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WikiILeaks THANKS!

A small compilation on the latest news WikiLeaks: ( Note: for those who want to lower the official documents ... click here )


cedes to WikiLeaks COUNTRY documents most filtration
COUNTRY filtration reveals most of the story: More than 250,000 documents .- State Department cables obtained by Wikileaks, uncover espionage, and corruption hidden maneuvers .- Corrosive reports on Putin, Ahmadinejad, Sarkozy, Merkel and Berlusconi.


Details of new data leaked by Wikileaks: The king of Saudi Arabia seeks military intervention in Iran
Details of new data leaked by Wikileaks: "A conventional war would now be preferable to a nuclear Iran" even say the leaders of United Arab Emirates (UAE) and Bahrain in talks with U.S. officials. Most Arab leaders, however, considered much worse the risk of military conflict. Are willing to support any effort by Washington to contain Iran, but quietly.


U.S. Senators call to designate Wikileaks as a "foreign terrorist organization"
"Leakage of the material is deplorable," said Sen. Lindsay Graham of South Carolina. His colleague, Democratic Senator Claire McCaskill of Missouri agrees with him and said he hoped "we can find out where it comes from this and go after them with all the force of law." Members of the United States Congress reacted with fury to WikiLeaks, and called for the group is designated "foreign terrorist organization."


WikiLeaks shows that the U.S. is already involved in a war in Yemen
official documents leaked by Wikileak confirm that America has added a third war to those already being waged in Iraq and Afghanistan, Yemen.


Zelaya says that denounce the U.S. for the 2009 coup
Former President of Honduras Manuel Zelaya announced on Monday that denounced the United States before the International Criminal Court (ICC) after meeting diplomats leaked documents Wikileaks last Sunday, with regard to the coup of 28 June 2009 that ousted him from power, considering that Washington allowed it, knowing that it was unfounded.


WikiLeaks reveals U.S. nuclear weapons in the Netherlands
cablegate A document released yesterday by Wikileaks reveal that U.S. nuclear weapons stored in Europe, particularly Holland


U.S. maneuvered to the English National Court slow judicial processes (Cablegate)
The U.S. Embassy in Madrid has made in recent years significant resources to stop or boycott the court cases in Spain against U.S. political and military allegedly involved in cases of torture in Guantanamo war crimes in Iraq and kidnappings in the CIA flights.


Conde-Pumpido and Zaragoza, the U.S. cited as contributors to file causes of crimes and torture
U.S. National Audience maneuvered through its embassy in Madrid, leading to "use" of prosecutors and senior officials English. The state attorney general, Candido Conde-Pumpido, and the chief prosecutor of the AN, Javier Zaragoza, are mentioned as collaborators with the U.S. he contacted to get court cases filed in Spain against U.S. military and political as the country forward in its Tuesday edition according to information from the cables of the U.S. administration leaked to Wikileaks.


Wikileaks Next target: the U.S. banks
In an interview with Forbes magazine Julian Assange clarifies that 50% of the documents for publication on Wikileaks are related to the private sector and predicts that some information could damage part of the banking sector. "We may give an insight into how the industry behaves and how they promote reforms, for instance, will be like e-mails from Enron"


Javier Couso: "We are absolutely outraged and pending study with our lawyers "
Audio: The brother of José Couso killed chamber, in" Hoy por Hoy "on news that U.S. Conde-Pumpido asked to interfere in the case, according to Wikileaks reveal leaks



( Note: HELPING YOU TOO. MAKE YOUR DONATION: wikileaks.org / media / support.html )

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Office: An office to write movies



we go.

"Social Network"

is a film directed by David Fincher

and written by Aaron Sorkin has adapted the book - story (nonfiction) by Ben Mezrich " Mutimillonarios by accident" (gracefully captioned: "The Birth of Facebook, a story of sex, money, talent and treachery")

. This book's main source

Eduardo Saverin, co-founder of Facebook. (Then you will understand because I extend much about this issue.)

