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Archive for the 'Directors: Lang' Category
Catching up 99%
Clash by Night.
DB here:
Amplifications, corrections, and updates have been piling up over the last couple of months, and we began to realize that simply appending postscripts to older entries probably didn't register with many readers. Judging by our stats, revisiting older entries isn't a priority for most of the souls whom fate throws our way. So here's some new information about older posts.
*I wrote about Jafar Panahi's This Is Not a Film at the Vancouver International Film Festival. Today Variety reported that an appeals court has upheld Panahi's sentence of six years in prison and a twenty-year ban on travel and filmmaking. His colleague Mohammad Rasoulof's jail sentence was reduced to a year. Panahi's attorney says that she will appeal the decision to Iran's Supreme Court. Be sure to read the Variety story for some background on the despicable treatment of other filmmakers, notably a performer who, merely for acting in a movie, was sentenced to a year in jail and ninety lashes.
*My trip to the Hong Kong festival last spring was to have included a visit to Japan. But the earthquake and the tsunami decided otherwise. Here are two remarkable items about the country's catastrophe and the people's resilience. First, a camera captures what it's like to be in a car that's swept away. Then we have photographs of the remarkable recovery that some areas have made–a real tribute to Japanese resilience. (For the links, thanks to Darlene Bordwell and Shu Kei.)
*At Fandor, in response to Once Upon a Time in Anatolia, Ali Arikan wrote a penetrating and personal essay that I wish I'd had available when I wrote my review at VIFF.
*Tim Smith's guest entry for us, "Watching you watch THERE WILL BE BLOOD," was a huge hit and went madly viral. At his site, Continuity Boy, he has posted a new, no less stimulating entry on eye-scanning. It shows that we can track motion even when the moving object isn't visible!
*During my trip to Brussels in early September for the conference of the Screenplay Research Network, I stole time to visit the superb Galerie Champaka for the opening of its show dedicated to Joost Swarte (above). Longtime readers of this blog know our admiration for this brilliant artist, so you won't be surprised to learn that I had to get his autograph. The show, consisting of work both old and new, was also quite fine; it's worth your time to explore the pictures, such as the one revealing how Disney was inspired to create Mickey (above). Thanks to Kelley Conway for taking the shot, and to Yves for taking this one. And special thanks to Nick Nguyen (co-translator of two fine books, here and here) for alerting me to the show.
*An update for all researchers: Now that we have online versions of the Variety Archives and the Box Office Vault, we're happy as clams. (But what makes clams happy? They don't show it in their expressions, and their destiny shouldn't make them smile.) Anyway, to add to our leering delight, we now have the splendidly altruistic Media History Digital Library, which makes a host of American journals, magazines, yearbooks, and other sources available in page-by-page format, ads and all. You'll find International Photographer (too often overshadowed by American Cinematographer), The Film Daily, Photoplay, and many more. Get going on that project!
*This just in, for silent-cinema mavens: The Davide Turconi Project is now online, thanks to a decade of work by the Cineteca di Friuli. Turconi was a much-loved Italian film historian who, among other accomplishments, collected clips of frames from little-known or lost films. The archive of 23,491 clips, usually consisting of two frames, is free and searchable. On the left we see a snip from Louis Feuillade's Pâques florentines (Gaumont, 1910). Paolo Cherchi Usai and Joshua Yumibe coordinated this project, with support from Pordenone's Giornate del cinema muto, George Eastman House, and the Selznick School of Film Preservation. (Thanks to Lea Jacobs for supplying the link.) For more on Josh's research, see our entry here.
And while we're on silent cinema, Albert Capellani is in the news again. Kristin wrote about this newly discovered early master after Il Cinema Ritrovato in July. A recent Variety story discusses some recent restorations and gives credit to the Cineteca di Bologna and Mariann Lewinsky.
*My entry on continuous showings in the 1930s and 1940s attracted an email from Andrea Comiskey, who points out that when Barbara Stanwyck and Paul Douglas go to the movies in Clash by Night (above), she prods him to leave by pointing out, "This is where we came in." Thanks to Andrea for this, since it counterbalances my example from Daisy Kenyon, which shows Daisy about to call the theatre for showtimes. And since posting that entry, I rewatched Manhandled (1949). There insurance investigator Sterling Hayden hurries Dorothy Lamour through their meal so that they'll catch the show. He apparently knows when the movie starts. So again we have evidence that people could have seen a film straight through if they wanted to. It's just that many, like channel-surfers today, didn't care.
*Finally, way back in July, expressing my usual skepticism about Zeitgeist explanations, I wrote:
I'm still working on the talks [for the Summer Movie College], but what's emerging is one unorthodox premise. As an experiment in counterfactual history, let's pretend that World War II hadn't happened. Would the storytelling choices (as opposed to the subjects, themes, and iconography) be that much different? In other words, if Pearl Harbor hadn't been attacked, would we not have Double Indemnity (1944) or The Strange Affair of Uncle Harry (1945)? Only after playing with this outrageous possibility do I find that, as often happens, Sarris got there first: "The most interesting films of the forties were completely unrelated to the War and the Peace that followed." Sheer overstatement, but back-pedal a little, and I think you find something intriguing.
David Cairns, whose excellent and gorgeously designed Shadowplay site is currently rehabbing Fred Zinnemann, responded by email:
Firstly, I find the start of WWII being equated with Pearl Harbor a little American-centric. Much of the world was already at war when that happened. Secondly, it could certainly be suggested that the two films you cite WOULD have been different without a world war. Billy Wilder and Robert Siodmak were comfortably making films in France before Hitler's invasion drove them to a new adopted homeland. Those movies might well have happened without WWII, but they would probably have had different directors.
Thanks for this. Your points are well-taken. Not only was I America-centric, but I neglected to point out that before Pearl Harbor America was more or less directly involved in the war. Even though America wasn't yet in the war in late 1941, a lot of the economy was on a war footing and the industry was already benefiting from the rise in affluence among audiences.
