- ISBN13: 9780061449086
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In the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. Long ago the districts waged war on the Capitol and were defeated. As part of the surrender terms, each district agreed to send one boy and one girl to appear in an annual televised event called, "The Hunger Games," a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when she is forced to represent her district in the Games. The terrain, rules, and level of audience participation may change but one thing is constant: kill or be killed.
With
Hunger, British filmmaker and artist Steve McQueen has turned one of history’s most controversial acts of political defiance into a jarring, unforgettable cinematic experience. In Northern Ireland’s Maze prison in 1981, twenty-seven-year-old Irish Republican Army member Bobby Sands went on a hunger strike to protest the British government’s refusal to recognize him and his fellow IRA inmates as political prisoners, rather than as ordinary criminals. McQueen dramatizes prison existence and Sands’ final days in a way that is purely experiential, even abstract, a succession of images full of both beauty and horror. Featuring an intense performance by Michael Fassbender, Hunger is an unflinching, transcendent depiction of what a human being is willing to endure to be heard.
Stills from Hunger With the exception of Julian Schnabel, visual artists have had a tough time at the cinema, but like the American painter before him, Britain's Steve McQueen beat the odds with the award-winning Hunger. In his visceral depiction of a political hunger strike, McQueen emphasizes specific moments over plot mechanics. Guard Raymond Lohan (Stuart Graham) serves as a guide into the hell of Belfast's Maze Prison, circa 1981, where Bobby Sands (Michael Fassbender in a remarkable performance) and his IRA brethren hunker down in blankets, since they refuse to don uniforms and can't wear their own cl! othes. They dump food on the floor, smear waste on the walls, and sleep with maggots in protest against their conditions. Even after moving the prisoners, the mistreatment continues, so they step up their campaign. It's no way to live, and it isn't easy to watch, but McQueen provides a reprieve through Sands's riveting conversation with Father Dominic Moran (Liam Cunningham), a scene his backers pressured him to cut, but the filmmaker wisely stood firm In his director's statement, McQueen says he wanted to "show what it was like to see, hear, smell, and touch in the H-Block." Because he avoids editorializing, it's as easy to condemn his subjects for their naïve idealism as it is to admire their singularity of purpose. Art background aside, McQueen clearly knows his U.K. film history, and appears to have spent time with the works of Alan Clarke (specifically Elephant) and Stanley Kubrick (see A Clockwork Orange), who share his fascination with the abuse of pow! er, the horror of sudden violence, and the splendor of the sta! tic shot . --Kathleen C. FennessyAgainst all odds, Katniss Everdeen has won the annual Hunger Games with fellow district tribute Peeta Mellark. But it was a victory won by defiance of the Capitol and their harsh rules. Katniss and Peeta should be happy. After all, they have just won for themselves and their families a life of safety and plenty. But there are rumors of rebellion among the subjects, and Katniss and Peeta, to their horror, are the faces of that rebellion. The Capitol is angry. The Capitol wants revenge.With Hunger, British filmmaker and artist Steve McQueen has turned one of history’s most controversial acts of political defiance into a jarring, unforgettable cinematic experience. In Northern Ireland’s Maze prison in 1981, twenty-seven-year-old Irish Republican Army member Bobby Sands went on a hunger strike to protest the British government’s refusal to recognize him and his fellow IRA inmates as political prisoners, rather than as ordinary crimin! als. McQueen dramatizes prison existence and Sands’ final days in a way that is purely experiential, even abstract, a succession of images full of both beauty and horror. Featuring an intense performance by Michael Fassbender, Hunger is an unflinching, transcendent depiction of what a human being is willing to endure to be heard.
Stills from Hunger
With the excepti! on of Julian Schnabel, visual artists have had a tough time at! the cin ema, but like the American painter before him, Britain's Steve McQueen beat the odds with the award-winning Hunger. In his visceral depiction of a political hunger strike, McQueen emphasizes specific moments over plot mechanics. Guard Raymond Lohan (Stuart Graham) serves as a guide into the hell of Belfast's Maze Prison, circa 1981, where Bobby Sands (Michael Fassbender in a remarkable performance) and his IRA brethren hunker down in blankets, since they refuse to don uniforms and can't wear their own clothes. They dump food on the floor, smear waste on the walls, and sleep with maggots in protest against their conditions. Even after moving the prisoners, the mistreatment continues, so they step up their campaign. It's no way to live, and it isn't easy to watch, but McQueen provides a reprieve through Sands's riveting conversation with Father Dominic Moran (Liam Cunningham), a scene his backers pressured him to cut, but the filmmaker wisely stood firm In his director'! s statement, McQueen says he wanted to "show what it was like to see, hear, smell, and touch in the H-Block." Because he avoids editorializing, it's as easy to condemn his subjects for their naïve idealism as it is to admire their singularity of purpose. Art background aside, McQueen clearly knows his U.K. film history, and appears to have spent time with the works of Alan Clarke (specifically Elephant) and Stanley Kubrick (see A Clockwork Orange), who share his fascination with the abuse of power, the horror of sudden violence, and the splendor of the static shot. --Kathleen C. Fennessy It's been three months since all the adults disappeared. Gone.
food ran out weeks ago and starvation is imminent. Meanwhile, the normal teens have grown resentful of the kids with powers. And when an unthinkable tragedy occurs, chaos descends upon the town. There is no longer right and wrong. Each kid is out for himself and even the good ones turn murderous! .
But a larger problem looms. The Darkness, a siniste! r creatu re that has lived buried deep in the hills, begins calling to some of the teens in the FAYZ. Calling to them, guiding them, manipulating them.
The Darkness has awakened. And it is hungry.
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