Enter stage left, ‘ Kung Fu Flid‘ (aka ‘Unarmed But Dangerous’), a film whose tag line goes –“They shot his wife, they kidnapped his daughter. They messed with the wrong Flid.” Standing out from the crowd indeed! Emotions provide in many ways the foundations for processes of “sociation,” a term derived from Simmel (1908). This is most obvious in the case of love in intimate relationships and families ( Luhmann, 1983; Honneth, 2003). Even anger can provide the basis of human interaction such as in certain types of conflicts, particularly in quarrels ( Kurilla, 2013; Kurilla, 2020a). Jealousy and envy, each in its distinctive way, are characteristic for certain types of communication processes in triangular relationships ( Simmel, 1908). RK drafted the manuscript, designed the study and participated in each of its phases, and participated in the review and revision of the manuscript, and has approved the final manuscript to be published. Conflict of Interest XL: Two more Flids. I'm helping some friends out on the 'Codfather', 'Exit Strategy' (a friend of mine was kidnapped outside of Fallujah just as heads were rolling), 'Burning Tree Drive'... The author declares that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. Publisher’s Note

The performance of fear as a medium of sociation is not so obvious although even Hobbes (1998) considers fear the means of state formation. Hobbes begins his “Leviathan” with an empiricist treatise on affects. Hobbes assumes that all humans share the same sensory equipment as well as related action tendencies. From this viewpoint, conflict arises because humans desire the same objects. This premise leads Hobbes to his conception of the state of nature in which homo homini lupus est. Hobbes’ state of nature subjects humans to a condition of perpetual fear of other humans. As a consequence, they use a considerable amount of their resources to protect themselves from each other. To Hobbes, perpetual fear combined with rational choice led humans to confer their innate, natural rights to a sovereign that governs human intercourse. This is interrupted by a little girl of nine or ten years, Lola (Bethan Leret). The impression I got from this scene was that Lu is Lola’s mum and Jimmy is Lu’s boyfriend, a sort of adoptive father to the girl. It was only later that I realised that Jimmy is actually Lu’s husband and Lola’s dad. That’s just not made clear in that bedroom scene when it’s actually fairly important character establishment. I mean, all they had to do was have Lola call Jimmy ‘Daddy’ and we would all know where we stood. I will admit, I am intrigued by physically unusual actors. Not just those who are missing part or all of one or more limbs, but actors who are particularly short or tall or skinny or fat or visually unique in some other way. How you look is such an integral part of the whole acting profession. I don’t mean just in terms of beauty: you can only play such and such a part if you’re Anna Paquin or Jude Law. That’s star quality. I mean the rest of the acting profession, the bit part players and character actors. It’s a job which depends on looks where you must look interesting and distinctive but not too interesting or distinctive. If you have a group of minor characters and one of them is a dwarf or has only one arm or whatever, the audience will start to wonder - or at least, film-makers seem to believe that the audience will start to wonder - well, why is he like that? What relevance does it have? PH: How do you go about being original or creative with a limited budget in a genre that has seen pretty much everything? What was your approach?Having said all that, the film does have some good points. The (adult) cast all acquit themselves well. Fraser is very good indeed although the stand-out performance is Dan Poole as the sadistic Gregor. Dusan Kmac’s cinematography is fine, as is Ismini Xekalaki’s production design. Fight directors Pete Morgan ( A Day of Violence) and Tony de Gale stage some realistically bloody and brutal fights. But none of that is enough to save this disappointing curiosity. To reach its aims, the study relies on qualitative methods that guarantee the necessary openness for irritations from the field and allow for conceptual modifications that render theoretically guided drafts of categories more adequate in view of the data. Qualitative content analysis combined with elements of discourse analysis has been chosen as the primary method. On the foundation of the understanding generated by this method, a non-positivistic sequence analysis that sheds light on the dynamics of political communication was conducted. The details of the methods and their methodological justification are described in the next section.

Dichotomizations like the one referred to here as the defining criterion of populism are no strangers to politics as suggested by Carl Schmitt’s concept of the political. Unlike economics with its leading difference of profitable and non-profitable and aesthetics with the difference of beautiful and ugly, to Schmitt (1963) political action is governed by the difference of friend and enemy. Likewise, the theme of emotions and politics accompanies the occidental history since the Sophists as a practical concern and has first been developed to a morally restrained psychagogy by Aristotle (1995). US China policies served Trump as a vehicle of distinction from the Democratic Party long before the pandemic came into play. According to Trump, China stole employment, especially blue-collar jobs with the support of the Democratic Party. In Trump’s narrative, his protectionist implementation of tariffs on Chinese goods and the trade deal with China benefitted the domestic production sector, especially the workers. The antagonism between Trump’s discourse and the Democratic Party’s approach can hardly be described with classic distinctions such as neoliberalism/socialism. In Trump’s depictions, the Democratic Party pursues neoliberal policies, i.e. free trade, internationally and a bureaucratic state domestically while Trump aims at internal neoliberal policies and external protectionist policies or, put differently, internal deregulation and external regulation. Trump prides himself on deregulating domestic markets for the benefit of “the people” and rebukes Democrats for overregulating the domestic economy to the disadvantage of US Americans. rounded up to 7 - Definitely not for everyone, but I had fun with the film. Fans of weird and wonderful movies should see this if only for the utterly bizarre scene with the Jesus freak taxi driver-what the hell was that all about?On March 18, a tweet of Trump’s account announces that he signed the “Defense Production Act” enabling him to use resources from the private sector to combat the virus, underlining that “we are all in this TOGETHER!” Beside emphasizing his alleged achievements regarding telehealth, he introduces the theme of increasing domestic manufacturing, i.e. “Made in the United States,” in response to the virus, and again asserts that Democrats and Republicans are unified by the effort of overcoming the crisis. During a press conference on the same day, Trump places COVID-19 in the proximity of natural disasters for the first time.