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'''James Mullin''' was a famous Fhainnin actor and film director. He is most famous career-wise for his role in the 1984 film ''The Bishop of Glengad'', in which he plays the titular Bishop, who is intentionally forecasted as the villain in the drama film until the final scenes. Internationally, he is famous for his abduction and death at the hands of [[Varshan]]. | '''James Mullin''' was a famous Fhainnin actor and film director. He is most famous career-wise for his role in the 1984 film ''The Bishop of Glengad'', in which he plays the titular Bishop, who is intentionally forecasted as the villain in the drama film until the final scenes. Internationally, he is famous for his abduction and death at the hands of [[Varshan]]. | ||
{{Infobox person | {{Infobox person | ||
|name = James Mullin | | name = James Mullin | ||
|image = | | image = | ||
|caption = | | caption = | ||
|birth_date = | | birth_date = July 3, 1955 | ||
|birth_place = [[Cancale]] | | birth_place = [[Cancale]] | ||
|disappeared_date = | | disappeared_date = March 20, 1988 | ||
|disappeared_place = City, [[Etzil]] | | disappeared_place = City, [[Etzil]] | ||
|disappeared_status = | | disappeared_status = | ||
|death_date = Jan 2014 | | death_date = Jan 2014 (age 58) | ||
|death_place = | | death_place = | ||
|death_cause = Battery | | death_cause = Battery | ||
|body_discovered = Anzo, [[Varshan]] | | body_discovered = Anzo, [[Varshan]] | ||
|burial_place = Cancale | | burial_place = Cancale | ||
|nationality = [[Faneria|Fhainnin]] | | nationality = [[Faneria|Fhainnin]] | ||
|citizenship = | | citizenship = | ||
|education = | | education = | ||
|alma_mater = | | alma_mater = Taghmon Arts College | ||
|occupation = Actor and Director | | occupation = Actor and Director | ||
|years_active = 1979-2013 | | years_active = 1979-2013 | ||
|era = | | era = | ||
|employer = | | employer = * Various Film Studios (to 1988) | ||
* Various Film Studios (to 1988) | * Worshipful Realm of [[Varshan]] (after 1988) | ||
* Worshipful Realm of Varshan (after 1988) | | known_for = Acting, Abduction, Death | ||
|known_for = Acting, Abduction | | notable_works = <!-- produces label "Notable work"; may be overridden by |credits=, which produces label "Notable credit(s)"; or by |works=, which produces label "Works"; or by |label_name=, which produces label "Label(s)" --> | ||
|notable_works = <!-- produces label "Notable work"; may be overridden by |credits=, which produces label "Notable credit(s)"; or by |works=, which produces label "Works"; or by |label_name=, which produces label "Label(s)" --> | *''Bishop of Glengad'' | ||
|net_worth = <!-- Net worth should be supported with a citation from a reliable source --> | *''One Up the Mountainside'' | ||
|height = | *''Why We Stand'' Series | ||
|family = | * | ||
|awards = | | net_worth = <!-- Net worth should be supported with a citation from a reliable source --> | ||
|footnotes = | | height = | ||
| family = * Margaret Mullin (spouse) | |||
* [[Gregory Mullin]] (son) | |||
* Clyde Scossweld-Mullin (son) | |||
| awards = | |||
| footnotes = | |||
}} | }} | ||
==Life== | |||
==Life == | |||
===Early Life=== | ===Early Life=== | ||
===Career in the Occident=== | ===Career in the Occident=== | ||
| Line 43: | Line 49: | ||
Mullin later appeared in numerous Varshani propaganda flicks and comedic reels, typically as a villainous Occidental, from 1991-2014. His most popular series during this time was ''Why we Stand'', an eleven-chapter series of hour-and-a-half long documentaries decrying the history of the [[Deluge]], the Occidental Nations, and even sectarian elements within Varshani society. Mullin only played a small role in these films as a stand-in for occasional representations of Occidental soldiers or persons, with other captive and possibly some hired westerners filling in other roles; his primary job from 1991-2004 appears to have been as a director under Varshani supervision. During this time, Mullin's films were noted as being extremely high-quality compared to previous Varshani propaganda, playing on uniquely Varshani sensibilities and bringing western scene composition and lighting techniques to the film industry in Varshan, which had previously preferred a more flowing format with as few cuts as possible. | Mullin later appeared in numerous