Walked Over

Just walk on over

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Chinese New Year Tiger

Chinese New Year Tiger

A cutesy, rather rotound tiger for your Chinese New Year application. 11 more years and maybe I’ll have done a full set!

(am not responsible for epilepsy resulting from viewing the image above)

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NEA Big Read

I’m not American, but since I’ve never done one of these memes before…

The rules:

  • Bold those you have read.
  • Italicize those you have started but haven’t finished.
  • Place an asterisk by those you intend to read/finish someday.
  1. Pride and Prejudice – Jane Austen
  2. The Lord of the Rings – JRR Tolkien
  3. Jane Eyre – Charlotte Bronte
  4. Harry Potter series – JK Rowling
  5. To Kill a Mockingbird – Harper Lee
  6. The Bible
  7. Wuthering Heights – Emily Bronte
  8. Nineteen Eighty Four – George Orwell
  9. His Dark Materials – Philip Pullman
  10. Great Expectations – Charles Dickens
  11. Little Women – Louisa M Alcott
  12. Tess of the D’Urbervilles – Thomas Hardy
  13. Catch 22 – Joseph Heller
  14. Complete Works of Shakespeare
  15. Rebecca – Daphne Du Maurier
  16. The Hobbit – JRR Tolkien
  17. Birdsong – Sebastian Faulks
  18. Catcher in the Rye – JD Salinger
  19. The Time Traveller’s Wife – Audrey Niffenegger
  20. Middlemarch – George Eliot
  21. Gone With The Wind – Margaret Mitchell
  22. The Great Gatsby – F Scott Fitzgerald
  23. Bleak House – Charles Dickens
  24. War and Peace – Leo Tolstoy
  25. The Hitch Hiker’s Guide to the Galaxy – Douglas Adams
  26. Brideshead Revisited – Evelyn Waugh
  27. Crime and Punishment – Fyodor Dostoyevsky
  28. Grapes of Wrath – John Steinbeck
  29. Alice in Wonderland – Lewis Carroll
  30. The Wind in the Willows – Kenneth Grahame
  31. Anna Karenina – Leo Tolstoy
  32. David Copperfield – Charles Dickens
  33. Chronicles of Narnia – CS Lewis
  34. Emma – Jane Austen
  35. Persuasion – Jane Austen
  36. The Lion, The Witch and The Wardrobe – CS Lewis
  37. The Kite Runner – Khaled Hosseini
  38. Captain Corelli’s Mandolin – Louis De Bernieres
  39. Memoirs of a Geisha – Arthur Golden
  40. Winnie the Pooh – AA Milne
  41. Animal Farm – George Orwell
  42. The Da Vinci Code – Dan Brown
  43. One Hundred Years of Solitude – Gabriel Garcia Marquez
  44. A Prayer for Owen Meany – John Irving
  45. The Woman in White – Wilkie Collins
  46. Anne of Green Gables – LM Montgomery
  47. Far From The Madding Crowd – Thomas Hardy
  48. The Handmaid’s Tale – Margaret Atwood
  49. Lord of the Flies – William Golding
  50. Atonement – Ian McEwan
  51. Life of Pi – Yann Martel
  52. Dune – Frank Herbert (started but couldn’t get into it)
  53. Cold Comfort Farm – Stella Gibbons
  54. Sense and Sensibility – Jane Austen
  55. A Suitable Boy – Vikram Seth
  56. The Shadow of the Wind – Carlos Ruiz Zafon
  57. A Tale Of Two Cities – Charles Dickens
  58. Brave New World – Aldous Huxley
  59. The Curious Incident of the Dog in the Night-time – Mark Haddon
  60. Love In The Time Of Cholera – Gabriel Garcia Marquez
  61. Of Mice and Men – John Steinbeck
  62. Lolita – Vladimir Nabokov
  63. The Secret History – Donna Tartt
  64. The Lovely Bones – Alice Sebold
  65. Count of Monte Cristo – Alexandre Dumas
  66. On The Road – Jack Kerouac
  67. Jude the Obscure – Thomas Hardy
  68. Bridget Jones’s Diary – Helen Fielding
  69. Midnight’s Children – Salman Rushdie
  70. Moby Dick – Herman Melville
  71. Oliver Twist – Charles Dickens
  72. Dracula – Bram Stoker
  73. The Secret Garden – Frances Hodgson Burnett
  74. Notes From A Small Island – Bill Bryson
  75. Ulysses – James Joyce
  76. The Bell Jar – Sylvia Plath
  77. Swallows and Amazons – Arthur Ransome
  78. Germinal – Emile Zola
  79. Vanity Fair – William Makepeace Thackeray
  80. Possession – AS Byatt
  81. A Christmas Carol – Charles Dickens
  82. Cloud Atlas – David Mitchell
  83. The Color Purple – Alice Walker
  84. The Remains of the Day – Kazuo Ishiguro
  85. Madame Bovary – Gustave Flaubert
  86. A Fine Balance – Rohinton Mistry
  87. Charlotte’s Web – EB White
  88. The Five People You Meet In Heaven – Mitch Albom
  89. Adventures of Sherlock Holmes – Sir Arthur Conan Doyle
  90. The Faraway Tree Collection
  91. Heart of Darkness – Joseph Conrad
  92. The Little Prince – Antoine De Saint-Exupery
  93. The Wasp Factory – Iain Banks
  94. Watership Down – Richard Adams
  95. A Confederacy of Dunces – John Kennedy Toole
  96. A Town Like Alice – Nevil Shute
  97. The Three Musketeers – Alexandre Dumas
  98. Hamlet – William Shakespeare
  99. Charlie and the Chocolate Factory – Roald Dahl
  100. Les Miserables – Victor Hugo