Your point about the particular directors is reasonable too. I think I chose bad examples. All I wanted to indicate was that the Hollywood system continued to function as usual, particularly with respect to narrative strategies. For instance, Chandler wrote the screenplay for DOUBLE INDEMNITY (and apparently was responsible for the flashback construction), and as you say, had another director handled it, at the level of narration it might well have been the same. UNCLE HARRY is a harder case for me, I admit! Maybe I should have chosen THE BIG SLEEP and MURDER, MY SWEET!
David replied with his usual generosity:
That's OK! BIG SLEEP and MURDER MY SWEET definitely work! Plus any number of non-flag-waving musicals, westerns, swashbucklers (though there's a little propaganda message in THE SEA WOLF at the end) and certainly comedies and horror. . . .
And then there's KANE and AMBERSONS.
Better late than never–something you can say about all these updates.
Alignment, allegiance, and murder
House by the River.
DB here:
"Point of view" is one of those terms that we can't seem to do without, but it's rather vague. The clearest application of the term would be to shots that conform more or less to what a character sees, presenting what we might call optical point of view. But sometimes we're given access to what a character sees, hears, and knows less narrowly. Without any optical pov shots, we might still be restricted to a character's range of knowledge. This happens in detective films like The Big Sleep, which confines us almost completely to what Philip Marlowe knows. We follow him into scenes, stay with him as the action plays out, and then leave the scene when he does. We're "with" him, but not via optical point of view.
In his book Engaging Characters, Murray Smith calls this sort of restriction to character knowledge alignment. He points out that it has both objective and subjective sides. Objectively, we're spatially attached to a character in the course of a scene or several scenes. Subjectively, we may get access to the character's thoughts, memories, dreams, or immediate perceptions (as with a POV shot). Spatial attachment refers to the limited range of our knowledge; subjective access refers to the depth of knowledge about the character's inner experience.
But what about our emotional engagement with the characters? We usually call this "identification," but Smith shows that this is a misleading way to think about what happens. Identification seems to imply taking on another's state of being, but we don't necessarily mimic a character's emotions. We might pity a grieving widow, but she isn't feeling pity, she's feeling grief. Smith talks instead of allegiance, the extending of our sympathy and other emotions to characters on the basis of their emotional states. Allegiance, Smith maintains, depends partly on the moral evaluations we make about the character's actions and personality.
Alignment and allegiance don't necessarily involve us with only one character in the course of a film. Cases like The Big Sleep, which put us "with" Marlowe all the way through, are rare. Often a filmmaker shifts our alignment and allegiance away from one character to another, perhaps in the course of a single scene. That may involve some careful choices about staging, framing, sound, and cutting.
I offer you an example from Fritz Lang's marvelously perverse House by the River. I'm afraid I can't avoid spoilers, but at least I don't give away the ending.
At the point of a nail file
Stephen Byrne, a struggling but well-to-do writer is married to the lovely Marjorie. But this doesn't stop him from trying to seduce their maid Emily. While struggling with Emily, Stephen strangles her. With the help of his brother John, he stuffs Emily's body into a large sack and deposits it in the river. Stephen's crime has stirred something in him, and he begins writing a new book, Death on the River, with its plot based on what he has done. Meanwhile, an inquest into Emily's disappearance casts suspicion on John as her killer.
The very end of the inquest scene has shown the prosecutor and chief inspector confronting Stephen, who says he won't do anything to incriminate his brother. Since neither John nor Marjorie knows of this conversation, we're aligned with Stephen. He now has precious information: the police are likely to be watching his brother, not him.
Our alignment with Stephen continues at the start of the next scene, which shows him at work on his manuscript. Marjorie comes in and asks to talk with him about Inspector Sarten.
After a pause to consider, Stephen reluctantly follows her into her bedroom. Lang's camera, angled along the corridor, puts us strongly with him.
As Stephen enters the bedroom, Lang continues to favor him. Stephen comes into a knees-up shot facing front, but the answering shot of Marjorie weeping at the window is more distant, approximating his optical point of view.
Often filmmakers give us slightly stronger alignment with one character than another by framing one more closely than another. That happens here, I think, for Lang repeats these camera setups several times as Stephen apologies for being snappish and asks Marjorie what she wants to tell him. We know he's being pleasant only because he wants information.
She comes forward and sits, reporting that she has seen the detective following her. Now we can see her expression more clearly and she is less remote from our concerns.
Again the setups repeat for a bit, with the framings still making Stephen more salient. Aligned with him, and to some extent allied as well, we are able to share his sense that danger is approaching. Stephen comes forward and steps into a more neutral and balanced framing. I'd argue that our sense of being "with" him now begins to taper off.
Marjorie points to the window (in one of Lang's compositionally accented gestures) and suggests that an officer may be watching the house. Stephen goes to look out.
Stephen suggests that the police should be targeting John, since he's acted suspiciously after the inquest. As Stepehn talks, he saunters to the dressing table and uses the file there to smooth his nails. He suggests that John may very well have had an affair with Emily. Although the framing is in long shot, we can see Stephen's expression clearly, and it's duplicated in the mirror. By contrast, when Marjorie rises indignantly and upbraids him, her back is mostly to us.
Stephen sits, remarking, "There's a limit to this business of being brothers, Marjorie." She turns slightly, saying, "Stephen, you're insane." This line prompts a cut to Stephen, still smoothing his nails but turned from us.
His face turned away and no longer visible in the mirror, Stephen says casually, "You're very fond of him, aren't you?" Now we're more aligned with Marjorie, seeing more or less what she could see. Lang could have staged this phase of the scene to give us more information about Stephen's expression (say a low-angle depth shot with his face in the foreground), but the opaque shot we get is balanced by a close, clear view of Marjorie for the first time in the scene–another step toward alignment and allegiance with her. The turned-away shot of Stephen also highlights his gesture of filing his nails, important in what will come next.
