[26163] in linux-announce channel archive
Congratulations! You can get a $50 Home Depot gift card!
daemon@ATHENA.MIT.EDU (Home Depot Opinion Requested)
Fri Apr 16 05:29:38 2021
Date: Fri, 16 Apr 2021 02:29:37 -0700
From: "Home Depot Opinion Requested" <HomeDepotShopperFeedback@jointflx.co>
Reply-To: "Home Depot Shopper Feedback" <HomeDepotOpinionRequested@jointflx.co>
To: <linuxch-announce.discuss@charon.mit.edu>
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Congratulations! You can get a $50 Home Depot gift card!
http://jointflx.co/sqHgF7hljF7_eHdaPX1SNMK-aQ9-mEzMgtBsLWpUsO72AUlV
http://jointflx.co/XFmN_ZKeEB0Q8aDIikWHMWrxoSvU6bqLm7BazTYNE5aPvfrl
ichell attempted to be as faithful to the novel as possible, in particular avoiding what he felt was the polished, artificial feel of other period dramas set in the 19th century. The director explained, "I was desperately trying to make it feel like it could be happening in the next room. I tried to make it something which is absolutely about real people and not about dressing or hairstyles or carpet". Consequently, because he felt the realistic look of the age would make the film more dramatic, Michell chose to depict the actors without make-up and disallowed them from looking too hygienic. Root commented about the film's natural look in an interview, "I basically didn't wear any makeup [in the film], and my hair was obviously set in a very unflattering way... I suppose the lighting was quite harsh, as well. None of us looked good". She said in a separate interview, "I wanted to make Anne Elliot a somewhat plain woman who was not really miserable but had found a way to be content somehow, and yet emotions are buzzing around her all the time". Root believed the film's realistic depiction of the age was a key aspect of its appeal.
The film's costume design was overseen by Alexandra Byrne, who created clothing that appeared "lived-in" and "realistic". Like Fleetwood, Byrne had also worked with Michell on The Buddha of Suburbia. It was her first time designing period costumes for film. During shooting, the crew often had to compete for costumes and props with the BBC production Pride and Prejudice, which was being filmed at the same time. Persuasion's crew consequently had to send for replacement items from Italy and Australia. For her work in the film, Byrne won a BAFTA for Best Costume Design.
Louise Watson, writing for Screenonline, felt the film's costume and make-up help "convey the full Cinderella transformation of Austen's heroine. At first the undervalued family martyr, Anne is the wallflower who has lost her 'bloom'. Her loose-fitting costumes hint at how she has pined away since refusing Wentworth... As she regains her confidence, she blossoms; she dresses becomingly, her eyes sparkle and her features become animated". Paulette Richards argues that the film's "unreliable" male characters, such as Sir Walter, are identified as such by the flamboyant nature of their clothing. This flamboyance is especially clear to modern viewers, who live in a culture where "real men" are expected to care little for their clothing. Conversely, the film's Wentworth is typically depicted in naval uniforms, which is a contrast to Bryan Marshall's version of the character in the 1971 adaptation. This uniform helps set Wentworth apart from many of the other male characters, allowing him to appear romantic but isolated. Gina and Andrew MacDonald had a similar view of the film, writing that it accurately captures Austen's satire by juxtaposing the upper classes' extravagance in fashion with the virtuous qualities of the Royal Navy. The naval men's profession is emphasised by the frequency of wearing their uniforms, in contrast to other adaptat
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<span style="color:#FFFFFF;font-size:5px;">ichell attempted to be as faithful to the novel as possible, in particular avoiding what he felt was the polished, artificial feel of other period dramas set in the 19th century. The director explained, "I was desperately trying to make it feel like it could be happening in the next room. I tried to make it something which is absolutely about real people and not about dressing or hairstyles or carpet". Consequently, because he felt the realistic look of the age would make the film more dramatic, Michell chose to depict the actors without make-up and disallowed them from looking too hygienic. Root commented about the film's natural look in an interview, "I basically didn't wear any makeup [in the film], and my hair was obviously set in a very unflattering way... I suppose the lighting was quite harsh, as well. None of us looked good". She said in a separate interview, "I wanted to make Anne Elliot a somewhat plain woman who was not really miserable but had found a way to be content somehow, and yet emotions are buzzing around her all the time". Root believed the film's realistic depiction of the age was a key aspect of its appeal. The film's costume design was overseen by Alexandra Byrne, who created clothing that appeared "lived-in" and "realistic". Like Fleetwood, Byrne had also worked with Michell on The Buddha of Suburbia. It was her first time designing period costumes for film. During shooting, the crew often had to compete for costumes and props with the BBC production Pride and Prejudice, which was being filmed at the same time. Persuasion's crew consequently had to send for replacement items from Italy and Australia. For her work in the film, Byrne won a BAFTA for Best Costume Design. Louise Watson, writing for Screenonline, felt the film's costume and make-up help "convey the full Cinderella transformation of Austen's heroine. At first the undervalued family martyr, Anne is the wallflower who has lost her 'bloom'. Her loose-fitting costumes hint at how she has pined away since refusing Wentworth... As she regains her confidence, she blossoms; she dresses becomingly, her eyes sparkle and her features become animated". Paulette Richards argues that the film's "unreliable" male characters, such as Sir Walter, are identified as such by the flamboyant nature of their clothing. This flamboyance is especially clear to modern viewers, who live in a culture where "real men" are expected to care little for their clothing. Conversely, the film's Wentworth is typically depicted in naval uniforms, which is a contrast to Bryan Marshall's version of the character in the 1971 adaptation. This uniform helps set Wentworth apart from many of the other male characters, allowing him to appear romantic but isolated. Gina and Andrew MacDonald had a similar view of the film, writing that it accurately captures Austen's satire by juxtaposing the upper classes' extravagance in fashion with the virtuous qualities of the Royal Navy. The naval men's profession is emphasised by the frequency of wearing their uniforms, in contrast to other adaptat</span><br />
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