Who the hell “finishes” reading the Bible?

I think I need to read more. Recently, what with Reddit and Google Reader, I haven’t touched a book that wasn’t work-related. It’s somewhat embarrassing that I haven’t read some of the ones above but seen the movie–such as Pride and Prejudice and any of the Potters’. It’s also a little embarrassing that I’ve read some of them without watching the movie–such as Bridget Jone’s Diary and Little Women.

I need to macho up my reading list. Why have I read Anne of Green Gables but not War and Peace???

More maddening is the fact that I read so much literary criticism online that I know OF all the books listed above, even if I haven’t read them. All plot-spoiled, sadly.

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Mika – Lollipop

Just beautiful.

Posted in art, music | 1 Comment »

Fundamentally Happy

Watched Fundamentally Happy yesterday with F. It was a good play for its budget, raising some issues that I thought were interesting (it’s about paedophilia, selective memory, religous duty) and stepsiding religous complications that might have crippled it.

Fundamentally Happy Image

Here’s a YouTube clip of a past season’s run, somewhat different from the version I caught (gee, you can find everything on YouTube).

As we sat down, F raised a point that I hadn’t noticed- the number of people in the theatre. All in all, there were only about 100(+- 20). F asked how it was possible thay could have made money, considering that a ticket only cost S$30 and with the play running for only two nights.

Doing the math, we figured (well, I figured, because numbers interest me) they could probably rake in something like S$6K in revenue at best, and what with site rentals it probably couldn’t turn much of a profit, much less feed the actors.

And this got me guilty, because I had used my expired student pass to purchase a ticket for myself at a concession rate (F is still a student, so no guilt for him). Evil Alex, who had shortchanged the hardworking artists of a whole S$12 for an hour’s worth of good and thought-provoking entertainment!

So I resolve to pay full admission should I ever go for a play again! Never again shall my hands be sullied by the blood of starving artists!

Seriously, though, I know they get governmental subsidies. But hey, you wouldn’t stinge on charity just because you knew kidney-problem patients got medical subsidies, would you?

Posted in art, singapore | 1 Comment »

Do the french write scripts?

My claim to cinematic expertise comes from the one Film module I did back in university, but I do watch quite a lot of movies, which I believe counts for at least something.

And I’m pretty sure I can recognize a French film when I see one (even without the benefit of the large noses).

The question I’d like to ask is – do French films use scripts? And if they do, who writes them? How? My idea of a French screenplay looks something like this (translated, for the benefit of my non-French readership):

(Scene 1)

Matthieu: (whispers, haltingly) Go.