Varshani propaganda flicks and comedic reels, typically as a villainous Occidental, from 1991-2014. His most popular series during this time was ''Why we Stand'', an eleven-chapter series of hour-and-a-half long documentaries decrying the history of the [[Deluge]], the Occidental Nations, and even sectarian elements within Varshani society. Mullin only played a small role in these films as a stand-in for occasional representations of Occidental soldiers or persons, with other captive and possibly some hired westerners filling in other roles; his primary job from 1991-2004 appears to have been as a director under Varshani supervision. During this time, Mullin's films were noted as being extremely high-quality compared to previous Varshani propaganda, playing on uniquely Varshani sensibilities and bringing western scene composition and lighting techniques to the film industry in Varshan, which had previously preferred a more flowing format with as few cuts as possible. | ||
After 2004, he took a more active role within films, often being portrayed as multiple Occidental characters through creative makeup and editing as the foreign population in Varshan dwindled due to diplomatic pressure. This also coincided with a return to shot composition with fewer cuts, and while film quality remained high with him involved, it became clear Mullin was not in ultimate control of his films and a conscious decision had been made to revert to a native scene-shooting style. This change may have been directly related to the 2003 | After 2004, he took a more active role within films, often being portrayed as multiple Occidental characters through creative makeup and editing as the foreign population in Varshan dwindled due to diplomatic pressure. This also coincided with a return to shot composition with fewer cuts, and while film quality remained high with him involved, it became clear Mullin was not in ultimate control of his films and a conscious decision had been made to revert to a native scene-shooting style. This change may have been directly related to the 2003 revelation that Mullin had blinked out an SOS signal several times during his brief appearances in the ''Why we Stand'' series. | ||
Mullin's condition deteriorated noticeably with successive films, becoming more haggard, visibly distressed, and sporting tics and cues indicative of physical injuries and possibly other forms of abuse. | Mullin's condition deteriorated noticeably with successive films, becoming more haggard, visibly distressed, and sporting tics and cues indicative of physical injuries and possibly other forms of abuse. | ||
| Line 52: | Line 58: | ||
Reactions in Varshani society were unusually unfavorable towards the film, as while it was not socially appropriate to disapprove of state-sanctioned actions, Mullin had become an endearing figure to many middle-caste watchers for his acting style and familiar face and the scene was not censored or forewarned in any way, greatly distressing a large number of viewers who had not expected a fan favorite to be brutalized in a film shown to general audiences of all ages. | Reactions in Varshani society were unusually unfavorable towards the film, as while it was not socially appropriate to disapprove of state-sanctioned actions, Mullin had become an endearing figure to many middle-caste watchers for his acting style and familiar face and the scene was not censored or forewarned in any way, greatly distressing a large number of viewers who had not expected a fan favorite to be brutalized in a film shown to general audiences of all ages. | ||
===Legacy=== | === Legacy=== | ||
Mullin's role as an unwilling captive of the Varshani state from the beginning was confirmed by records in 2026 after the fall of the Varshani regime in the [[Final War of the Deluge]]. He had previously refused an offer to work for the regime on a lucrative pay scheme, citing clauses that prevented him from being out of the country for more than a few weeks at a time to visit his family, effectively monopolizing his time and career for the duration of the contract. | Mullin's role as an unwilling captive of the Varshani state from the beginning was confirmed by records in 2026 after the fall of the Varshani regime in the [[Final War of the Deluge]]. He had previously refused an offer to work for the regime on a lucrative pay scheme, citing clauses that prevented him from being out of the country for more than a few weeks at a time to visit his family, effectively monopolizing his time and career for the duration of the contract. | ||
