metfitipprara.ml: The Book of Eli - Steelbook Edition German Import Region B: Denzel Washington, Mila Kunis, Jennifer Beals, Gary Oldman, Tom Waits, Allen. The Book of Eli Blu-ray (): Starring Denzel Washington, Gary Oldman and Mila Kunis. A lone hero must fight his way across the wasteland of a. Directed by Albert Hughes, Allen Hughes. With Denzel Washington, Mila Kunis, Ray Stevenson, Gary Oldman. A post-apocalyptic tale, in which a lone man.
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Student's Area. A dedicated area where students can explore ELI digital products . Enter Download yours digital book ELI-Iber Conference ; 18/04/ Determined to protect a sacred text that promises to save humanity, Eli goes on a quest westward across the barren, postapocalyptic country. Watch trailers. metfitipprara.ml: Book of Eli German Collectors Edition with Flask: Denzel Washington: Movies & TV.
Carefully peeling back the layers of stigma and disapproval with which the modernist housing estates of the s and s are customarily treated today, Rubin manages to recapture the utopian quality that underwrote projects such as the Marzhan estate.
The study forcefully reminds the reader of the genuine humanistic impulse that lay behind functionalist housing programmes in East Germany and elsewhere, and of the long antecedents, stretching back to the midth century and beyond, of projects which aimed to provide affordable housing that would offer all the amenities of urban modernity while at the same time creating an environment in which residents would be able to enjoy sunlight, fresh air and green spaces.
Rubin pays due attention to the immense organisational and technical problems associated with building entire city districts from prefabricated materials — some of them specific to the managed economy of the GDR, others, such as the lack of durability of the materials, generic p.
Despite acknowledging the many difficulties of modernist housing projects, Rubin in many respects draws a more upbeat picture of life on these estates than is customary, as he readily acknowledges himself. As chapter three makes clear, many Berliners positively longed to escape from the cramped living conditions of the decaying inner cities or the rural backwardness of their villages. They very much looked forward to moving into bright new flats in functionalist housing estates such as the Marzahn complex.
In a fascinating section, Rubin draws attention to the way in which the new urban environment was experienced and appropriated by children, illustrating the extent to which concrete and children seemed to be two sides of the same productivist ethos that characterised the GDR.
More broadly, the section is a fascinating reminder of the importance of the individual life cycle for the ways in which environments, spaces and social relations are experienced. Rubin substantiates this claim on two levels.
He demonstrates that the rational layouts and normed interiors of the new housing estate provided ideal environments for state surveillance, and indeed were partially designed with that objective in mind.
More broadly, Rubin also demonstrates that the very sense of community that developed on these estates, revolving around such seemingly mundane things as beautification initiatives and festivities, cannot be divorced from the structures of power pervading the society of the GDR.
These are fascinating and highly original points and insights. The study also demonstrates the advantages of theoretically informed reasoning that is equally at home in critical geography as in in urban studies and the study of everyday life.
Rubin himself readily concedes that erasure was an aspiration of Socialist city planners rather than a reality that they managed to achieve, with traces of recent and earlier pasts emerging as the excavators set to work on the building site chapter two.
But my caveats go beyond the obvious point that there was no truly virgin land to be found on the outskirts of Berlin, or for that matter, anywhere in a densely populated central European country such as East Germany. While people do not sleep in monuments, they do not spend their entire lives on the new estates either. Why did Eli have to show everyone the back of his hands? What was the significance of that?
The reason he had to show his hands was to prove that he was not a cannibal. If someone consumes human brain and nervous system tissue, such as the spinal cord, they risk developing "Kuru", a disease related to Creutzfeldt-Jakob aka Mad Cow disease.
It is caused by warped proteins called prions, and causes small holes to form in the brain of infected individuals. The disease causes trembling and shaking all over the body, which worsens over time.
How is it that Redridge didn't hit Eli when shooting at him in the town shoot out? Redridge fired one shot at Eli with his pistol and by the sounds of it, completely missed.
The second shot, he took his time, gripped his pistol properly, aimed, fired and if you notice he hit Eli in his backpack. At this point Eli turned around and a shoot-out with Carnegie's men ensued. If we are going with realism here, it could be said that improper maintenance caused the pistol to be significantly less accurate, so even if Redridge was aiming directly at Eli, if there was a significant amount of dirt or build-up in the barrel, it could cause the bullet to stray far off course.
This would explain why Redridge looked at the gun after he fired his first shot. As for the shot hitting Eli's backpack, it's possible it hit something inside his pack which stopped the bullet.
Possibly one of his machetes, the bible, or something else. If you want to go with certain mystical qualities the film presents, it could be said that divine intervention stopped the bullets.
Alternatively, several scenes hint that Redridge may be a reluctant killer in a brutal world, hiding a good heart beneath a normally uncompromising exterior and that he found himself unable to kill Eli without flinching at the last second and missing. How did Eli die?