by Terry Gilliam

Brazil is a 1985 film directed by Terry Gilliam. It was written by Gilliam, Charles McKeown, and Tom Stoppard and stars Jonathan Pryce. The film also features Robert De Niro, Kim Greist, Michael Palin, Katherine Helmond, Bob Hoskins, and Ian Holm. John Scalzi's Rough Guide to Sci-Fi Movies describes the film as a "dystopian satire".

Sam Lowry (Jonathan Pryce), a young man trying to find a woman who appears in his dreams while he is working in a mind-numbing job and living a life in a small apartment, set in a dystopian world in which there is an over-reliance on poorly maintained (and rather whimsical) machines. Brazil's bureaucratic, totalitarian government is reminiscent of the government depicted in George Orwell's Nineteen Eighty-Four, except that it has a buffoonish, slap-stick quality and lacks a 'Big Brother' figure.

Jack Mathews, movie critic and author of The Battle of Brazil (1987), characterized the film as "satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life."[1] Though a success in Europe, the film flopped upon initial release in North America, even with the extra publicity of the fight with the studio. It has since become an important cult film.

The film is named after the recurrent theme music "Aquarela do Brasil."
Contents
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Sam Lowry (Jonathan Pryce) is a low-level government employee, often daydreaming of saving a beautiful maiden. One day he is assigned the task of trying to rectify an error created by a government mishap, causing the incarceration and execution of Mr. Archebald Buttle instead of the suspected terrorist, Archebald "Harry" Tuttle. When Sam visits Buttle's widow, he discovers Jill Layton (Kim Greist), the upstairs neighbor of the Buttles, is the same woman as in his dreams. Jill is trying to help Mrs Buttle find out what happened to her husband, but has gotten sick of dealing with the bureaucracy. Unbeknownst to her, she is now considered a terrorist friend of Tuttle for trying to report the mistake of Buttle's arrest in Tuttle's place to bureaucrats that would not admit such a mistake. When Sam tries to approach her, she is very cautious and avoids giving Sam full details, worried the government will track her down. During this time, Sam comes in contact with the real Harry Tuttle (Robert De Niro), a renegade air conditioning specialist who once worked for the government but left due to the amount of paperwork. Tuttle helps Sam deal with two government workers who are taking their time fixing the broken air conditioning in Sam's apartment.

Sam determines the only way to learn about Jill is to transfer to "Information Retrieval" where he would have access to her classified records. He requests the help of his mother Ida (Katherine Helmond), vainly addicted to rejuvenating plastic surgery under the care of cosmetic surgeon Dr. Jaffe (Jim Broadbent), as she has connections to high ranking officers and is able to help her son get the position. His mother is delighted as she used to be frustrated at her son's prior lack of ambition, and the promotion Sam receives is one his mother has previously arranged for him but that Sam has declined. He eventually obtains Jill's records and tracks her down before she is arrested, then falsifies her records to make her appear deceased, allowing her to escape the bureaucracy. The two share a romantic night together before Sam is apprehended by the government at gun-point for misusing his position.

Sam is taken to be tortured by his old friend, Jack Lint (Michael Palin), as he is now considered part of an assumed terrorist plot including Jill and Tuttle. However, before Lint can start, Tuttle and other members of the resistance shoot Jack and save Sam, blowing up the Ministry building as they flee. As they try to disappear into the crowds, Tuttle's disappearance is surreal and mysterious; he is slowly covered by the stray scraps of paper from the destroyed Ministry building, and once Lowry comes to his aid and tears through the layer of paper, Tuttle has disappeared. The scene becomes dream-like as Sam runs to his mother at a funeral. The funeral is described as that of Mrs. Terrain (Barbara Hicks). Rather than Mrs. Terrain who is recently deceased due to her cosmetic surgery gone wrong, Sam's mother, thanks to Dr. Jaffe's repeated surgery, now seems like in her 20s again, looking exactly like Sam's love interest Jill, and is surrounded by a flock of juvenile admirers younger than Sam himself. She refuses to help and, falling into Mrs. Terrain's seemingly bottomless coffin, he then continues to run from the police in streets that more and more resemble the concrete and brick walls of his nightmare daydreams. When he finds himself surrounded on three sides by the police and the imaginary monsters of his nightmares, he turns to the only escape way left and climbs up a seemingly insurmountable pile of old flex-ducts such as those running the world of Brazil, and finds sanctuary in a trailer driven by Jill, whereupon the two leave the city together.