Brief summary

Mark Zuckerberg created with the help of his friend Eduardo, a network of huge success on the road, however, lose his friend and leaving him alone. Structure

(eye espoilers all)

triggers:

Mark is rejected by his girlfriend. First act: their

Resentful girlfriend, Mark creates, with the help of Edward, a successful site with photos of female university students. Although the page carries penalties and discredit him, also lets you see a chance of success. And contact with the brothers Winklevoss

(and his partner Divya Narendra

) who proposed a similar project work but elitist. Mark agrees.

first turning point: After hearing the proposal by the Winklevoss, Mark decided to create their own exclusive social network: (The) Facebook. Edward enlisted in the project (minute 28)

Second act: While relegated to Winklevoss, Mark launched his own project, which brings him and Eduardo an immediate success. The Winklevoss accuse them of plagiarism. For this and other reasons, the first differences arise between the two friends. The entrance of Sean Parker, who captivates Mark and lost influence to Eduardo. After Mark was transferred to California, the confrontation between him and Eduardo reaches its zenith.

second turning point: Eduardo Facebook accounts frozen endangering the survival of the company (minute 93)

Act III: Thanks to Sean management, Facebook gets a billionaire investor. In the subsequent capital increase, Eduardo is the victim of a legal trick by Mark and Sean. Their participation in the company is drastically reduced. The friendship between the two over. A settlement will resolve the issue, but Mark is more alone than ever.

structure

Note: after the movie, would have bet on the sequence in which Edward signed the contract "cheat" as a second pivot point. Then think about it and noticing minute film was happening in the (late, at about the 100) I decide the moment of confrontation between Mark and Eduardo, the threat from first to second that "is going to stay the way "if not incorporated in body and soul to Facebook and the revenge of Eduardo freezing the accounts. I think the confrontation decisive, which triggers all that comes later. The contract is only a consequence for a character "secondary" Protagonist

Mark Zuckerberg (*) antagonists

raising a large social network "that mole"

Allies

Eduardo Saverin, Sean Parker, FB other workers, lawyers, etc..




What is in at least two senses. First, they are the statements of the different characters in the extra sessions that form the structure of the story: for most of the film followed the testimony of Edward (and also the Winklevoss in his "subplot"). It's kind of movie "trial" very cleverly disguised.

Secondly, I say that this is a film of lawyers because it seems to have been written between Sorkin and a team of lawyers. Writing about real events, about people living (and rich) can be a lot of legal problems. I get the impression that elude has influenced many decisions script.

usual practice to try to escape legal problems when dealing with a real event is to buy the rights to adapt a book on the subject. The script must stick to the facts that the author has investigated. Will this author who must face any legal liability if their research proves wrong. (Another option is to wait for a court ruling on the case and take the version of "proven" as the main source for the screenplay).
I'm not an expert on the subject's point of view, but even I was struck how, despite the fact that Mark is the protagonist of the story, the script adopted other views, especially at the most tricky, in fact, about two turning points in history: 1 not go to the decision of Mark to create Facebook after hearing the idea of \u200b\u200bWinklevoss (we leave the cinema without a clear idea about what led him, in that time to make that decision or what they had, indeed, its "long" to Winklevoss) and 2 also witnessed the reasons why Zuckerberg decided to build this "loophole" to Eduardo. Obviously, the writer provides information (perhaps too much, will talk about below) that we can help fill those gaps, to imagine those scenes, but the real reason Zuckerberg's performance in these two big decisions always mysterious.

By moving the point of view Eduardo is particularly striking in the last third of the film, when, in fact, the two characters separated by at least two senses. Naturally, the first part, which takes place primarily at Harvard, in which both partners were friends and lived close by, it shows this "gap": the story of Eduardo gives us a fairly complete information (with the relevant except we do not know to what extent "plagiarized and distracted" consciously to Winklevoss and Co.).. Suddenly, however, when Mark moved to California, almost all began to see through the eyes of Edward.

And, as I said in the case of "Buried

, usually much less interesting to the victim that the executioner. I guess the reasons for this decision are legal script. The immense talent screenwriter, director and the entire team make, at least in my opinion, this limitation (can not fictions important scenes on Zuckerberg's character) go quite unnoticed. Fincher Sorkin and even make a virtue and secrecy become the protagonist in another of its allure. Of course, some viewers the inability to know what Mark can prevent moves to empathize with him, and thus produce the impression that the film is too "cold."

