King Lear is a tragedy written by William Shakespeare. It depicts the gradual descent into madness of the title character, after he disposes of his kingdom by giving bequests to two of his three daughters egged on by their continual flattery, bringing tragic consequences for all. Derived from the legend of Leir of Britain, a mythological pre-Roman Celtic king, the play has been adapted for the stage and motion pictures, with the title role coveted by many of the world's most accomplished actors; the first attribution to Shakespeare of this play drafted in 1605 or 1606 at the latest with its first known performance on St. Stephen's Day in 1606, was a 1608 publication in a quarto of uncertain provenance, in which the play is listed as a history; the Tragedy of King Lear, a more theatrical revision, was included in the 1623 First Folio. Modern editors conflate the two, though some insist that each version has its own individual integrity that should be preserved. After the English Restoration, the play was revised with a happy, non-tragic ending for audiences who disliked its dark and depressing tone, but since the 19th century Shakespeare's original version has been regarded as one of his supreme achievements.
The tragedy is noted for its probing observations on the nature of human suffering and kinship. George Bernard Shaw wrote, "No man will write a better tragedy than Lear." King Lear of Britain and wanting to retire from the duties of the monarchy, decides to divide his realm among his three daughters, declares he will offer the largest share to the one who loves him most. The eldest, speaks first, declaring her love for her father in fulsome terms. Moved by her flattery Lear proceeds to grant to Goneril her share as soon as she has finished her declaration, before Regan and Cordelia have a chance to speak, he awards to Regan her share as soon as she has spoken. When it is the turn of his youngest and favourite daughter, Cordelia, at first she refuses to say anything and declares there is nothing to compare her love to, nor words to properly express it. Infuriated, Lear divides her share between her elder sisters; the Earl of Gloucester and the Earl of Kent observe that, by dividing his realm between Goneril and Regan, Lear has awarded his realm in equal shares to the peerages of the Duke of Albany and the Duke of Cornwall.
Kent objects to Lear's unfair treatment of Cordelia. Lear summons the Duke of Burgundy and the King of France, who have both proposed marriage to Cordelia. Learning that Cordelia has been disinherited, the Duke of Burgundy withdraws his suit, but the King of France is impressed by her honesty and marries her nonetheless; the King of France is shocked by Lear's decision because up until this time Lear has only praised and favoured Cordelia. Meanwhile, Gloucester has introduced his illegitimate son Edmund to Kent. Lear announces he will live alternately with Goneril and Regan, their husbands, he reserves to himself a retinue of one hundred knights, to be supported by his daughters. Goneril and Regan speak revealing that their declarations of love were fake and that they view Lear as a foolish old man. Gloucester's bastard son Edmund resents his illegitimate status and plots to dispose of his legitimate older brother Edgar, he tricks his father with a forged letter. Earl of Kent returns from exile in disguise, Lear hires him as a servant.
At Albany and Goneril's house and Kent quarrel with Oswald, Goneril's steward. Lear discovers, she orders him to reduce the number of his disorderly retinue. Enraged, Lear departs for Regan's home; the Fool reproaches Lear with his foolishness in giving everything to Regan and Goneril and predicts that Regan will treat him no better. Edmund learns from Curan, a courtier, that there is to be war between Albany and Cornwall and that Regan and Cornwall are to arrive at Gloucester's house that evening. Taking advantage of the arrival of the duke and Regan, Edmund fakes an attack by Edgar, Gloucester is taken in, he proclaims him an outlaw. Bearing Lear's message to Regan, Kent meets Oswald again at Gloucester's home, quarrels with him again and is put in the stocks by Regan and her husband Cornwall; when Lear arrives, he objects to the mistreatment of his messenger, but Regan is as dismissive of her father as Goneril was. Lear is impotent. Goneril supports Regan's argument against him. Lear yields to his rage.
