Everyone knows the two works on cinema that Edgar Morin has signed, the Cinema or the imaginary man and the Stars, two "classics", the first of an anthropology of the cinema and the second of a sociological phenomenon of reception, two directions of research and thought that seemed to have remained without posterity in the field of film studies before the rise of cultural studies and their delayed and thwarted effects in France. Films and controversies, the film by Olivier Bohler and Céline Gailleurd presented in October 2014 at the Forum des Images and soon in theatrical distribution, TV, and DVD. Finally, an expected publication of the writings of Morin's "film critic" should also be published this year at the Editions du Bord de l'Eau, prepared by Emmanuel Lemieux. Before the cinema or the imaginary man - which could be presented as an "aerolite" - there was the active participation of Morin in sociological research initiated by Georges Friedmann at the CNRS within the framework of the Institute of Filmology, associates as it happens.

In 1955, at the 2nd International Congress of Filmology held in Paris, he presented an intervention with Friedmann, summarized in the preparatory material distributed to the delegates under the title "De la méthode en Sociologie". He is also the champion of an anti-academic "sociology of the present" that expresses itself willingly in the sociological report, the press article. A tone close to the "mythologies" that Roland Barthes had begun to publish regularly in the Lettres Nouvelles and that he will bring together in volume in 1957, which differs from it because Morin's analysis is not internal to the image, the text like that of Barthes, it refers to context, social practices, needs and desires. The eulogy of the Scream though, at first glance, the author says approaching it outside of his specialty of sociologist while saying not to be a critic of cinema, is supported by this attention of Morin to what a film can express a historical conjuncture by refracting it into the psyche of characters that can not be reduced to their social roles.

At the same time, it is worth recalling that in 1957 the Cahiers du Cinéma had difficulty apprehending Antonioni, a "modern" filmmaker and for that reason ill-fitting the "Hitchcock-Hawksian" ideal advocated at the time. Bazin, initially impressed, finally shows himself reserved - speaks of "process" of "staging ... too systematic and concerted". In the "Council of Ten", Rohmer grants him a single star, Rivette, Bitsch, and Domarchi both. The investigation of the heroes of the films of the "New Wave" identifies and classifies social types and behaviors such that these films represent them by difference with contemporary films but belonging to the established currents of French cinema.

Finally, with the publication of the "manifesto" "For a new" cinema-truth "" in France Observateur in 1960, it develops a theory of audio-visual communication that migrates from the "documentary" cinema, where it is inaugurated with Rouch, interviewing techniques in the human sciences.

Origins of cinema

Cinema was born in the late nineteenth century. If the animation goes back at least to the seventeenth century, with the "magic lantern", it was not until 1891 to see the first patent on the animation of photographic images and the successful production of a first film camera. The collective spectacle that will result is born a few years later.

In many articles and books, we can still read today, and especially in France, "the inventors of cinema are the Lumière brothers". They developed and built a machine to record and project in public moving photographic views, which they called the Cinematograph. At the time, the press, invited to the first Lumière screenings, speaks, not of the Cinematograph, but of the "Kinétoscope (or Kinétographe) of the Lumière brothers". On December 22, 1895, when Auguste and Louis Lumière present their invention to the scientists of the Society of Encouragement, they still call "Projection Kinetoscope" or Kinetic Light their cameras for shooting and viewing. The camera, invented by Thomas Edison and his principal collaborator, William Kennedy Laurie Dickson in 1891, the Kinetograph, the first camera, and the apparatus allowing to see the films individually, the Kinetoscope, are cited in references, proof of their anteriority. The invention of the Lumière brothers, or more precisely that of Louis Lumière and his engineer, Jules Carpentier, is both a camera and a projector (and even a copy printer), which will appeal to wealthy fans. Moreover, with the possibility of seeing animated photographic views on the big screen, the Lumière brothers are launching the cinema show. This invention, which improves others, more rudimentary, immediately appears as a fatal competitor to pre-existing animated shows.