(Camera lingers lovingly on Marie’s face for one minute. Switch to Matthieu, who has on face expression of tremendous pain mixed with longing. Switch to Marie, who has single tear fall from cheek. Switch to stock footage of 2 seagulls flying along a beach set against fading sunset. Switch to Marie, who sobs and runs from the door in anguish. Switch to Matthieu, who looks blankly at the empty doorway for five minutes, while violin-music plays. Switch to seagulls, who continue to fly. Switch to Marie, driving along a highway, tears running down cheeks. Switch to Matthieu, in exact same position as he was in previously, but now staring at the ring on his right hand with an empty smile filled with pain and sadness, yet twinged with melancholic happiness. Switch to seagulls. Switch to Marie, sitting on the beach, looking at seagulls and sea-things, the sea breeze blowing through her hair. On her face is an expression of sadness mixed with the happiness of freedom from a tragic relationship. Switch to Matthieu, who slowly crumples onto his bed, crying softly in anguish and pain. Switch to seagulls, who fly for a bit longer but finally land. Switch to flashback of Matthieu and Marie laughing whilst running along a beach. Fade to next scene.)

(Scene 2)

(Matthieu stands on the platform of a train station. Matthieu looks around nervously. Five minute scene of Mathhieu waiting for train, cut rapidly for cinematic effect. Five more minutes of frenetic editting featuring Matthieu boarding train and getting onto his seat. Matthieu looks around at his fellow passengers. Matthieu gets out of his seat. Cut to Matthieu standing outside the dessert counter buying a bottle of mineral water. Camera lingers on Matthieu’s funger, where we see the ring from previous scene. Matthieu takes inordinately long amount of time to put money back into pocket so that ring and significance of said ring can be communicated to audience through its repeated appearance. Cut to Matthieu back in his cabin, where a Strange Woman has taken his seat. Cut to Matthieu standing over Strange Woman.)

Matthieu: (whispers, haltingly) Pardon, but…

Strange Woman: (looks up at Matthieu, surprised) Oh, I’m sorry… I thought no one was sitting here

(Strange Woman gets up and leaves, flustered. Camera stays fixed focused on scene whilst she leaves and Matthieu avoids all eye-contact. We will never get to see Strange Woman ever again in this movie, despite all the screen time that she got. Matthieu gets back into his seat slowly. Cut to scene of Matthieu sitting, staring blankly out of his window into beautiful French country-side view. Cut to French country-side view. Emphasize Matthieu’s fragile internal state of mind with images of golden fields of grass softly waving in the wind. Cut to scene of Matthieu sleeping in his seat, as people walk about him to get off train. Cut to scene of Matthieu alone in cabin, still sleeping as everyone else has gotten off without him. Emphasize how alone Matthieu feels now with long, drawn-out images of emptiness of train cabin, with sweeping scenes of empty seats, abandoned sweet wrappers and the closed cabin doors. Cut to next scene.)

(Continue said along similar lines, until requisite dramatic scene arrives, during which there will be five minutes of excited, nauseau-inducing-camera-movement followed by an endingthat makes no sense and ending credits set to funky French music, in which Strange Woman will be tragically billed as Woman Who Takes Seat on Train, though it was perfectly reasonable for her to assume that the seat was empty given that Matthieu took half-an-hour to buy a bottle of water.)

And it’s not that all French films are like that, but the vast majority of them tend to be, even the supposed-comedies. And it’s not that I don’t like French film – in fact I adore them when I’m in the right mood, but sometimes you just want to have a bit of a laugh and see something on screen without having to feel painfully conscious of Film Art and having to remember everything you learnt about mise en scene.

I have the sneaking suspicion that French scriptwriters are all trained in design rather than literature. Either that or French literary narrative differs very much from English, with Jane Austen plots set to Dickens prose. Will let you guys know once I can read anything in French.

At the moment I’m struggling to get past Lemony Snicket’s A Series of Unfortunate Events (Les Adventures des Orphelins Baudelaire in French), which is sadly not very French at all. Nor easy.

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