However, I think the movie, as far as you can, it does give some clues about what happens in the mind of its protagonist. And, to coincide with what
Jonas Trueba

of this past Friday, here in Bloguionistas about his experience writing "

Alfonso, Prince damn," " count when the lives of characters that existed in Actually, look for relationships between facts, causes and effects may exist, or they may be harvesting our

. "

Sorkin (and perhaps also Mezrich, I have not read the book), not having access to cause Zuckerberg actual move (access, as stated in this post

Ana Sanz Magallón, very possibly even Zuckerberg himself have), it was decided to suggest a few possible causes of their performance. Two of them are very present in the (otherwise memorable) opening scene.

Let them:

- Zuckerberg is not able to maintain significant social-emotional relationships: being dumped by a girl leads him to create Facemash, precursor of Facebook.

- Zuckerberg is an ambitious guy who wants to climb the social ladder and is obsessed to enter elite club.

The film recalls with some frequency these two possible resentment (against women and, above all, against the "establishment" elitist) as drivers of the protagonist. I understand that writing about a real person can be very problematic and that one may have to lead to the creation of their own causal connections (do not know if I understand this need, really, but hey, let's go) I understand that Sorkin has felt this need but. .. not even the movie itself is consistent with this decision because, along the "Social Network"

- Zuckerberg never makes an attempt to flirt with a girl even calls the girl he was supposed to love (just trying to talk with it when found by chance)

- Zuckerberg does not make a single attempt to enter an exclusive club, not behave like a guy who loves the luxury and pomp when fortune smiles

Personally, there's always more a cause for the behavior of a character, I get very nervous. The character may try to deceive with some excuse, but why should be serving, in my opinion,. The writer must know and attentive viewer should feel. I think the two reasons set forth above are elements that the writer has been overemphasized (perhaps by using a version of events given by the "victims" de Zuckerberg) pero, en cambio, como explico más arriba, no son coherentes con el resto del retrato del protagonista.

En mi opinión, el verdadero motor del personaje está también en la película, es más simple y claro que los otros dos sugeridos: Mark Zuckerberg quiere crear una red social que “mole”: no le importa el dinero que pueda ganar con ella, no le importan los amigos que pueda perder para conseguirlo, no le importa el prestigio social, entrar en un club elitista, tampoco el éxito entre las chicas…

Todo lo que he escrito se refiere únicamente a la película, así que no es necesario recurrir a cómo fueron los hechos de la vida real para analizar si "Social Network" of a dramatic construct coherent or not. However, it seems that in this case, the reality, at least according to statements by Zuckerberg, follows more closely the portrait of merciless monomaniac accidental billionaire who had been "social network" if its authors had contained a little at a time to take spice to the stew.

Small note: "Social Network" is a great movie about the founding of Facebook. However, just see the operation of this network, as this hypnotic trailer seemed to announce that, in my opinion, has an evocative unfortunately absent from the film it advertises. (Incidentally, the first words of the fragment of "Creep" used say "I do not care if it hurts. I want to have control" - "I do not care if it hurts, I have control"

).

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DIGITAL CAMPAIGN PRUDENT USE OF ANTIBIOTICS "

For several years, November 18 marks the European Day for the Prudent Use of Antibiotics.

This European initiative is based on all international organizations dedicated to promoting the health of the population (World Health Organization-WHO, Centers for Disease Control - CDCs, Alliance for Prudent Use of Antibiotics the - APUA, European Centre for Disease Prevention and Control - ECDC) recognize the importance of promoting health measures to preserve the effectiveness of antibiotics, which worldwide is a major problem due to increasing development bacterial resistance to almost all known antibiotics families.

This year the campaign is focused on the responsible use of antimicrobials in the hospital setting, in which the Hospital de Jerez has decided to collaborate actively with informational activities directed to health personnel and patients in the appropriate and responsible use of antibiotics

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Analysis: Social Network (spoilers) Three good news

Guys, I may be naive but ... the last few weeks have made me to be somewhat optimistic about the future of television series in our country. For three reasons.

I'm sure you all know one of them.