However, it is revealed this happy ending is all happening inside Sam's head when in front of the idyllic scene, two faces come into view staring at the camera, that of Jack and of Mr. Helpmann (Peter Vaughan), who as Deputy Minister of the Ministry of Information is the system's highest official we see in the film. What they are looking at, as they now realize, is Sam having become insane at Jack's hands. Jack gives up trying to torture Sam, and Sam is left with a smile on his face, humming "Brazil" as Jack moves Mr. Helpmann in his wheelchair away from the scene.

[edit] Cast

emagazine

emagazine second issue is now online! you can easily share it and read it online. Feel free to reach us back, either this way or in our social spaces in facebook or twitter, we are already working on our next issue. enjoy!

Editor’s Note

This late May far into June issue of emagazine is nothing but a handpicked selection of art inspired in both, real and abstract subjects always surrounding and flirting with audience reactions. Emagazine has come to reach an imaginary world brought to us as a plane field where you can join every artist’s worries and dreams.

Invited friend Gordon Cheung, unveils a rainbow-filtered reality envisioning a dark future, with a complex background that upholds iconography supported with animals and conspiracy theory. Don’t be surprise if you find yourself liking this scenario, learning to love destruction and dealing with a controversial feeling of denying this as a future and at the same time loving Gordon’s place for you in it. Of course if you get to this point where you share Gordon’s way of seen, is because you have gone deep into Marilyn’s text, paramount for those matching her words with such an incredible way of doing art.

If this magazine had something on its side, was precisely its ability to grant spaces to show concepts the most avant-garde thinkers had backed: Biennale de Paris is an example of it, and it brings the abstract component to our hands and it does so, with a strange proposal: Gasc Demolition, almost a military solution used to take down old art places, old art sanctuaries, old art ideals, giving us a second chance to reevaluate art from its very basics. Premise: destroy paradigms to “build” art without reference.

Silence was the only thing emagazine wanted not to have here, and Raphael came with his text about Zimbabwean art to guide us into knowledge and wisdom, jumping from one geopolitical spot to another. History marked by a population that has suffered and still struggles to be heard, taking art as a self-expression form to send the clearest message possible.

At the same time it is easy to find Kristian and Wagner, both playing with the idea of the finitude of life. The first one brings almost a formula to defeat extinction by collecting DNA samples and therefore saving our genetics for a future “reconstruction of humanity” …just in case, you know. Wagner cares for a more than old fear: the fading of life, a boatman’s light sailing away until it goes out of sight, you will see this video until you feel a sensation well known to you: fear to death, self preservation is in play mode. You’ll feel your body, and will touch either your leg or stomach, but you will be compelled to feel, to prove that this light that fades is not yours.

We have fought for a magazine where approaches were as different and diverse as possible, all of this because we wanted to overcome the idea that art is only related to pretty and right-sensed creations collected or exhibited with a very fashionable aesthetic purpose. Then emagazine found Julia working, burning boundaries by resuming art experiences right from spaces in conflict, world areas where legacy or a present situation discard art as objects. Instead you can find this “places” presenting themselves as actors in a show, where, until now, they were the camera guy.

Arrechea gives no brake to those searching safe Heaven far from housing slump, a reminder, now in water color, soon to be transformed in an extraordinary set of pieces, of how stupid the entire economic system can be, is the leitmotiv behind his idea.