Cut to a medium shot of Marjorie's reaction. "You know that." Back to Stephen: "Are you in love with him?"
Stephen doesn't see her reaction, which confirms his guess about her feelings for John, but we do. More important, our allegiance shifts toward her too. We know that Stephen is lustful (he's seeing women in town every night), but Marjorie is suppressing her fondness for John for the sake of her marriage vows. She has the moral edge.
He questions her further, finally turning to her and grinning: "Don't think I haven't been aware of it." Cut back to her: "You have a filthy mind"—something we know to be true. Her moral scheme fits ours, and sympathy for her builds.
This riposte wipes the smile from his face and he walks slowly toward her, the nail file extended like a knife, but also waggling jauntily in his hand. He recovers his flippancy and assures her he doesn't feel any jealousy toward John because he no longer finds Marjorie attractive.
After he says he finds cheap perfume exciting, she calls him a swine. He resumes filing his nails. Stephen leaves the shot but, crucially, Lang's camera dwells on Marjorie, glaring after him.
The scene's final shot shows Stephen strolling down the corridor, and it ends with him smiling and slamming his door. It is a kind of symmetrical reply to the early shot of him going to her room.
This point-of-view shot anchors us with Marjorie, both perceptually and morally. She now realizes that she is the only ally John has.
Marjorie doesn't know that Stephen is the killer and that John helped him dispose of the body. As often happens in films, we know more than any one character. As a result, we can register suspense when Stephen approaches with the nail file (we know he's capable of stabbing her), but she evidently doesn't feel herself in danger. To put it more generally, a string of scenes which restricts us to one character after another gives us a moderately unrestricted knowledge of the overall narrative. Still, moment by moment, the director can use film technique to weight one character's reaction more than another's. We can balance those short-term reactions against our wider compass of knowledge. Our sympathies can shift as we register characters' changing awareness of their situation, however partial their awareness may be.
Interestingly, the end of this scene, emphasizing Marjorie's new understanding of Stephen's turpitude, links to the next scene rather neatly. We see John at home, drinking with grim determination, but when he answers the door he finds Marjorie there.
The segue to Marjorie as a center of consciousness in the bedroom scene prepares for her going to comfort John.
More broadly, the shift initiates a new phase of the film in which Stephen must further cover up his crime. For nearly all of the film's first half-hour, we're restricted to Stephen's ken, when he commits and covers up his crime. After that, the film's narration alternates between scenes organized around Stephen and ones organized around John, with two brief ones centering on Marjorie. The inquest, at twelve minutes the longest sequence in the film, gathers together all the characters and functions as something of a neutral and objective reset. That scene is followed by the one I've examined, in which we return to Stephen writing a manuscript, as we saw him at the start of the film. The new scene's narrational weight briefly shifts, as we've just seen, from him to Marjorie. After she leaves John's house, however, the film will build suspense by attaching itself almost wholly to Stephen as he plots to kill both his brother and his wife.
Smith points out throughout his book that alignment and allegiance are complicated matters. It sometimes happens that we have sympathy for the devil–someone who's acted immorally but whom we might root for to some degree. Bruno in Strangers on a Train is a classic example. And we can think of instances of villains who engender some sympathy because they have some admirable features or because they are treated unfairly. So I don't want to leave you with the impression that Lang hasn't toyed with our allegiances more severely in other stretches of House by the River. At the start, Stephen is at best a bounder, but who doesn't want him to succeed initially in hiding his crime? (For one thing, if he didn't try, the story would be over too soon.) And there may be something admirable in his cleverness and bravado as he tries to palm the guilt off on John. My discussion of this scene simply wants to show that the fluctuations of alignment and allegiance can be quite small-scale, and they often depend on niceties of directorial technique.
Artistry depends on craft, and craft is something both cinephile critics and academics have neglected.
Coming across that sentence in a recent essay in Film Comment, you might have a question. What is craft, and how is it different from artistry?
Some thinkers, most famously R. G. Collingwood, saw a sharp line dividing the two. I'm more inclined to see them on a continuum, at least in certain art traditions. In film, I'd suggest that craft consists in fulfilling the task at hand with skill and efficiency.
Craft implies a set of norms, a default or standard that any competent artisan should be able to fulfill. Artistry then, we might say, becomes a plus. It goes beyond the task's narrow purpose. Ozu's establishing shots, for example, do more than establish the locale of the upcoming scene. They create intricate plays with compositional motifs that recur through the entire film. Artistry may not necessarily add complexity, though; it can also compress and concentrate. Bresson eliminates establishing shots and providing environmental information through glimpses of background or information on the soundtrack.
Sometimes artistry adds a psychological complexity not apparent in the bare-bones task. This might be given through performance and/or the way the scene is shot. This is what I think happens in the House by the River scene. It's not a flamboyant job of direction. We need to take a little effort to see how Lang has set up the master shot to allow Stephen to go to the window, then to the dressing-table; and to see how Lang has reserved the closer shots of the couple for a new level of conflict. But so much might have been done by any solid artisan. And you could imagine other ways to shoot the scene. Someone like Preminger might have presented the entire encounter in a few balanced two-shots. Lang's extras—the discreet use of optical point of view, the analogous corridor shots, and the subtle variation in shot scale between Stephen and Marjorie, not to mention Stephen's playful waggling of the nail file—build subtle attitudes toward the characters.
Call it artistry, or cunning craft. Either way, it shows how directors can shape our experience by adjusting the range and depth of our knowledge, sometimes in small but powerful ways.
The distinction between range and depth of information in cinematic narration is presented in Film Art: An Introduction, Chapter 3 and in my Narration in the Fiction Film. For more on these concepts, see Meir Sternberg's Expositional Modes and Temporal Ordering in Fiction. Murray Smith's Engaging Characters refines these and other distinctions in order to understand how we grasp character in film.
