Queen & Commander (A Hive Queen Novel Book 1)


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The film star soon passes into oblivion. She has her moment and then it is all over. And even her moment depends on being able to do superlatively well whatever the public expects of her. Members of the royal family are in an entirely different situation. Their role is to symbolize the unity of a nation; to provide an element of continuity in a necessarily changing society. This is history, not The Archers , 1 and their affairs ought to be treated as such. Thirty years passed before Judith Williamson challenged Muggeridge by claiming that this celebrity melodrama could actually serve the Crown and the ideology of national unity that it represents.

Princess Diana would seem the more likely heroine of this melodrama, the beautiful young innocent deceived by a powerful older man. The image, only partly manufactured, had all but obliterated the reality. Written by Peter Morgan, The Queen is the centrepiece of his New Labour trilogy in which Michael Sheen plays Tony Blair, and it was also destined for the small screen before continental co-production expanded its budget.

In many ways The Queen follows the formula of The Deal as closely as its two-syllable title. Both were directed by Stephen Frears and both focus on real-life political contests in which a frontrunner is defeated by a rival. Footage of an actual funeral appears at the climax of both narratives and both end with an ironic coda. In the latter there is consequently little visible difference between the low-resolution image of its dramatic sequences and that of the video news archive.

Although The Deal does employ scenes of people watching television to bridge the two, it also cuts directly between them with no ostensible breach of image quality or narrative continuity. Conversely Diana — even in the opening of The Queen when she is still alive — is represented only by actuality footage. But this division has a further import, one of character, genre and ontology, since the Queen is entirely portrayed by an actor and seen mostly in the fictional melodrama filmed by Frears, while Diana is confined to the archive of her indexical image.

Throughout The Queen news broadcasts on television screens and photographic images are counterposed to the paintings in the royal residences and Downing Street. Their thematic purposes are multifold, but they mark a dramatic progress in which Diana — effectively portrayed as pretender to the throne — is supplanted in the televisual frame by the Queen, who is initially identified with the milieu and iconography of fine art.

The DVD cover of The Queen announces this generic contest with an eloquent image absent from the actual film.

In it Helen Mirren — costumed for the title role in funereal black, with discreet pearls at her neck and a white rose brooch — stands frowning in front of a gigantic photograph of the real-life Diana. Yet the photograph is toned a ghostly grey, while the figure in the foreground is in colour. Both Vidal and Bastin have rightly stressed this spectrality. These enhance the haunting effect of her image in the present absence so often remarked upon by theorists of photography. Thus we are given two realities in two different registrations — that of the fictional world of melodrama and that of the actual world of documentary.

The Queen of Hearts is dead.

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Long live the Queen of a Nation who will become, through the sympathetic agency of the melodrama, the next Queen of Hearts. As well as the images framed by the television screen, gilt-framed paintings adorn the more formal settings of this film. Like the harpsichord passage that introduces the Palace in the scene in which the newly elected Blair is confirmed Prime Minister, these works of art synedochise the aesthetics of tradition, wealth and offices of state. The conflict between the two media is introduced in its title scene, when the Queen watches the news as she poses in the ceremonial robes of the chivalric Order of the Garter for an artist in a Buckingham Palace state room.

Moreover, the character is portrayed by Earl Cameron, best known for the s and 60s film and television melodramas in which he so often played the virtuous victim of racist violence Sapphire , Basil Deardon, or exploitation Flame in the Streets , Roy Ward Baker, Combined with the casting of Mirren playing the then seventy-one-year-old monarch at the age of sixty-one the effect is to make the Queen both venerable and youthful — a veteran of ten prime ministers as she will later remind Blair — and yet in her pose for this portrait strikingly elegant, a star.

In the narrative device that structures the entire film, the situation of the title scene is announced by the television. This provokes an amiable discussion in which the presumptive hierarchies of race, gender, politics and portraiture are put into question. As sovereign, the Queen points out, she has no vote. As she slowly turns toward the camera, her left eyebrow still aloft, another white title announces THE QUEEN, joining Mirren to her character in syntactical equivalence.

In the classical tragedies and historical dramas then performed, actors played monarchs, and offstage they socialised and sometimes coupled with them. Her rendition of its ageing, vulnerable and undoubtedly caring Detective Chief Inspector was clearly appropriated to make the monarch a sympathetic heroine, a female manager struggling to combine authority and virtue.

Brooks argues that the theatrical form originated in the aftermath of the revolutionary overthrow of political and religious authority, and by revolution he means the French revolution of — Hobbes was an English royalist forced to flee the revolution to the Stuart stronghold in Paris.