Based of course in the greedy human nature, desperate to accumulate power and money, this last element, (money) has been also the core subject of Matthieu Laurette’s
“Let’s make a lot of money!” piece: a clear statement of what you should you be centering your efforts in now, place our attention in the never ending controversial economic flow and how we get always the worst part of it.

Following its own rules Gabriela and duet Dylan & Fogg, find each one of them a new way to grant colors, shapes and figures the ability to transmit sensations and enigmas right by looking at them. The ability to deconstruct recognizable patterns or images into basic colors or to take geometrical drawings out of its context (context has been a bizarre human centered theory) could lead to new meanings granting the mind with a double experience: free will and imagination.

Absurd as it may sound, there is an ongoing war on seeds, what to plant, where to plan it and how to trick consumers and farmers to start and continue with crops genetically modified. Risky business addressed this time by Lucia with an installation with rice as basic material, a protest without precedent if you count the time and effort deployed to make this work available to your eyes.

Definitely emagazine wanted Studio Banana and their collaboration; Locutorio Colon is, since you start reviewing its documentation, a project where audience is the center point, and as soon as the first person starts moving and makes phone calls to motherland a social element appears and graphics begin to show that former colonial countries population movements are undertaking a huge step into an undeniable phenomena: reverse colonization.

Ícaro and Pia are both into the dialog but in very different ways. Ícaro takes components no matter from where, used or new materials, recycling intentions and getting them back into new interactions stages where they can redefine their core purpose. A second life, second chance acting as mother of new conversations, maybe we shall listen. Pia empowers the audience and gives them a subject, a starting point, a microphone or a place where voice can take all the air, all of a sudden conversations, declarations and then a new side of us arises, a work in progress that never ends. Pia´s soapboxes stands allow others to rephrase what’s on their minds; a true act of democracy where time plays no role, truth is everlasting.

Paul, Max, Roxana, Geison and Moritz had it right, emagazine needed a thunder to shake people’s mind, to act as another yet never sufficient source of shouting against something as bloodcurdling as child abuse. A brilliant and sarcastic text supported by astonishing photography combining art and condemnation.

Emagazine hopes that when you get to this point, definitely the end of this editor’s note, you which to take a back trip to the first page and start seen again all these projects; we truly want to count in anyway possible.

Carlos M. Leal
Editor

ussr band Kino

Viktor Robertovich Tsoi (Russian: Виктор Робертович Цой) (June 21, 1962 – August 15, 1990) was a famous Soviet artist and leader of the rock group Kino. Tsoi was born to a Korean father and Russian mother on June 21, 1962 in Leningrad, USSR (now St. Petersburg, Russia).

He is regarded as one of the pioneers of Russian rock and has a huge following in the countries of the former Soviet Union even today. Few musicians in the history of Russian music have been more popular or have had more impact on their genre than Victor Tsoi and his rock band Kino.

Tsoi contributed a plethora of musical and artistic works, including ten albums. He died in a car accident when he fell asleep while driving on August 15, 1990.
Contents

Early life

Tsoi's mother, Valentina Vasilyevna, was a teacher and his father, Robert Maximovich, was an engineer. He began writing songs at the age of 17. His early songs addressed themes like life on the streets of Leningrad, love and hanging out with friends. Many characters in his songs were young men with limited opportunities, trying to survive in a tough world. During this time, rock was an underground movement limited mostly to Leningrad; Moscow pop stars ruled the charts and received the most exposure from the media. The Soviet government gave grants to artists it favored, providing them with housing, recording studios and anything else they may have needed to succeed.[citation needed] Rock music, on the other hand, was not too popular with the government. Thus rock bands received little or no funding, they were not given any exposure by the state-run media and rock was labeled as music listened by drug addicts and hoodlums. In 1974, Viktor attended the Serov Artistic Academy, but was expelled at the age of 18, allegedly for poor grades, although he was already heavily involved in the rock music scene by then, which may have been a factor as well[citation needed]. By this time Tsoi had began to perform the songs he wrote at parties. During one of these performances he was noticed by Boris Grebenshchikov, a member of the established rock group "Aquarium". Grebenshikov took Tsoi under his wing and helped him start up his own band. This signaled the beginning of Tsoi's rock music career.

