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Even if school’s history class was a bit of a drudge, historical movies and television series delivered the same old stories with much more passion and intrigue than tweed wearing professors. Television series and films are not only massively entertaining, but they can often inspire profound discussions about the story threads. These fascinating tales of past times offer insights into old world societies and sometimes warn future man as to what his world could be like if he repeats the same mistakes; “history repeats itself.” Netflix has become the ‘goto’ online portal for historical movies and television series and the network has now realized there exists an insatiable thirst for historical shows, fact and fiction. Sometimes a history lesson is necessary to fill in the background to these series and movies.
Set in 1600s Finland, Devil’s Bride tells the dark story of a girl who falls in love with a married man and to remove his wife from of the picture, the girl accuses the innocent woman of witchcraft, later to discover to her horror how 17th-century churchmen dealt with witches.
In the real world, during the 17th-century witch-hunts, Finland was part of the Swedish Kingdom and most people followed the Lutheran religion, barring a small minority of Orthodox Catholics in the east. It was this institutionalized religion that caused magical thinking and superstition to greatly influence everyday life. According to Marko Nenonen and Timo Kervinen, in their paper Finnish Witch Trials in Synopsis at the beginning of the early modern period (1500-1800) Finland was famous for its witches and its great shamans who inhabited Lapland. Between 1520 - 1750 charges of witchcraft, magic and sorcery were laid against at least 2,000 people.
Neolithic (3000 BC) Finnish cup and ring marked stone traditionally used for votive offerings in Hartola and associated with witches. ( Tuohirulla/ CC BY-SA 3.0 )
The first trials in which ‘Diabolism’ was charged occurred in 1666 on the Swedish speaking island, Ahvenanmaa (Åland,) situated between Sweden and Finland. Witch trials in Finland were held in secular courts and were treated as normal legal proceedings. With torture being against Swedish laws it was used only in very exceptional occasions. Unlike most other western European countries, in Finland, witches were predominately male, with more than half of the accused being men, as was the case in Iceland, Estonia and Russia.
History Repeats Itself On The Television Screen - History
HISTORY REPEATS ITSELF, ON ABC'S 'GREY'S ANATOMY'
"The Room Where It Happens" - A difficult surgery brings back pivotal memories for Meredith, Richard, Owen and Stephanie, as they work together to save a life, on "Grey's Anatomy," THURSDAY, NOVEMBER 10 (8:00-9:00 p.m. EDT), on the ABC Television Network.
"Grey's Anatomy" stars Ellen Pompeo as Meredith Grey, Justin Chambers as Alex Karev, Chandra Wilson as Miranda Bailey, James Pickens, Jr. as Richard Webber, Kevin McKidd as Owen Hunt, Jessica Capshaw as Arizona Robbins, Jesse Williams as Jackson Avery, Sarah Drew as April Kepner, Caterina Scorsone as Amelia Shepherd, Camilla Luddington as Jo Wilson, Jerrika Hinton as Stephanie Edwards, Kelly McCreary as Maggie Pierce, Jason George as Ben Warren, Martin Henderson as Nathan Riggs and Giacomo Gianniotti as Andrew DeLuca.
Guest starring are Monique Cash as Gail Webber, Kendall Joy Hall as Little Stephanie, Aniela Gumbs as Zola and others TBA.
"Grey's Anatomy" was created and is executive produced by Shonda Rhimes ("Scandal," "How to Get Away with Murder"). Betsy Beers ("Scandal," "How to Get Away with Murder"), Mark Gordon ("Saving Private Ryan"), Rob Corn ("Chicago Hope"), William Harper, Stacy McKee, Zoanne Clack and Debbie Allen are executive producers. "Grey's Anatomy" is produced by ABC Studios.
"The Room Where It Happens" was written by Meg Marinis and directed by Debbie Allen.
"Grey's Anatomy" is broadcasted in 720 Progressive (720P), ABC's selected HTV format, with 5.1-channel surround sound. This program carries a TV-14, D parental guideline.
‘Twin Peaks’: Time Loops and Soup Offer Clues to the Town’s Dysfunction and Imminent Danger
History repeating itself on &ldquoTwin Peaks&rdquo has so far fallen into the category of not learning from or not being able to move on from past mistakes. Shelly (Madchen Amick) married an abusive man when she was too young and is now romantically involved with Red (Balthazar Getty), a man who&rsquos been shown to have violent tendencies. Her daughter Becky (Amanda Seyfried) also married an abusive man.
