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denimbex1986 · 9 months

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'Clocking in at just over three hours, Christopher Nolan’s Oppenheimer is his longest and arguably most ambitious film yet.

The biopic sees Cillian Murphy giving a sure to be Oscar-nominated performance as the titular physicist, who is known as the ‘father of the atomic bomb’.

Its not just the lead star who is being tipped for award season glory either, with his cast mates, director Nolan and the film’s sound, special effects and wardrobe teams also likely to make it onto shortlists.

We’re still many months away from the Golden Globes and Oscars nominee announcements but to tide you over, here are 15 behind-the-scenes facts that remind you just how impressive Oppenheimer is...

The Trinity Test recreation was filmed without special effects

Nolan is no stranger to recreating dramatic events on the big screen but in perhaps his most ambitious move yet, the director decided to film the atomic bomb test without using any CGI or visual effects. That means what you see on screen really did take place – although on a smaller scale.

Visual effects supervisor Scott R. Fisher has explained how his team created real ‘miniature’ explosions and filmed those.

He told Total Film: “We don’t call them miniatures; we call them ‘big-atures’. We do them as big as we possibly can, but we do reduce the scale so it’s manageable.

“It’s getting it closer to the camera, and doing it as big as you can in the environment.”

In order to create the intense burning created by the successful test run, Scott’s team used gasoline and propane, while aluminium powder and magnesium were added to replicate the blinding white light of a nuclear explosion.

Scott added: “We really wanted everyone to talk about that flash, that brightness. So we tried to replicate that as much as we could.”

The opening Prometheus quote is a nod to Nolan’s source material

Oppenheimer opens with an ominous opening caption, which reads: “Prometheus stole fire from the gods and gave it to man. For this he was chained to a rock and tortured for eternity.”

The film is based on Kai Bird’s 2005 Oppenheimer biography American Prometheus and explaining the comparison, Kai writes in his book: “Like that rebellious Greek god Prometheus—who stole fire from Zeus and bestowed it upon humankind, Oppenheimer gave us atomic fire.

“But then, when he tried to control it, when he sought to make us aware of its terrible dangers, the powers-that-be, like Zeus, rose up in anger to punish him.”

Cillian Murphy got his role without auditioning

Oppenheimer marks Christopher and Cillian’s sixth film together – following the Batman trilogy, Inception and Dunkirk – and given their close relationship, the Irish actor no longer needs to audition for roles.

During an interview with Radio 2, Cillian recalled the moment when he received a casual call from Nolan, who explained he had the perfect lead role for him.

“If you’re lucky you get one or two of those [calls] in your career, you know?” he said. “It was the best, best feeling. It was kind of euphoric, and then you go ‘oh that’s a lot of work’. So I immediately just started working.

“I had like six months before, between when he called me and we started the shoot. The script was solid and was there. It was one of the greatest scripts I’ve ever read. It was magnificent.”

The cast lived together during filming

Oppenheimer sees America’s greatest scientific minds living together at the Los Alamos facility in New Mexico and for the movie, Nolan also moved his cast and crew into digs together.

Emily Blunt likened the situation to ‘summer camp’ and told People: “We were all in the same hotel in the middle of the New Mexican desert. We only had each other.”

But Cillian skipped their group hangouts

Longterm pals Emily and Matt Damon organised group dinners for the cast during filming – but the former’s on-screen husband RSVP’d with a firm no.

Mary Poppins actor Emily added to People: “The sheer volume of what he had to take on and shoulder is so monumental.

“Of course he didn’t want to come and have dinner with us.”

Cillian added: “You know that when you have those big roles, that responsibility, you feel it’s kind of overwhelming.”

Another contributing factor was the Irish star’s strict diet, as he lost weight to play the scientist, who in real-life subsisted on cigarettes, martinis and not so much food.

“He was losing so much weight for the part that he just didn’t eat dinner, ever,” Matt told Entertainment Tonight.

The hard to hear dialogue is (sort of) intentional

While Oppenheimer is very much deserving of its five-star reviews, cinema-goers have complained about one thing: the sound levels.

Posting on social media after seeing the movie, numerous fans noted that some of the speech sounds muffled and exchanges on-screen can sometimes be difficult to fully hear.

This is down to the fact the IMAX cameras used by Nolan aren’t soundproofed.

Most directors would work around this by getting actors to re-record dialogue in post-production to make it clearer, but this is something he isn’t a fan of.

“I like to use the performance that was given in the moment rather than the actor re-voice it later,” Nolan told Insider. “Which is an artistic choice that some people disagree with, and that’s their right.”

The script was written in first person

In another unusual move, Nolan wrote the script in first person in order to reflect how most of the film is being told from Oppenheimer’s perspective and using his memories.

Matt Damon told Vulture: “I’ve never seen that done before. Instead of ‘Oppenheimer walks across the room,’ it’s ‘I walk across the room.’ This was a way for him to signal that, Okay, this is what the movie’s going to feel like. It’s going to feel immediate.”

Kodak had to manufacture a new type of film especially for Oppenheimer

Film purist Nolan filmed the biopic on large format cameras with IMAX 70mm film, but there was one small problem.

Oppenheimer features two timelines with one in colour and another in black-and-white. Unfortunately, black and white IMAX 70mm film didn’t exist so cinematographer Hoyte van Hoytema put in a call to Kodak.

He told Variety: “They came out with test rolls for us to run through our camera. We had to re-engineer our cameras a little bit, and we had to remake our pressure plates and our backend lab work needed to be readjusted.”

“I do remember when Chris and I were sitting in the cinema and watching the results of our first black and white test and it was just freaking amazing. We had never seen anything like it.”