Tom Gunning's The Films of Fritz Lang offers a detailed, fascinating commentary on House by the River, concentrating especially on motifs of writing, mirroring, and filth.
For other entries on the craft of staging dialogue scenes, go here and here and here and here elsewhere on this site. For more on niceties of direction, from a director seldom credited with such, try here.
House by the River.
An all-too-short visit to Ebertfest 13
Tulip's unique way of expressing delight at the prospect of walkies.
Kristin here–
With David still recovering from pneumonia, I drove down to Champaign-Urbana by myself for a truncated Ebertfest visit. As always, the event began with a reception at the president's home, where Roger delivered a speech via his talking computer (left).
This year, rather than kicking off the festival with a Wednesday-night screening of a 70mm print, the opening program was a screening of the restored version of Metropolis, incorporating footage found in Argentina. (David has already blogged about the new version, having seen it last year at the Hong Kong Film Festival.) I had the privilege of introducing the screening.
Roger's program notes gave a good summary of the film and its latest restoration, so I talked a little about why it's not all the odd that a nearly complete print should be found in Argentina. First there's the matter of what happened to prints at the end of their theatrical circulation in the silent era. Films didn't open around the world day and date the way they do now. Prints might be exhibited in one country, then move onto another with new intertitles in a different language cut in. They might be shown for years, until their useful life was over. By that point they might have reached places far away from their place of origin. They were also usually covered with scratches and lines, and they weren't worth the cost of shipping them back to their makers. They might be buried, as was the case with the 1978 Dawson City find in Alaska, or stored in the attic of a theater, or rescued by a projectionist who tucked them away in a garage. In some cases, collectors acquired them, as happened with the Argentinian Metropolis print. Occasionally these treasures come to light, as recently happened when the Film Archive of New Zealand located several American titles, such as John Ford's lost silent film Upstream. So far-flung places that long ago were the end of the line for prints are where we might expect them to resurface. Indeed, New Zealand's archive also held a print of Metropolis that contained some shots not found in earlier restorations or in the Argentinian print, and these appear in this latest version.
A second reason why Argentina is not a surprising place to find a long print of Metropolis has to do with the German film industry's strength after World War I. Despite having been defeated, the country built up its production until it was second only to Hollywood. European companies found it difficult to sell their films in the U.S.; then, as now, American films dominated their domestic market. German companies sought other areas where they could compete on a more equal footing. They were quite successful in South America, and Fritz Lang's films were among the most popular there. Small wonder, than, that a well-worn, largely complete print should survive there.
The original score has been reconstructed, but as has become customary at Ebertfest, the Alloy Orchestra supplied their own original accompaniment. (See below.)
Dog-lovers' delight
The thing that sets Ebertfest apart from other festivals is that it reflects the taste of one person. Roger chooses the films, and his reviews are reprinted in the program as notes. When Roger saw the acclaimed animated film My Dog Tulip, based on J. R. Ackerley's memoir about life with his Alsatian, he was reminded of another man whose only love was his dog, Umberto D. So, having the ability to program of double feature of the two films, Roger did. Apart from the annual silent film, Ebertfest seldom shows older classics, so this was something of a departure. I had only seen a 16mm copy of Umberto D, way back in my graduate-school days, so it was great to see a 35mm print on the big Virginia Theater screen.
The juxtaposition of the two films worked well, with the grim image of old age and despair of Umberto D followed by the nostalgic but fairly upbeat My Dog Tulip. Judging by the questions and comments afterward, the latter struck a particular chord with dog lovers in the audience, and during the remainder of my stay I heard many pet anecdotes exchanged among people around me.
The film was created by a husband-wife team, with Paul Fierlinger drawing on a digital tablet and Sandra Fierlinger painting in the colors with a computer program. As I pointed out during the panel discussion after Nina Paley's Sita Sings the Blues was shown at Ebertfest in 2009, computer animation doesn't mean that the computer does all the work. Far from it. A computer has to have a lot of material fed into it before it can aid in the filmmaking process. Each frame of My Dog Tulip was done by hand, and it has the look of traditional cel animation. (As with traditional cel animation, the Fierlingers use each image twice in a row, so that only twelve drawings suffice for a second of film.) There's a deliberately rough, slightly jittery look to the outlines of the figures in the shots, helping give that impression of drawn animation.
Ordinarily I would have preferred to see the film in 35mm, but Paul and Sandra told me that the 35mm prints actually washed out some of the vibrancy of the intended colors. The digital print projected at Ebertfest definitely did the colors justice.
Matt Soller Zeitz with Paul and Sandra Fierlinger onstage after the screening
Filling the big screen
On Friday, two very well-known directors presented beautiful, color, widescreen 35mm prints that looked terrific–and huge–on the big screen. (I was sitting in the second row for one, the first row for the other, so the effect was particularly overwhelming.) I had missed Richard Linklater's most recent release, Me and Orson Welles, in first run, so it was a pleasure to catch up with it. As all the reviewers remarked, Christian McKay uncannily impersonates the real Orson Welles. As Linklater pointed out, McKay was in his mid-30s at the time of filming, while Welles was a mere 22 during the time depicted–and yet the portrayal works, since Welles didn't really look young, even at the beginning of his career.
The film pulls a great deal of humor out of rehearsals for Welles's famous 1937 staging of Julius Caesar, with the director's whims and ego dominating the proceedings, and Zac Efron's stagestruck high-school kid providing a naive point of view of the backstage politicking. Given all the antics in the lead-up to the premiere, it's impressive that Linklater manages to switch gears abruptly and present snippets from the production itself that genuinely suggest the impact of Welles's revolutionary staging. It wowed New York and pioneered the way for modern-dress versions of the Bard's works.