In this past Sunday&rsquos episode, Ed Hurley (Everett McGill) reveals through a heartbreaking look that he&rsquos still in love with Norma (Peggy Lipton), while she&rsquos involved with someone else. Even Ed&rsquos nephew James (James Marshall) gives viewers major deja vu with his rendition of &ldquoJust You,&rdquo a song he had crooned in Season 2 of the original series with two dark-haired ladies backing him up.
But Sunday&rsquos &ldquoPart 13&rdquo did more than just reveal thematic repetitions. In one scene, Sarah Palmer (Grace Zabriskie) is drinking in her living room while her TV plays the same clip of a black and white boxing match over and over, separated by the tell-tale sound of an electrical crackle. It&rsquos not clear if she even realizes that the boxing segment has been playing on loop, but it appears that she&rsquos still living linearly, sans loops, as she chain smokes and fetches more vodka.
Throughout &ldquoThe Return,&rdquo the electrical crackle has preceded or followed numerous significant or fraught events, such as when Richard Horne (Eamon Farren) ran down the little boy or when Cooper (Kyle MacLachlan) made his way into Dougie&rsquos body. In &ldquoPart 11,&rdquo Hawk (Michael Horse) explains how the fire symbol on his living map indicates the concept of fire, something more like modern-day electricity, and that each has good or bad intentions behind it. In Sarah&rsquos case, the &ldquofire&rdquo or electricity hasn&rsquot revealed its intentions yet, but she has always been sensitive to or a drawn to darkness. She saw visions of BOB before he killed her daughter Laura (Sheryl Lee) and lookalike niece Maddy.
If these forces can affect the dilation of time, that would explain many of the explicable occurrences: Major Briggs&rsquo (Don S. Davis) body not aging, Annie (Heather Graham) speaking to Laura, and the question that MIKE (Al Strobel) asks in the Black Lodge: &ldquoIs it future or is it past?&rdquo The Evolution of the Arm also once declared, &ldquoTime and time again,&rdquo indicating the cyclical nature of so much of what&rsquos happening in the series.
One eagle-eyed Redditor caught something curious in &ldquoPart 13&rdquo that may also hint at looped time. Just before the credits roll, Ed is sitting at the counter of Big Ed&rsquos Gas Farm eating some soup out of a cup. But as he gazes out into the night, it appears he sees something too. Although he has put the cup down, his reflection is still holding the cup and then skips a bit and puts it down. In any lesser project, this could be chalked up to sloppy editing, but David Lynch is a master of control and manipulation, and this does not feel like an accident. In fact, this feels like it would have to be skillfully put together. Watching the clip back, we see that the live Ed is still moving in normal time, as his gaze follows the direction of a car that is driving by, but the reflection does not mirror this action. The reflection could be showing an incident in the immediate future or past… or it could be a doppelgänger.
Although similar murders have shown that Laura Palmer&rsquos death wasn&rsquot a unique experience, &ldquoPart 8&rdquo suggested that there is something special about her and her presence in &ldquoTwin Peaks.&rdquo It&rsquos the warring &ldquofires&rdquo of good (the Laura essence deployed) and evil (BOB, who was born from a nuclear explosion) that have left their mark on Twin Peaks. It makes sense that the Log Lady (Catherine Coulson) has visions from the good trees and her log, that Nadine Hurley (Wendy Robie) is curiously strong, and that Sarah is sensitive to bad things that will happen.
Is the wonkiness with time a symptom of the good and evil forces that will soon converge on Twin Peaks? There does seem to be an increasingly confusing timeline in the past few episodes. Becky shooting up a door out of the blue in order to find her philandering husband occurs two episodes before she says she&rsquos worried sick because he&rsquos been missing a couple days. Deputy Bobby Briggs (Dana Ashbrook) investigates a shooting right outside the diner, but another cop says he heard gunshots at Big Ed&rsquos Gas Farm. Bobby also mentions in the latest episode that he has just found the things his father Major Briggs left &ldquotoday,&rdquo but not only did that occur about four episodes ago, it seems that at least a day has passed since the series shows Bobby at night investigating the stray shooting and then again in daytime at the RR diner. In the very least he should have said &ldquoyesterday&rdquo if time on the show is running in order.