He rushes out into a storm to rant against his ungrateful daughters, accompanied by the mocking Fool. Kent follows to protect him. Gloucester protests against Lear's mistreatment. With Lear's retinue of a hundred knights dissolved, the only companions he has left are his Fool and Kent. Wandering on the heath after the storm, Edgar, in the guise of a madman named Tom o' Bedlam, meets Lear. Edgar babbles madly. Kent leads them all to shelter. Edmund betrays Gloucester to Cornwall and Goneril, he reveals evidence that his father knows of an impending French invasion designed to reinstate Lear to the throne. Once Edmund leaves with Goneril to warn Albany about the invasion, Gloucester is arrested
Golden Globe Award
The Golden Globe Awards are accolades bestowed by the 93 members of the Hollywood Foreign Press Association beginning in January 1944, recognizing excellence in film and television, both domestic and foreign. The annual ceremony at which the awards are presented is a major part of the film industry's awards season, which culminates each year in the Academy Awards; the eligibility period for the Golden Globes corresponds to the calendar year. The 76th Golden Globe Awards, honoring the best in film and television in 2018, were held on January 6, 2019; the 77th Golden Globe Awards will take place on January 5, 2020. In 1943, a group of writers banded together to form the Hollywood Foreign Press Association, and, by creating a generously distributed award called the Golden Globe Award, they now play a significant role in film marketing; the 1st Golden Globe Awards, honoring the best achievements in 1943 filmmaking, were held in January 1944, at the 20th Century-Fox studios. Subsequent ceremonies were held at various venues throughout the next decade, including the Beverly Hills Hotel and the Hollywood Roosevelt Hotel.
In 1950, the Hollywood Foreign Press Association made the decision to establish a special honorary award to recognize outstanding contributions to the entertainment industry. Recognizing its subject as an international figure within the entertainment industry, the first award was presented to director and producer, Cecil B. DeMille; the official name of the award thus became the Cecil B. DeMille Award. Beginning in 1963, the trophies commenced to be handed out by one or more persons referred to as "Miss Golden Globe", a title renamed on January 5, 2018 to "Golden Globe Ambassador"; the holders of the position were, the daughters or sometimes the sons of a celebrity, as a point of pride, these continued to be contested among celebrity parents. In 2009, the Golden Globe statuette was redesigned; the New York firm Society Awards collaborated for a year with the Hollywood Foreign Press Association to produce a statuette that included a unique marble and enhanced the statuette's quality and gold content.
It was unveiled at a press conference at the Beverly Hilton prior to the show. Revenues generated from the annual ceremony have enabled the Hollywood Foreign Press Association to donate millions of dollars to entertainment-related charities, as well as funding scholarships and other programs for future film and television professionals; the most prominent beneficiary is the Young Artist Awards, presented annually by the Young Artist Foundation, established in 1978 by Hollywood Foreign Press member Maureen Dragone, to recognize and award excellence of young Hollywood performers under the age of 21 and to provide scholarships for young artists who may be physically or financially challenged. The qualifying eligibility period for all nominations is the calendar year from January 1 through December 31. Voice-over performances and cameo appearances in which persons play themselves are disqualified from all of the film and TV acting categories. Films must be at least 70 minutes and released for at least a seven-day run in the Greater Los Angeles area, starting prior to midnight on December 31.
Films can be released on pay-per-view, or by digital delivery. For the Best Foreign Language Film category, films do not need to be released in the United States. At least 51 percent of the dialogue must be in a language other than English, they must first be released in their country of origin during a 14-month period from November 1 to December 31 prior to the Awards. However, if a film was not released in its country of origin due to censorship, it can still qualify if it had a one-week release in the United States during the qualifying calendar year. There is no limit to the number of submitted films from a given country. A TV program must air in the United States between the prime time hours of 11:00 p.m.. A show can air on basic or premium cable, or by digital delivery. A TV show must either be made in the United States or be a co-production financially and creatively between an American and a foreign production company. Furthermore and non-scripted shows are disqualified. For a television film, it cannot be entered in both the film and TV categories, instead should be entered based on its original release format.
If it was first aired on American television it can be entered into the TV categories. If it was released in theaters or on pay-per-view it should instead to be entered into the film categories. A film festival showing does not count towards disqualifying. Actors in a TV series must appear in at least six episodes during the qualifying calendar year. Actors in a TV film or miniseries must appear in at least five percent of the time in that TV film or miniseries. Active HFPA members need to be invited to an official screening of each eligible film directly by its respective distributor or publicist; the screening must take place in the Greater Los Angeles area, either before the film's release or up to one week afterwards. The screening can be a regular screening in a theater with a press screening; the screening must be cleared with the Motion Picture Association of America so there are not scheduling conflicts with other official screenings. For TV programs, they must be available to be seen by HFPA members in any common format, including the original TV broadcast.