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!Notes | !Notes | ||
|- | |- | ||
| | |''Ocean's Edge'' | ||
|1981 | |1981 | ||
|Cancale Film Studio | |Cancale Film Studio | ||
| | | | ||
| | | | ||
| | |1hr 26min | ||
|Mediocre | |Mediocre | ||
| | | | ||
|- | |- | ||
| | |''Six-Shooter'' | ||
|1983 | |1983 | ||
|Cancale Film Studio | |Cancale Film Studio | ||
|Villain | |Villain | ||
| | |Western | ||
| | |1hr 40min | ||
|Good | |Good | ||
| | | | ||
| Line 96: | Line 102: | ||
|National Film Society of Faneria | |National Film Society of Faneria | ||
|Twist Hero | |Twist Hero | ||
|Drama | |Crime Drama | ||
| | |2hr 4min | ||
|Excellent | |Excellent | ||
| | | | ||
|- | |- | ||
| | |''All Under the Sky in Marlfield'' | ||
|1984 | |1984 | ||
|Self-Funded | |Self-Funded | ||
| | | | ||
| | | | ||
| | |2hr 3min | ||
|Good | |Good | ||
| | | | ||
|- | |- | ||
| | |''Gaoth: 1888'' | ||
|1985 | |1985 | ||
|National Film Society of Faneria | |National Film Society of Faneria | ||
| | |Secondary Protagonist | ||
| | |War Drama | ||
| | |1hr 18min | ||
|Mediocre | |Mediocre | ||
| | | | ||
| Line 125: | Line 131: | ||
| | | | ||
| | | | ||
|Poor | | Poor | ||
| | | | ||
|- | |- | ||
| Line 132: | Line 138: | ||
|Self-Funded | |Self-Funded | ||
| | | | ||
| | |Comedy | ||
| | | | ||
|Excellent | |Excellent | ||
| Line 141: | Line 147: | ||
|International Aspiring Arts Center | |International Aspiring Arts Center | ||
|Octuple-Twist Villain | |Octuple-Twist Villain | ||
|Comedy Horror/Drama | | Comedy Horror/Drama | ||
| | |3hr 20min | ||
|Good | |Good | ||
| | | | ||
| Line 159: | Line 165: | ||
|Varshani Gov't | |Varshani Gov't | ||
|Commentator, Director | |Commentator, Director | ||
|Propaganda Documentary | |Propaganda Documentary | ||
|2hr 45min | |2hr 45min | ||
|Good | |Good | ||
| Line 166: | Line 172: | ||
|''Why We Stand:'' ''Cycle over Sun'' | |''Why We Stand:'' ''Cycle over Sun'' | ||
|1994 | |1994 | ||
|Varshani Gov't | | Varshani Gov't | ||
|Commentator, Director | |Commentator, Director | ||
|Propaganda Documentary | |Propaganda Documentary | ||
| Line 193: | Line 199: | ||
|''Why We Stand:'' ''Alstinia'' | |''Why We Stand:'' ''Alstinia'' | ||
|1996 | |1996 | ||
|Varshani Gov't | | Varshani Gov't | ||
|Commentator, Director | |Commentator, Director | ||
|Propaganda Documentary | |Propaganda Documentary | ||
| Line 265: | Line 271: | ||
|''Why We Stand:'' ''Deluge'' | |''Why We Stand:'' ''Deluge'' | ||
|2004 | |2004 | ||
|Varshani Gov't | |Varshani Gov't | ||
|Commentator, Director | |Commentator, Director | ||
|Propaganda Documentary | |Propaganda Documentary | ||
| Line 283: | Line 289: | ||
| | | | ||
|2008 | |2008 | ||
|Varshani Gov't | |Varshani Gov't | ||
|Foreign Ally | |Foreign Ally | ||
|Propaganda Thriller | |Propaganda Thriller | ||
| Line 293: | Line 299: | ||
|2009 | |2009 | ||
|Varshani Gov't | |Varshani Gov't | ||
|Villain | |Villain | ||
|Propaganda Drama | |Propaganda Drama | ||
| | | | ||
| Line 318: | Line 324: | ||
|- | |- | ||
| | | | ||
|2012 | | 2012 | ||
|Varshani Gov't | |Varshani Gov't | ||
| | | | ||
| Line 331: | Line 337: | ||
|Villain | |Villain | ||
|War Drama | |War Drama | ||
|1hr 48min | | 1hr 48min | ||
|Very Poor | |Very Poor | ||
| | | | ||
| Line 337: | Line 343: | ||
{| class="wikitable" | {| class="wikitable" | ||
|+Awards | |+Awards | ||
!Award | !Award | ||
!Year Granted | !Year Granted | ||
!Granted By | !Granted By | ||
!Notes | !Notes | ||
|- | |- | ||
|Contribution to Film Design and Practice Award | | Contribution to Film Design and Practice Award | ||
|1985 | |1985 | ||
|National Film Society of Faneria | |National Film Society of Faneria | ||
|'For innovative use of colored lighting and shot composition to create workarounds to technical limitations of the time' | |'For innovative use of colored lighting and shot composition to create workarounds to technical limitations of the time' | ||
|- | |- | ||
|Actor of the Year 1997 | |Actor of the Year 1997 | ||
|1997 | | 1997 | ||
|International Aspiring Arts Center | |International Aspiring Arts Center | ||
|For role in IAAC film ''Deuteragony''. | |For role in IAAC film ''Deuteragony''. | ||