George Bernard Shaw was born in 1856, in Dublin, into a middle class family. After finishing school he started working as a clerk, a post he soon abandoned in order to join his mother and stepfather in London and pursuit his literary carrier. Given that his first novels were rejected he would not live on his writing and was not fully independent until he began working as an art critic. Parallel with his struggling to succeed in the literary world Shaw was, from early age, interested in politics, precisely Socialism, and was politically active. He became a member of the ‘Fabian

The play written by Arnold Wesker was written in 1956 and performed in 1958 in Belgrade Theatre, Coventry. It is a part of a trilogy of plays representing different periods in a life of a working class, socialist Jewish family. Play is in itself strongly biased toward left handed politics and represents an important landmark in the history of political theatre in United Kingdom. It is almost impossible to exclude a political and social approach from the analysis of this work, as it is obviously engaged in multiple levels of criticizing the English society.

Even more so,

Prošlo je skoro četrnaest godina od objavljivanja video igre za personalne računare (u narodu poznatije kao PC) Duke Nukem 3D. U vreme kada je izašla, igra je bila instant hit - uprkos za to vreme pomalo prevazidjenoj grafici (sto je u svetu video igara jedan od vaznijih parametara) igrači nisu mogli da odole dobrom ritmu, sjajnoj muzici, iznad svega atmosferi i tzv. ‚igrivosti‚. O svemu ovome je već bilo reči u brojnim časopisima posvećenim toj temi (Svet Kompjutera, na primer), tehničkim karakteristikama, Duke ovom specificnom humoru, kontroverzama koje su pratile njeno objavljivanje.

Bez puno premišljanja možemo reći da gotovo svaki film noir -osim izuzetaka što potvrđuju pravilo - ima istog glavnog glumca, koji opet jednako često igra istu ulogu (takozvani typecast). On se ponekad nalazi u naslovu ( Cry of the city, City by night) ali nikada u spisku, zajedno sa svojim kolegama.

U pitanju je naravno grad, njegov karakter, lice i naličje, koji se kroz različite zaplete i priče svojstvene žanru ispituju i iznova iz (naizgled) različitih uglova osvetljavaju. Ako uzmemo u obzir ‘pouku' koju ovi filmovi po pravilu nose, nije teško doći do dva zaključka

Mnogo je rečeno i napisano o japanskom režiseru Takashi Miike u i njegovom radu. Raspon različitih ocena proteže se od tvrdnji da je genije koji otvara nove granice filmske estetike do mišljenja da nije ništa više nego proliferantni šarlatan. Neobičan pripovedački postupak (grananje narativa u nekoliko smerova, mešavina naizgled nespojivih žanrova), izvitopereni crni humor i sklonost ekstremnom nasilju donekle mogu objasniti zasto Miike ov rad izaziva ovako oprečne reakcije. No, bilo da su u pitanju hvalospevi ili pokude, malo se moglo pročitati o jednom, pritom značajnom aspektu