In French, the apocope of the trademark Cinématographe, the cinema, will prevail in everyday language in a few years. But in other countries, it's moving pictures, movies, and also Kino. The Larousse Encyclopedia states: "This worldwide impact will lead many historians to consider December 28, 1895, as the date of birth of the cinema". It evokes the projection that the Lumière brothers organized in Paris, for the general public, in the Indian Salon of the Grand Café, at No. 14 Boulevard des Capucines, but it was not the first time that animated photographic views, according to the Louis Lumière's own terms, were shown in public. Certainly, the success of the projections of the Grand Café gives a new beginning to the exploitation of the films, as Edison still practiced it in 1895, explains with humor Edouard Waintrop, a critic of cinema and general delegate of the Directors' Fortnight at the Cannes. "While Mr. Edison has developed a small box with very dim lighting that allows only one or two isolated people to experience this moving picture phenomenon, the Light has chosen a system to share the experience at an entire assembly ". To make the two inventors the fathers of the cinema is nevertheless abusive. To make them the initiators of animated screenings on the big screen is no less so since it is their compatriot Émile Reynaud who, first, in October 1892, organized before a paying public meeting the first animated projections on big screen of the first drawings animated (the animation is part of the cinema). The Lumière brothers themselves did not claim as much and corrected the assertion that made them the only inventors of cinema, as reported by Maurice Trarieux-Lumière, grandson of Louis Lumière and president of the Association Frères Light: "My grandfather has always recognized with perfect honesty, I bear witness, the contributions of Janssen, Muybridge and Marey, inventors of chronophotography, Reynaud, Edison and especially Dickson".

Building the machine called "the Cinematograph" does not mean inventing what is at the heart of the 7th Art, its very essence, the films (according to Dickson, it is Edison who, first, adopted the English word film, which designates a veil, a layer, to works of cinema, in reference to the photosensitive emulsion lying on one side of the support). No movies, no cinema! And the Edison-Dickson couple is at the origin of the first films of the cinema, as Laurent Mannoni, curator at the French Cinémathèque of pre-cinema and cinema apparatus, affirms: the first films were recorded by the "Kinétographe (in Greek, movement writing): Camera of the American Thomas Edison, patented on August 24, 1891, employing 35 mm perforated film and a system of intermittent advance of the film by "ratchet wheel". Between 1891 and 1895, Edison made some seventy films. However, still for Laurent Mannoni, "the cinema did not miraculously appear in 1895", and "the industry of" animated photographs "could hatch, in the 1890s, thanks to practices and practices established since centuries ".

The four fundamental stages of the invention of cinema, therefore of what is the very object of the cinematic creation: the films, except for the invention of gelatin silver, a gelatinous emulsion - made from elements of animal origin - containing a suspension of silver bromide crystals, the basis of silver photography, which concerns primarily photography, can be classified chronologically as follows:

1. 1888: the American John Carbutt invents a flexible support cellulose nitrate, in strips of 70 mm wide marketed by the industrialist George Eastman.

2. 1891: The American Thomas Edison, assisted by William Kennedy Laurie Dickson and William Heise, designs the 35mm vertical scroll film, 2 sets of 4 rectangular perforations per frame, as we know it today (after a brief passage in 19 mm format scrolling horizontally). The two men are developing the Kinetograph camera, and the Kinetoscope, an individual viewing device. They record the first films of the cinema and can show them moving to the public thanks to the Kinetoscope.

3. 1892: The Frenchman Émile Reynaud designs the first cartoon film, which he draws directly on a perforated flexible tape 70 mm long indefinite (made of multiple squares of gelatin, reinforced with shellac and fine springs), scrolling horizontally. He began, with the help of a machine of his conception, the Optical Theater, the first public projections of moving images on the big screen. He commissioned the first original music composed expressly for a film, three years before the Lumière brothers' screenings.

4. 1895: Louis Bisontins and Auguste Lumière, better known under the name of the Lumière brothers, synthesizing the discoveries of their predecessors, conceive in Lyon the Cinématographe, a camera capable of recording photographic images in motion on an Eastman film of 35 mm wide to 2 sets of 2 round perforations per frame (device abandoned since), and to restore them in projection. They organize the first paid public screenings of photographic images in motion on the big screen, or at least those which provoke the greatest worldwide impact, because before them, other projections of the same type took place, in Berlin (Max Skladanowsky and his brother Eugen, with their Bioskop) and in New York (Woodville Latham with his Panopticon).

The history of American film is a chapter in film history that is relevant to the film's art as well as the film's economics precisely because of its prominent position as a film nation. Hollywood, a district of Los Angeles, became world famous as the center of the American film industry, which is why the name is often synonymous with the entire American film industry. Synonymous with Hollywood's film industry is again the term dream factory ( English Dream Factory ) used. 