The on-stage discussion after the film revealed that the production, which manages to convey 1930s New York so convincingly, was mostly shot on the Isle of Man. The British island not only offered favorable production incentives, but it boasted a well-preserved local playhouse that could double for the long-since-destroyed Mercury Theater.
That evening veteran director Norman Jewison presented one of his less well-known films, Only You (1994). It's a screwball, absurdly romantic comedy starring Marisa Tomei and Robert Downey Jr., both looking very young and very gorgeous.
After Jewison moved from television into feature films in the 1960s, his early projects included two Doris Day and Rock Hudson comedies (The Thrill of It All and Send Me No Flowers), and he returned to the genre with Moonstruck.
Only You has a slender plot in which the heroine, convinced that a Ouija board has given her the name of the man she will marry, abandons her fiancé to follow a man she thinks is her destined true love across Italy. Cinematography by Sven Nykvist and location shooting in Venice, Rome, and Positano give the film considerable charm.
David has been recovering well, but I didn't want to leave him alone too long. I returned home today rather than staying through the entire festival. But it was a wonderful few days, and I enjoyed talking with Michael Barker, Paul and Sandra Fierlinger, Kevin Lee, Michael Phillips, David Poland (when he wasn't busy chasing his lively 15-month-old son), some of Roger's "Far-flung Correspondents," and many of the devoted audience members who return year after year to this unique event. With luck, both David and I will be there for the whole event next year.
(From the Ebertfest website)
Note: For a second year, the introductions, post-film discussions, and morning panels were streamed live, and they're also archived online.
Beyond a Reasonable Doubt.
DB here:
Good timing. Just as I was about to enable more aspect-ratio fetishism, I got news of the publication of Widescreen Worldwide, from John Libbey. Edited by John Belton, Sheldon Hall, and Steve Neale, it has its distant origins in a 2003 conference at the National Media Museum in Bradford, England. Widescreen Worldwide will be a very useful volume, with material on little-studied U. S. systems and a lot of information on formats in Japan, France, Italy, and Russia, even Norway. Most studies of widescreen technology seldom discuss the creative uses to which it was put. But this collection features several essays focusing on the artistry of the wide formats, emphasizing the work of Preminger, Peckinpah, Okamoto, Suzuki, et al. As the publisher's blurb puts it:
The book documents how the aesthetic strategies explored during the first wave of American widescreen films underwent revision in Europe and Asia as filmmakers brought their own idiolect to the language of widescreen mise-en-scène, editing, and sound practices. As a global phenomenon, widescreen cinema thus presents the opportunity to examine how different cultures appropriate the technology to advance extremely different cultural and aesthetic agendas.
I have an essay included on the Shaw Brothers directors, and I'm happy to be in such distinguished company in this major publication. My essay is available on this site. The paper I gave at the conference, on Hou Hsiao-hsien's early anamorphic films, is also posted here.
Speaking of widescreen: Today, we go back to While the City Sleeps and SuperScope, thanks to some correspondents and further fooling around on my part.
Ratio decidendi
The story so far: SuperScope was a widescreen system devised by Irving and Joseph Tushinsky for RKO . It extracted a wide image from the 1.37 standard frame and printed it as a squeezed anamorphic frame, to be unsqueezed at a ratio of 2.0 to 1. (A later version allowed for a 2.35 stretch.) In principle, it's an early version of what Super 35 does now. Some RKO films, notably Invasion of the Body Snatchers (1956), were shot in knowledge that they would be given the SuperScope treatment; others were SuperScoped after the fact.
The question before the jury was: Do SuperScope prints of Lang's While the City Sleep (1956) faithfully reflect his intentions? The answer I settled on was: Probably not. A Variety story indicated that the SuperScope prints were made for European distribution, though perhaps some sneaked into the US theatrical market or the 16mm aftermarket.
Now for a little more on Lang's compositions. Several viewers have commented on all the headroom visible in the full frame. The 'Scope print I examined displayed some as well, but not as much, as my illustrations for the earlier entry indicate. More likely the film was masked in the US to something like 1.66 or 1.75. I reproduced some frames from a 1.75 laserdisc version, and they look reasonably good. Overall, I suggested that City's fairly open compositions suggest that Lang was expecting the film to be masked somewhat in projection, but not to the full 2.0:1 ratio we get with SuperScope.
Although for most of its length, While the City Sleeps seems quite okay at 2.0, I found one shot that would be quite awkward in full SuperScope. Alas, I didn't photograph it from the 35mm European print I examined, but I've used my stills from the print to guide my cropping of the 1.37 frame in this instance. The results are, as the lawyers say, probative.
The scene is mundane: Walter Kyle gets a phone call from his errant wife Dorothy. She's carrying on an affair with Harry, the art director of the newspaper Walter runs. Walter talks with her, and Lang cuts to her responding. I show you the 1.75 versions.
When Lang cuts back to Walter, he provides a new camera setup featuring the butler Steven. This is to prepare us for a joke: Walter says he'll have Steven meet Dorothy at the front door in his underwear. Steven reacts with embarrassment. Given that a lot of the film plays on the sexual rapacity of men, the humor is a shade sick.
A narrative convention: The stuffy, puritanical butler. But notice that in the 1.75 frame, Steven's full face is quite visible. Of course it's even more visible in the full-frame version. (Fussy Lang, or fussy somebody, seems to have aligned the face with the swoop of the ceiling.)
But the composition would look more awkward if chopped in the SuperScope 2.0:1 version. Here's one framing, using the cropping points typical of other anamorphic shots in the European 35mm print.
In addition, since the crop slices more off the bottom region than the top, Walter's body is also lost in the anamorphic version. But this is still probably the best compromise. Some frames in the 35mm S'Scope version favor the lower region of the original shot. But in this shot that option would be disastrous.