But if time has been out of order lately then that could help explain some events. It&rsquos worth paying attention to the show&rsquos obvious markers of time, such as when characters mention the days. Some inexplicable things, such as the conversation between the women at the Roadhouse about a guy cheating on his girlfriend, could also give clues as to when events are happening. Time going sideways in &ldquoTwin Peaks&rdquo might also explain Sarah&rsquos behavior earlier at the liquor store in which she gets freaked out seeing turkey jerky at the cashier&rsquos counter that appears to be new &mdash or is it? &mdash and even questions the cashier if she were there to witness when it came in. Her sensitivity to what&rsquos wrong is probably the strongest indicator that something big or bad or possibly both are about to go down.
With only five more episodes to go, not much time is left to wrap up this Lynchian exercise in surrealism, morality and nostalgia. But this plea below promises that what&rsquos coming will be worth the wait.
&ldquoTwin Peaks&rdquo airs on Sundays at 8 p.m. ET on Showtime.
This Article is related to: Television and tagged Showtime, Twin Peaks
‘Gone With the Wind’ Explains a Lot About America
G one With The Wind is one of my absolute favorite movies. If you haven’t seen it, I suggest you do so as soon as possible. You cannot understand America until you’ve seen this sprawling Civil War classic about the fall of the Confederacy.
More than anyone else, I recommend it to pop conservative s threatening a second Civil War. I suppose it’s easy to call for war from the comfort of a television studio when you’re confident your friends and families won’t be part of the slaughter. And that’s what the Civil War was: a savage bloodbath that laid waste to hundreds of thousands of Americans. Millions, in today’s numbers. Wishing for a new war between the states do the dead a dishonor by suggesting the great cause was anything but pain and sorrow.
Liberals who support tearing down Confederate monuments should give Gone With The Wind a viewing, too. I think we should leave them up as big ugly reminders. History repeats itself because history is a jerk who doesn’t like to be ignored.
Here’s that history in a nutshell: Americans will always fight for their God-given right to be cruel, self-pitying assholes to their neighbors. We have murdered each other since the birth of the Nation and, in 1861, we did it on an unprecedented scale. Yes, the slaves were freed. But it took another 100 years of struggle until they were full citizens.
I’d like to, in addition, recommend this movie to a new generation of film aesthetes who write takedowns of old movies because hate is the steam that powers the internet.
I love old movies because they’re the closest I can get to time travel.
In 1939, when Margret Mitchell’s epic saga of the Antebellum South premiered, there were veterans of the Civil War in the audience, veterans of a war that had ended 74 years prior. In a way, Gone With The Wind was America welcoming the rebels home. A sentimental apology for Lincoln’s unpleasantness. No harm, no foul, all is forgiven — never mind that entire Southern states were run by white supremacists at the time. Popcorn propaganda.
I grew up in the South and, as a consequence, was forced to consume Civil War history — especially the kind of history that celebrated Confederates on horses riding to their noble doom.
Gone With The Wind was an acknowledgment that Sherman destroyed something beautiful. This, of course, is wholly dishonest revisionist history. But there were still people who remembered granddad’s mournful stories of Dixie’s downfall. Finally, his story was being told, the sad story of a civilization brought to its knees by a cruel, unfeeling enemy. The pitch: “What if the rebels lost in Star Wars and, also, the rebels treated other humans like cattle?”
It has become a modern fact of life that Neo-nazism is on the rise in America. Those videos and photos of young white men throwing up the Nazi salute, before inciting violence, from a few years ago are part of American history now. That’s our history, yours and mine, whether anyone likes that or not.
The Nazis, of course, were one of the great enemies of the Second World War, which ended 74 years ago. My point is, wars leave wounds that can take generations to heal. Longer, too, if the great-great-grandchildren insist on stealing their forebears’ valor with military dress-up games. Virgil Caine cosplay is, really, the worst.
The fall of the Confederacy was a melancholy event but not because, as Gone With The Wind suggests, it was the last stand of a gallant and courtly and generally benevolent aristocracy. It was melancholy because the rebels had a chance to do the right thing but didn’t. Did all Southerners own slaves? No. The majority didn’t. But sometimes history, that jerk, insists you pick sides. But the North wasn’t any more morally evolved than their sibling the North just happened to make the right choice at the right time, albeit not for long. The North, it should be noted, patted itself on the back and spent the rest of the century merrily bringing immigrants and other marginalized people to heel.