Until 1912, the US film companies focused on the domestic American film competition. Only then did their influence on the world market increase. And so fast that in 1914, at the beginning of the First World War, they made up half of the world's film production.

The fierce competition between the Edison Trust and the "Independents" cited by Carl Laemmle had created effective tools that, tried and tested on the national competitor, now met international competition with increasing severity. Nevertheless, the supremacy of Hollywood was far from unassailable, only a political development gave her the necessary peace to restructure: The war in Europe.

The French film production, the main competitor of the Americans, came to an abrupt halt with the outbreak of the war, as Pathé turned his raw film factory into an ammunition factory and his studios in barracks. Similar, yet less extreme, Italian production collapsed in 1916 when the country entered the war.

After it was foreseeable that the war could take a long time, the French tried to get back into the business. The position they held before the outbreak of war no longer reached them. In addition, the German Reich decided in 1916, the general film import ban, which deprived the European film nations of their most important market. Exports overseas were also increasingly difficult because the military claimed a lot of transport capacity. German U-boats and smaller cruisers also engaged in a trade war against the Entente powers, with civilian freighters also being sunk as the Entente was suspected of abusing them for arms deliveries (eg the sinking of the RMS Lusitania ).

The power of the Motion Picture Patents Company (MPPC) was already largely broken in 1914, the subsequent court decisions were only formalities. Both the national and international competition of the Independents were eliminated. Although the US film industry lost part of the European sales market, the need for fresh films within the United States was higher than in the whole of Europe, for example in 1916 there were already about 28,000 cinemas across America. In the rest of the world, the Hollywood companies took a dominant position, they represented, for example, a large part of the films shown in Australia and South America, which were sold directly from about 1916 (it used to be common to sell to local middlemen).

Verna Fields, born. Hellmann (March 21, 1918 - November 30, 1982) was an American film editor, best known for working on some of Hollywood's most significant achievements. Among them is the film Ralja for which Oscar-awarded.

Robert Clifford Jones (March 30, 1936) is a film editor, screenwriter, university professor at the University of Southern California. In 1978 he received Oscar for the best original script for Coming Home (1978). His only other film for which he wrote the script was Being There (1979), but the award for that category was given to the author of the novel by Jerzy Kosinski because Jones was an unsigned associate. The rest of his career focused on editing and was one of the main associates of director Arthur Hiller (seven films from 1967 to 1992) and Hall of Ashby (four films from 1973 to 1982). [1] Jones was nominated three times for Oscar for Best Editing ( It's a Mad, Mad, Mad, Mad World (1963), Guess Who's Coming to Dinner (1967), Bound for Glory (1976).

Sally JoAnne Menke (December 17, 1953 - September 27, 2010) was an American film editor, best known for collaborating with Quentin Tarantino to install his most successful films.

Russell Albion "Russ" Meyer (March 21, 1922 - September 18, 2004) was an American film director, screenwriter, and producer, known as the author of a series of sex-filming films of the 1960s and 1970s, thanks to the satirical presentation of American society, using the so-called. Amazonian protagonists have gained a good reputation in criticism and cult status. Meyer was also known for his preference for large female breasts and is thought to have promoted such an aesthetic ideal in American culture before making silicone sheets every day. In addition to the film, he also worked on photography, recording editors for the Playboy magazine in his first years, and two of his wives - Eve Meyer and Edy Williams - began their career there. Meyer financed his films alone as an independent producer, with the exception of Beyond the Valley of the Dolls, which was built by the 20th Century Fox studio, for which the script was written by critic Roger Ebert, who, despite failure, will remain his great friend. Meyer withdrew from the film in the late 1970s, partly because he did not want to "descend" his work to the level dictated by the then hardcore pornography. In spite of that, he has earned enough money to spend the rest of his life in wealth. He spent the last year fighting Alzheimer's disease.

Stuart Rosenberg (August 11, 1927 - March 15, 2007) was an American film and television director, best known for the classical prisoner Cold Prisoner. In that film, Paul Newman appeared, who will collaborate with Rosenberg on a few more remarkable films.

