I grew up with the British version of Noddy, without the live action elements , and there's nothing wrong with that, but I came across this version by accident in my late childhood years and there was something about it that had something extra special about it, I thought it would only ever exist over here on telly and memory, even if it got a release, it'd probably only be in America, but then I found this and another video and even a dvd with this version on it, as an avid nostalga TV fan, this was a must have and a great addition to my rare and exclusive collection!
One person found this helpful. This should be titled "The Noddy Shop" as that's what you hear from most of the theme, the live action segments are reminiscent of the similar Thomas the Tank Engine series "Shining Time", and the animated segments are still as charming as ever, the child actors are excellent performers alongside their pantomiming adult co-stars and the series as a whole is much better than the animated segments alone!
Each episode runs half an hour. The program will take a real life situation and have a Noddy story about it. This video is funny,educational and fun and is not to be missed! See all reviews. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Learn more about Amazon Prime. Warp Speed - Single Eruption - Single Journey Into Scratchin' feat.
We On The Remixes [feat. Press Box] - Single Foundations of Bass, Vol. Appears On. Boys in the Mud feat. Heavy Beatz feat. Back to Haunt You feat. As a film, Capturing the Friedmans puts the viewer in a quandary because although it offers a privileged position where we see private moments and many different testimonies, it also denies us concrete knowledge of the crimes. In both cases, the figure of the victim provides a safe point of identification, while the pederast is largely absent and easily judged.
By forcing viewers to empathise with Walter, someone we can see is caring but know to have committed some repellent crimes, The Woodsman speaks of both the difficulties of preventing paedophilic offences, and of the trauma and fear felt by abusers who receive 12 years in jail and little or no help once they get out.
Made in M is probably the first film to deal with the issue of child sex offence and told the story of a child killer in Germany, played by Peter Lorre Casablanca. The film portrays the police and crimi-. Ultimately the mob justice that is to be doled out by the public, in collaboration with the organised crime leaders, is presented to be as bad as the offences themselves.
Perhaps films can never have the same social or political impact as a high-profile news-covered affair like the Michael Jackson trial. In the effort to understand and start to solve a problem as complex as paedophilia, both film and the news media can be valuable. Sebastian Manley. The journey from uber-celebrity to infamy for the King of Pop has taken place almost entirely under the scrutiny of the international public eye, with every salacious detail easily accessible on a range of websites and TV broadcasts.
No matter what the outcome, it is sure to be one of the most discussed media. However, the issue of paedophilia mixed with celebrity and our reaction to it casts some rather disturbing light on us as consumers.
The figure we see being led into court corresponds entirely with the stereotypical paedophile who is an easily recognised bizarre loner, someone we would never enjoy watching onscreen, yet when clips of Jackson at the height of his career are shown it is difficult not to cringe with the comparison to present day.
The film sees Jackson starring as himself only endowed with magical powers, being chased by drug baron Mr Big and saving three children. The clucking of tongues and stroking of chins at the content of the film can only further the assumption that the trial is based on the violently swaying barometer of public opinion rather than any solid evidence. It seems the more outrageous the claims of various grief-.
It has to be wondered exactly what the furore created by the case is in response to — the paedophilia charges or the grotesque appearance of Jackson. Throughout all these journeys into the world of Jackson that purport to reveal something never seen before, the overall impression never really touches upon the very thing everyone seems to crave about the Jackson phenomenon — reality — and they certainly never directly discuss the issue of paedophilia for more than a passing moment.
The trial and the events surrounding it have become so much bigger than the reality of them, there are even recreations being made of the more exciting in court moments at the same time as they hit the headlines.
Yet by doing this we avoid having to discuss any of the issues central to the trial. Kate Bryant. In an inevitable response, the media panicked. Some topics, they argued, should remain taboo. Damning critical responses to The Woodsman and new release Downfall, which presents a humanised portrayal of Hitler, indicate a continuing reluctance to allow moral. Even in fiction we would rather our monsters remained monstrous. Yet these taboos are indeed being confronted on an almost daily basis — and without the objection of our moral guardians.
Perhaps the accused is an unknown member of the public coming face to face with Judge Judy. Or perhaps it is Michael Jackson, charged on numerous counts of child molestation, whose trial has been dramatised and broadcast across the television networks. In reality TV, just as in a trial, the good win and the bad lose. Four years on from Brass Eye, and it is clear that the hypocrisy which made Morris so angry is still with us.
Ours is a society that, while it reddens at the mere thought of introducing sex education in primary schools, sells thongs to six year-olds. Where paediatricians are at risk from vigilante groups. Where irrational fear is privileged before rational debate. Well low and behold the era of depressed-rock is once again at our side. We all love the thought provoking lyrics of The Smiths, and adore the bashful snarl of Johnny Cash; yes and you have to admit that Interpol are a good band.
The National are in that same vain, and Alligator shows that the golden road of fifth avenue sells more than simply Gucci and Tiffany diamonds. New York is the home of great music and The National are the diamond in the rough.