It's hard to imagine that the director of the painstakingly composed Moonfleet (1955) would have wanted to saw Steven's skull in half.
Mors ultima ratio
So Lang didn't shoot the film expecting it to be SuperScoped. Nevertheless, things that escape directors' intentions can have their own impact on viewers. In the codicil to the earlier blog entry, I wondered if French critics' admiration for While the City Sleeps might have been based on their seeing wider prints than Americans did—in effect, gathering Lang into the cohort of skilled anamorphic filmmakers that included Ray, Preminger, Minnelli, et al. Samuel Bréan wrote to tell me that one critic, Jacques Lourcelles, raised this issue explicitly. Lourcelles writes:
For both this film and Lang's next film, Beyond a Reasonable Doubt, the format poses a thorny problem that can be resolved only by considering aesthetic matters. The film, not shot in CinemaScope, was exhibited in Superscope (a wide format used at RKO and created through laboratory processes), and then in a normal format. Which is better? In my opinion, the wider one. Only there, for instance, do the camera movements and the newspaper-office set have their true impact. Even if the Superscope version was "manufactured" in the lab, Lang knew that the film would be seen on the wide screen and his direction was conceived as a function of that. The same goes for Beyond a Reasonable Doubt; to cite just one instance, the first sequence showing the condemned man walking toward the electric chair is obviously conceived for the wider format.
This does lead to some intriguing speculation on how "misreadings" of films can have positive consequences. The French celebration of Lang's 1950s films led American and British critics to reevaluate them.
The case of Beyond a Reasonable Doubt is quite parallel to that of While the City Sleeps. Released in September 1956, it too was reviewed in Variety as a non-anamorphic picture. Its U. S. publicity makes no reference to a widescreen format. But its overseas posters claim that it is in "RKO-Scope." Huh?
By the end of 1956, the Tushinskys had split from RKO and were selling SuperScope generally. So in November 1956 RKO simply announced that it had developed "a new widescreen, anamorphic process" that would carry a ratio of 2.0:1. Historians of widescreen have assumed that this is SuperScope by another name. The same publicity announced that soon all the studio's films would be in RKO-Scope. But RKO ceased making movies on 1 January 1957. Universal took over distributing the remaining pictures.
Again, on the basis of the posters and Lourcelles' comments we can be confident that Beyond a Reasonable Doubt was shown in a 2.0:1 aspect ratio in some overseas markets. As airless a movie as Lang ever made, with disconcertingly generic sets and severe framings and camera movements, it engendered a fascination in French critics. The story itself is a model of Langian guilty conscience. A reporter looking for a new book to write agrees to a hoax that will attack capital punishment. He'll plant clues indicating that he's a murderer in order to prove that an innocent man can be convicted. Lang's narration offers his customary feints and ellipses. Smooth hooks, verbal and visual, carry us across scenes. Casual details are dropped in, or a sudden cutaway appears, and we're misled into thinking we're ahead of the plot. We are in fact behind it. Crucial story information is skipped over, but we're not aware of what has been deleted until much later. We should have noticed.
Appearing in the same year as Around the World in 80 Days, The King and I, Lust for Life, Giant, Anastasia, War and Peace, and other sweeping spectacles, Beyond a Reasonable Doubt was a bare-bones programmer. Lang's last American film doesn't waste its energy on the pictorial flourishes of budget-strapped directors like Siegel or Fuller. Other B-films could whip up visual flair with chiaroscuro, close-ups, and fast cutting, but Lang's images seem disconcertingly banal; yet their simplicity gives them an odd purity. In an influential review, Jacques Rivette declared that Lang was, in effect, filming concepts.
I don't find any shots in Beyond with a vertical bias comparable to the shot featuring Steven the butler in City. The 1.37 frame shots are very empty up top. So here's an experiment in reconstructing an approximation of what Europeans saw.
Dux vitae ratio
As I suggested in the earlier blog, for decades Lang composed his frames carefully, balancing figures in dynamic patterns and sometimes putting important elements along the sides or in a corner. Here are some examples from one of his most beautiful films, The Ministry of Fear. He likes triangular compositions that tuck heads into corners, as well as camera angles that let foreground items anchor the faces and bodies.
When the frame is unbalanced, it's for a reason, such as purse-rifling.
A director so committed (like Ozu) to putting heads high in the shot must have felt annoyed when he had to hang inexpressive space over his players, as in the shot at the very top of today's entry. When he left headroom in earlier films, it served an exacting compositional purpose, as you see below. Those wedge-formations of tapers, backing up threatening cobras, look back to the decor of his German films.
I suspect that it pained him to accept the more open framing demanded by non-anamorphic ratios. In CinemaScope you could count, more or less, on the proportions of your image being respected. But shooting flat, could you really be sure what would stay in the shot? Projectionists could mask it to 1.66, 1.75, 1.85, and even wider. These ratios were so imprecise, and this is one precise director. Lang "shot to protect," as they say, but he couldn't protect what was already gone: his compact, quietly masterful compositions.
John Belton wrote to me to echo the idea that Lang would probably have realized that While the City Sleeps would be cropped to as much as 1.75.
Certainly every director after 1954 composed for wide screen projection. As for SuperScope, why didn't they just project it flat with a 2:1 matte in the aperture? It certainly would have looked sharper. Maybe the answer lies in the relative abundance of CinemaScope installations overseas?
Good question for further research. Another interesting sidelight: Who was the SuperScope representative for Europe? For a time, apparently none other than Edgar G. Ulmer! Ulmer is identified as a SuperScope representative in "Tushinsky's Teuton Deal," Variety, 7 September 1956, p. 5. Michael Campi wrote to inform me that in Australia he too saw a 2.0:1 print of While the City Sleeps.
RKO's announcement of RKO-Scope can be found in "And Now–RKO-Scope," Variety, 30 November 1956, p. 1. More background on the winding down of the studio is provided in Richard B. Jewell and Vernon Harbin, The RKO Story (London: Octopus, 1982), pp. 242-245.