[edit] Beginnings of Kino

Leningrad's Rock Club was one of the few public places where rock bands were allowed to perform. It was there in 1982, at their first annual Rock Concert that Victor Tsoi made his stage debut. He was playing as a solo artist supported by two "Aquarium" members. Tsoi's innovative lyrics and music impressed the crowd.

Before making it big, Tsoi said that the problem with music was that no one wanted to take chances. He wanted to experiment with lyrics and music in order to create something fresh that no one had ever heard before. Tsoi succeeded in his goal. Shortly after the concert he recruited other musicians and they formed "Kino", which in Russian means "cinema". They recorded a demo tape at Tsoi's apartment. This tape was quickly passed around Leningrad, then all over the country by rock enthusiasts. Kino began to gain a following.

[edit] First album

In 1982, Kino released their first album titled "45". This album first showed Tsoi's willingness to approach political topics in his music, something not too many other artists were willing to do. In his song Suburban Electric Train (Russian: Электричка/Elektrichka) he discussed a man stuck in a train that was taking him where he didn't wish to go; this was clearly a metaphor for life in the Soviet Union, and the band was quickly banned from performing this song live. Regardless, the political message of the song made it popular among the youth of the anti-establishment movement that now began to look to Victor Tsoi and "Kino" as their idols.

In 1982 Tsoi met Marina, who he married in 1985. She was a source of support and family for Tsoi, giving birth to their son Alexander (Sasha) on August 26, 1985.

"Kino" displayed more of their political views at the 2nd Leningrad Rock Club Concert. The band won the competition with Tsoi's anti-war song I Declare My Home... (a nuclear-free zone) (Russian: Я объявляю свой дом ... (Безъядерной зоной)/Ya ob'yavlyayu svoy dom ... (Bez'yadernoy zonoy)). The song's popularity was fueled by the ongoing Afghan War which was claiming the lives of thousands of young Soviet citizens.

[edit] Gorbachev era

"Kino" was still not getting much mainstream attention due to the lack of government support, but that changed with the arrival of Mikhail Gorbachev in 1985. His social and economic reforms, especially Glasnost and Perestroika, began exposing the social and economic problems of the Soviet Union and allowed open discussion of them in the media. Glasnost loosened the restrictions on the media and allowed rock bands to be written about and shown on television. In 1986 Tsoi used the open atmosphere and public sentiment to release a song titled [We're waiting for] Changes! (Russian: Перемен!/Peremen!). The song called on the young generation to demand changes within the current system and spread "Kino"'s name all over the nation. However, in an interview, aired on Soviet TV shortly after his death, Tsoi stated that his songs often have been misinterpreted in the public and that he usually avoids political intentions in his poetry. In particular, Changes!, which was used widely for the perestroika movements, has nothing to do with it, he said.

[edit] Rise to fame

1987 was a breakthrough year for "Kino". The release of their 7th album Blood Type (Russian: Группа крови/Gruppa Krovi) triggered what was then called "Kinomania". The open political climate under glasnost allowed Tsoi to make Blood Type his most political album yet it also allowed him to record a sound of music that no one before him was able to play. Most of the tracks on the album were directed at the youth of the Soviet Union, telling them to take control and make changes within the nation, some of the songs addressed the social problems crippling the nation. The sound and lyrics of the album made Tsoi a hero among Russia's youth and "Kino" the most popular rock band ever. Over the next few years Tsoi appeared in several successful movies and also traveled to the USA to promote his films at film festivals. Several more albums were released, their themes were once again mostly political, further fueling the band's popularity. Even though Tsoi was a huge star, he still lived a relatively ordinary life. He kept his old job in the boiler room of an apartment building, a fact that surprised many people. Tsoi said that he enjoyed the work and he also needed the money to support the band, as they still received no government support and their albums were copied and passed around the nation via samizdat free of charge. This made Tsoi even more popular among the people because it showed that he was down to earth and they could relate to them. "Kino"'s finest hour came in 1990 with a concert at Moscow's Luzhniki Stadium. 62,000 fans filled the stands to celebrate the triumph of Russia's most successful rock group.