Cinema was born at the end of the 19th century. To designate the research that leads to the invention of cinema, so before the first films in 1891, we speak of pre-cinema. It is often said that the inventors of cinema were the Lumière brothers. They themselves did not claim as much and corrected this assertion by recalling that the cinema was the result of research feverishly pursued all over the world and that everyone had arrived at his ends "in a handkerchief". In fact, the first films, as Laurent Mannoni, a film historian and curator of cameras at the Cinémathèque française, put it, were recorded by the "Kinétographe (in Greek, writing of the movement): camera of the American Thomas Edison, patented August 24, 1891, employing 35mm perforated film and intermittent film feed system by "ratchet wheel". Between 1891 and 1895, Edison made some seventy films.

"But the illusion of moving images had been given before (early nineteenth century) by scientific toys that use drawings of a subject in the different phases of a gesture split into a dozen or two thumbnails one looks the succession by slits or by means of mirrors in rotation. These 'living room toys', favored by a rich public, were aimed at developing scientific curiosity in the minds of children from good families. These include the Phénakistiscope of the Belgian Joseph Plateau, the Zoetrope of the English William George Horner, the Folioscope of the French Pierre-Hubert Desvignes, which is an adaptation of the Flipbook of the English John Barnes Linnett, and the Praxinoscope of the French Émile Reynaud. Not to mention the Zoopraxiscope of the British photographer Eadweard Muybridge, but it should be noted that Muybridge and his famous French equivalent Étienne-Jules Marey and his assistant Georges Demenÿ have developed various machines or optical processes in a more scientific than commercial purpose, to try to decompose, and thus to study, the movements of human beings or animals, and in general any phenomenon too rapid to be analyzed by the human eye (examples: drop of a drop of water, explosions or chemical reactions).

Alfred Joseph Hitchcock (August 13, 1899 - April 29, 1980) was a British motion picture chief who later turned into an American resident yet at the same time kept his British citizenship. He generally made puzzle and tension motion pictures. In spite of having a fruitful profession, Hitchcock always lost an Academy Award. 

Hitchcock began his profession in England, beginning with quiet motion pictures during the 1920s. During the 1930s, he made some fruitful films like The Man Who Knew Too Much (1934), The 39 Steps (1935) and The Lady Vanishes (1938). He at that point moved to the United States, to work in Hollywood. His first American motion picture was Rebecca (1940), which won an Academy Award. 

A portion of his best-known motion pictures from the 1940s are Spellbound (1945) and Notorious (1946), which were motivated by therapy. His first film in shading was the test Rope (1948). Outsiders on a Train (1951) depended on a novel by Patricia Highsmith. During the 1950s, he made three mainstream motion pictures with Grace Kelly: Dial M for Murder (1954), Rear Window (1954) and To Catch a Thief(1955). In 1956 he made another variant of The Man Who Knew Too Much, featuring James Stewart and Doris Day. He came back to high contrast, quickly, with The Wrong Man(1957). At that point came Vertigo (1958), which some think about his best tension motion picture. It was trailed by three increasingly effective motion pictures: North by Northwest (1959), Psycho(1960) and The Birds (1963). After that, he just made 5 additional motion pictures: Marnie (1964), Torn Curtain (1966), Topaz (1969), Frenzy (1972) and Family Plot (1976). In 1971 he turned into the absolute first champ of the BAFTA Academy Fellowship Award. This is an honor for lifetime accomplishment. 

In 1945 Hitchcock made a narrative about the Holocaust. It will appear on British TV in 2015. 

Hitchcock seemed in all respects rapidly in little jobs in the majority of his motion pictures.

It can be discussed at length whether a culture based on written texts or one based on images is superior. What cannot be denied is that cinema, made up of moving images, was the art that most characterized the twentieth century.

Nobody imagined, when the Lumiere brothers at the end of the nineteenth century conducted their first cinematographic experiments, that the cinema would have had such a widespread and planetary diffusion.

Entire generations of people have grown up making the passionate attendance of cinemas a regular date, one, two, three times or more a week.

During the twentieth century the rooms where films were projected, with various and suggestive names, Luxor, Rex, Odeon, Embassy, ​​Excelsior, Ritz, Majestic, Capitol, spread all over the globe, from the metropolis to the most remote villages. 