Entry forms for films need to be received by the HFPA within ten days of the
Andrew James Wilson, better known as Snoo Wilson, was an English playwright and director. His early plays such as Blow-Job were overtly political combining harsh social comment with comedy. In his works he moved away from purely political themes, embracing a range of surrealist, magical and madcap, darkly comic subjects. After studying literature at the University of East Anglia, Wilson began his writing career in 1969, he began to build his reputation with a series of plays and screenplays in the early 1970s and was a founder of Portable Theatre Company, a touring company concentrating on experimental theatre. In the mid-1970s, he served as dramaturge to the Royal Shakespeare Company and produced one of his best-regarded plays, The Soul of the White Ant. In 1978, his surrealist play The Glad Hand attracted favourable notice, as did his 1994 play, Darwin's Flood, among others, he continued to write plays and screenplays until the end of his life, including for the Bush Theatre. He wrote several novels and held teaching positions.
Wilson was born in Reading, the son of two teachers: Leslie Wilson and his wife Pamela Mary née Boyle. Snoo was a childhood nickname, he was educated at Bradfield College, where his father taught, the University of East Anglia, graduating with a degree in American and English Literature in 1969. At UEA, he was a student of Malcolm Bradbury. Wilson's early plays, the one-act Girl Mad as Pigs and the two-act Ella Daybellfesse's Machine, were first produced at UEA in June and November 1967. Two years a second one-act play, Between the Acts, was first produced in Canterbury, at the University of Kent. In 1969, Wilson embarked on a writing career. Together with Tony Bicat and David Hare, Wilson founded the Portable Theatre Company, a touring company concentrating on experimental theatre, was its associate director from 1970 to 1975, his plays from these years included four one-act works, Charles the Martyr, Device of Angels, The Mean Knight and Reason, most of which dealt with overtly political subjects.
Wilson's first full-length works to attract notice were Pignight and Blow-Job, both produced in 1971, in which "Horror and farce sat side by side." Pignight, the first of his own plays that Wilson directed, is a nightmarish fantasy about a mentally disturbed former soldier, while on a Lincolnshire pig farm, believes that pigs are about to take over the world. Dusty Hughes called it "a vivid and emetic portrait of rural change and urban corruption". Critic Michael Billington described it as a "savage and disenchanted portrait of rural life". Blow-Job is a political exploration of urban violence during which a quantity of raw meat is thrown on stage to simulate the corpse of an Alsatian dog that has just been blown up. With some reservations, Irving Wardle praised the piece in The Times for its "authentic sense of horror … its intermingling of physical outrage and savage farce."In Wilson's 1973 full-length play, The Pleasure Principle, comedy and social comment were again combined, but to less savage effect.
Billington wrote, "On the one hand it is a strenuous indictment of ownership, property and personal exploitation: on the other, it is a madhouse extravaganza that operates on the good old comic principle of always putting a bomb under the audience's expectations." In The Observer, Robert Cushman wrote, "This is one of the best plays of the seventies' heartless school. Other full-length plays of this period were Vampire written for Paradise Foundry, The Beast, staged by the Royal Shakespeare Company and The Everest Hotel for Bush Theatre, which he directed. In the 1970s, Wilson's plays fell from favour with theatre producers who were looking for more commercial projects. Wilson was successful with screenplays and teleplays in the 1970s, including Sunday for Seven Days, The Good Life, More About the Universe, Swamp Music, The Barium Meal, The Trip to Jerusalem, Don't Make Waves and A Greenish Man. In 1975 and 1976, he was dramaturge to the Royal Shakespeare Company, in 1976 he married the journalist Ann McFerran, a theatre critic, with whom he had two sons and David, a daughter, Jo.
In the same year, he became script editor of the BBC television anthology drama series, Play for Today. A play that year, The Soul of the White Ant, starring Simon Callow, was first produced at the Soho Poly, it is a dramatic treatment of a racial murder in South Africa and the ensuing cover-up by the police and the press. A white woman has an affair with a Black lover and shoots him, it is "possibly masterpiece". In 1978, The Glad Hand, in which a South African tycoon employs a troupe of actors and sails an oil tanker through the Bermuda Triangle, hoping to conjure up the Anti-Christ and kill him in a Wild West gunfight, premiered at the Royal Court Theatre and won the John Whiting Award. Cushman wrote, "Sceptics like. Like Tom Stoppard he explains them; that year, Wilson was appointed Henfield Fellow at the University of East Anglia. Wilson's style grew away from the overtly political manner of his contemporaries David Hare and Howard Brenton, he wrote about the arcane, the occult, the irrational, whether in the Gothic intrigues of Vampire, the space aliens of Moonshine, or the duelling wizards of The Number of the Beast.