Cillian had no physics knowledge – but one co-star was well-prepared

The Inception star has admitted that he doesn’t “have the intellectual capacity to understand quantum mechanics” but the same can’t be said for Benny Safdie, who plays Edward Teller.

Prior to becoming an actor, Benny was a budding scientist and studied nuclear physics in high school.

“I was working with a physicist at Columbia University,” he told Vulture. “I was doing cosmic rays. It is a deep passion of mine.”

And another actor previously starred in another Oppenheimer-inspired project

Christopher Denham, who plays Klaus Fuchs, appeared in the 2014 series Manhattan, which took its name from the project developing the atomic weapons.

We won’t spoil the TV drama but Christopher’s Manhattan character, the entirely fictional Jim Meeks, has parallels to his Oppenheimer alter-ego.

There are no deleted scenes and there’ll never be a director’s cut

Nolan’s love of IMAX cameras and 70mm film makes movie-making incredibly expensive, so he makes sure every single second of his movies is mapped out before yelling ‘action’.

Cillian told Collider: “There’s no deleted scenes in Chris Nolan movies. That’s why there are no DVD extras on his movies because the script is the movie. He knows exactly what’s going to end up – he’s not fiddling around with it trying to change the story. That is the movie.”

Oppenheimer features Nolan’s first ever sex scenes

Despite having directed 11 feature films before starting work on his latest, Nolan had never directed intimate scenes before.

Oppenheimer features sex scenes with the titular scientist and Jean Tatlock, a member of the communist party who was his lover before and during his marriage (played by Florence Pugh).

Justifying the intimate moments, Nolan told Insider they are “essential” to understanding Oppenheimer’s life as a whole.

“His very intense relationship with Jean Tatlock [...] is one of the most important things in his life,” he said. “But not least for the fact that Jean Tatlock was very explicitly a Communist and his obsession with her therefore had enormous ramifications for his later life and his ultimate fate.

“It felt very important to understand their relationship and to really see inside it and understand what made it tick without being coy or allusive about it, but to try to be intimate, to try and be in there with him and fully understand the relationship that was so important to him.”

Florence Pugh’s topless scene is very different in some cinemas around the globe

The intimate scenes between Oppenheimer and his lover earned the film its R rating, but some cinema-goers noticed an odd addition to one scene.

In countries including India, Pakistan and the United Arab Emirates, digital censoring has been used to cover Florence’s body with a CGI black dress.

Nolan had been thinking about Oppenheimer since he was a teenager

The director grew up in England in the 1980s when the scientist was “a part of pop culture then, without us knowing a lot about him.”

He told Bulletin: “I think I first encountered Oppenheimer in that relation; I think he was referred to in Sting’s song about the Russians that came out then and talks about Oppenheimer’s ‘deadly toys.’

“It was the peak of CND, Campaign for Nuclear Disarmament, the Greenham Common [protest]; the threat of nuclear war was when I was 12, 13, 14 – it was the biggest fear we all had,” he added.

And there’s even an Oppenheimer reference in Tenet

In the same interview, Nolan recalls learning of how the Los Alamos scientists were told there was a chance the atomic bomb could destroy the world.

He explained: “That struck me as the most dramatic situation in the history of the world, with any sort of possibility being an end to life on Earth. That’s a responsibility that nobody else in the history of the world had ever faced.

“I put a reference to that in my last film, Tenet; there’s dialogue, a reference to that exact situation by Oppenheimer. That film deals with a science-fiction extrapolation of that notion: Can you put the toothpaste back in the tube? The danger of knowledge, once knowledge is unveiled—once it’s known, once it’s fact—you can’t wind the clock back and put that away.”'

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the-institute-rpg · 2 years

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HAPPY SATURDAY ISLANDERS!

The deadline for our annual costume contest is coming up fast! Thank you to those who have already sent in your costumes. Under the cut you will find the names of those who we have received pictures from. If you sent in your character’s costume and do not see their name on the list, or if you would still like to participate in the contest, please send us an IM by Sunday. Thanks, and have a great weekend!

Spooky love,

The Admins

Malon Sarvis

Elijah Scott

Kai Nolan

Qhuinn Fontenot

Ava Montgomery

Ciaran O’Bryan

Evelyn Stratford

Daisy Lynch

Dhani Lyman

Dakota Winters

Nova Walker

Grace Carleton

Skyler Campbell

Wade Jensen

Matt Clarke

Donnie Miller

Damien Black

Margeaux Adkins

Raven Powers

Belladonna Ivy

Levi Matthews

Milo Cole

Sawyer Chambers

Edward Watford

Wat Fletcher

Leslie Stedeman

Noah Wright

Rowan Aubri

Sunshine Bunny

Tilly Beaumont

Alexander Black

Arthur Augustus

James Donovan

Orion Campbell

Genevieve Wranmyer

Clara Woodhouse

Ash Romero

Thalia Moore

Tessa Fuchs

Xavier Lennon

Steele

Jae-Min Park

Persephone Clay

Edmund Elofsen

Scott Landenberg

Elliot Raws

Aiden Wentworth

Atticus Carmine

Markus Christiansen

Violet Lynch

Leib Edleman

Alfie Norris

Cash Reeves

Wilder Hayes

Keith Crane

Jason Shaw

#theinstituteadmin #admin note #costume contest #here's the updated list!

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tripuck · 5 months

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filmy-online-oppenheimer · 10 months

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Sledujte ― Oppenheimer Film Online CZ A Zdarma

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Kde sledovat Oppenheimera?

několik způsobů, jak sledovat film Oppenheimer online v USA Můžete použít streamovací službu, jako je Netflix, Hulu nebo Amazon Prime Video. Film si také můžete vypůjčit nebo zakoupit na iTunes nebo Google Play. sledujte jej na vyžádání nebo ve streamovací aplikaci dostupné na vašem televizoru nebo streamovacím zařízení, pokud máte kabel.