Gone With The Wind is, of course, much more than just a maudlin portrait of a cataclysm. It’s also a sweeping, and weepy, romance. A soap opera literally the color of a white bar of soap. There is a lot of passionate closed-mouth kissing. I’m also a fan of costume dramas and Gone With The Wind has it all: hoop skirts, parasols, and thousands of brass buttons. And, of course, it is a love letter to America, back when it was great.
The rest of the movie is gorgeous, too. It was a pioneer of Technicolor technology and the colors — bloody reds, and radioactive greens — burst off the screen. And that soaring, heartbreaking score! Its stunning tracking shots were very cutting-edge at the time. That famous shot of the Confederate flag, limply fluttering, as the camera retreats to reveal hundreds of dead and injured is a jaw-dropper.
When I first saw that scene as a kid, I saw the roof of the car in the popular, if silly, TV series “The Dukes of Hazard.” Later, I noticed the “stars and bars” on bumper stickers and tucked away in the corners of a store window. My mom, a Mexican-American woman, always told me to watch out for that flag because it usually means “whites only.” I am, as she reminded me, only half, and therefore, ineligible for membership in my local white power club.
I grew up in the South and, as a consequence, was forced to consume Civil War history — especially the kind of history that celebrated Confederates on horses riding to their noble dooms. The slave masters called themselves “rebels” because they were overly sentimental men.
It was hard to escape the myths of the Confederacy. My dad loved an inexpensive weekend day trip, for instance, so I spent a lot of time touring Civil War battlefields. They’re mostly lovely haunted parks. I remember learning that during the First Battle Of Bull Run, gentlemen and ladies from the nearby nation’s capital picnicked at a distance, eager to watch a Union rout of Johnny Reb. Eventually, they fled in terror. I suppose watching young men explode into bloody mist isn’t appetizing.
As a child of the ’80s, I watched the Baby Boomers try to make sense of the recent Vietnam War in movies like Platoon or Full-Metal Jacket. It was, I learned, the first war America ever lost. I was also simultaneously taught that the Civil War was the first war America ever lost. Both statements are true.
My dad once showed me yellowed discharge papers, in plastic bags, of distant relatives who fought on both sides. Truly, the conflict was “brother against brother.” I’d like to think my ancestors were enlightened, but seeing as I still have family who resists open-mindedness, I just assume my kin, blue or grey, probably had low opinions of those who weren’t 100% white.
T here is a scene — a brief moment, really — I noticed when I recently re-watched Gone With The Wind. I don’t know why I watched it for the 100th time. I think I was in the mood for an old-school blockbuster, the kind of movie where if they needed to set fire to Atlanta, they borrowed the set from the movie King Kong (another problematic must-see) and lit it up. The South deserved to burn and, in Gone With The Wind, it burns spectacularly.
Even, today, white Americans fear a successful person of color because, surely, his or her success must come at their expense.
There were other details that I hadn’t noticed before: Ashley, the wilting flower of a man who is Scarlett’s great unrequited love, is injured in a secret — and heroic — vigilante raid on local undesirables by Union soldiers. Those vigilante mobs would soon transform into the terroristic Ku Klux Klan. The ‘n-word,’ that racial slur used like a sizzling brand by whites against blacks for decades, is never used in Gone With The Wind (it is used semi-liberally in the beloved book). That doesn’t mean the movie isn’t racist from the first reel to last. It just means Gone With The Wind is far too gentlemanly to announce its hate. There’s an oddly touching exchange between the cynical Confederate gunrunner Rhett Butler and Scarlett’s nanny Mammy, where she shows him a bit of the petticoat he bought her as a sign of appreciation. I mean, how bad could these Confederates have been, right? That’s a rhetorical question. The movie, however, is certain about the horrors of war: The screams of a Confederate soldier getting his leg sawed off is as affecting now as I imagine it was then.
But this one scene — a handful of frames really — resonated with me. It spoke to me, all the way from 1939, about 2019.
Scarlett O’Hara, a toxic narcissist who would flourish on social media, plans to waltz into a Yankee prison where she hopes to sweet talk money from Butler, who is spending his post-war incarceration playing cards with his captors. (Economic anxiety is a theme throughout the movie.) Scarlett needs to save her plantation from a recent rise in taxes and wants to look her best when pleading for cash. So she makes a dress from expensive curtains in her family’s mansion, a remaining extravagance the Yanks had failed to steal.