The Jacques Lourcelles comment appears in his Dictionnaire du cinéma vol. 3 (Paris: Laffont, 1992), p. 294. I'm grateful to Samuel Bréan for calling my attention to it. Rivette's 1957 essay on Beyond a Reasonable Doubt, "The Hand," is available in Cahiers du cinéma: The 1950s: Neo-Realism, Hollywood, New Wave, ed. Jim Hillier (Cambridge: Harvard University Press, 1985), pp. 140-144. It has been included in a site devoted to Jacques Rivette, Order of the Exile. (The hand Rivette refers to is that in the shot of the warrant above; had Rivette not seen the RKO-Scope print, he might have had to title the essay, "The Hands.") The poster images for Beyond a Reasonable Doubt come from the ever-generous DVD Beaver, and its review of a Spanish disc.
The Ministry of Fear.


text:
Regulations (Standards - 29 CFR) - Table of Contents
| Part Number:
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|Occup. Safety and Health Standards for Shipyard Employment
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|Commercial diving operations.
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Next Standard (1915.7)
|Regulations (Standards - 29 CFR) - Table of Contents
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iHerb Customer Reviews
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text:
the appropriate representation for the n-word, stereotypical black person
look at that toof rocking the fitted and matching fake jordans.
by j2s12bbbbb April 11, 2009
Top Definition
A tooth made of somthing besides ... um... tooth material.
I've got 20 plat-i-num teef!
by Zach G. November 06, 2003
the set of white things in our mouth.... in ebonics.
yo dawg my toof done falled owt a my mouf
by soap operas are gay June 13, 2006
Drastically misshapen teeth with gaps throughout, a lower form of teef.
"Err that Chalky bird, she's got proper toofs!"
by Cowfresh March 23, 2007
when you dont agree with what someone says
im not picking u on my team ur terrible at baseball.
by sloshedfacedzilla December 08, 2009
When a living being has only one tooth in their mouth. When they mean to say tooth they actually say toof.
Cletus brushes his toof since he has one left.
by cardinal_fan October 20, 2004
The sound made when one spits a ball of saliva out of their mouth.
Katelyn: UGH so much saliva in my mouth!
Jessica: Spit some out!
Katelyn: *TOOF*
Jessica: Spit some out!
Katelyn: *TOOF*
by turkeytom May 16, 2010


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X-Men has a Purpose Again
Between First to Last and Regenesis, this had become a team-up book. I was ready to drop it from my pull list. Then this issue came out. In Uncanny X-Men Vol 2 #1 (also out this week) Cyclops sets up his "Extinction Team" which is supposed to deal with the Sentinel Menace. It appears that X-Men will tell the story of this team's missions. And if that is true - X-Men is a book to read again. Good story beats and action - Domino is back.
If you like the X-Men (the team), consider picking it up.


text:
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text:
STARmeterSEE RANK
Up 2,969 this week
Natalie Gumede
Natalie Gumede was born on March 20, 1984 in Burnley, Lancashire, England as Natalie Sithokozile C. Gumede. She is an actress, known for Coronation Street (1960), Clubbed (2008) and Ideal (2005). See full bio »
More at IMDbPro » Contact Info: View agent and publicist


text:
Narrow your search
The names, titles and contact information of thousands of FBI and Department of Homeland Security employees are allegedly dumped online.
An update to an international accord potentially opens everyone to attacks, something the US government didn't figure out until after it was signed.
Update 1.3 also tweaks hit registration, among other things.
Technically Incorrect: In a new book, the Science Guy says he's depressed at how such old technology is celebrated by so many. He wants Nascar to turn an exciting green.
Soothe your tender feet this holiday season with a pair of Lego-branded slippers designed to cushion the bite from stepping on plastic bricks.
Technically Incorrect: The Drone Defender doesn't shoot down the drone. It disables it by interrupting its systems.
Technically Incorrect: A site that sells "Stop Trump" T-shirts receives a cease-and-desist letter from the great man's lawyers. But does he have a case?
It's torture testing taken to another level when a fist-sized bullet is launched at Apple's latest desktop.
The G-Steel may not be a smartwatch, but this more affordable metal G-Shock won't be obsolete in a few years and is solar powered.
The big game and all its festivities get sweeping protection, from bomb-destroying robots to software that crunches social media looking for threats.


text:
A group of more than a hundred law professors from across the country has asked Congress to extend an ethical code of conduct to the Supreme Court - for the first time - and clarify when individual justices should step away from specific legal cases.
The group's appeal on Wednesday, in a letter to the House and Senate Judiciary committees, comes after recent controversies involving travel and appearances at political events by several Supreme Court justices, including Clarence Thomas and Antonin Scalia. Rep. Christopher S. Murphy (D-Conn.) said he plans to introduce legislation that addresses the issue.