Co je to film Oppenheimer?

Oppenheimer je připravovaný americký životopisný thriller, který napsal, produkoval a režíroval Christopher Nolan podle životopisné knihy American Prometheus z roku 2005 od Kaie Birda a Martina J. Sherwina o Robertu Oppenheimerovi, jaderném fyzikovi, který se podílel na vývoji prvních jaderných zbraní v rámci projektu Manhattan. V primární roli se představí Cillian Murphy, spolu s Emily Bluntovou, Matt Damonem, Robert Downey Jr., Florence Pughovou, Josh Hartnettem, Casey Affleckem, Rami Malekem a Kenneth Branaghem v hlavních rolích.

Film byl oznámen v září 2021, kdy společnost Universal Pictures vyhrála výběrové řízení. Natáčení začalo koncem února 2022 a skončilo v květnu téhož roku. Film byl natáčen v kombinaci IMAX 65mm a 65mm velkoformátového filmu – včetně úseků natočených v témže formátu IMAX černobíle. Stejně jako ve svých předchozích filmech použil Nolan rozsáhlé praktické efekty a minimum CGI.

Kdy vyjde film Oppenheimer?

Hlavní role Cillian Murphy jako Robert Oppenheimer[1] Emily Bluntová jako Katherine „Kitty“ Oppenheimerová[2] Matt Damon jako Leslie Groves[3] Robert Downey Jr. jako Lewis Strauss[3] Florence Pughová jako Jean Tatlock[4] Josh Hartnett jako Ernest Lawrence[5] Casey Affleck jako Boris Pash[6] Rami Malek jako David Hill[4] Kenneth Branagh jako Niels Bohr[7] Vedlejší role Benny Safdie jako Edward Teller Dylan Arnold jako Frank Oppenheimer Gustaf Skarsgård jako Hans Bethe David Krumholtz jako Isidor Isaac Rabi Matthew Modine jako Vannevar Bush David Dastmalchian jako William L. Borden Tom Conti jako Albert Einstein Michael Angarano jako Robert Serber Jack Quaid jako Richard Feynman Josh Peck jako Kenneth Bainbridge Olivia Thirlbyová jako Lilli Hornigová Dane DeHaan jako Kenneth Nichols Danny Deferrari jako Enrico Fermi Alden Ehrenreich jako a Senate aide Jefferson Hall jako Haakon Chevalier Jason Clarke jako Roger Robb James D'Arcy jako Patrick Blackett Tony Goldwyn jako Gordon Gray Devon Bostick jako Seth Neddermeyer Alex Wolff jako Luis Walter Alvarez Scott Grimes jako Counsel Josh Zuckerman jako Giovanni Rossi Lomanitz Matthias Schweighöfer jako Werner Heisenberg Christopher Denham jako Klaus Fuchs David Rysdahl jako Donald Hornig Guy Burnet jako George Eltenton Louise Lombard jako Ruth Tolman Harrison Gilbertson jako Philip Morrison Emma Dumont jako Jackie Oppenheimer Trond Fausa Aurvåg jako George Kistiakowsky Olli Haaskivi jako Edward Condon Gary Oldman jako Harry S. Truman

Kdo je obsazením filmu Oppenheimer?

Premiéra filmu Oppenheimer se uskutečnila 11. července 2023 v pařížském Le Grand Rex a jeho uvedení do kin ve Velké Británii a Spojených státech je naplánováno na 21. července 2023, v Česku již o den dříve, 20. července.

Kompletní údaje o filmu Oppenheimer

Oppenheimer Drama / Historický / Životopisný USA / Velká Británie, 2023, 180 min Režie: Christopher Nolan Předloha: Kai Bird (kniha), Martin Sherwin (kniha) Scénář: Christopher Nolan Kamera: Hoyte van Hoytema Hudba: Ludwig Göransson Hrají: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh

Oppenheimer na Disney Plus?

Na Disney+ nejsou žádné stopy po Oppenheimer Trail, důkaz, že House of Mouse nemá žádnou kontrolu nad celou franšízou! Disney+, domov pro tituly jako 'Star Wars', 'Marvel', 'Pixar', National GOppenheimer graphic', ESPN, STAR a další, je k dispozici za roční předplatné 79,99 $ nebo měsíční poplatek 0,99 $. Pokud jste jen fanouškem některé z těchto značek, stojí za to se přihlásit do Disney+ a nemá ani reklamy.

Oppenheimer na HBO Max?

Je nám líto, ale Oppenheimer Way není na HBO Max k dispozici. Je tu spousta obsahu HBO Max za 14,99 $ měsíčně, toto předplatné je bez reklam a umožňuje vám přístup ke každému titulu v knihovně HBO Max. Streamovací platforma oznámila verzi podporovanou reklamou, která stojí mnohem méně za 9,99 $ měsíčně.

Oppenheimer na Amazon VidOppenheimer?

Bohužel, Oppenheimer Path by Water není k dispozici ke streamování zdarma na Amazon Prime VidOppenheimer. Můžete si však vybrat i jiné pořady a filmy, které budete odtud sledovat, protože má širokou škálu pořadů a filmů, ze kterých si můžete vybrat za 14,99 $ měsíčně.

Oppenheimer na Peacockovi?