Later, she shoots a Union soldier who attacks her and, to her relief, discovers his fat wallet.
Rhett can’t save Scarlett’s plantation, however. His money is trapped in a bank in England, a nation of nobles who sympathized with their cousins in the American South. She is angered — remember that she has pledged to never go hungry again. To, more importantly, never suffer indignities to her monumental pride.
After realizing Rhett can’t help her, Scarlett stomps through the skeleton of Atlanta, a city being picked clean of meat by “carpetbaggers,” despised Northern vulture capitalists. A humiliation heaped upon a humiliation. We meet a pair earlier: a couple of fat cats blind to the misery of the white Southerners, but hungry for opportunity. One of the two is, surprisingly, an African-American man, dressed to the nines.
Here’s the moment: as she crosses the street with her Mammy in tow — a scene-stealing Hattie McDaniels playing a stereotype so well she became the first African-American to win an Oscar — she passes by another pair of “carpetbaggers.” These two are both African-Americans. They are both wearing fancy suits, and smoking cigars. They are laughing. Enjoying themselves. She is a white woman wearing rags who just begged for cash and they’re having the time of their lives.
The other African-Americans in the movie are childlike, dim, happy to help Miss Scarlett. Lovable dependents who benefit from the generosity of the refined white elite who ruled the economically-backward agrarian economy of the Old South. But not these two. She sneers at them. These free non-white men. Even, today, white Americans fear a successful person of color because, surely, his or her success must come at their expense.
I’d be hard-pressed to find a better cultural nano-second that explains America today.
It is shocking and unacceptable that, in downtown Vancouver, 47 years later, the same police force has made the same inexcusable mistake — arresting an individual only because of the colour of their skin. However, there is reason to believe in hope for the future.
Between the two incidents, there is a remarkable difference in the response of the VPD and the mayor.
With Valmond Romilly, the VPD and officers refused to apologize, which is what prompted the lawsuit. In the aftermath of the judgment, Vancouver police issued a memo advising all members to be guided by the comments of the court, and also said Romilly was entitled to an apology.
Now, with Selwyn Romilly, both the VPD and mayor have issued public apologies, likely motivated in part by Selwyn’s status as a retired judge and the more practical reality that the institutions are now protected from civil liability that might flow from an apology by operation of the B.C. Apology Act. But nevertheless, I believe it is a positive sign, and I hope this becomes a meaningful teaching moment and an opportunity for concrete action.
There is a rising tide of awareness of the need to eliminate racial discrimination in policing. When events like this occur, they should be used as an opportunity to reflect and consider whether current strategies to address concerns about racial bias are adequate and whether there is sufficient training and effective mechanisms of accountability.
History announces 'Roots' remake will run over four nights starting Memorial Day
The remake of "Roots," the landmark 1977 television mini-series based on the family memoir by Alex Haley, will air over four consecutive nights starting Monday, May 30, simulcast on the History Channel and sister networks, A&E and Lifetime.
The saga about one family's journey through slavery will unfold with eight hours worth of drama shown over four consecutive nights starting at 9 p.m.
"Nearly 40 years ago I had the privilege to be a part of an epic television event that started an important conversation in America," LeVar Burton, the star of the original "Roots" who is onboard the new version as a producer, said in a statement.
"I am incredibly proud to be a part of this new retelling and start the dialogue again, at a time when it is needed more than ever."
A Little Dated
That being said, if you’re patient and you stick with it, you’ll find rich rewards in the difficult battles before you. With great map design and a huge slate of varied (and often hilariously weird) soldiers to recruit, there are multiple strategies you can use to take down any given level. And once you’ve completed your first playthrough, you can return to attempt an A Rank on every single mission — a stiff challenge, but one worth undertaking. I do wish there’d been a little more of an attempt to “remaster” the proceedings this time around, though: outside of including all the DLC and making some graphical improvements (which we’ll talk about in greater detail later), nothing’s really different from the PS3 original. That’s not a terrible thing, since the base game is a great one, but the lack of additional content or polish is a shame. Just as one example, I’d like to have seen the overall real-time combat experience get tightened up a bit: the fact that the characters can only take cover behind certain objects is sort of an unnecessary limitation, and the aiming and collision detection just feel a little dated by comparison to more modern games.
