Free Download ((NEW)) Silence The Witness

Mute Witness is a 1995 horror film written, directed, and produced by Anthony Waller, and starring Alec Guinness, Marina Zudina, and Fay Ripley. Its plot follows a mute American makeup artist working on a slasher film in Moscow, who is pursued by a crime organization making and dealing snuff films after she stumbles upon one of their film sets and witnesses a murder.

Billy Hughes, a special effects make-up artist who is mute, is in Moscow working on a low-budget slasher film directed by Andy Clarke, the boyfriend of her elder sister, Karen. On one particular night, Billy returns to the set to fetch a piece of equipment for the next day's shoot when she is accidentally locked in the studio. Billy phones Karen for help and communicates with her via morse code, but is interrupted when she discovers a small film crew working after-hours to shoot a cheap pornographic film. Watching unseen, Billy is amused until the performed sex becomes sadistic. When Arkadi, the masked actor, pulls out a knife and brutally stabs the actress to death, Billy reacts and is discovered. She flees through the studio, pursued by the film's director, Lyosha, before crashing through a window outside. Moments later, Karen arrives and finds the injured Billy, with Lyosha standing over her. Lyosha pretends to be an innocent bystander who witnessed Billy's accident, but Karen senses he is dangerous based on Billy's body language.

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Police arrive and question Lyosha, but come to the conclusion that Billy witnessed an elaborate special effects sequence being shot when they are unable to find a body. Arkadi, the man whom Billy witnessed stab the actress, demonstrates the effects using a fake knife that streams blood, frightening Andy when he pretends to attack him with it. Billy insists the prop knife is hers, and that Arkadi stole it. Billy leads police to an elevator shaft where she believes Lyosha stashed the actress's corpse, but they find it empty. After police dismiss the incident and send Billy home, a night watchman at the studio finds the actress's corpse burning in a basement incinerator before being stabbed to death by Arkadi. Shortly after, a mysterious elderly man arrives at the studio in a vintage car, and asks Lyosha if things "went smoothly." Aware that Billy witnessed the murder, the Reaper makes clear that she must be eliminated.

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For Cormac McCarthy, meaning isn\u2019t bone deep. It\u2019s penumbral. Meaning is a shadow cast by the mass of an otherwise silent world. It\u2019s a byproduct of the world\u2019s mute turning. Here, redemption isn\u2019t what happens when I finally talk the world into submission. It\u2019s what happens when I learn to trust the world\u2019s silence enough to finally stop talking.

McCarthy\u2019s novels orbit, ad infinitum, the silence ringing in the heart of things. This heart-silence pushes us to practice indirection. Meaning, like happiness, can\u2019t be directly pursued. You have to care for the world without demanding that it make you happy. And you have to attend to the world without demanding that it be meaningful.

If you can sit for an hour with a book like McCarthy\u2019s The Crossing, you\u2019ll start to feel this silence pooling inside you. You\u2019ll find the noise in your head growing quiet and the world\u2019s native hush growing louder.

Slow as I am, I had to finish three or four of McCarthy\u2019s books before I saw how he created this effect. Though his novels are often punctuated by long, complex stretches of reported dialogue, the remainder is characterized by a silence that can stretch twenty pages at a time, pages that contain no dialogue and, more importantly, pages that offer no report of any character\u2019s thoughts, emotions, motivations, or internal mental monologue. Instead, McCarthy unspools uninterrupted descriptions of the bare material world and the wordless movement of people through it, mixed with instances of his trademark, quasi-biblical, metaphysically-inflected brand of commentary-from-nowhere. The stunning effect is that you can spend an hour reading some of the best prose written in the past hundred years and come away with the distinct impression you\u2019d sat all that time in the deepest silence.

The witness must listen for the thing his horse knows but he doesn\u2019t. The key is what the witness hasn\u2019t seen or pictured. This thing isn\u2019t supernatural. It\u2019s not the object of superstition. It\u2019s not a ghost or a spook or a varmint. It\u2019s not like that. \u201CIt\u2019s more like just the way things are. If you only knew it.\u201D

In Blood Meridian, Tobin, an ex-priest, argues for this same point in a conversation with the novel\u2019s sometime protagonist, known simply as \u201Cthe kid.\u201D Tobin argues that the witness isn\u2019t empowered by some special learning or intellectual prowess.