[edit] Film Appearances

In 1988 Viktor Tsoi starred in a feature film directed by Rashid Nugmanov and written by Aleksandr Baranov and Bakhyt Kilibayev. It was entitled «ИГЛА», or "Igla" ("Needle" in Russian) with Tsoi playing the movie's protagonist. The plot is centered around the character Moro, who returns to Alma-Ata to collect money owed to him. While waiting out an unexpected delay, he visits his former girlfriend Dina, and discovers she has become a morphine addict. He decides to help her kick the habit and fight the local drug mafia responsible for her condition. But Moro finds a deadly opponent in "the doctor," the mafia kingpin who is exploiting Dina.[1]

The film's soundtrack, including original music by Tsoi's band Kino, contributes to the overall feeling of the movie, in addition to the film's use of post-modern twists and surreal scenes.

The movie was officially released in February 1989 in the Soviet Union.

[edit] Death and Aftermath
Grave of Victor Tsoi

While in Latvia, on 14 August 1990, Tsoi finished recording the vocals for Kino's next album. He was supposed to travel back to Leningrad so that his band mates could record its musical score. Early in the morning of August 15, Victor Tsoi was killed on the way back from a fishing trip when his car collided with a bus outside Riga. The car was completely demolished to the point that one of its tires was never found. Tsoi had wanted to take his son, Alexander (Sasha) with him on the trip, but fortunately, Sasha did not go. Tsoi was buried in a closed casket.

On August 17, "Komsomolskaya Pravda", one of the main Soviet newspapers, had the following to say about Tsoi and his meaning to the youth of the nation:

Tsoi means more to the young people of our nation than any politician, celebrity or writer. This is because Tsoi never lied and never sold out. He was and remains himself. It's impossible not to believe him... Tsoi is the only rocker who has no difference between his image and his real life, he lived the way he sang... Tsoi is the last hero of rock.

The tape which contained the only recording of Tsoi's vocals for the next album was recovered and the surviving members of "Kino" recorded the music to the album, which was christened Black Album (Russian: Чёрный альбом/Chorniy al'bom) as a sign of mourning for the fallen singer. The album became the band's most popular creation and solidified "Kino"'s place at the top of Russian rock's history and Victor Tsoi's as its greatest hero and legend.

[edit] Cultural significance
The Tsoi Wall in the Arbat District of Moscow.

Kino's impact on Soviet music and society was huge. The group introduced a sound and lyrics that no other Soviet actor before them was able or willing to produce. Kino opened the doors for modern Russian rock bands. It's displayed today in many places around Russia, from graffiti on the fences of St. Petersburg to an entire wall dedicated to Victor Tsoi in a bylane of the famous Arbat street in Moscow, where fans still gather to remember their hero. In 2000 some of the nation's top rock bands came together and released their interpretations of Kino's best songs as a tribute to Victor Tsoi on what would have been his 38th birthday. Even though he is gone, Victor Tsoi still lives in the minds of many Russian youths.