Oppenheimer Way nelze na Peacock v době psaní tohoto článku sledovat. Peacock nabízí předplatné, které stojí 4,99 $ měsíčně nebo 49,99 $ ročně u prémiového účtu. Stejně jako její jmenovec si streamovací platforma může hrát s venkovním obsahem zdarma, i když omezeně.

Oppenheimer na Paramount Plus?

Oppenheimer The Road to Water není na Paramount Plus. Paramount Plus nabízí správnou možnost předplatného: základní verze služby Paramount + Essential podporuje reklamu za 4,99 $ měsíčně a prémiový plán bez reklam za 9,99 $ měsíčně.

Kde mohu sledovat film Oppenheimer zdarma?

Cinemov je webová stránka, která nabízí zdarma více než 20 000 streamovaných filmů všech žánrů zdarma. Když se přihlásíte, najdete neomezené množství HD filmů, obrovský katalog k procházení a vyhledávací panel, který vám umožní vyhledat všechny filmy, které chcete vidět.

Zajímá vás, jak legálně sledovat bezplatný streaming filmu Oppenheimer? Pokud ano, budete rádi, že je to skutečně možné, protože v současnosti existuje v Itálii několik webových stránek, kde můžete zdarma sledovat filmy všech žánrů a dob. V některých případech se možná budete muset zaregistrovat prostřednictvím e-mailu nebo použít svůj online účet k přihlášení.

Řeknu vám podrobně, jak můžete pomocí nejpopulárnějších internetových stránek, online služeb a aplikací pro chytré telefony/tablety streamovat filmy zdarma. Cinemov je jedna z nejlepších stránek. Nabídka filmů sahá od nejnovějších filmů po klasiky z historie kinematografie, od amerických filmů po italské filmy, od hororů po komedie… zkrátka svoboda výběru, počet filmů je působivý. Samozřejmě to nenajdete, když půjdete do kina.

#Oppenheimer online cz zdarma #Oppenheimer online zdarma

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osarothomprince · 1 year

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myfeeds · 1 year

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Microscopic chalk discs in oceans play a key role in earths carbon cycle by propagating viruses

“In a drop of seawater, there will be about 1,000 to 10,000 E. huxleyi cells, and about 10 million viruses,” said Kay Bidle, a professor in the Department of Marine and Coastal Sciences at Rutgers School of Environmental and Biological Sciences (SEBS) and a senior author on the study. “They’re all in a sort of arms race against each other and we are studying it to see how it plays out and impacts Earth’s carbon cycle.” Reporting in Science Advances, the researchers said they discovered, through observations both in the ocean and in the laboratory, that the chalk (calcium carbonate) plates, called coccoliths, are a previously unrealized central player in viral infections that can collapse phytoplankton blooms the size of some countries within weeks. “Coccoliths can act as catalysts for death, delivering viruses directly to algae cells for successful infection,” said Christopher Johns, a doctoral student in the Department of Marine and Coastal Sciences at SEBS and lead author on the study. E. huxleyi is a one-celled species of phytoplankton, which, like trees, performs photosynthesis. In the case of phytoplankton, they convert carbon dioxide dissolved in ocean water into organic compounds, and at the same time produce oxygen. “The phytoplankton in the oceans contribute about half of Earth’s oxygen, with the other half coming from land plants,” Bidle said. “Every other breath you take is from phytoplankton.” E. huxleyi is well-known for its ability to biomineralize calcium carbonate, similar to corals, by producing coccoliths, which are arranged on the cell surface to form an armored layer. These coccoliths are produced and then shed into the surrounding seawater in a continuous cycle. For years, the function of these coccoliths has been poorly understood, according to Bidle. Researchers believed the chalk armor existed in part to protect phytoplankton from getting infected by viruses. And the discarded, free coccoliths were commonly thought of as passively drifting planktonic particles with little biological or ecological roles. But in experiments conducted in laboratories on the Cook campus at Rutgers University-New Brunswick, Johns and other team members observed that the expelled coccoliths can find their way back to the E. huxleyi cells, reattach, and at the same time ferry viral particles, facilitating infection. This ability to propagate and catalyze infection is one unexpected role of the coccoliths with important potential ecosystem outcomes. The discovery also has an important connection to climate change and the Earth’s carbon cycle, Bidle said. Infected E. huxleyi cells produce a sticky glue that can help aggregate particles into what is called “marine snow.” When marine snow sinks to the deep ocean, it helps to sequester and bury carbon, removing it from the atmosphere for centuries to millennia. Coccoliths are important in this process because they are heavier than seawater and help make particles sink faster and more rapidly into the deep ocean. By assisting in the death of the phytoplankton, as well as in marine snow formation and sinking, the coccolith biominerals can ultimately have a positive impact on the removal of carbon dioxide from the upper ocean and atmosphere, Bidle said. “This means the coccoliths facilitate the process of sequestering or sinking carbon into the deep ocean for thousands of years, making them important players in balancing the Earth’s carbon cycle,” Bidle said. Other Rutgers researchers on the study include Associate Professor Heidi Fuchs; Karen Grace Bondoc-Naumovitz, a former postdoctoral fellow now at the University of Exeter in England; and Alexandra Matthews, a former undergraduate student, all within the Department of Marine and Coastal Sciences. Researchers from the U.S. Department of Energy’s Oak Ridge National Laboratory, the University of California-Santa Barbara, and the University of North Carolina-Wilmington also were involved in the study.

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mariacallous · 2 years

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Industrial policy is an important lever to ensure a productive and strong economy. While industrial policy has historically focused on the manufacturing sector, a modern industrial policy that is focused on creating good jobs in the service sector and on improving resilience in the technology sector would improve economic growth and ensure those benefits are equitably shared. These policies could include making service sector jobs more productive and secure, identifying and solving critical technology issues, and improving supply chains.