Hispania

A very solid series, with a technical bill with little precedent in our television country, well written, well acted and believable. One of its greatest merits in my opinion, has not been sufficiently stressed: "Hispania" is epic and ... work. Fiction in our country (and I speak not only of the television) was generally funny or, at best, realistic tone, manners. I do not remember another recent case of film or series where the characters fight for something large, collective ideals in a serious and credible. Our fiction, perhaps a nationalist epic excess lived during the years of the Franco dictatorship, perhaps to continue a tradition rather cynical, had recently been unable to count an epic story. The few attempts were masked after failure of poetic exaltation ("Alatriste ) or revisions little concerned with historical accuracy passes through the filter of the comedy of manners and comics (" Red Eagle ). In that sense, "Hispania" is not just a series of success, not just the phenomenon of the season, but for our fiction opens new ground for many years. Of the credit for the Bamboo series Antena 3 is that, precisely because to enter a field almost untouched, has been forced to lay down rules to create a universe through which pass (no doubt) many series from now. I mean, the writers, directors, actors ... have had to establish how these characters speak, to what extent they are needed the archaic language, how far they should be faithful to recorded history, until they can get the cleavage of actresses ... The actors (and those who direct them) have had to establish to what extent should express natural tone with which tend to talk and how to use the formal tone without accents and almost unconsciously associate with that time ...

Eye

obviously as a spectator, I have a few reservations about the series (in my case, I would epic tone that will get better from time to time, there was a dramatic time of diminished excitement, which enabled us to see the daily life of these people and the relationships between their characters) but, as even its top officials have written here in Bloguionistas, we all know that this is not a perfect series, but the best we have been able to do. And, in my opinion, of course, what they have achieved has been a lot. Lot. Ultimately, in my opinion, the best of "Hispania" is not just to be a great series, but also opens the path that will move many more, and hopefully be as good as this. At least for me, the second good news of recent weeks has been ...

Coconut Museum The first sitcom "chanante" was released last Monday in Antena Neox. As the host of "Hispania" has been almost unanimously positive, "Coconut Museum" has received a much warmer response. The hardest critical have arrived, in an apparent paradox, of those who call themselves big fans of the "chanante. Clearly this something like the fan syndrome independent group begins to despise his favorite band before it was bought by a multinational and begins to sell many more records: the fans are more cerradis assumptions that the artists and despair because "Coconut Museum" there Celebrities section, does not leave or stop Enjuto Mojamuto repeated phrases of previous flagship programs. Fortunately, the "chanante" are more flexible than many of his fans. Not a perfect series (do not think there such a thing, of course) "Coconut Museum" is a sitcom that lasts long it should last a sitcom based on clearly defined characters and, in my opinion, properly mixing surreal humor the chanante with the requirements of a frame (in which there is obviously less freedom than a succession of sketches.)

is true that laughter (recorded live, not canned) are somewhat exaggerated and annoying (although one does not take long to get used to them) and a series is visually unattractive, but I think not in neither in these areas, too far from international series as "The IT Crowd ." Indeed it seems that "Coconut Museum" series shares with a bundle of British sitcom classic (almost ancient) and a surreal and subversive content.

Just the opposite is what makes the third good news this week:

What happened to Jorge Sanz? I have seen the entire series in one pass prior to the issue, which begins on Friday 12, Digital + (later to non-subscribers, will be available on the website of the chain and DVD). As has repeatedly said the creator of "QFDJS?" (Abbreviated as from now), David Trueba, the reference is clear from his series "Curb Your Enthusiasm by Larry David, ie, a series in which reality and fiction intertwine in which genres (comedy and drama) are mixed. No laugh track here, not a single set, not a traveling

or steady

... but also, paradoxically, there are images just seen in our series: conversations in the cockpit of a full-speed AVE train, walks on the beach in Barcelona, \u200b\u200bto a shooting accident in Guatemala ... Everyone seems to travel home recordings of Jorge Sanz, unflappable hero, into misery, or, to be somewhat less dramatic, to the misery it is for an actor forgetting.

The series is full of actors and celebrities playing themselves: Santiago Segura and Juan Luis Galiardo, in an equally anthology anthology episode spent on the Goya Awards, Antonio Resines, Juan Diego Botto ... they all agreed to appear on the show making fun of themselves, or, more precisely, the image they project. Curiously, but also logical, that the formal renewal of the hit sitcom, the arrival of our screen television "look pseudodocumental " and the bittersweet tone (which also has much to do with the British series as " Extras "or"

The Office "Ricky Gervais) come from the hand of a director and screenwriter from, especially the world of cinema.

