(This is Gargamelo’s first post with Ptara.)
April 1812, Rio de Janeiro, King’s Palace.
The Regent and his two sons – meeting with their state secretary and top ministers – have just received the news that Napoleon’s troops have definitely been expelled from Portugal. That means that there is no longer a valid reason for the court to remain in Brazil.
However, except for the Regents wife, Queen Carlota Joaquina, the royals are in no hurry to return. Continue reading “Dom Joao VI, The damned Prince, King of Contraditions”
Today Ptara is joined by two world class historians who give their take on what started the war of 1812.
Conventional wisdom* among amateur directors and beginning film lecturers is that camera directions should “never” appear in a film script. Yet, the camera is probably the one thing that separates a screenplay from a stage-play. (Okay, so there’s CGI, logos and subtitles, as well as editing overlays, but the stage can have its own version of these effects. Even animation can be achieved with a giant flip book.)
Most film students will know of the Kuleshov experiment by their second year in film school. And most historians will know who Karl Marx, Margaret Thatcher, Richard Nixon and Napoleon Bonaparte are.