On Wednesday, September 28, 2022, The Hamilton Project at the Brookings Institution hosted an in-person event examining the role for a modernized industrial policy that addresses ongoing and emerging challenges. The event featured introductory remarks by former U.S. Treasury Secretary Robert E. Rubin and a fireside chat with U.S. Commerce Secretary Gina Raimondo moderated by Alex Burns.

The forum also included two panel discussions featuring Mary Kay Henry (SEIU), Eric Schmidt (Schmidt Futures), Dani Rodrik (Harvard Kennedy School), Erica Fuchs (Carnegie Mellon University), Sameera Fazili (National Economic Council), and Wendy Edelberg (The Hamilton Project).

The event coincided with the release of two new Hamilton Project proposals that focus on ways to modernize U.S. industrial policy to better recognize the significant role the service sector plays in the economy and to establish a program that increases capacity for critical technology analytics and a set of economic facts on the state of the service sector.

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denimbex1986 · 9 months

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'Is anyone else surprised by the popularity of Oppenheimer? The film has triggered a mammoth cultural explosion, igniting topics that range from the dangers of politicizing science, to the hermeneutics of the mushroom cloud, to the intricacies of IMAX, to AI military technology and “our Oppenheimer moment,” to the “subversive” nature of going to a movie theater in the age of streaming. Not to mention the whole “Barbenheimer” phenomenon.

Based on Kai Bird and Martin Sherwin’s 2005 biography, American Prometheus, Oppenheimer charts the brilliant career of its eponymous hero; but the career of director Christopher Nolan has a shimmer all its own. Nolan’s CV is every young filmmaker’s envy: artsy short film (Doodlebug), followed by bargain-basement debut that garners critical attention (Following); then a breakthrough art-house film that makes money (Memento); and finally off to Batman-land, rocketing Nolan from no-budget to mega-budget in just eight years. The rare director seemingly able to have it all, Nolan specializes in box-office blockbusters “pitched at the divide between art and industry, poetry and entertainment,” as Manohla Dargis wrote about The Dark Knight.

Nolan’s core obsessions were laid out in Memento (2000), a flashy neo-noir thriller that gave the term “retro” a whole new meaning. That film consists of short sequences that move forward but are arranged in reverse, tracking backwards in time from a revenge killing in the opening scene to the original crime that incited it. Memento’s devices of narrative uncertainty require some cognitive calisthenics on the part of viewers. In the two decades since, Nolan has returned to this sweet spot with films such as Inception (2010) and Tenet (2020), movies that reflected his abiding urge to drill down into, and manipulate, the fundamental structures of cinematic reality. No wonder a story about theoretical physics would attract him.

A three-hour biopic, Oppenheimer sets up as a bildungsroman, charting physicist J. Robert Oppenheimer’s education and character formation. We follow his youthful tour of European universities in the 1920s, where he meets science luminaries from Heisenberg to Niels Bohr; his eventual landing at Berkeley, where his ideas catch fire (an artful time-lapse sequence shows rising attendance as his classes become popular); and, finally, the unfolding of the Manhattan Project under his direction at Los Alamos, New Mexico. Well, not finally, in fact. A substantial chunk of the movie consists of layered-in testimony from two postwar political proceedings: a 1954 Atomic Energy Commission hearing to determine whether Oppenheimer would maintain his security clearance; and the 1959 Senate confirmation hearing of Lewis Strauss as Eisenhower’s Secretary of Commerce. Strauss was the man who hired Oppenheimer to head the Institute for Advanced Studies at Princeton, then subsequently subverted his career, apparently for reasons of personal jealousy and resentment.

It is a lot of ground for a movie to cover, and let me lay my cards on the table: amid near-unanimous critical acclaim for Oppenheimer, I second the dissenting vote of the ever-acerbic New Yorker critic, Richard Brody, who likened it to “a movie-length Wikipedia article.” In contrast with the elusive and profound aura that enwraps Nolan’s storytelling in his best movies, here the director takes a kind of History Channel approach, in which private lives are stapled to a public timeline. Thus, for example, the publication of an important physics paper by Oppenheimer in a science journal on September 1, 1939, is upstaged by a screaming newspaper headline, “War in Europe!” There are history footnotes, as when we briefly meet a Los Alamos physicist named Klaus Fuchs—history buffs will register the future notorious spy. Ethical quandaries arising from the prospect of bombing the Japanese are limned for us in meetings where stakeholders hash it all out, seminar style. “Is there no way to demonstrate it first?” asks one of the physicists. “Oh, we intend to demonstrate it in the most convincing way possible—twice!” barks General Leslie Groves, Los Alamos’s Army overseer. It all feels conspicuously…educational.

As for the character of Oppenheimer, he is supposed to present the tragic paradox of a civilized humanist who lends his talents to the harnessing of a violence that could destroy civilization. By way of characterization, we are given visual gestures that juxtapose his various passions and preoccupations—a look around his office disclosing T. S. Eliot’s “The Wasteland” along with prints of modernist art, followed by hallucinatory visions of cosmic particle-scapes set to thunderous music, followed by Oppenheimer quoting a John Donne sonnet to a baffled General Groves (an enjoyably gruff Matt Damon).

But what kind of man was Oppenheimer, really? A few stray moments in the film, clearly culled from the Bird-Sherwin biography, hint at a driven, impulsive, and eccentric bohemian with a dark side. In an early scene from his student days, he impulsively injects a disliked teacher’s apple with cyanide, and has to rush back later to avert calamity. Cyanide? Such behavior is so out of whack with the film’s portrayal of its protagonist that I found myself saying, “Really?”; and although General Groves calls Oppenheimer “theatrical, egotistical, and unstable,” we don’t see enough of these qualities in action. While Oppenheimer’s ethical dilemmas are laid out with teacherly clarity, his psychological and emotional complexities never really come into focus; oddly for a biopic, Nolan has made his subject less interesting than he was in life.