Commenting on his interest in magical subjects, Wilson sa
Sussex, from the Old English Sūþsēaxe, is a historic county in South East England corresponding in area to the ancient Kingdom of Sussex. It is bounded to the west by Hampshire, north by Surrey, northeast by Kent, south by the English Channel, divided for many purposes into the ceremonial counties of West Sussex and East Sussex. Brighton and Hove, though part of East Sussex, was made a unitary authority in 1997, as such, is administered independently of the rest of East Sussex. Brighton and Hove was granted City status in 2000; until Chichester was Sussex's only city. Sussex has three main geographic sub-regions, each oriented east to west. In the southwest is the fertile and densely populated coastal plain. North of this are the rolling chalk hills of the South Downs, beyond, the well-wooded Sussex Weald; the name derives from the Kingdom of Sussex, founded, according to legend, by Ælle of Sussex in AD 477. Around 827, it was absorbed subsequently into the kingdom of England, it was the home of some of Europe's earliest recorded hominids, whose remains have been found at Boxgrove.
It is the site of the Battle of Hastings. In 1974, the Lord-Lieutenant of Sussex was replaced with one each for East and West Sussex, which became separate ceremonial counties. Sussex continues to be recognised as cultural region, it has had a single police force since 1968 and its name is in common use in the media. In 2007, Sussex Day was created to celebrate history. Based on the traditional emblem of Sussex, a blue shield with six gold martlets, the flag of Sussex was recognised by the Flag Institute in 2011. In 2013, Secretary of State for Communities and Local Government Eric Pickles formally recognised and acknowledged the continued existence of England's 39 historic counties, including Sussex; the name "Sussex" is derived from the Middle English Suth-sæxe, in turn derived from the Old English Suth-Seaxe which means of the South Saxons. The South Saxons were a Germanic tribe that settled in the region from the North German Plain during the 5th and 6th centuries; the earliest known usage of the term South Saxons is in a royal charter of 689 which names them and their king, Noðhelm, although the term may well have been in use for some time before that.
The monastic chronicler who wrote up the entry classifying the invasion seems to have got his dates wrong. The New Latin word Suthsexia was used for Sussex by Dutch cartographer Joan Blaeu in his 1645 map. Three United States counties, a former county/land division of Western Australia, are named after Sussex; the flag of Sussex consists of six gold martlets, or heraldic swallows, on a blue background, blazoned as Azure, six martlets or. Recognised by the Flag Institute on 20 May 2011, its design is based on the heraldic shield of Sussex; the first known recording of this emblem being used to represent the county was in 1611 when cartographer John Speed deployed it to represent the Kingdom of the South Saxons. However it seems that Speed was repeating an earlier association between the emblem and the county, rather than being the inventor of the association, it is now regarded that the county emblem originated and derived from the coat of arms of the 14th-century Knight of the Shire, Sir John de Radynden.
Sussex’s six martlets are today held to symbolise the traditional six sub-divisions of the county known as rapes. Sussex by the Sea is regarded as the unofficial anthem of Sussex. Adopted by the Royal Sussex Regiment and popularised in World War I, it is sung at celebrations across the county, including those at Lewes Bonfire, at sports matches, including those of Brighton and Hove Albion Football Club and Sussex County Cricket Club; the county day, called Sussex Day, is celebrated on 16 June, the same day as the feast day of St Richard of Chichester, Sussex's patron saint, whose shrine at Chichester Cathedral was an important place of pilgrimage in the Middle Ages. Sussex's motto, We wunt be druv, is a Sussex dialect expression meaning "we will not be pushed around" and reflects the traditionally independent nature of Sussex men and women; the round-headed rampion known as the "Pride of Sussex", was adopted as Sussex's county flower in 2002. The physical geography of Sussex relies on its lying on the southern part of the Wealden anticline, the major features of which are the high lands that cross the county in a west to east direction: the Weald itself and the South Downs.