"QFDJS?" Is not set for viewers who expect a breakout fiction, full of jokes and supposedly surprising twists and turns. Unlike most of the television drama made in our country, the series directed by David Trueba wants to be like life, it happens off screen, and perhaps because of it, tells the story of someone who barely knows live off them. best of three series is that, as stated in the case of "Hispania", opened three new roads, almost unexplored, to television fiction. Three tones finally have nothing to do with the dramedy pseudocostumbrista to which we are accustomed. It is no coincidence that none of these three series majors proceed arising from the arrival of private television. Nor that two of them, the two comedies, aimed at audiences of varying dimensions, derived from chains that, until now, had not opted for their own production: Antena Neox and Digital Plus. Are we at last before the arrival of more specific series, for a more defined? I would say yes. I think that finally, after a long wait, I think the times are changing. For good.

(Next week, analysis of the script of "Social Network" directed by David Fincher, written by Aaron Sorkin)

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COURSE OF HOSPITAL CARE

In the Hospital de Jerez took place last October 26 a course "Hospital care multiple victims" IAVANTE organized by the Foundation of the Ministry of Health of the Government of Andalusia, participating as instructors Dr Monica Asleep (Chief, Section of Emergency) and Dr José Arias (FEA Medicine intensive).

this health personnel attended the course and Critical Care Service and Emergency Service of Hospital de Jerez Pediatrics.

The course developed at the hospital level care for victims in case an accident occurs with chemical agents, biological .. that affect multiple victims. After a period of theoretical and practical training in a drill at the entrance to the hospital emergency department with the placing of the protective equipment and the deployment of mass decontamination unit.

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Hi, I'm trying to write a script for a detective. Despite having written a TV script of this kind, I realize that I have difficulty dealing with this type of plot.

There are times I get lost in the maze of my own story, and others who fear being too simple. "I can recommend some reading to me the key to make my story better built and more convincing? And I do not mean that no one gives me a "formula" but the principles to take into account these kinds of stories.

Well, nothing more, and thanks for your time.

C.

Hello, C., although I am not an expert thriller, when he is consulting the mailroom spacious Bloguionistas, I jumped. The Pianist, was loading his weapon cut out to go to take one of their tours of punishment for the city, Chico Santamano going over video with the highlights of Big Brother ... so rather quickly, I took his dismissal to steal your card and bring it to me home to answer. why I wanted to respond?

Because I've been there.

few years ago, had just written a long script for a producer, who was quite pleased. It was a love story. I asked in this informal producers, who believe that a writer always carries a bag full of ideas, if he had "something" for a TV movie. The truth was yes. For once he was ready for that question. A few months earlier a roommate, editor of events in a local radio had told me some gruesome incident and had begun to document on the subject. I do not know how but ... I could write a treatment inspired by this true story that appealed to both the producer TVs and involved, suddenly, the project ceased to be a TV movie and became a movie. So far, except for a small detail, irrelevant here, that the producer was not exemplary in the matter of payments, everything looks like a wonderful story of professional success. What happened then? What I found, myself, trying to write a film script based on that treatment is not overly detailed.

Not to be overly dramatic, I would say it was simply horrible, terrible, apocalyptic. The story was beyond me everywhere. Trying to tie up the ends and they were unleashed on the other side. I came to believe that I broke his head. Worse still, I thought I could never write that.

guess, more or less, you're there, C. This feeling has happened to me just working on thriller. I have written comedies, dramas, stories with fantastic elements, I am preparing a musical about several accounts of The Hollister ... but only one thriller writing I felt like a crippled child swimming in a sea full of sharks. It is a personal impression, but I think there is something in this genre that makes it particularly difficult. At least in my experience, gender clearly write something fantastic is less complicated. A ghost story, for example, once defined the ways in which these supernatural manifestations take place, it gives a clear framework of what is permissible or not in the movie. I think the thriller, however, makes the writer constantly arises whether the public will "believe" or not history. The same applies to the author, which are usually periods of crisis because he does not believe that people are killed by a "Subject to Change the World" (which obviously is just a McGuffin) or do not know how to prevent the protagonist go at once to the police station and place, once all this mess in the hands of professionals. One can get to be very strict about the likelihood (and this can block) or too lenient (and your script can be sequences that are capricious and, therefore, uninteresting). Writing a thriller

you are forced to "close doors", eliminating options that any normal person would, to lead your character through a series of tense situations unstoppable as any ordinary human being would try to avoid. In a sense, I would say that gender is more "cheat" or, to put it less hurtful, perhaps the genre in which the writer must use all tricks. Even in the classics of the genre may find some defensible logical leaps. In my case, I think I had run out of tricks to complete enough that script. What did I do then? I called a friend.

asked him to write me the script. Fortunately, besides being a friend, was a great writer now devoted almost exclusively to the novel. Should be a car mechanic friend perhaps things had not gone so well. What was torture alone became a hilarious series of breakfasts at the Fuencarral VIPs in which, moreover, our script progressed considerably.