The one-note intensity of Cillian Murphy’s performance doesn’t help. Cinematographer Hoyte van Hoytema fills the screen with closeups of Murphy’s strangely unearthly face, set in a far-off, suffering gaze. This haunted and passive bearing is at odds with the reality of Oppenheimer’s power, and it is disconcerting to see Murphy’s wraithlike figure striding down Los Alamos’s dusty main street in his fedora like a sheriff in a gunslinging town. “He was founder, mayor and sheriff, all rolled into one,” one visitor recalls. “You are an American Prometheus,” Niels Bohr tells him. But we get almost no sense of any megalomaniacal dimension to his character.

Yet power and its mesmerizing allure lie at the heart of the story. The film scrutinizes the scientists’ justifications for developing a weapon of supreme destructiveness—first and foremost, the fear that the Nazis would get there first. As it turned out, they weren’t particularly close; Hitler mistrusted the science and pursued conventional weapons such as the V-2 rocket, and then the war in Europe was over. But the Manhattan Project had developed an unstoppable momentum, and in Oppenheimer apparently most of all. In Jon Else’s illuminating 1980 documentary, The Day After Trinity, British physicist Freeman Dyson recalls that “the dream somehow got hold of him—to produce a nuclear weapon.” And Hans Bethe, another key player at Los Alamos, adds that Oppenheimer “completely changed to fit the new role.” This change—what it drew on in Oppenheimer, and how it ramified—goes largely missing from Oppenheimer, and its absence vitiates the drama, reducing tragedy to mere chronicle.

The film is three hours long, yet the portrait of its protagonist seems sketchy, and one wonders how Nolan might have allocated time differently. Take, for instance, the decision to showcase the hearings from the 1950s. Presumably, the intention was to dramatize the emerging political dynamic of the Cold War, with its rituals of character assassination. But the resulting “action” is bureaucratic and dense. Nolan’s script takes us deep in the weeds of political infighting surrounding Oppenheimer, his nemesis Strauss (played with cool cynicism by Robert Downey Jr.), and the controversy over the physicist’s security clearance, including extensive testimony about a long-ago conversation with an academic mentor who proposed sharing info on the Manhattan Project with the Soviets, and whether this constituted treason. The director’s attempt to wring drama from all the political maneuvering reaches a bizarre climax when he sets testimony from the hearings to the same tumultuous, thunderous music that he used to dramatize the advent of the bomb itself.

Don’t get me wrong: there are some terrific moments when Oppenheimer succeeds in conveying a sense of awed horror, and of a moral recklessness bordering on the obscene, such as one scene in which the physicists place bets on the likely kilotonnage of the blast (Oppenheimer bets on three kilotons), with Enrico Fermi taking side bets on the likelihood of “atmospheric ignition,” which would incinerate all of New Mexico. And the film’s best moment occurs after the bombs are dropped on Hiroshima and Nagasaki, ending the war, when Oppenheimer speaks to a jubilant crowd in Los Alamos. To the audience’s thunderously stamping feet and shouts of “Oppy! Oppy!” the physicist starts a conventional victory speech—“the world will remember this day”—but suddenly breaks off. Silent, sweating, he seems to dissociate, as everything around him slides into the surreal: a scream; noiseless applause; a blinding light and a vision of calamity, with people sick and dying and covered in ash. The disorienting power of the scene conveys both the calamity of nuclear war and Oppenheimer’s inner turmoil, his nauseating sense of complicity.

Oppenheimer needs more of this scene’s surreal energy; strangely, for a Christopher Nolan film, it needs more strangeness. But right after that hallucinatory episode, Nolan cuts to a cover of Oppenheimer on Time magazine, and from then on reverts to History Channel mode, dutifully covering the political hearings, as well as a brusque interview with President Truman in which the physicist agonizes about having “blood on my hands” and is scoffingly dismissed.

After watching Oppenheimer, I streamed The Day After Trinity. (“Trinity” refers to Oppenheimer’s name for the bomb test site, inspired by a Donne poem, and the “day after” refers to yet another hearing, in 1965, at which Oppenheimer was asked about talks on halting the spread of nukes, and responded, “It’s twenty years too late. It should have been done the day after Trinity.”) It may seem paradoxical to suggest that a documentary more acutely conveys the tragedy of Los Alamos than a feature film does. Yet for me at least, it did. In the decades since the Manhattan Project, many commentators seeking to capture the dreadful awe that accompanied the advent of the atomic bomb have invoked Oppenheimer’s quotation from the Bhagavad Gita—“Now I am become death, the destroyer of worlds”—and Nolan leans heavily on it, using it not once but twice. The documentary pursues the horror more subtly, in a banality-of-evil way. It contains a small but terrible moment, when the Manhattan Project physicist Robert Serber displays a section of a wall removed from a classroom in Nagasaki, bearing the outline of a window sash imprinted on it photographically by the blast. “You see the angle here?” Serber says, holding it up. “That shows you that the bomb went off at exactly the height it was supposed to.” And Serber can’t quite suppress a smile—quickly followed by a look of sickly confusion. All these years later, he still feels pride.