Most recently, Viktor Tsoi's "Gruppa Krovi" is played through Grand Theft Auto 4's fictional radio station (Vladivostok FM).
similar or influenced band;
Aquarium ,Kol sonzlgn ,slavoj,workshop,yatha,Makryham,

The first half 2009 featured tune&stuff

we found 2009/01.
Half japanese(Jad fair)-pkpkpkpk
we found 2009/02.
Ergo phizmiz-Mystery of Hadness
we found 2009/03.
dj Spooky + Qasim Virjee --maya Saguna
we found 2009/04.
kolsonzlgn--pjevaj Inframince
we found 2009/05.
Llewellyn--Spirit of the Wolf
we found 2009/06
猛毒--hardcore

the current financial crisis

Bernanke is particularly interested in the economic and political causes of the Great Depression, on which he has written extensively. Before Bernanke's work the dominant monetarist theory of the Great Depression was Milton Friedman's view that it had been largely caused by the Federal Reserve reducing the money supply. Bernanke focused less on the role of the federal reserve, and more on the role of private banks and financial institutions[19]. Bernanke found that the financial disruptions of 1930-33 reduced the efficiency of the credit allocation process; and that the resulting higher cost and reduced availability of credit acted to depress aggregate demand, identifying an effect he called the financial accelerator. When faced with a mild downturn, banks are likely to significantly cut back lending and other risky ventures. This further hurts the economy, creating a vicious cycle and potentially turning a mild recession into a major depression.[20] Economist Brad DeLong, who had previously advocated his own theory for the Great Depression, notes that the current financial crisis has increased the pertinence of Bernanke's theory. [21]

In 2002, when the word "deflation" began appearing in the business news, Bernanke gave a speech about deflation.[22] In that speech, he mentioned that the government in a fiat money system owns the physical means of creating money. Control of the means of production for money implies that the government can always avoid deflation by simply issuing more money. (He referred to a statement made by Milton Friedman about using a "helicopter drop" of money into the economy to fight deflation.) Bernanke's critics have since referred to him as "Helicopter Ben" or to his "helicopter printing press." In a footnote to his speech, Bernanke noted that "people know that inflation erodes the real value of the government's debt and, therefore, that it is in the interest of the government to create some inflation."[22] For example, while Greenspan publicly supported President Clinton's deficit reduction plan and the Bush tax cuts, Bernanke, when questioned about taxation policy, said that it was none of his business, his exclusive remit being monetary policy, and said that fiscal policy and wider society related issues were what politicians were for and got elected for. Indeed, in his undergraduate economics textbooks he somewhat distances himself from the rhetorical economic libertarianism of Greenspan.[citation needed]

His first months as chairman of the Federal Reserve System were marked by difficulties communicating with the media. An advocate of more transparent Fed policy and clearer statements than Greenspan had made, he had to back away from his initial idea of stating clearer inflation goals as such statements tended to affect the stock market.[23] Maria Bartiromo disclosed on CNBC their private conversation on Fed policy (in which Bernanke said investors had misinterpreted his comments as indicating that he was "dovish" on inflation), and he was criticized for making public statements about Fed direction.[24] Presidential candidate and Texas representative Ron Paul, a member of the House Banking Committee - who takes the view that the Federal Reserve System should be abolished and the economy should revert to 'Hard Assets'[25] - has criticized Bernanke for "continually lowering interest rates," which he avers to have caused drastic inflation and unnecessary growth of the money supply, leading to what Paul refers to as the "inflation tax."[26] However, many professional economists argued that failure to have lowered the Fed's target rate would have contributed far more significantly to recession, and urged Bernanke (and the rest of the Federal Open Market Committee) to lower the rate beyond what it had done. For example, Lawrence H. Summers, the Charles Eliot Norton Professor of Economics at Harvard and former Treasury Secretary, wrote in the Financial Times on November 26, 2007 - in a column in which he argued that recession was likely - that "....maintaining demand must be the over-arching macro-economic priority. That means the Federal Reserve System has to get ahead of the curve and recognize - as the market already has - that levels of the Federal Funds rate that were neutral when the financial system was working normally are quite contractionary today."[27]

David Leonhardt of The New York Times wrote, on January 30, 2008, that "Dr. Bernanke's forecasts have been too sunny over the last six months. [On] the other hand, his forecast was a lot better than Wall Street's in mid-2006. Back then, he resisted calls for further interest rate increases because he thought the economy might be weakening. He was dead-on right about that — and the situation would be even worse now if he had listened to his critics then."[28]