Natural England has identified the following seven national character areas in Sussex:South Coast Plain South Downs Wealden Greensand Low Weald High Weald Pevensey Levels Romney MarshesAt 280m, Blackdown is the highest point in Sussex, or county top. Ditchling Beacon is the highest point in East Sussex. At 113 kilometres long, the River Medway is the longest river flowing through Sussex; the longest river in Sussex is the River Arun, 60 kilometres long. Sussex's largest lakes are man-made reservoirs; the largest is Bewl Water on the Kent border, while the largest wholly within Sussex is Ardingly Reservoir. The coastal resorts of Sussex and neighbouring Hampshire are the sunniest places in the United Kingdom; the coast has more sunshine than the inland areas: sea breezes, blowing off the sea, tend to clear any cloud from the coast. Most of Sussex lies in Hardiness zon
The Reader (2008 film)
The Reader is a 2008 German-American romantic drama film directed by Stephen Daldry and written by David Hare, based on the 1995 German novel of the same name by Bernhard Schlink. Ralph Fiennes and Kate Winslet star along with the young actor David Kross, it was the last film for producers Anthony Minghella and Sydney Pollack, both of whom died prior to its release. Production began in Germany in September 2007, the film opened in limited release on December 10, 2008; the film tells the story of Michael Berg, a German lawyer who, as a mid-teenager in 1958, has an affair with an older woman, Hanna Schmitz, who disappears only to resurface years as one of the defendants in a war crimes trial stemming from her actions as a guard at a Nazi concentration camp. Michael realizes that Hanna is keeping a personal secret she believes is worse than her Nazi past – a secret which, if revealed, could help her at the trial. Winslet and Kross, who plays the young Michael, received acclaim for their performances.
The film itself was nominated for several other major awards, including the Academy Award for Best Picture. In 1995 Berlin, after a woman he has spent the night with leaves his apartment abruptly after he has made her breakfast, Michael Berg watches a U-Bahn pass by, setting up a flashback to a tram in 1958. In the flashback, as a 15-year-old boy, Michael feels sick while wandering the streets. Pausing nearby an apartment building he vomits. Hanna Schmitz, a tram conductor returning home, helps him return home. Michael, diagnosed with scarlet fever, recuperates at home, once recovered, he visits Hanna with flowers to thank her; the 36-year-old Hanna seduces him, they begin an affair. They spend much of their time together having sex in her apartment after she has had Michael read to her from literary works he is studying. After a bicycling trip with Michael, Hanna learns that she was promoted to a clerical job at the tram company's office, upon which she leaves her home, without telling Michael or anyone else where she has moved to.
In 1966, Michael is at Heidelberg University Law School. As part of a special seminar, the students observe a trial of several women accused of letting 300 Jewish women die in a burning church when they were SS guards on the death march following the 1944 evacuation of a concentration camp near Krakow. Michael is stunned to see; the key evidence in the trial is the testimony of Ilana Mather, author of a memoir relating how she and her mother, who testifies, survived. She describes. Hanna, unlike her co-defendants, admits that Auschwitz was an extermination camp and that the 10 women she chose during each month's Selektion were gassed, she denied however. Requested to provide a handwriting sample, she admits the charge, rather than to comply with the handwriting test. Michael realizes Hanna's secret: she is illiterate, a fact she has been concealing all her life; the other guards who blamed the written report on her are lying to clear themselves. Michael informs the law professor of the favorable fact, but since the defendant herself has chosen to not disclose it, the professor is not sure what to do about it.
Michael, though permitted to visit Hanna, leaves the prison, without seeing her. Hanna receives a life sentence for her admitted leadership role in the church deaths, while the other defendants are sentenced to four years and three months each. Michael, marries, has a daughter, divorces. Retrieving his books from the time of his and Hanna's affair, he begins reading them into a tape recorder, which he sends to Hanna, she begins borrowing books from the prison library and teaches herself to read and write by following along with Michael's tapes. She starts writing back to Michael, first in brief, childlike notes, as time goes by, her letters reflect her improving literacy. In 1988, a prison official telephones him to seek his help with Hanna's transition into society after her upcoming early release for good behavior. Having no family or other relations, he finds a place for her to live and a job, visits Hanna towards her release. In their meeting, Michael remains somewhat distant, inquiring about what she has learnt from her past, to which she replies just "It doesn't matter what I feel and it doesn't matter what I think.