That look does more to evoke the scientists’ moral disarray than does the pose of abject contrition in which the last third of Nolan’s film freezes Robert Oppenheimer. Serber’s smile reveals candor about the thrills of scientific discovery, even as his sickened look betrays an awareness of what resulted when those thrills were channeled into the priorities of what Eisenhower himself would call the military-industrial complex. What does it mean—for science and its practitioners, for civilization itself—when mass death becomes, well, a project?

The enormity of such questions mocked even the formidable intelligence assembled on the team at Los Alamos. Recalling the shocking power of the July 1945 test blast for Else’s documentary, Frank Oppenheimer, who worked on the Manhattan Project along with his older brother, becomes suddenly anxious, repeatedly rubbing his eyes and forehead as he describes being stunned by the heat of the blast, twenty miles away. “It was terrifying,” he recalls.

In the presence of that terror, Else asks, what was the first thing the assembled physicists said to one another? Frank Oppenheimer pauses. “‘It worked,’” he says. And upon learning just three weeks later that the bomb had been dropped on Hiroshima? Again Oppenheimer offers that stricken look, and again, candor. “Our first thought,” he recalls, “was, ‘Thank God it wasn’t a dud.’”'

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the-institute-rpg · 2 years

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HAPPY SUNDAY, OUR LITTLE GOBLINS!

Here is the final updated list for our costume contest. We will be closed for submissions tonight, so if you still want to participate or have submitted a costume but do not see your muse(s) name on the list, please send us a message! IM’s ONLY please, we don’t want anyone’s costume getting eaten by the Tumblr monster!

Spooky Love,

The Admins

Malon Sarvis

Elijah Scott

Kai Nolan

Qhuinn Fontenot

Ava Montgomery

Ciaran O’Bryan

Evelyn Stratford

Daisy Lynch

Dhani Lyman

Dakota Winters

Nova Walker

Grace Carleton

Skyler Campbell

Wade Jensen

Matt Clarke

Donnie Miller

Damien Black

Margeaux Adkins

Raven Powers

Belladonna Ivy

Levi Matthews

Milo Cole

Sawyer Chambers

Edward Watford

Wat Fletcher

Leslie Stedeman

Noah Wright

Rowan Aubri

Sunshine Bunny

Tilly Beaumont

Alexander Black

Arthur Augustus

James Donovan

Orion Campbell

Genevieve Wranmyer

Clara Woodhouse

Ash Romero

Thalia Moore

Tessa Fuchs

Xavier Lennon

Steele

Jae-Min Park

Persephone Clay

Edmund Elofsen

Scott Landenberg

Elliot Raws

Aiden Wentworth

Atticus Carmine

Markus Christiansen

Violet Lynch

Leib Edleman

Alfie Norris

Cash Reeves

Wilder Hayes

Keith Crane

Jason Shaw

Lily Lynch

Beth Garcia

Gina Andrews

Ste White

Frankie Vanderbilt

Lyssa Hudson

Gulana Alim

Emmanuel Reyes

Scarlett McKnight

Sasha Bell

#theinstituteadmin #admin note #costume contest

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shoverse · 2 years

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Bro theres like 20 heres a list you can choose :D

Kazuyuki Takeda

Kai Takeda

Elijah Oakley

Elliott

Abby Whittle

David King

William Chensey

Jackie

Merlin Watling

Jackson Krüger

Abigail Florakis

Cynthia Florakis

Korea Brooks

Edward Fuchs

Max Fuchs

Sandra Oriko

Ajax Eesuola

Oliver

Selma Olsen

George Bernard

George Benard Jr.

Angel Benard

Lilly Bloodborn

Main counsel guy

Snake counselor

Girl counselor

Im pretty sure there's one more counsel member but I cant remember lmao

pls i'm indecisive idk

#tzais.talks #tzai.gets.asked #the.favourites

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snarky-wittgenstein · 3 years

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Every wefie has one of these people

#oushitsu kyoushi haine #oushitsu kyoushi heine #the royal tutor #haine wittgenstein #heine wittgenstein #kai von glanzreich #kai von grannzreich #kai von granzreich #maximilian rosenberg #ralf von fuchs

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osarothomprince · 1 year

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Professor Schools CEO At A Dinner Party Things heat up when a CEO challenges a professor at a dinner table asking him how much he makes. A short powerful video about what really counts in life. SUBSCRIBE: https://www.youtube.com/user/kalmy16?sub_confirmation=1&feature=iv&src_vid=K36uZgYEBOU&annotation_id=annotation_2993918245 Say Hey! Instagram – https://ift.tt/iGk1oYV Twitter – https://twitter.com/meirkay FB page – https://ift.tt/Wp4qTPI SnapChat – @MeirKay Director/Producer – Meir Kay Written By: Taylor Mali DP/Editor – Joris Reynaud Co Producer – Elliot Fuchs Professor – Kim Emerson Thank you for watching!

Professor Schools CEO At A Dinner Party https://www.youtube.com/watch?v=PWw1nwOeyk0 3000, professor, self-worth, Video, teaching, MeirKayProfessor Schools CEO At A Dinner Party Things heat up when a CEO challenges a professor at a dinner table asking him how much he makes. A short powerful video about what really counts in…

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vol-cayno · 3 years

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OC: 「GENTO」member

#original #original character #OC #Illustration #illust #drawing #tumblr draw #degitaldrawing #art #digital art #painting #paint #clip studio paint #撫子原家幸乃 #Kai Townsend #Gianna Wigmore #Sternchen Fuchs #野羅小源太 #證誠寺ハギヲ

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chicinsilk · 4 years

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#sabine weber #kay fuch #mustard coat #piazza #40s fashion #fall/winter #1948 #genevieve naylor #winter style

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greennightsrecords · 3 years

