By Matthew Condon
Carrying on with on from the bestselling actual crime tales Three Crooked Kings and Jacks and Jokers, All Fall Down follows Terry Lewis as he turns into police commissioner and the period of corruption on the optimum degrees of the police and govt is going on. because the Queensland police turn into extra hooked up with their corrupt colleagues in Sydney, the period of heavy medicinal drugs and crime additionally starts off. Tony Murphy and Glen Hallahan, of the unique “crooked kings,” develop into extra enmeshed with “The Joke” that's run by means of bagman Jack Herbert. All Fall Down introduces new characters, extra notable habit outdoors the legislations through the legislation, and alongside how it charts the meteoric upward thrust of police commissioner Terry Lewis. yet with the coming of the Fitzgerald Inquiry within the overdue Nineteen Eighties, many will fall—and it’s no longer consistently the folks who should still. once more award-winning journalist and novelist Matthew Condon has drawn from unheard of entry to Terry Lewis, in addition to hundreds of thousands of interviews with key avid gamers and conspirators to craft the definitive account of the rise—and astounding fall—of one guy, a whole kingdom, and over a new release of corruption.
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The exploration of the rapport between perception and the city took place at its maximum intensity in the pre-eminent city film of the late 1920s, Dziga Vertov’s The Man with the Movie Camera, shot in a number of cities of the Soviet Union in 1928, during the same period as the riot surrounding Dulac’s The Seashell and the Clergyman in Paris. And, while 45 The Man with the Movie Camera, Dziga Vertov explicitly a documentary on the forms of the city, Vertov’s film is in many ways more allied with Dulac’s than with linear urban works such as Berlin: The Symphony of the Great City: Vertov’s urban focus propels the city at speed into a vast delirium of images, in infinite flux and often independent of one another, so that the spectator is compelled to re-create the film at every viewing (as with Dulac’s film), with divergent 46 The Man with the Movie Camera outcomes each time.
In Medvedkin’s New Moscow (1938), that projected city is seen to go haywire, and its past, present and future are incorporated in one hallucinatory misfiring. The key sequence takes place at a prestigious cinema screening where the city’s architects are presenting a film of their plans. But the projector malfunctions, so that the images jam abruptly, layering on one another in the form of superimpositions, and then reverse in time, so that Stalin’s ambitions are negated, and Moscow’s archaic forms – its grand cathedrals and Tsarist buildings – become presciently resuscitated as the aberrant, contemporary Moscow.
In those images, construction workers abruptly swallow the contents of beer bottles; the architectural surfaces of the Alexanderplatz deliquesce in a midday heat haze; trams precariously cross hollowed-out space on tracks poised above excavations; children ride tricycles through the dense physical crush; and advertising texts project themselves, inscribed with infinite repetition across the façades of buildings, on human billboards and over the side-panels of buses and trams. The city is visually assembled as a constellation of volatile gestures, each with its 38 rapidly superseded hold on time.