Over the last century, cinema has provided to millions of spectators fun and cheap escape, even in the darkest periods of history, characterized by wars, widespread poverty, and ferocious dictatorships. It has spread dreams and new lifestyles even in a reality where it was difficult to satisfy the most basic needs. Everyone, even the most sedentary, gave us pictures of the most diverse districts of the planet, allowed us to travel with imagination while sitting comfortably in a padded armchair. It has expanded otherwise gray and ordinary existences, allowing them to live adventures in the most exotic and distant spaces and ages. It has enriched the individual and collective imagination.

Socializing in different social classes took place in cinemas. Making a date at the cinema was a must for couples in love. At the cinema we end up going there also out of boredom, to occupy an empty afternoon.

In its highest and most classic forms, cinema is used as a work of art, it has widened our knowledge of the world, of life and of ourselves. He contributed to our emotional and sentimental education, he made us mature as individuals and as citizens. It has been and continues to be a school of freedom.

Directors such as Charlie Chaplin, Buster Keaton, Dryer, Ejzenstein, Rossellini, Fellini, Antonioni, Bunuel, Bergman, Wenders, Woody Allen all belong to the restricted circle of geniuses of universal civilization. Many films have a narrative ability and density that exceeds that of many novels and stories, even of quality.

In its industry dimension, the cinema has created thousands of jobs. Producing a film requires the work, often obscure, of hundreds of people. Just read the credits to realize how many professionals compete in the production of a film: actors, directors, cameramen, editors, production secretaries, stuntmen, stand-ins, machinists, toolmakers, costume designers, scenographers , sound technicians, musicians, special effects technicians, electricians, makeup artists, tailors, hairdressers , first aid workers . Every self-respecting newspaper or periodical has a column, edited by a specific employee, often an intellectual, a film critic. Or every newly decent projection room has a cashier, a projectionist, cleaning staff, besides the so-called "historical" masks, who take care of finding space for the spectators and enforcing the rules.

For some decades the cinema seems to be going through a period of crisis. Started in the United States in the mid-1950s, the crisis spread to Europe and, to since the seventies, also in Italy. The spectators are lowered, the proceeds have been reduced. Many historical halls have had to close. The shoulder to the screen, at least the one seen in the projection rooms, was given by the advent of television.

Already in the late fifties, television also shows itself in Italy capable of overcoming cinema in favor of the public. Mike Bongiorno's quiz or double quiz program is so popular that it is broadcast weekly in the cinemas themselves.

However, if television contributed to the extinction of many cinemas, it gave them another chance at survival. In fact, television broadcasts many films, purchased by major film majors or produced on their own. The use of the film directly in the home, in the living room, in front of the TV, is different from that of the room. If you lose the solemn aura of the giant screen and collective enjoyment, watching the film on the small screen is, in some respects, more informal and freer. You watch the film, without having to change clothes and leave the house, perhaps while chatting or doing other things.

This does not mean that when the story is good, the attention of the TV viewer is not caught. Witness the success of many fiction and many films broadcast on TV. A hint of an interesting plot, a meaningful dialogue, a beautiful panorama, attract the attention of the spectator, even if he is the most distracted, and oblige him to follow concentrated development of the story told. I believe that many happy cinematic discoveries today take place this way, in a seemingly fortuitous way only. I myself discovered, throwing a casual glance at the TV turned on, authors I didn't know and enjoyed films that improved my life. These unexpected, unplanned encounters increase, in my opinion, the mysterious charm that cinema has with each of us.

Today, in addition to television, the means of communication that distract us from attending cinemas have multiplied. First, video recorders and DVD players, then PCs, video games, and elephants, social networks have changed our habits and our way of using leisure time. The orgy of tools and digital connections that characterize the contemporary era constitutes a factor and a crisis, but also a new opportunity for the film industry. Internet and pay - TV are, in my opinion, the new frontiers that will allow the seventh art not only to survive but to know a new renaissance.

An actor is a person who plays the role of a character in a story: it can be filmed (in the cinema) or staged (in the theater). We also speak of "actors" to designate the actors. The actor interprets a character, "puts himself in the skin" of someone else so that the viewer can identify with that character.

ACTOR OF CINEMA AND ACTOR OF THEATER, WHAT DIFFERENCE?

The main difference between a film actor and a theater actor lies in the way to pass emotions to the viewer. The film actor must not exaggerate his game to be natural: he is often filmed close-up or close-up and he appears on a big screen. It must, therefore, bring nuances. In the theater, however, the actors must "do a lot" so that the viewer understands the emotions and feelings, even from the back of the room.

