...Plot Having stolen some compromising documents from a powerful and successful entrepreneur/gangster at a party, a man known as Fred (Lambert) escapes from the police and takes refuge in the underground world of the Paris Métro. There he integrates with the dwellers and befriends several colourful characters, some of which are living under the subway to avoid police arrest like him. While the gangster's henchmen look for his trail, Fred develops a romance with the gangster's young trophy wife Héléna (Adjani),who had invited Fred to the spoiled party, and is bored with her gilded-caged life. Fred forms a pop band with some of his friends, like "The Drummer" (Reno) and Enrico The Bass Player (Serra), who compose the songs. While he is working on his project, Héléna's powerful husband pressures the police to find Fred. One of Fred's sidekicks, The Rollerskater, who had been targeted by the police from a long time, is captured by Commissioner Gesberg (Galabru). Another one, The Florist, robs a train carrying money alongside Fred, and then escapes. At a performance in the subway with the newly formed band -which was possible because Fred paid off the actual performers of an announced concert, with money from the train robbery, and put his band in their place- Fred is searched by the police and a henchman of Héléna's husband. The henchman shoots Fred just when Héléna was about to reach and warn him of the approaching danger. The film ends with Héléna kneeling beside Fred, who is...
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...Gloria Davies and Gil-Soo Han KoreAn coSmetic SurGery AnD DiGitAl publicity: beAuty by KoreAn DeSiGn Abstract This article examines the relationship between digital publicity and cosmetic surgery. While focused on South Korea, it also discusses China because of the conspicuous Chinese demand for Korean cosmetic surgery in recent years. In fact, China has become the largest export market for Korean cosmetic surgery. The analysis is based on the premise that there is a vital link between cosmetic surgery and digital technology in both these countries. We argue that the celebrity culture spawned by entertainment media has facilitated the normalisation of cosmetic surgery to the extent that it is commonly viewed, quite unproblematically, as a form of human physiological enhancement. The article examines the publicity surrounding cosmetic surgery (comprising media reports, advertisements and commentaries) to see how it is presented in the Korean media and on the internet. These findings are then considered in relation to the promotion of Korean cosmetic surgery in China. In the 2000s, Korean cosmetic surgery rose as a by-product of the massive cultural phenomenon known as Hallyu, or the ‘Korean wave’. Hallyu represents Korea’s media success: its entertainment products have generated enormous revenues since the first exports of Korean popular culture in the 1990s. In 2009, Hallyu revenues were estimated to have reached US$6 billion (cited in Oh, 2010). Cosmetic surgery was first...
Words: 6596 - Pages: 27