Playing this album will make your record player light up in a thousand ways. The album is mainly bass driven and has a downbeat sound that is in contrast to the current wave of garage rock.
In a weird and peculiar way this helps to relax the listener. If you like the mad lyrical style of Interpol, then Val Jester and Looking for Astronauts will cure your curiosity for all things weird.
However, the sound of Alligator is deep and sounds a lot more developed than a lot of albums and artists out at the moment. You better snap this album up now before its to late! Sorry for the pun, but it had to be done! It's promoters are very musically orientated some classically trained, and ex UEA-ites who pride themselves in providing the very best. As someone famous though I can't remember who now once said: "Music is the gateway to the soul Idlewild released one of the greatest punk albums when they released Captain.
However, love for Idlewild went back out of the Windows when American English was released. Not a bad album, but not a good album either; use this as a lever to open up Idlewild's back catalogue. The place used to be a crypt and is situated below the bar at Bedfods. Jazz house has always had a really varied crowd.
It is partly run by current UEA students, who are all a really warm and friendly bunch. The night is there every 2nd and 4th Thursday of every month. As the summer heats up, so should the ambience of Jazz House; so hopefully the revision will go well for all you finalists, and if and when you've had enough, you'll know where to come to "re-charge"!
Elizabeth Wood. The intros to some of their songs Dog Days and Long Painting are addictive, although they tend to flounder. As a result the album tends to be hit and miss. Mennen Freakzoid Freakazoid is fairly entertainging, despite being appallingly bad.
They just discovered Bon Jovi. The album seriously sounds like that most wondrous of things, an attempt at a Bon Jovi tribute, but one that you would expect to hear from a high school band.
Most of the songs are eccentrically named Plim Plom Autumn Song, anyone?! And how many current albums can you say that about? And that is what has made the Fabric Live series and the club nights so popular and highly rated. This may not be the perfect album for listening to alone in your home, but it sure makes you want to hit Fabric for a night of great clubbing.
Classification is difficult upon listening to this album. Perhaps it is easier to describe what this album is not.
It is not mainstream, it is not unoriginal, and most strikingly, it is not predictable. Numerous genres are seamlessly blended across these 12 tracks, infusing funk, dub, triphop, and more than a few styles which, as of yet, have no genre attributed to them.
The twin talents of production and musicianship unite beautifully. In all honesty, there is very little which this journalist has sampled to compare this piece to. Utterly mesmerising. Drowsy Growing Green Growing Green, the forthcoming album from little-known Finnish lad Drowsy, might well be the most beautiful and musically diverse album to be released this year.
We should all be ashamed recalling the likes of Nick Drake and the more recent Wilco, to create what is essentially a folk rock album, but with a dark and surreal edge that puts Belle and Sebastian's most recent offerings to shame. Beginning with the decidedly menacing Some Cursing, the album easily.
Obviously the only thing that Green Day could have done after releasing an album as globe-straddlingly successful as American Idiot was release a slew of singles effective enough to make both the pop-emo wannabes Fallout Boy, Taking Back Shitday et al. When a band like Green Day can make an overtly politicised song such as this and let it seep onto the airwaves and into the public consciousness it sends a clear signal: there is hope for the music industry.
All in all, this single is well worth a listen. Jem: the new approachable face of sophisticated British dance? Quite possibly. It sounds like it could be hideous, yes. The single Chicken Payback, taken from The Bees' latest album Free the Bees is perhaps one of the most surprisingly upbeat tracks you will hear this summer. Try as you might, it is almost impossible to listen to this song and not let the crazy mix of jazz-influenced, hoedown-style music and bizarrely fun lyrics surge through your soul and initiate an involuntary head-nod, toetap or perhaps even a small jig.
This song sounds like it ought to be your own personal soundtrack to one of those lost summer days spent drinking into oblivion with your mates, and with summer around the corner, for many this is what it might well become. Their influences reggae, funk and dub are clearly shown on The Last Resort, with the haunting ambience of the song recalling The Specials. The drumming dominates the track, as does the rumbling bass when it kicks in; the guitar is restricted to simply a few chords.
Complete with the mellow Invader Dub Bside, this unusual single shows a lot of promise. With one of the best crowds this reviewer has ever been in, comprising of old schoolers, kids with parents and everyone else, the DKMs ripped out classic after classic. Sing Loud Sing Proud and Barroom Hero made everyone go nuts while the band mixed traditional folk-inflected music with a heavier branch of punk rock — combining so many disparate instruments and retaining such a level of tightness throughout is no mean feat, and is a testament to how wellversed this band is at playing live.
Newer material like Blackout was received as well as the classic set-closer Boys on The Docks, with Al Barr marshalling the crowd from start to finish. A great cover of Guns Of Brixton was a particular highpoint as it made the entire room start dancing, and even during the poignantly low-key Forever they held the attention of everyone within earshot.
It says a lot that the worst moment of the gig was when they stopped playing. For an hour and a half DKM were the only band on the planet. The simplicity of a Busted classic but without the cringe-worthy charm, the new single from The Others promises to woo nobody. Well, in fairness, Mr Masters lead singer does endeavour to elaborate marginally in the second verse but only to build the suspense for a repeat of the very meaningful chorus.