History repeats itself on TV
Looks like the one-year drought of historicals on TV is about to end with Jodha Akbar and Maharana Pratap. In fact, reports suggest that two serials on the Rajput warrior are currently under production. So far, at least a dozen famous personalities have been captured on celluloid.
From Chanakya, Chandragupta Maurya, Tipu Sultan, Prithviraj Chauhan, Jhansi Ki Rani to Shivaji, we have seen the greatest of warriors being brought alive on the small-screen. While Chanakya and Tipu Sultan are still remembered for their authentic recreation, casting and grandeur, others like Prithviraj Chauhan and Jhansi Ki Rani hit bull&rsquos eye with their presentation. However, for every Jhansi Ki Rani there&rsquos been a Shobha Somnath Ki and Chittor Ki Rani Padmini that sank without a trace. But that hasn&rsquot deterred makers from digging into history for their stories.
The deciding factorUnlike a mythological, that has an immediate connect with the viewers, courtesy the Gods, a historical is a difficult genre to pull off. Firstly, the character on which the serial is based has to be completely positive and secondly, he/she should have a great persona. Says Chandraprakash Dwivedi who made Chanakya, &ldquoWhen there is a tough challenging time and the person facing it is a great personality, it creates history.&rdquo Ajay Balwankar, Content head, Zee adds that the entities have to be inspirational and well-known. He knows better as the channel had burnt its fingers with Shobha Somnath Ki. &ldquoIt didn&rsquot do well because people didn&rsquot know about her and it also had some other issues,&rdquo he explains.
Making the right choiceThis time the channel has played safe and chosen the love story of Jodha Akbar. Not only is it steeped in history, it has a romantic angle between the Mughal emperor and his Hindu wife. &ldquoIt&rsquos a passionate love story of an era where there were no mobile phones. It&rsquos a different world altogether, has an element of fantasy, besides providing information on history,&rdquo says Balwankar. Even producer Abhimanyu Singh has chosen all iconic personalities for his historicals, be it Jhansi Ki Rani, Veer Shivaji or Maharana Pratap which he is making now. &ldquoBoth Shivaji and Jhansi Ki Rani were the greatest of warriors and Maharana Pratap is the bravest Rajput who fought the Mughals. Everyone is aware of his inspiring story,&rdquo says Singh.
Research and developmentFor a historical to make a mark, the producer besides doing adequate research has to invest in recreating the flavour of that era, inventive dialogue and authenticity. Says Dwivedi, &ldquoIn 1988, when I made Chanakya, I had made the pilot episode at the cost of Rs 18 lakh which works out to over Rs 1.5 crore today. It also involves a lot of research. You have to be able to study and interpret the missing link. Unlike in Hollywood where major blockbusters are based on history or literature, here people are averse to it.&rdquo Dwivedi who has just finished airing Upanishad Ganga which he calls part culture, part history, says one cannot make an historical like a daily soap. &ldquoFor Chanakya I had researched on the subject for five years, but now nobody wants to wait that long or put in that kind of time,&rdquo he laments. Singh adds that one has to be accurate when it comes to historicals as people are sensitive.&rdquo
Back to the rootsMost historicals trace the journey from childhood and producers go to great lengths to cast the perfect child actor. That&rsquos because children help in straight away establishing an emotional connect with the viewers and if they are good, the makers strike gold. Whether it was Rajat Tokas in Prithviraj Chauhan, Ulka Gupta in Jhansi Ki Rani or Rushiraj Pawar in Chandragupta Maurya, they were instrumental in making the show a success. So much so that, once they were out, giving way to the grown-ups, the show didn&rsquot sustain in most cases.
Way aheadKratika Sengar, who played the grown-up Jhansi Ki Rani replacing Ulka says, &ldquoThere was tremendous pressure on me and people were sceptical about whether I will be accepted as most serials till then had winded up soon after the grown-up character was introduced.&rdquo Nikhil Sinha who had directed Prithviraj Chauhan points out that people are familiar with the child version of the character and when the grown-up character enters, it takes time to connect as the perspective and storytelling changes.
Given this scenario, it remains to be seen whether Jodha Akbar will replicate the magic of its filmi counterpart and if Maharana Pratap will succeed in recreating history on the small-screen!