Together we wrote our final version (but then, the director, without us, made a last), which were quite satisfied. We charge late, but well,

film was made, with minimal budget and released in Zabaltegi and then had a brief and discreet business career. But that's another story.

Andre

Jute (which, incidentally, is dedicated to writing novels of this genre, specifically no dashes) but I recommended it with enthusiasm. A

Amazon search yields few results, but neither seems to be little literature into a screenplay. Robert McKee, in his seminar on Gender devotes one day a thriller. I was watching in Lisbon and it was quite interesting. Announced a book dedicated to this genre but ... I see in your online store has not been published yet. books aside, another option is to see a few movies of a genre similar to yours and "inspiration" in them. After a certain degree of inspiration the case may cease to be moral. From another degree, will even be legal. But anyway, frequently, being aware or not, use an action seen in another movie and often no one notices. To adapt to another story, to changing circumstances, the action imitated is so camouflaged that no one would recognize him. However, I think, however useful, no books or lectures or movies can do that would function a collaborator. In my experience, writing a thriller is like making an armored car. Every little time you have to leave y. .. shoot what you just invent subjecting them to the test of credibility. You can do it alone, but I think some company is appreciated. Many times you need someone to listen to the proposals, critique and provide some possible solutions. And do it in real time, replicating what you just proposed. That does not make a book. A movie does not "inspiring." McKee does not even. understand that all we usually have a reluctance to draw upon another writer (for pride, laziness, desire for control over history and, especially, I fear, for the money, which will be available for distribution) but, least in my case, it was a decision that I have never regretted it and wanted to share with you. course, there are intermediate solutions between writing alone and co-write with another person: someone who makes use of "wall" listening from time to time your story, find a professional story editor (I can give you some names, if you need) , assault to different friends to read the successive versions of your work and help you decide whether to retain or not the scene where the band takes the Moldovans enriched uranium ... That's my advice, based on my experience but ... everyone finds the formulas that work for you. I wish you all the luck in the world. And I'd like you to tell us how and when you left the jam. Because there's no doubt of these messes always get out. A greeting and thanks for your query. UPDATE (day 2, 17.30) In the original post I made the mistake of identifying "police" with "thriller" and that this was the term used by C. in the subject line of your mail, but not in the message. Without being an expert on categories and genres, I would say that in general, a police usually included within the thriller. Otherwise, however, is not true (many thrillers that do not qualify as law enforcement. "With the North by Northwest," "The Fugitive" and many others). The original response was more designed for this type of thrillers in which the standpoint of researchers is seeking to clarify a mystery. police in the genre, however, the view is almost always on the researcher, whatever their condition. What drives the story is the investigation and determines the final resolution (successful or not) the case. As I pointed my friend and excellent writer JM Ruiz Córdoba, in the case of this type of frames (type whodunit) the first thing I usually think the writer is who committed the crime and how. In the case of the famous Roald Dahl story, the housewife killed her husband with a frozen leg of lamb and then offers to feed the police investigating the crime. Once you have this brilliant idea the rest of the work usually consists in covering the tracks, ie, by filling in the history of scapegoats, red herring and obstacles for the researcher to take 90 minutes to see what usually usually before their eyes.

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MULTIPLE VICTIMS PATIENT SAFETY COURSE IN THE AREA CRITICAL CARE COURSE OF BIOETHICS

On Monday November 8, will Start the " Patient Safety Course in the Critical Care Area " for nursing staff of the ICU of Hospital de Jerez, in the process of accreditation by the Commission on Continuing Education of the Andalusian Health Service and will last until the next November 17.