After the initial excitement over their not-soimpromptu guerrilla gigs faded, all that remains is a sad attempt at a Libertines tribute band. This song is somewhat schizophrenic, changing its pace, style and vocals throughout its course.
There are too many elements to the song, which tend to go all over the place, confusing both itself and the listener. The track starts off sounding Air-esque, before it goes from electronic pop to driving guitars. Parts of this song are something that could be great… if they were separate songs or at least in the same style as the others. Unfortunately it is drawn out for too long and the bad eventually outweighs the good.
Nelly slithers along, all arrogance and vacuous bling while completely disregarding the fact that not only can he not sing, but he is unable to bring any of his questionable personality to this track. It makes one wonder what sort of brainless moron would pay money for this overproduced abortion. Apart from their big anthems, Doves are also known for the moments in which they build up a variety of melodies to create one huge wave of sound.
For those people who aren't serious Doves fans, these moments can provide a chance to drift in concentration, but when played live they are really very beautiful, and are much more of a musical experience rather than tracks which you might skip on your album at home. Happily, Palindromes is as entertaining as it is complexly provocative. Life in Palindromes is absurd, and people cope however they know how. Ellen Barkin provides a complex portrait of a loving mother who fails in a crisis, and Debra Monk, as the Sunshine mother, brings an unaffected gravity to a role that could have got bogged down by the dappy maternalisms.
But the main attraction of course is the set of young leads who play 13year-old Aviva, the girl we follow round the country as she tries to become a mother. Taking acting turns are a six-year-old girl, several teenagers, a young boy, and two adult women one of them Jennifer Jason Leigh — many of them appearing in their first feature film, and all of them handling some fairly extreme material with assurance and subtlety.
In its exploration of the relationship between acting and identity, Palindromes works a self-reflexive line that Solondz has taken before with Storytelling , and has been adopted also in recent indie films like Adaptation and The Life Aquatic. But here is something uncompromising and resonant in other ways and some of the same ones too.
That its director is still pushing and changing film, and still getting down to American society and morality with a wit and bravery that nobody else can muster at the moment, is nothing but a good thing. In that case the new remake on the scene, The Ring Two, is something of a revelation. What is interesting here, moreover, is that the remake shares only a couple of scenes with the original and that rather than remake his film Nakata has virtually rewritten from scratch.
The result of this extensive rejigging of. It is absolutely fascinating to see a director adapting his own material for a foreign audience and changing it so completely, and so confidently, in the process. As it follows their investigations the film becomes little more than a continuation of the mystery structure of Ringu, whilst struggling to maintain the dramatic tension set by its predecessor.
However in the remake, The Ring Two, the mother Rachel Naomi Watts has survived and remains the principle character along with her son Aidan David Dorfman , who she takes to a small town in order to escape the vengeful ghost of Samara.
Ringu worked best as a complex study of family relations, and The Ring. Two picks this thread up in its very interesting exploration of motherhood, a theme that was regrettably absent in the original. In this version more is made of important symbolic motifs such as the well, the television and water, which were all explicitly linked to Sadako in Ringu only to be underused in Ringu 2.
The variations between Ringu 2 and The Ring Two clearly demonstrate that there is a difference between subtlety and tedium, and the final confrontation between mother and ghost is a particularly astonishing improvement on the original. Whereas most remakes or sequels suffer from a sense of unoriginality that results from the dilution of the original concept, The Ring franchise by its very nature avoids this, paradoxically becoming more and more complex with every new manifestation.
This is because the growth of The Ring series perfectly mirrors the narrative structure, in which a cursed videotape is copied and passed from victim to victim. Watch it or die. Dean Bowman. The result is a highly claustrophobic film, which forsakes the kind of epic battles normally associated with the war genre. This is not to say that the film is undramatic - on the contrary the many scenes set below ground drip with tension and convey a sense of hopeless futility as the relentless pounding of bombs keeps cutting the electricity.
Meanwhile, on the impressively recreated war-torn streets of Berlin the absurd horrors of war are only too apparent; child soldiers attack tanks with bazookas and zealous Nazis set about exe-. The greatest strength of the film is its fusion of realism and the absurd. To accuse the film of giving an overly sympathetic portrayal of Hitler is ludicrous in the light of the prevailing simplified.
The film is framed by some very interesting documentary footage of Traudl wrestling with her conscience, shot just before her death in , which helps to contextualise the project as a daring and provocative investigation into issues of complicity and the nature of morality.
The film poses a moral quandry: Vera, a respectable housewife, mother, cleaner, and carer, is also a criminal, practicing abortion in the days before , when it was legalised. Vera and Stan seem to have it all: good jobs, a home of their own, and good prospects for their children —even the extremely shy Ethel gets engaged to Reg.
When this comfortable life gets. To some this may seem sentimental, but this neglects the radical potential that the issues raised will evoke internationally. Vera, in her humble way, presents a different side to a question that Popes and Presidents are grappling with.
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