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Night Raiders


Ten months later, Niska obtains help from a man named Randy, who obtains false identification for them to infiltrate the Regime's academy and rescue Waseese. During the rescue attempt, Niska is captured by a group of Cree, who have been conducting secret night-time raids to rescue their kidnapped children from the academy. The female Cree leader Ida tells Niska about a Cree prophecy of a stranger coming from the north to lead them to a place called Bigstone. Ida believes that Niska is the prophesied stranger who would lead their children to safety. However, other members of the tribe including Leo disagree.




Night Raiders


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by Angelo Muredda Parenting and being looked after are the stuff of nightmares in Lucile Hadžhalilović's genuinely creepy curio Earwig, which is as visually and aurally arresting as it is inscrutable. A cryptic dance between a man named Albert (Paul Hilton) and his ten-year-old charge, Mia (Romane Hemelaers), the film charts their ritualistic and mostly unspoken interactions in a dingy apartment, making us tense witnesses to an unexplained paternal science experiment conducted under the all-seeing eye of a supervisor who phones in his instructions from offscreen, apparently to prepare the girl for whatever is lying in wait for her. That's about all we know, though Hadžhalilović skillfully hangs this threadbare plot on indelible images while evoking our primitive stirrings of anxiety for the future. No small feat, given how little dialogue there is.


Given the film's low budget, one can't fault Night Raiders for keeping things relatively simple and minimalist on the action and special effects fronts. One area where minimalism does prove to be a problem, however, is with the cinematography. While it makes sense a dystopian film called Night Raiders would have a dark aesthetic, many of the nighttime scenes are so pitch-black and underlit that it becomes almost impossible to follow what's happening. Possibly to compensate for the minimalist visuals, Night Raiders' sound design is maximalist to the extreme, so loud that you might have to cover your ears.


EMT: I do think there's progress. I think it's really exciting to see the way that Reservation Dogs and Rutherford Falls and many other exciting new Indigenous projects are connecting with a very broad audience. This didn't just happen overnight. It didn't happen because of the goodwill of people wanting to fund these films. It happened because so many people in the Indigenous film community had to be activists and [worked] for change. And Danis, the director of Night Raiders, has been so integral to that to that shift.


I grew up in a small town in northern Saskatchewan called La Ronge, which lays on a lake four hours north of Saskatoon. Back in those days, there was this amazing little theatre called the Aurora Theatre, which was by the dock, next to a Chicken Delight that had an arcade. No little town like this would ever have a cinema anymore, but back when I was around, it did. When a movie, and especially a big movie, played, it was a big event. I remember sitting in my kindergarten circle and my teacher asking who saw the movie last night, and we were all talking about E.T. because it had come to town the night before. It was all mainstream cinema. I went to Return of the Jedi, Tron, and King Kong. I remember being very taken with the experience. The projector used to break down and everyone in the theatre would stomp their feet until they got it going again!


I really knew nothing about film festivals and film programming. Then one fateful night, I went to the opening night of Hot Docs because my boss had an extra ticket. I saw someone that I thought I had met before at imagineNATIVE, and he invited me to a dinner. Soon I met everybody from imagineNATIVE, and I was on the programming committee by the next year. This was the early 2000s, so the festival was very young. The next year, there was a changeover and I ended taking over as director of the festival.


First published in 1975, this book explores the gruesome figure of the night rider in black folk history. Gladys-Marie Fry skillfully draws on oral history sources to show that, quite apart from its veracity, such lore became an important facet of the lived experience of blacks in America. This classic work continues to be a rich source for students and teachers of folklore, African American history, and slavery and postemancipation studies. About the Author Gladys-Marie Fry is Professor Emerita of Folklore and English at the University of Maryland at College Park. Her other books include Stitched from the Soul: Slave Quilting in the Antebellum South. For more information about Gladys-Marie Fry, visit the Author Page.


Lightly armed infantry, the night raiders' value lies in their ability to spread terror. These warriors from the remote depths of the tangled German forests carry just a small shield and an axe, but weapons of iron and steel are only part of their armoury. Before battle, they daub their bodies with black dye, giving them an otherworldly appearance. When the moment is right, they charge - wild eyed and screaming - at their foes. Any who survive assaults by these maniacal barbarians are convinced they are spirits sent from Hades!


Night Raiders is the first history of burglary in modern Britain. Until 1968, burglary was defined in law as occurring only between the 'night-time' hours of nine pm and six am in residential buildings. Time and space gave burglary a unique cloak of terror, since burglars' victims were likely to be in the bedroom, asleep and unawares, when the intruder crept in, prowling near them in the darkness. Yet fear sometimes gave way to sexual fantasy; eroticized visions of handsome young thieves sneaking around the boudoirs of beautiful, lonely heiresses emerged alongside tales of violence and loss in popular culture, confounding social commentators by casting the burglar as criminal hero. Night Raiders charts how burglary lay historically at the heart of national debates over the meanings of 'home', experiences of urban life, and social inequality. The book explores intimate stories of the devastation caused by burglars' presence in the most private domains, showing how they are deeply embedded within broader histories of capitalism and liberal democracy. The fear and fascination surrounding burglary were mobilized by media, state, and market to sell insurance and security technologies, whilst also popularising the crime in fiction, theatre, and film. Cat burglars' rooftop adventures transformed ideas about the architecture and policing of the city, and post-war 'spy-burglars' theft of information illuminated Cold War skirmishes across the capital. More than any other crime, burglary shaped the everyday rhythms, purchases, and perceptions of modern urban life. 041b061a72


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