Can A Bulging Disc Cause Dizziness

" The wounds are mouths and eyes that never lied "

Pedro Calderón de la Barca

I happen several times during the year to inquire into the mode of representation of real events that mark deep furrows in history and left indelible wounds and difficult to heal. I am not referring to the border of the yield and representativeness of the pain that I have spoken to some Go 'and see , but just to relate to the traumatic events of history is not shared, or at least perpetual source of controversial discussions politically motivated , passing over the true meaning of tragedy on which to build. South America in this sense has always been a veritable incubator for these tensions. How many things should tell you about those places, but on time are avoided. How much history is silenced, denied or distorted to the point of irritating anyone with a minimum of historiographical notions of those places.

why so many filmmakers, artists in general but I dare say, from those places feel the urgency to talk about these things, but the rock face of the register to be taken for several reasons. The love of truth, the distance of the eye and not the least respect for the victims are to be taken into account. For example, this year I had similar thoughts after watching Post Mortem, the Chilean Pablo Larraín good film that has been in Venice and a strangely did not win instead of any film Coppola. How can a Chilean deal with an event like that unfortunate quell'undici ² September 1973 when he was deposed by the brutal killing President Allende? Well Larraín has chosen a representation of the cold and dry tank, is felt throughout the film his own power, leading to fear and almost touches the emotion in the hardest moments of the film: the autopsy of Presidentissimo. This is all you need to provoke empathy in the viewer, a film turns out to be imperfect as painfully necessary and finds its raison d'etre. By extension, one could also say it is a film that makes her weak in the face of historical fact made his own strength.

This is not to say that this film is in no way be compared to the Carrera's Larrain, but it seems fair to call into question the Chilean as a counterexample because all this courtesy and empathy to forward this will end up be absent in the Mexican film. The facts from which it takes inspiration El traspatio are vastly different from each other in Chile, but they are potentially a source of incredible film, a story that just would like to be told, and could give birth to one of the final film on the pain of a people and human barbarity. So even if it is a movie that adopt different registers, use different styles and they want to land on other shores, I think it is better to start from the common problems of representation and narration to be able to speak properly.

Mexico is the place where death hovers with ease, where there is a war between the drug traffickers that has claimed 9600 lives in 2009 and this year has already broken through the threshold of 10000 . Ciudad Juárez is one of the most populous, located in the state of Chiuaua on the border with the U.S., to be precise with El Paso. Carrera points out the thing with a good view during the opening sequence that goes from one extreme to another, from Mexico to the U.S. and the original title El traspatio, such as The International Backyard emphasize the nature of Juárez as a rear courtyard of El Paso . E 'in this context of death and desolation that the deepest abyss is achieved by the murders of women, not drug traffickers then, but simple workers of the factories or maquilladoras of gringos who exploit underpaid labor to across the border. I'm sure there are more detailed and accurate statistics those of wikipedia speaking woman of around 5000 victims since 1993, but it is a situation so chaotic that it is extremely difficult to navigate within the tragedy.

The statistics are a cool detail, but important to understand the depth of the abyss. It is no coincidence that one of the best parts of art that has cleared through the public issue Juárez is a great video of At the Drive-In, where numbers count a lot and the band refrains from being seen with the tools or any way to mention any choreography for their song, just not to damage the sense of the video or impair the informational message. It would be nice if you could say the same about this movie that, while flood of statistics on giving us credits on behalf of misogyny and crimes against women in Mexico, but also in the globalizing world the message ends up too dramatize the adventures of the hero cop . Yet there are many good things in the film, starting by the excellent visual quality that adequately address the plain narrative of a screenplay which, though excellent in more than one point, inevitably lose a bit 'pieces for the street. problem is perhaps in an excessive write the whole narrative, but where you could leave it a bit ' instinct for a story where the emotional matters much.

For example, I really appreciated when the voluntary women's rights said on the phone with a skeptical journalist on the interest of readers for the murders:

"You could make the first page on how the killers of women in our country are more newsworthy "

This I find one of the most successful passages of the script is a bit 'the heart of the matter which gives the pulse of the situation and it seems a fitting tribute to the awareness of women 3 the tragedy that was investing in those years: the murder seen as normal daily anywhere in the world can not and should not be accepted in any way. I do not know very well the reasons for the popularity of the screenwriter Sabina Berman in Mexico that I know of many successful plays writer and producer of this film, but certainly it is high professional. His research work is certainly remarkable, because in two hours of film, nothing is overlooked and all the tracks are followed to put in police jargon. The phrase is the theme for the film inevitably ends up looking like a detective, in order not to leave behind any shadow, every darkness of the story deals with the various proposed interpretations given to femicide. Assumption of a serial killer, that of human beings to explode most plausible hypothesis of no man's land where everyone is free to do what they want to do. The final portrait of Juárez is actually that of a lawless city where all the mentally ill and criminals of the world can go, and any horror impunity.

The author must say that it is also clear from this point of view. Neoliberalism and accuses the multinational companies that go to make money in Mexico on labor costs low and makes them complicit in this brutal vicious circle. He accused the authorities of the place of being corrupt and present it as a continuous cycle of evil and greed that are regenerated continuously from generation to generation 4. Well everything is good, mind you, but you return to the problem of language representation that I mentioned at the beginning of the post. Unfortunately, the writer while showing the best will in the world makes the mistake of doing too much hinges on its characters. The main character played by Ana de la Reguera is a heroine and tells us the name all too didactic tone that combines the pure white ( Blanca ) courage ( Bravo). From beginning to end of the film we see her squirming in their difficulties, grow, evolve and get even to a final confrontation with the darkness. In short, we see it all happen that is written in the manual of the perfect Hollywood screenwriter, only that it is not The Silence of the Lambs but a film inspired by real events 5.

seems very focused and balanced discussion about the long Marilyn Ferdinand on film. It is rightly reflected on this as a heroic figure in determining a film on the victims is a "step back" of feminism in modern concept affects the final outcome of an otherwise excellent film, but I do not dwell on that I love repeat what has been said by other people admirably. Besides all the good Carrera runs really well and is in great form in translating it into pictures with the fair and balanced dose of violence on stage that is fully functional to the story. One might then also ask if any other author could have done better, but this is likely to remain in the field of imaginative hypothesis. At the end is a good movie, that could certainly be better: painful, necessary, but we are still waiting for the masterpiece.