This course is part of activity by the working group of patient safety in the ICU in 2010. During

involving many professionals and D. Vicente Santana, Director of the Agency for Quality in Andalusia, who will discuss the organization and functionality of the Andalusian Observatory on Patient Safety. also involved Dr. Francisco Mateo , Head of General Surgery, which develop the theme of assessment tools reactive and proactive. Likewise, Ms. Rocío Gávida , Jerez Hospital Pharmaceutical will not explain the systems for recording and reporting of incidents. The members of the patient safety work in ICU are also involved reviewing various aspects of patient safety such as patient safety culture will be presented by D. Juan Manuel Ramos , who also presented the issue of safe use of medicines. The Dr. Rafael Bohollo exposed within the group of safe clinical practices, the checklist or checklist on health. Then María Gomez will present hand hygiene, the Dolores Dr Sandar give us a review of bacteremia zero, D. Joaquin Delgado address the issue of prevention of falls and Ms. Dolores Mendoza present protocol ventilator associated pneumonia (VAP). To end on 17 November, Dr. Jose Arias will talk about how we research in patient safety and Ms. Ana Gómez review the protocol of isolation of patients in the ICU, as a matter of FMEA by the working group.

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Office: Thriller! Analysis

Starting today, I will try to write short analysis from the point of view of the indent of films in theaters. If possible, I will once a month. Clearly, this analysis will

full of spoilers

(would be nice to find a English word that free us from this anglicized, by the way), so those of you see the movie without knowing what happens at the end, you should avoid reading. A note about these posts : someone (in this case me) write about a movie and point out things that seem wrong or else do not mean that he was able to make things better. When we see a spectacular sports in the street and, despite everything, we say that we do not like the design too, do not expect us to sit down at a drawing board and designed a vehicle more aerodynamic. I'm not a great cook, but I can say that the lamb I've eaten today was too salty and somewhat dry to what I like to me. Based on my experience as a spectator, writer and reader, try to analyze some movies, always with the utmost respect for them and their authors. After all these warnings, we go with "Buried " Brief summary

"Buried", written by Chris Sparling and directed by Rodrigo Cortés, is Paul Conroy, American truck driver Iraq kidnapped and buried alive until his captors received a ransom. Small

structure analysis (

spoilers here

a sack, I notice again) .

triggered the action: Paul Conroy awakens in a coffin, he discovers that he is buried. First act

: Conroy is released from its bonds, becomes aware of his situation and objects that may have, find a mobile phone, make several calls, most useless, because encounters with all imaginable bureaucratic difficulties. first turning point (approximately 25 minutes. Yes, I checked my watch): first communication with the kidnappers. Requirement ransom: $ 5 million or killed.

Act II: Conroy

contact with the hostage negotiators Dan Brenner, who happens to be his partner and ally. " Brenner, however, says that the U.S. Government will never pay the kidnapping. Paul resists the pressure of the kidnapper, requiring him to record a video. He faces a snake coming into the coffin. The abductor claims to know about Paul's family. He fears will attack them and accessing the video recording. However, this is useless. In addition, Paul learns that his colleague was killed. Conroy's morale is at an all low. Using a series of loopholes, the company he worked for fired Paul and his family left with no option to collect your life insurance.
(Possible) second turning point:

A bombardment of the area where Paul is buried nearly killed him. The kidnapper left to answer the phone. Paul imagines that the bombing has killed his captor, now nobody can find you.

Act III: the kidnapper calls again: he has not died in the bombing. Brenner, kidnapping negotiator, urges Paul to endure, an Iraqi is working, we're driving to where he is buried. Unfortunately for Paul, the Iraqi has led the soldiers to another coffin, which lies another soldier. No hope left for Paul. note on the structure

to: I have not clear which is the second turning point of the film. I agree with the supposed death of the abductor, as it deprives the star of hope. However, occurs rather late in history and is a "hoax." Perhaps the bombing that worsens the situation of the protagonist or even the death of his co-worker (which undermines morale and makes him even more aware of the seriousness of threats from the kidnappers) are other options as a second turning point. (I could not watch the clock to check on what happened minutes all these facts).

Starring Paul Conroy

Antagonist: Iraqi kidnappers

protagonist Objective: Survive

, leaving his funeral

Allies: Dan

Brenner (manager kidnapping) and some other phone callers.

Obstacles, setbacks

uncooperative people to your snake, pumps "friends", technical difficulties with the phone ...

My analysis

The premise of "Buried" is original and forceful, and conflict is very clear and understandable. The film boasts a spectacular technical mastery and a great wit. However, I think few things could be improved "Buried." They are opinions of course and do not ask anyone to share. I go with them.

