also any kind of feedback is appreciated. Thanks and have a nice day!
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Behemoth | |
---|---|
Directed by | Zhao Liang |
Produced by | Sylvie Blum |
Screenplay by | Zhao Liang, Sylvie Blum |
Music by | Huzi, Alain Mahé |
Cinematography | Zhao Liang |
Edited by | Fabrice Rouaud |
Distributed by | Upside Distribution, Grasshopper Film |
| |
95 minutes[1] | |
Country | China |
Language | Mandarin |
Behemoth (Chinese: 悲兮魔兽; pinyin: bēixī móshòu) is a Chinese documentary film directed by Zhao Liang about the environmental, sociological, and public health effects of coal-mining in China and Inner Mongolia. Loosely based on Dante Alighieri's Divine Comedy, Liang’s documentary has been lauded for its surreal cinematography and poignant imagery. The film was released in competition on September 11, 2015 at the 72nd Venice International Film Festival.[2] Regarding the ban in China, the director explained that 'even though environmental protection is a national policy, but the regional government quite disliked this type of film (虽然环保是国家政策,但是地方政府对这种电影很反感)'.[3] This was not Liang’s first banned film, as his 2009 documentary Petition was also subjected to government censorship.
- 3Reception
Plot[edit]
Starting with an explosion on the desolate field in Inner Mongolia, Behemoth depicts a hellish large-scale landscape as a result from mining industry. Accompanied by the traditional Tuvan throat singing, the naked back[further explanation needed] lies in the scene of smoky mountain under the control of “Behemoth”. The man carrying a mirror reflecting the past looks at the desolate mining field, which used to be their beautiful home.
Trucks run all the time in the field transporting raw coal to coke-making factories. Workers, soaked in black smoke and struck by wind, continuously take turns to mine. Their skin, due to long-term exposure to ore and sand, is pocked with red spots and black dust particles.
Shifting from natural mining to industrial smelting, the camera moves to where the pollution is even more severe. But workers continue to endure the extreme working conditions and work day and night. As pointed out in the film, wealth accumulates elsewhere, but all living creatures who once inhabited the space have dispersed and the workers now living there are trapped in poverty. What’s left are the continuous explosions, smelting, atmosphere pollution, smog, and wasted water.
Living in the long-term pollution, the workers’ health is threatened. Besides the smoke-lined eyes and covered skin on the surface, lung cancers developed within them. They cough, have difficulty breathing, and are on the verge of death. Os x 10.9 download dmg. Immigrant workers seek help from the government, but their passive hard-working lives are destined to end in nearby graveyards.
Can i download netflix movies on my mac. Sheep no longer roam there, replaced by statues in memory of the past herding lifestyle. Download mac os yosemite dmg. All mining and smelting activities produce steel, which seems to be the building block of desire of a kind of paradise – the modern city.
But the “paradise” is more like a castle in the air with few people actually living inside. Those who dedicated themselves to the production of steel, and the building of the massive uninhabited ghost cities, end up themselves only with death.
The film concludes by inferring that workers and their activities are like the underlings of Behemoth, which itself is created by human beings for the desire for an illusory modern life that escapes the very people working to make it possible. The consequences of such pollution are vast, which leaves many considerations for the viewers.
Production[edit]
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Created with a limited cast and crew, Behemoth is an example of the burgeoning wave of independent documentaries and films made with limited support and funding.[4] Without the restrictions of a larger production company, these film-makers are able to express more politically scathing ideas without having to cater to the general box-office audience.
Zhao Liang’s documentary only loosely follows the idea of what a movie should be, and instead expresses itself as a form of visual poetry. Limited dialogue, backing score, and an abandonment of conventional cinematic techniques underscores the larger political message of Behemoth.
The cinematography is strongly symbolic and contains myriad allusions to Dante Alighieri's Divine Comedy, adopting both its character archetypes and general plot structure. The narrator, a representation of Dante, follows a stand-in for Virgil, who carries a mirror on his back – reflecting the eye of the viewer back on themselves.