History Repeats Itself On The Television Screen - History
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John Logie Baird (1888 - 1946)
In the first week of October, 1925, Baird obtained the first actual television picture in his laboratory. At this time, his test subject was a ventriloquist's dummy, Stooky Bill, which was placed in front of the camera apparatus. Baird later recollected,
"The image of the dummy's head formed itself on the screen with what appeared to me an almost unbelievable clarity. I had got it! I could scarcely believe my eyes and felt myself shaking with excitement."
Here is the story of Baird's first public demonstration of television, couresty of Tony Davies:
I am involved in the organisation of an event at the Royal Insitution in London, England, on 27th January 2017 , which is partly to commemorate the achievements of John Logie Baird in early mechanical television inventions and to provide an overview of the technology progress to the present digital methods. It is associated with the installation of an IEEE History Milestone Plaque on the previous day, to recognise the first public demonstration of television.
Tthe first public demonstration of 'true television' was done by Baird on 26th January 1926. However , we believe that was NOT the demonstration at Selfridges Department Store. What happened on 26th January 1926 was that in Frith Street, Soho, London, this first public demonstration was done before some 40 or so members of the Royal Institution of Great Britain, and although the documentation is sparse, there was a newspaper report in The Times about it, and it is generally considered to be an accurate claim. (By 'true television' is meant moving grey-scale images, not just moving silhouettes)
The Selfridges demonstrations were earlier, in March 1925, but consisted of moving silhouettes only, with no grey-scale present. Baird succeeded in doing grey-scale images towards the end of 1925, leading to the 26th January 1926 demonstration to RI members.
It is actually rather difficult to get accurate information about some of John Logie Baird's achievements: it seems that he was rather secretive about how things he did actually worked because he was afraid the others with more money and commercial backing would 'steal his ideas' - so he sometimes when explaining how his inventions worked he including some deliberate mistakes. Moreover, some of the BBC people seemed to have a low opinion of him, which did not help.
My grandmother was actually there when Baird demonstrated his television system in Selfridges. She was born in 1901 and lived to 97, she told me this story many times. I became a tv engineer and I think this is why she told me.
She went to London to shop at Selfridges, when she saw the original demonstration, she left very disappointed and said that it would never catch on.
She saw so much in her lifetime, living through 2 world wars, and the sinking of the Titanic, the advent of wireless, and man landing on the moon. The start of colour TV. It is such a shame that her diaries have since been lost when she passed away as she documented everything as it happened.
The Baird company continued to publicize his demonstations and J. L. Baird's other scientific breakthroughs as they feverishly worked to obtain financial backing and construct a line of home receivers. Here is Baird's 1926 camera. Baird began broadcasting television in the fall of 1926 from a station in London.
From the British "Journal of The Television Society", September 1941
Courtesy of Steve Dichter
In February of 1928, Baird transmitted television images across the Atlantic, where they were received in Hartsdale, New York. Also in 1928, Baird demonstrated color television. Baird also recorded video images on phonograph records though it took modern computer techniques to play them back.
With Baird's transmitting equipment, the British Broadcasting Corporation began regular experimental television broadcasts on September 30, 1929. By the following year, most of Britain's major radio dealers were selling Baird kits and ready-made receivers through retail and by mail order.
In 1929 Baird demonstrated the use of infrared light in television, and proposed a system called Noctovision, which was to be used by the military to locate enemy planes overhead without being detected.
In 1936, Baird and EMI competed to determine what standard would be used for the new high definition televison service. Baird's system was still primarily mechanical, while the EMI system was all-electronic. The EMI system prevailed, and Baird then turned his attention to color television, building a working electronic color system in 1942.
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A narrator is describing everything that happens on the shows I am watching. How do I make it stop?
You may be hearing the Descriptive Video Service (DVS) option made available to audiences who are blind or visually impaired. You can turn this feature off and on fairly easily.
Most newer-model TVs with stereophonic sound systems are able to receive a Second Audio Program (SAP) which provides enriched verbal descriptions of what is heard and seen on a TV's primary audio and video channels. Most TVs and VCRs require you to select the SAP channel in order to receive and record DVS. The selector is usually labeled SAP, MTS, Audio 2, or Audio B on your TV panel, remote-control device, or on-screen menu. Un-selecting the SAP channel should eliminate the DVS option.
If you're not able to un-select the SAP channel, review your TV manual or contact a TV vendor who can guide you through the process. Like closed captioning, DVS was also pioneered by PBS to ensure the widest possible audience is served.
Watch the video: Η Ιστορία της Τηλεόρασης (December 2022).