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From exile in , he published his political treatise Leviathan , in which he argues that a naturally quarrelsome humanity does so for three main motives — gain, safety and reputation. Although a monarchist, Hobbes was also an incipient materialist, and his analyses of both royal power and reputation are historically and analytically pertinent to The Queen. That thence the Royal Actor borne. The Tragick Scaff old might adorn:. Did clap their bloody hands.

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The stag scenes in The Queen are suffused with this memory of English history. They combine direct allusions to those events and their contemporary iconography with more recent references to the idealised representation of animals and the countryside painted by the Victorian Edwin Henry Landseer and animated by Disney. This task is achieved by, first of all, tapping into the longtime association of the British monarchy with the natural world. A similar invocation of the physical powers of sport ensures a royal attendance at every major competition.

Again, the modern version of this natural association was a Victorian creation, by the monarch herself in notable collaboration with Landseer, from whom she commissioned portraits of royal pets, royal gamekeepers, royal babies with their favourite pets and a life-size portrait of herself on horseback. The art direction of The Queen borrows shamelessly from these Victorian landscapes, toning the Balmoral costumes in their heather shades.

Antlers hang from the walls and retrievers join the corgis on holiday from Buckingham Palace. The irony of this inverted consolation begins when her vehicle breaks down fording a picturesque stream and she is forced to telephone her estate staff for help.

As the troubled woman waits by the water the first stag scene opens, its intimate tone signalled by a medium close-up of her removing her headscarf, with its Gucci bridle design on white silk. Standing bareheaded in atmospheric birdsong, she turns away from the camera and begins to weep. Then, at the sound of the approaching estate workers, she reciprocates the rescue, shooing the stag away to an equally magical disappearance synchronised to a Disney chime.


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Again birdsong yields to non-diegetic music, but now the woodwind theme is a wistful memory. In a descending shot that reverses the crane past the Queen in the opening scene, the hanging stag is revealed to be decapitated. Its large head, with its vast rack of antlers, rests on a sideboard. The unusually long-lived specimen has been shot by a London banker who has failed to achieve a clean kill, subjecting the animal to lengthy suffering before its final dispatch. These images of prey decorate the head of a queen whose reign has been exceptionally long and whose predecessor Charles I was deprived of his head by the victorious parliamentarians of the English revolution.

The stag hangs upside down like a deposed tyrant in a cooling room that resembles a mortuary — or the chapel in which the imprisoned Charles was pictured in the Guillaume Marshall portrait circulated by his supporters in a volume entitled Eikon Basilike: The Pourtraiture of his sacred maiestie in his solitarie suffering. Where a BBC documentary set a PR precedent by permitting the British public to witness the domestic life of the Royal Family , 23 including a Highland barbecue gently parodied in The Queen , the film reverses the angle to make the Windsors the spectators.

In their dressing-gowns and slippers, with the Queen clutching her hot-water bottle, the royal family could be the working-class Royle Family of British sitcom fame, 24 passively gripped by public events, confused and irritable, unable to hear the telly over the conversation.

You can find a more detailed description what is going on before and after swarming in this posting sorry, german! Worker piping could be the biological base for queen piping but this is just a theory. Perhaps a detailed visualization of this frequency range is in this case better. But the seeable output is nevertheless impressive. But it must be overtones, see Die Obertonreihe not the origin sound produced by the queen. Why did you use Audacity in this case? After finding an appropriate section, we started to play around with the spectrogram settings.

Of course, we would like to have this thing produced by non-interactive tooling.

How am I doing?

Right now, we are playing around with spectrogram generation using aubio , which is a C library with Python bindings in turn based on NumPy. The generated spectrogram will get visualized by matplotlib using different colormap normalizations. See below for the first results. We will share the code by putting it into the audiohealth sources and will be happy if someone with more signal processing know how and NumPy experience would get hands-on with it to improve visualization and maybe dive into analysis.

It would be cool if we could detect the piping and quacking patterns automatically, right?

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Yes, the harmonics became very clearly visible after playing around with the spectrogram settings. We will deliver other spectrograms just limited to the Hz frequency range. Maybe weef can enlighten us more about the acoustic background or give further guidelines about how to tackle the problem of getting hold of the origin sound produced by the queen. Added per commit 7f0df5d5. Have fun!

Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)
Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)
Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)
Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)
Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)
Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)
Queen & Commander (A Hive Queen Novel Book 1) Queen & Commander (A Hive Queen Novel Book 1)

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