The documentary is composed of three chapters, demarcated by a color transition and a general tonal shift. The film starts in the strip mine, Liang’s stand-in for the Inferno or Hell, which is identified with the color red. As the film progresses, the countryside surrounding the pit mines and the lives of its inhabitants is portrayed through a blue transition as Purgatory. Miriam mafee dmg download. The film ends in a satirically mordant Paradise, the culmination of the coal-miner’s labor which supposedly validates their suffering, an uninhabited ghost city represented with the color grey.
Reception[edit]
The documentary has been banned in China for its critique of the coal-mining industry and Chinese government, but did receive critical approval in countries across the world.[5]
Selections[edit]
- 72nd Mostra Internazionale d’Arte Cinematografica Venezia Italy
- Tetrio Millennio Film Fest – Roma Italy
- Viennale - Austria
- CPH: DOX - Denmark
- IDFA Amsterdam - Netherlands
- Traces de Vies – Festival du film documentaire Clermont Ferrand / Vic Le Comte - France
- Stockholm International Film Festival - Sweden
- Tokyo Filmex - Japan
- Porto/Post/Doc Film et Media Festival - Portugal
- WATCH DOCS Human Rights in Film IFF Warsaw - Poland
- Dubai International Film Festival - United Arab Emirates
- Venice Film Festival, in competition
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Awards[edit]
- Mostra Internazionale d’Arte Cinematografica Venezia Italie, Green Drop Award, Prix Signis
- Stockholm International Film Festival Suède, Best Documentary
- TOKYO FILMeX Japon, Special Jury Prize
- Porto/Post/Doc Film et Media Festival Portugal, Great Prize Porto/Post/Doc, Teenage Prize
- WATCH DOCS Human Rights in Film IFF Varsaw Pologne, Watch Docs Award for the best film in competition (ex aequo)
- The 40th Hong Kong International Film Festival, Firebird Award of Documentary Competition
Public health relevance[edit]
Coal-mining industries involve pollution, but what really matters are the scale and methods of exploitation. In order to rationally utilize natural resources, the scale of exploitation should be determined according to actual adequate needs from the market. (In the film, overproduction is the case.) Thus, there should be a well-considered balance between nature preservation and resource exploitation in the beginning. Methods include the employment of both machines and workers. In terms of machine mining, a better covering and transporting techniques should have been adopted to minimize the effect of smoke and air pollution. In terms of workers’ working conditions, their protections are far less than what is needed.[6]
When it comes to smelting, better waste processing is required. Due to the long-term exposure to dust, smoke, and harmful gases, the probability for workers to get lung cancers rises rapidly.[7]
Atmospheric pollution affects everyone living under the sky, especially those living in the neighborhood, so its sources should be monitored and regulated.[8] In the film, there is a petition for the government to provide help for the suffering workers. However, the effectiveness of execution remains doubtful as depicted later in the film, in that the man carrying the mirror continues to step towards the predictable end of the whole-cycle mining activities.
References[edit]
- ^'Behemoth'. IMDB.
- ^'72nd Venice International Film Festival'.
- ^'中國禁片《悲兮魔獸》蒙城上映 導演詳解被禁原因'. Archived from the original on 8 August 2017.
- ^Brody, Richard. 'Independent Filmmaking in China: The Age of Dissent'.
- ^Zhao, Liang. 'Behemoth'. Zhao Liang Studio.
- ^Hatton, Celia. 'Under the Dome: The smog film taking China by storm'.
- ^Jones, J. 'In Zhao Liang's ecological documentary Behemoth, we're the monster'.
- ^'专访柴静'. Sohu Website. Renmin Website.