At the beginning of film history, the actors played as if they were giving a play. But the passage from dumb to speaking, in 1927, changes everything. This is a difficult stage for many actors: some have an unsuitable voice in the cinema and others do not manage to change their game; many must give up their careers at this time. What was suggested by gestures or grimaces can now be said with words or sounds? The actors no longer need to twist their faces to show the sadness, for example, they can now express it through their voice.

Today, some actors are however as credible on the screen as on the boards.

THE WORK OF A CINEMA ACTOR

Since the arrival of the speaking, the profession of movie actor has evolved a lot. Today, the objective of an actor is to be as natural as possible, so that the viewer can identify easily with the character.

But being a film actor is working with many technical constraints. For example, movies are not always shot in chronological order. However, the actor must always ensure that the viewer can follow the evolution of the character over time.

Some shots can also be shot with an actor without all the protagonists being present. The actor must be imaginative to be as natural as possible, alone in front of the camera. Conversely, very intimate scenes can be shot in front of a large technical team.

Cinema actors sometimes have to make many shots for each shot, unlike theater actors who are entitled to only one chance. This improves the game but sometimes makes the actor's work difficult, especially if he has to keep his naturalness and spontaneity as he plays the same scene for the fifteenth time.

Finally, the recent evolutions of the cinema (the special effects and the digital images) require the actors to be able to concentrate, to play and to be credible in shooting conditions sometimes very far from what will be seen on the screen: for example playing on a plain blue background while in the film, they will be virtually projected in the middle of a virtual desert scenery or on a boat sinking ...

Other technical progress, such as live sound recording and the new cameras (very light), however, contributed at the same time to make the acting of actors more natural and more "real".

ARE THERE DIFFERENT TYPES OF CINEMA ACTORS?

Even if the work of a film actor seems to be the same everywhere in the world, there are different styles and different playing traditions depending on the country.

The French school: the Nouvelle Vague and the café-théâtre

In France, the New Wave disrupts the way of playing, at the end of the 1950s and in the 1960s. Before the appearance of this movement, the actors had an attitude still very "theatrical" and unnatural. The directors of the Nouvelle Vague make use of young beginner actors (Jean-Claude Brialy, Bernadette Lafont, Jean-Paul Belmondo or Jean-Pierre Léaud) to highlight their spontaneity. In addition, the films of this period are shot outdoors and with a light shooting equipment to promote the realism of the scenes; cinema becomes closer to (real) life than it ever was.

In the 1980s, this realistic trend is accentuated when actors of the café-theater begin to make cinema. This is the generation of Daniel Auteuil, Gérard Depardieu, Patrick Dewaere, Christian Clavier, Gerard Jugnot, Thierry Lhermitte, Michel Blanc, Josiane Balasko, Anemone, Marie-Anne Chazel or Miou-Miou. These actors and actresses bring a new comic freshness to French cinema, as do the actors of the Canal + television channel in the 1990s: Alain Chabat, Jamel Debbouze, Benoît Poelvoorde, and José Garcia.

The American School: The Actors Studio

In the United States, it is the Actors Studio which exerts a great influence on the American actors. This drama school was created in 1947 in New York by director Elia Kazan. The work is based on an identification complete with the characters interpreted. For this, the actors do not hesitate to do a long preparation work that allows to better feel and reproduce the emotions of the character played. For example, for Taxi Driver Martin Scorsese's(1976), actor Robert De Niro spent several weeks among New York taxi drivers to better play his character; the result is strikingly realistic.

Many American actors have been trained at this school: Marlon Brando, Paul Newman, Steve McQueen, Dustin Hoffman, Al Pacino, Harvey Keitel, and many others.

The American actress and rights activist Pamela Andersen and Wikileaks editor-in-chief Kristen Grafensen on Tuesday paid a visit to WikiLeaks founder Julian Assange in his prison in London.

This is the first private visit to Asang since he was arrested by British police at the Ecuadorian embassy and imprisoned in the heavily guarded Belmarsh prison and sentenced to 50 weeks' imprisonment for breaching the obligations to secure his former release.

Julian Assange was arrested in April after spending nearly seven years at the Ecuadorian embassy in London to avoid extradition to Sweden, who was accused of rape. Sweden subsequently raised the charges. Assange now faces the risk of being extradited to the United States on charges of plotting to conduct an electronic breach and obtain confidential US national security documents.