- The premise is the great advantage and ... the great problem of the film. Screenplay manuals (and logic) require that the protagonist of a story to be active, especially if this is a commercial screenplay. Locked in a box underground, the chances that the character be active are, of course, very restricted. However, I think they could have explored other ways:

- The main character just try to physically leave the coffin. Even at the time that the shelling tears it apart. I think it's an avenue that should be exploited more (to possibly close it after as unfeasible) and Paul had become a more active character. - Phone calls. Analysis on the activity that Paul does perform (talking on the phone) I think that the script also leaves many options to explore options that would make Paul someone more active and interesting:

- For example, negotiating the ransom is quickly parked. Once the negotiator Paul does see that the government will not pay the money, the issue barely mentioned again. Even when the hijacker makes a big discount on your order. Would not it be interesting to see Paul trying to push for money to be paid? Why not contact the media to pressure their government? Why does not attempt to raise money from friends, family or business? Why not try to deceive the hijacker, assuring that money is being raised, for example, to save time? - The character is limited only talking on the phone should not mean, as I believe happens in the movie, it becomes a victim permanently installed in the complaint and indignation. Unfortunately, the only personal initiative of Paul is to make a few calls for help. His only rebellion, to postpone their obedience to the orders of the kidnapper.

(Note: I think it's really hard to write something interesting about a victim, especially if it is for the duration of the story. A victim is a passive, in many cases, devoid of freedom. The executioner is often more interesting , since before he was usually have several options. I think that ideally, dramatically, is to describe the transition from victim to executioner or vice versa). - Which brings us to that, to me, is the main problem of "Buried" outcome. When the character is essentially passive (a victim in this case) any final (positive or negative) is very problematic. If the resolution is positive, Paul Conroy would be removed from its coffin by soldiers basically have found themselves (by locating the mobile signal or capturing an Iraqi involved in the abduction, for example). The only thing Paul would have done to their salvation in this case would survive and a couple of phone calls. That is, we would be facing something very much like a "Deus ex machina", which we know from Aristotle

, it is very unsatisfactory for the viewer. - Maybe fled this happy ending "little justification" the writer opted for the bitter end have already related, although the soldiers abroad seem to have found a good track, it fades as it appeared, but Paul has nothing to do with it. Our hero is in a worse situation than at first, more tired, with little hope on the phone or battery. Die. In my opinion, this is a final betrays the film genre and, therefore, the viewer. I'm not a big supporter of happy endings ... but personally I think that a script of this kind of thriller, usually consists in bringing the player to a situation of extreme danger and let it get out of it thanks to a logical solution but, the same time surprising to the viewer. The ability of the writer is usually expressed in the plant so as unobtrusive as possible, the tricks they use the hero to come out well in an extreme situation.

- In a way, it seems that he was locked up in despair and without peer no way out was the writer, who found no way out of the extreme assumption that he had created. His end is, in my opinion, a certain air of sleight of hand, what happens to a guy buried when no one lends a hand? Dies, we answered all. Yes, indeed, that's what happens. As predictable as that. Great ideas written and directed no longer hide the fact that we have a very absurd story: We've seen a guy get rid buried hopes of conceiving through the words of others. Shortly thereafter, these hopes vanished, thanks to remarks made by the same people. Yes, a guy buried under sand serious risk of dying. Suspected it before seeing the movie, we have something more clear now. Cortes made reference Hitchcock in a few interviews on "Buried." I think that would have been good to hear these words of English director.

Hitchcock begins by explaining his famous theory of suspense: he prefers to anticipate the danger (the bomb under the table) to load a sequence voltage to make it explode by surprise. However, what is the case here is what he says from minute 1:05 "

The only difference is that ... I made this mistake in the film" Sabotage "but not I returned to commit ... The pump should never be exploited. If you take the public to this situation (tension), they will be angry if then gave them no relief. So, someone with your foot touches the pump, looks down and sees her, jump out the window and then the bomb explodes. Just in time

" - One last thing, in this case the script, but a significant choice of director, is that the film, after such a devastating outcome, it concludes with a joyful country-style song (a genre that clearly evokes great outdoors) made by the director and musician in the film. acabaca When it is hear a few laughs from the musicians and humorous comments about the song they just play. This choice of music and, for me, I did disappointing end justified doubts about the honesty of "Buried." However, I still think this is a very risky and interesting movie and recommend it to anyone who, even after reading this text, I want to see that, please do not quit.