At least as reprehensible is fortunate that the script is not present in the Berman vampires or fantastic espionage plots 6. Consoled by the fact that you could do worse. From this point of view I also pretended not to know that there is a Hollywood film directed by Gregory Nava, with Jennifer Lopez and Antonio Banderas. In view of this thing you could probably forgive the closed end, very questionable and I try not to tell those who want to ever see the movie, where you face Ana de la Reguera and Jimmy Smits, who is the bad entrepreneur. Smits is also well-known face in our country for his part in several large series of Law & Order is a terrible own goal of production, which practically reveals the cards on the table and let the feeling of seeing a beautiful episode of the series American who happens often deals with sex offenders. Well not quite know what to say, maybe it's a good movie produced by a major or perhaps a wrong movie made by people willing, but the promotional aspect of driven website honestly makes me favor the first hypothesis. It is certain that the necessary labor and pain for the surrender of certain facts is a little 'bit. Far too little for the innocent girls of Juárez.

Technical

El traspatio
Year: 1985
Director: Carlos Carrera
Subject e Sceneggiatura: Sabina Berman
Cast: Ana de la Reguera
- Blanca Bravo
Asur Zagada
Marco Pérez - Fierro
Joaquín Cosio -
Peralta Alejandro Calva -
Commander Jimmy Smits - Mickey Santos
Carolina Politi - Sara
Amorita Torn - Margara Enoch
Leaño - Governor
Adriana Paz - Hilda
Lisa Owen - Silvia
Sayed Badreya - The Sultan
Juan Carlos Barreto -
Paloma Alvarez Arredondo - Elvia
Odette Berumen - Paula

1. C'è dell'ironia Nell'aria is non si fosse capito.
2. Lascia Undici notare come questo settembre di altro non sia terror diventato a monolith data di fuori da Ricordare to the paese in cui è accaduto hoping it will inspire some reflection.
3. There would be quoted the whole movement of women who seek to oppose and to obtain justice for all these barbaric. Unfortunately I have no time to dwell, but at least point out the most important association from the beautiful and melancholy name: Nuestra Hijas de Regreso a House (Our daughters back home). If you have interest and desire there are links to all resources, including a list of all the documentary (books and videos) in this regard that I do I avoid. It should also be their initiative, if I am not mistaken, the symbolic pink crosses installed where there was the most numerous and important finding of the victims, so serious moment and dramatic as to be incorporated in the film.
4. Credit is due to its explicit Berman clear that avoids any turn of phrase and goes straight to the point even in interviews :

"At first I thought of telling the facts of the murders of women. Then I said, 'That's already been done in several documentaries and books. 'Then I realized that what I wanted to tell, beyond the facts, was that revolved around the killing. A multicultural society whose fatalism overflows indifference. A state which fails in its most basic duties. A neo-liberal economics and globalization. And the proximity to the richest country in the world, the United States "

5. Another comparison on the language of representation of reality you could do with another great film inspired by real events as Memories of Murder. Also there are the crimes of a serial killer Koreano really existed and impunity that is used as a backdrop, the characters run in circles, following tracks, live micro-dramas, but there is no logic to that of hunting the killer reach its climax. In fact the only time that can be taken as such is only a reflection of the emotions of a character. In this way it preserves the painful side, unusual and lively history.
6. Forgive me the irony, but even as I try to address the discourse on register to be taken in the representation of actual historical horrors I run into these works of fiction. Far be it from me to try to interpret the intentions of the authors of these books, maybe in the first case, vampirism is a metaphor for a refined subtle subtext. In synopsis on the publisher's site but I read

Ciudad Juarez, a city 'Mexican border which has more' than one million inhabitants, and 'devastated by years of war between drug cartels for control the trafficking of cocaine to the United States. Since 1993, Juarez and 'ALSO' infamous because of the countless murders committed against young women, usually of humble social backgrounds. To date there are more than 5000 murders, among corpses found in the desert and girls disappeared and was never found. The victims are almost all aged 'between 10 and 40 years, and undergo the same treatment: kidnapped while going to work or on the way back home, raped, tortured, mutilated and killed.

E 'in this melting pot of corruption, violence and death that, in the middle of a trip from Miami to Los Angeles, David ends up accidentally, eccentric freelance writer in a British magazine that aims to' examine the phenomena rationally irrational '. A white Siberian tiger's open 'the road to a world of darkness, where horror and 'even more terrifying than that offered by the daily news ...

example of how I think I would not want to be a work of fiction about these things. The first paragraph (of 117 characters) fits historically record, while the second (just 64 characters) throws beyond the epiphany of a Siberian tiger in the sands of the desert that should divert it on the side mystical and esoteric that should be of interest to lovers of the literary sector. So what is the tragedy of Juárez in this case? I hope that the text belies the impression that it is easy lounge in which to develop a general history x vampires, magic and stuff. Honestly I do not want to investigate in order to give certainty to my reservations and I'm sure there will be around some Carampane by this author who is to defend his actions and I will explain why they are wrong. I must admit that for now it does not seem so far away from the morbidity of our talk show in which you create a background to be able to debating filthy men and women of the show on topics that never Li Tang.