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(▶ GREEN NIGHTS RECORDS ©™) his lo-fi version of all songs. ★ Choose your store ツ ▼ http://smarturl.it/w9tbrc✪ Exclusive releases before in https://greennightsrecords.bandcamp.com/★ DEMOS TO ▼ https://form.jotform.com/green.nights.records/submission Style: Techno, Tech House, Deep House, Progressive House & Chillout.★ BOOKING Djs GNR TO ▼ https://greennightsrecords.wixsite.com/2018▼ Subscribe to Green Nights Records ©™ https://greennightsrecords.wixsite.com/2018Spanish Label Established in 2013 in the city Albacete (Spain) Find your Sound, Find your Future!!!Supported by: Pete Bidwell, Sebastian Busto, Zed White, Obie Fernandez, Cream (PL), Matter, Hypnotized, Rudy Crystal, Anthony Huttley, Julian Rodriguez, Marazuela, Suzy Solar, Brian Bacchus, Dirk, Ed Fennel, Jacob Singer, Aluria, Pete Bidwell, Christian Monique, Elsloo, Gordey Tsukanov, Addictive Glance, Audioglider, Jackob Rocksonn, Hexlogic, Cosmic Gravity, qoob, John H, Paul Daniel, Donda, Andski, The Galician Dream, Snorkle, Dr. Riddle, Andre H, TechTower, Ahmet Kilic, EDX, Groove Delight, Kollektiv Turmstrasse, Paul van Dyk, Robert Babicz, Gestört aber Geil, Roger Sanchez, Worakls, AnGy KoRe, Bass Kleph, Ben Böhmer, Blonde, Bruno Be, Congorock, Daniel Portman, Mario Ochoa, DJ Tarkan, Faruk Sabanci, Giorgio Moroder, Gregori Klosman, Jimmy Edgar, Julian Jeweil, Mastiksoul, Olivier Giacomotto, Ostblockschlampen, Pierce Fulton, Regard, Sagi Kariv, Sasse, Sidney Samson, Spartaque, Thomas Schumacher, Wolfgang Lohr, Animal Trainer, Audio Injection, Beck, Burnski, Carlo Ruetz, Citizen Kain, Cosmic Boys, Da Fresh, Dandi, Drauf & Dran, D-Unity, Dusty Kid, Federico cavo, Franco Bianco, Jerome Isma-Ae, Kerstin Eden, Klanglos, Kollektiv Ost, Lars Behrenroth, LetKolben, Thomas Lizzara, Marc DePulse, Marco V, Mark Henning, Markantonio, Min & Mal, Mollono.Bass, Niereich, Oscar Ozz, Rauschhaus, Ron Flatter, Sound Nomaden, Stafford Brothers, Sultan + Shepard, Torsten Kanzler, Tristan Garner, VINNE, Wally Lopez, Airwave, Alex Flatner, Anderson Noise, Andrea Roma, Anthony Attalla, Artenvielfalt, Arts & Leni, Corner, Da Capo, Dani Sbert, Dario Nunez, De Hessejung, Definition, Diego Miranda, Dr. Motte, Eddy M, Electric Rescue, Enzo Siffredi, Erly Tepshi, Ersin Ersavas, Eyup Celik, Felix Bernhardt, Felten, Fukkk Offf, Hans Bouffmyhre, Haze-M, Jose Spinnin Cortes, Joseph Disco, Juanjo Martin, Kai Pattenberg, Kevin Wesp, Kolombo, Konstantin Yoodza, Luis Flores, Lutzenkirchen, Marco Zenker, Mario Ranieri, Maxime Dangles, Microtrauma, Mirco Niemeier, Miro Pajic, Patrick Arbez, Patrick Ebert, Paul Vinitsky, Rich Vom Dorf, Robert Cristian, Silvano Scarpetta, Syn, Tagträumer, Timo Jahns, Tom Enzy, Toma Hawk, Tomcraft, Wolfire, Yannick Fuchs, 10dens, Aeden, Alex Twitchy, Andre Rizo, Andrea Di Rocco, Andree Wischnewski, Austin Leeds, B.Infinite, Beens, Bill Brown, Bjorn Mandry, Blacksoul, Blaues Licht, Blondee, CJ Stone, Criss Source, Dancyn Drone, Daniel Boon, Daniel Herrmann, Daniele Petronelli, Danny Kolk, Danny Ocean, Darpa, Dekai, DJ Jordan, DJ Pepo, DJ Rush, Dompe, Dualitik, Einklang Musik, Falko Niestolik, Faruk Orakci, Frank Savio, Fre3 Fly, Gabriel Ferreira, Gersound, Jean Elan, Joey Chicago, Johansson, Jordan Rivera, Roberto Mozza, Roman Beise, Saite Zwei, Sascha Beek, SCSI-9, Staffan Linzatti, Stefan Lindenthal, Stiven Rivic, [updating]▼ About Green Nights Records ©™ [Owner & CEO] ▼ ➔ https://soundcloud.com/virax-aka-viperab [A&R] ▼ ➔ https://soundcloud.com/morena_maya-natalie_k ➔ https://soundcloud.com/rupertroman [COO & Marketing] ▼ ➔ https://soundcloud.com/gebbermusic [Design] ▼ ➔ https://soundcloud.com/cugar-official▼ About Green Nights Records ©™ [Owner & CEO] ▼ ➔ https://soundcloud.com/virax-aka-viperab [A&R] ▼ ➔ https://soundcloud.com/morena_maya-natalie_k ➔ https://soundcloud.com/rupertroman [COO & Marketing] ▼ ➔ https://soundcloud.com/gebbermusic [Design] ▼ ➔ https://soundcloud.com/cugar-official

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