External links[edit]
- Frames of Representation: Behemoth (Bei xi mo shou) Q&A on YouTube
- 'Behemoth' Q&A – Zhao Liang – New Directors/New Films 2016 on YouTube
- Behemoth on IMDb
- Film Review: 'Behemoth' on Variety
- As China Hungers for Coal, ‘Behemoth’ Studies the Ravages at the Source, The New York Times
- Short Take: Behemoth, Film Comment
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Behemoth_(2015_film)&oldid=915544788'
Behemoth | |
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The Master and Margarita character | |
Created by | Mikhail Bulgakov |
Information | |
Species | Cat |
Gender | Male |
Title | Knight |
Occupation | Demon, fool |
Family | Woland, Hella, Azazello, and Koroviev |
Behemoth (Russian: кот Бегемот) is a character from the novel The Master and Margarita by the Russian writer Mikhail Bulgakov. He is an enormous (said to be as large as a hog) demonic black cat who speaks, walks on two legs, and can even transform to human shape for brief periods. He has a penchant for chess, vodka, pistols, and obnoxious sarcasm. He is evidently the least-respected member of Woland's entourage; Margarita boldly takes to slapping Behemoth on the head after one of his many ill-timed jokes, without the fear of retribution. He is known for his jokes, which he never stops telling. His Russian name Begemot means hippopotamus, but also refers to the legendary Biblical monster.
In the novel[edit]
- Behemoth is part of Woland's entourage, depicted as a huge black cat. In the Bible, Behemoth is an example of an incomprehensible godly creation and one of the traditional names for a demon, Satan's sidekick.
- Behemoth is a werecat. He can be 'an enormous black cat with cavalry moustache, that walks on two legs' or a 'fat shorty in a torn cap' with a cat–like face. As a human, he starts a row at the Performance Committee, sets Torgsin and Griboyedov's House on fire, and beats up Varenukha at a public toilet, but most of the time he appears as cat and shocks people with his human-like behavior.
- Bulgakov's Behemoth comically combines philosophical ponderings and manners with roguishness and aggressiveness. He first appears in the scene where Ivan Bezdomny chases Woland and escapes by hopping onto a tram; he then appears in front of a severely hungover Stepan Likhodeyev drinking vodka and chasing it with pickled mushroom; he then, together with Azazello, beats up Varenukha.
- Behemoth is close with Korovyev, another member of Woland's entourage. In Chapter 28, 'The Last Adventures of Koroviev and Behemoth,' the gruesome twosome wreaks havoc around town,[1] sowing confusion at Smolensky marketplace and starting a fire at Griboedov's, a restaurant and meeting house for Russia's literary elite.
Quotes[edit]
- 'Noblesse oblige,' said the cat and poured Margarita some clear liquid into a conical glass.
- 'Is this vodka?' asked Margarita weakly.
- The cat jumped resentfully in his chair.
- 'Forgive me, my lady,' he croaked, 'Would I ever allow myself to pour vodka for a lady? This is pure alcohol!'-After Woland's Ball.[2]
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- 'Well, so I sent the telegram. What of it?' -To Maximilian Andreevich, speaking while in full-on cat form.[3]
- 'You're not Dostoevsky,' said the citizeness, who was getting muddled by Koroviev.
- 'Well, who knows, who knows,' he replied.
- 'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.
- 'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!' -When seeking entry at Griboedov's.[4]
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- “And I really look like a hallucination. Note my silhouette in the moonlight.'
- The cat got into the shaft of moonlight and wanted to add something else, but upon being asked to keep silent, replied:
- 'Very well, very well, I'm prepared to be silent. I'll be a silent hallucination.'[5]
References[edit]
- ^Bulgakov, Mikhail (1966). The Master and Margarita. Penguin. pp. 347–358. ISBN9780141180144.
- ^Bulgakov, Mikhail (2016). The Master and Margarita. Penguin. p. 276. ISBN978-0143108276.
- ^Bulgakov, Mikhail (1966). The Master and Margarita. Penguin. p. 199. ISBN9780141180144.
- ^Bulgakov, Mikhail (2016). The Master and Margarita. Penguin. p. 354. ISBN978-0143108276.
- ^Bulgakov, Mikhail (2016). The Master and Margarita. Penguin. p. 286. ISBN9780143108276.
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Retrieved from 'https://en.wikipedia.org/w/index.php?title=Behemoth_(Master_and_Margarita)&oldid=879861198'