The dead are still dead". Michael arrives at the prison on the date of Hanna's release with flowers only to realize that Hanna hanged herself, she has left a tea tin with cash inside and a note asking him to deposit the money in a bank account to Ilana, whose memoir relating her dreadful experiences in the concentration camp, Hanna has read. Michael travels to New York City where he confesses his relationship with Hanna, he tells her about Hanna's illiteracy. Ilana tells Michael there is nothing to be learned from the camps and refuses the money, whereupon Michael suggests that it be donated to any Jewish welfare organization which he sees fit. Ilana keeps the tea tin, similar to the one stolen from her in Auschwitz; the movie ends with Michael driving Julia, his daughter, to Hanna's grave and telling her their story. Kate Winslet as Hanna Schmitz Ralph Fiennes as the older Michael Berg David Kross as the younger Michael Berg Bruno Ganz as Professor Rohl, a Holocaust survivor Alexandra Maria Lara as Ilana Mather, a former victim of a concentration camp Lena Olin as Rose
A novel is a long work of narrative fiction written in prose form, and, published as a book. The entire genre has been seen as having "a continuous and comprehensive history of about two thousand years", with its origins in classical Greece and Rome, in medieval and early modern romance, in the tradition of the Italian renaissance novella. Murasaki Shikibu's Tale of Genji has been described as the world's first novel. Spread of printed books in China led to the appearance of classical Chinese novels by the Ming dynasty. Parallel European developments occurred after the invention of the printing press. Miguel de Cervantes, author of Don Quixote, is cited as the first significant European novelist of the modern era. Ian Watt, in The Rise of the Novel, suggested that the modern novel was born in the early 18th century. Walter Scott made a distinction between the novel, in which "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse.
However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are frequently called novels, Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance novel. Other European languages do not distinguish between romance and novel: "a novel is le roman, der Roman, il romanzo, en roman." A novel is a fictional narrative which describes intimate human experiences. The novel in the modern era makes use of a literary prose style; the development of the prose novel at this time was encouraged by innovations in printing, the introduction of cheap paper in the 15th century. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Most European languages use the word "romance" for extended narratives.
A fictional narrativeFictionality is most cited as distinguishing novels from historiography. However this can be a problematic criterion. Throughout the early modern period authors of historical narratives would include inventions rooted in traditional beliefs in order to embellish a passage of text or add credibility to an opinion. Historians would invent and compose speeches for didactic purposes. Novels can, on the other hand, depict the social and personal realities of a place and period with clarity and detail not found in works of history. Literary proseWhile prose rather than verse became the standard of the modern novel, the ancestors of the modern European novel include verse epics in the Romance language of southern France those by Chrétien de Troyes, in Middle English. In the 19th century, fictional narratives in verse, such as Lord Byron's Don Juan, Alexander Pushkin's Yevgeniy Onegin, Elizabeth Barrett Browning's Aurora Leigh, competed with prose novels. Vikram Seth's The Golden Gate, composed of 590 Onegin stanzas, is a more recent example of the verse novel.
Content: intimate experienceBoth in 12th-century Japan and 15th-century Europe, prose fiction created intimate reading situations. On the other hand, verse epics, including the Odyssey and Aeneid, had been recited to a select audiences, though this was a more intimate experience than the performance of plays in theaters. A new world of individualistic fashion, personal views, intimate feelings, secret anxieties, "conduct", "gallantry" spread with novels and the associated prose-romance. LengthThe novel is today the longest genre of narrative prose fiction, followed by the novella. However, in the 17th century, critics saw the romance as of epic length and the novel as its short rival. A precise definition of the differences in length between these types of fiction, is, not possible; the requirement of length has been traditionally connected with the notion that a novel should encompass the "totality of life." Although early forms of the novel are to be found in a number of places, including classical Rome, 10th– and 11th-century Japan, Elizabethan England, the European novel is said to have begun with Don Quixote in 1605.
Early works of extended fictional prose, or novels, include works in Latin like the Satyricon by Petronius, The Golden Ass by Apuleius, works in Ancient Greek such as Daphnis and Chloe by Longus, works in Sanskrit such as the 4th or 5th century Vasavadatta by Subandhu, 6th– or 7th-century Daśakumāracarita and Avantisundarīkathā by Daṇḍin, in the 7th-century Kadambari by Banabhatta, Murasaki Shikibu's 11th-century Japanese work The Tale of Genji, the 12th-century Hayy ibn Yaqdhan by Ibn Tufail, who wrote in Arabic, the 13th-century Theologus Autodidactus by Ibn al-Nafis, another Arabic novelist, Blanquerna, written in Catalan by Ramon Llull, the 14th-century Chinese Romance of the Three Kingdoms by Luo Gua
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film; the film director gives direction to the cast and crew and creates an overall vision through which a film becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate