Ariel is a spirit from Shakespeare’s The Tempest, who is bound to serve the magician Prospero.
However, it is actually Puck, the mischievous elf from A Midsummer Night’s Dream, who makes this particular boast: I’ll put a girdle round about the earth in forty minutes (Act II, Scene 1).
The feelies are films that allow the audience to experience the same physical sensations as the characters. The plots of feelies are always simple, and often involve sex.
The name 'feelies' is a reference to the nicknames 'movies' (moving pictures) and 'talkies' (films with sound). The first commercial screenings of talkies took place in the 1920s, and by the 1930s they had become a global phenomenon. For Huxley, the next technological advancement seemed clear: first movies, then talkies, then – in Brave New World – feelies. Recent innovations have seen more and more films appearing in 3D; perhaps feelies will indeed be the future.
Many people argue that films are steadily becoming more violent, sexually explicit and immoral. Psycho, a Hitchcock film released in 1960, contains very little overt sexual or explicit violent content – the latter is mainly implied with sounds and effects. House of Wax, a 2005 horror film, contains a much higher level of violence, gore and sexual content. In A Clockwork Orange, Kubrick's 1971 adaptation of Anthony Burgess's dystopian novel, boundaries were pushed with a violent sexual assault shown in detail. Many modern films and TV series are extremely violent and sexually explicit. Some believe that constant exposure to such explicit scenes causes people to become desensitised and accepting of this behaviour.
Follow this link for a discussion about sex in horror films. Readers should be aware that there are some explicit images.
Click here for an article about violence towards women in the media, from Radio Times writer Alison Graham.
A dystopian version of the Archbishop of Canterbury, the religious leader of the Church of England and symbolic head of the Anglican Communion. The Arch-Community-Songster leads the Community songs (about Ford). Huxley felt that the morality of Anglicanism was no more than good manners and great singing, so he created this character as a parody of the Archbishop.