It may be the Lord\u2019s way of showin how little store he sets by the learned. Whatever could it mean to one who knows all? He\u2019s an uncommon love for the common man and godly wisdom resides in the least of things so that it may well be that the voice of the Almighty speaks most profoundly in such beings as lives in silence themselves.

But waking to this silence, witnessing it, isn\u2019t easy to do. Something must happen. Something unexpected that stops us and forces us to see that our horse sees something we don\u2019t. \u201CSome halt-stitch,\u201D McCarthy says, \u201Cin the working of things\u201D that leads us to consider \u201Cthose heavens in whose forms men see commensurate destinies cognate to their own\u201D and to recognize that those heavens \u201Cnow seemed to pulse with a reckless energy. As if in their turning things had come uncottered, uncalendered,\u201D such that \u201Cthere might even be some timefault in the record.\u201D This is the door to that greater silence: a halt-stitch in our lives, a timefault in the heavens, a faltering of order and meaning that shows a redemptive emptiness at the root of things.

There is, McCarthy tells us, a particular gesture that opens this door. The gesture cannot be performed, only witnessed. The Crossing\u2019s own ex-priest, holed up in a ruin of a church in a ruin of a town high in the mountains, tells Billy Parham about it:

In this divestiture, a freedom attends the witness. It comes suddenly, unannounced, unsought for, undeserved. It shows, McCarthy warns us, that \u201Cthis life of yours is not a picture of the world. It is the world itself and it is composed not of bone or dream or time but of worship. Nothing else can contain it. Nothing else be by it contained.\u201D

This gesture of divestiture requires the witness to adopt a silence that is blind, that no longer claims to be able to picture the world. Then, in this blindness, something other than your picture of the world can reveal itself and you find that even \u201Cthis life of yours is not a picture of the world\u201D but \u201Cthe world itself.\u201D

Wandering back to the set, she is startled to find it being used for other purposes. Some of the technicians on the horror film are using the company's facilities for their own after-hours production. Billy, hidden behind scenery, watches. It appears they are making a porno film. Then, with horror, Billy realizes they are making a snuff film: She witnesses the gruesome death of an actress.

The film now relies on tried and true horror techniques. It goes without saying, for example, that no one has ever witnessed such a scene in a movie without inadvertently calling attention to himself. The murderers, alerted to Billy's presence in the building and her danger to them as a witness, pursue her. And that sets up the skillful central passages of the film, which are a cat-and-mouse chase through the vast old studio, which offers many appropriate props and settings. There is also fun with the way special effects can fool us with deceptive appearances.

If you have witnessed a crime, know of a situation or have information about a person of concern. We would appreciate your information. All submissions are confidential and providing your contact information is optional within the form. Information gathered from this form and all other reports of criminal activity are included in the DePauw University Police Department Annual Report.

Greer was referring to United States v. Mallory, a ruling of the U.S. Court of Appeals for the Fourth Circuit. That decision, which only came down last July, is the only federal appellate case approving the controversial procedure, even though district courts have been using it for more than 35 years. (For a recent interview of Greer about the silent witness rule and other CIPA issues implicated by the Trump prosecution, listen to this episode of the Lawfare Podcast.)

If the judge rejects the Section 6 substitutions and redactions the government proposes, or the government thinks those tools are inadequate for the occasion, the government can propose a third way to introduce the document: Using the silent witness rule.

The silent witness report is provided as a service to the university community. We understand that there are times when you may wish to provide information to the police about criminal activity and have that information remain confidential. The information that you provide will be reviewed and responded to as appropriate.

The Goucher College Department of Campus Safety is committed to providing a safe, secure, and respectful campus environment for our students, faculty, staff, and visitors. Crime on our campus interferes with the learning process, disrupts the quality of life, and indirectly increases tuition. Yet we realize it can be uncomfortable for people who witness or are aware of criminal activity to report this information. To this end, we are providing a completely anonymous method of sharing information with our department. So whether you saw it, heard it, or merely heard about it, you can help us keep the campus safe by telling us. be457b7860