text:
, Volume 13, Issue 1, pp 143-151
First online:
Cold-induced mortality of invasive Burmese pythons in south Florida
- Frank J. MazzottiAffiliated withFt. Lauderdale Research and Education Center, University of Florida Email author
- , Michael S. CherkissAffiliated withFt. Lauderdale Research and Education Center, University of Florida
- , Kristen M. HartAffiliated withUS Geological Survey, Southeast Ecological Science Center
- , Ray W. SnowAffiliated withNational Park Service, Everglades National Park
- , Michael R. RochfordAffiliated withFt. Lauderdale Research and Education Center, University of Florida
- , Michael E. DorcasAffiliated withDepartment of Biology, Davidson College
- , Robert N. ReedAffiliated withUS Geological Survey, Fort Collins Science Center
A recent record cold spell in southern Florida (2–11 January 2010) provided an opportunity to evaluate responses of an established population of Burmese pythons (Python molurus bivittatus) to a prolonged period of unusually cold weather. We observed behavior, characterized thermal biology, determined fate of radio-telemetered (n = 10) and non-telemetered (n = 104) Burmese pythons, and analyzed habitat and environmental conditions experienced by pythons during and after a historic cold spell. Telemetered pythons had been implanted with radio-transmitters and temperature-recording data loggers prior to the cold snap. Only one of 10 telemetered pythons survived the cold snap, whereas 59 of 99 (60%) non-telemetered pythons for which we determined fate survived. Body temperatures of eight dead telemetered pythons fluctuated regularly prior to 9 January 2010, then declined substantially during the cold period (9–11 January) and exhibited no further evidence of active thermoregulation indicating they were likely dead. Unusually cold temperatures in January 2010 were clearly associated with mortality of Burmese pythons in the Everglades. Some radio-telemetered pythons appeared to exhibit maladaptive behavior during the cold spell, including attempting to bask instead of retreating to sheltered refugia. We discuss implications of our findings for persistence and spread of introduced Burmese pythons in the United States and for maximizing their rate of removal.
KeywordsPython molurus Florida Everglades Cold temperatures Invasive species Mortality Thermoregulation
Reference tools
- Title
- Cold-induced mortality of invasive Burmese pythons in south Florida
- Open Access
- Available under Open Access This content is freely available online to anyone, anywhere at any time.
- Journal
Biological Invasions
Volume 13, Issue 1 , pp 143-151
- Cover Date
- 2011-01
- 10.1007/s10530-010-9797-5
- Print ISSN
- 1387-3547
- Online ISSN
- 1573-1464
- Publisher
- Springer Netherlands
- Additional Links
- Topics
- Keywords
- Python molurus
- Florida Everglades
- Cold temperatures
- Invasive species
- Mortality
- Thermoregulation
- Industry Sectors
- Authors
- Frank J. Mazzotti (1)
- Michael S. Cherkiss (1)
- Kristen M. Hart (2)
- Ray W. Snow (3)
- Michael R. Rochford (1)
- Michael E. Dorcas (4)
- Robert N. Reed (5)
- Author Affiliations
- 1. Ft. Lauderdale Research and Education Center, University of Florida, 3205 College Ave., Davie, FL, 33314, USA
- 2. US Geological Survey, Southeast Ecological Science Center, 3205 College Ave., Davie, FL, 33314, USA
- 3. National Park Service, Everglades National Park, 40001 State Road 9336, Homestead, FL, 33034, USA
- 4. Department of Biology, Davidson College, P.O. Box 7118, Davidson, NC, 28035, USA
- 5. US Geological Survey, Fort Collins Science Center, 2150 Centre Ave., Fort Collins, CO, 80526, USA


text:
Stonemasons in Sevenoaks
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Welcome to WrightStone. Specialising in the highest quality Granite work surfaces. WrightStone is a granite specialist company based in South East London, UK. Our aim is to provide our customers
Stonemasons in United Kingdom
Offering Nationwide Services
We are glad to introduce ourselves as "MEMORIALS AND ROCK PRODUCE UK LIMITED", a company set up for memorial wholesale distribution, having the unit at Gainsborough, Lincolnshire. The parent company has
Stonemasons in Herne Bay
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Bowens Farm, Poundsbridge Lane, Penshurst, Tonbridge, Kent, TN11 8AJ
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3 Aldington Close, Chatham, Kent, ME5 7NF
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27 Poplicans Road, Cuxton, Rochester, Kent, ME2 1EH
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130 High Street, Rainham, Gillingham, Kent, ME8 8AR


text:
Admission includes all regular seminars and demonstrations. For advanced online ticket sales, seminar schedules, exhibitors and general show information visit www.sfgardenshow.com. Tickets can also be purchased at major Bay Area nurseries and garden centers or by calling 1-888-695-0888 or for tickets and information call 415-684-7278 ext 2.New this year is the world's largest rotating succulent Globe with over 30,000 succulent plants depicting the seas and continents. Robin Stockwell, from Succulent Gardens in Castroville, has carefully designed, planted and grown this unique exhibit over the last year. "It all comes together for the first time at the Show," Stockwell commented. "We've been growing The Globe in sections for over 6 months, and it's a remarkable and realistic tribute to our living Earth!
"Gardens Make The World Go Round" At The 2013 SF Flower & Garden Show March 20-24, 2013
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text:
Storm Rider by tanglongWatch
©2007-2016 tanglong
i know this character real sic. Storm Rider is a good story
That's cool!
That looks damn cool! Nice cycle!
caya laaa....
oh man...you're great!
I can see the mistakes but that's fine. It's still good.
aku mesti bekerja keras. berusaha..!!!
wahh! c00l nyee..bile la ak nk blaja nih..
[grab 'em!!][d0nt let them g0o!!]
[grab 'em!!][d0nt let them g0o!!]
Super cool!!!
Yeah! Brutal!!
wonderfull......good combination...animation & colors... welldone guys...ok chow
Naw this is tight! I keep watching it waiting for him to trip.... See he could have trip'd while I'm typing this....
wow, nice work
man i knew you was awsome and could see the animation in your style vintage warner bros. keep it up bra!!!!
Bro weakness or not this is still really cool.There's alot of people that aren't at the level your at. Great work bro.
Awesome! Is it 2 frames ?
fuahhhh. cunnn !!
looks awesome I like it-nice colours, nice design and the animation is nice
Fuyooo!!! caya laa.. rasa cam berlari2 kat stiawan sambil pegang pedang jee


text:
American Heritage is proud to host the
National Portal to
Historic Collections
Recently added:
In association with the
American Association for State and Local History
"Save America's Treasures" has been totally eliminated—the largest Federal program supporting preservation of such treasures as the original Star Spangled Banner and George Washington's tent.
65% of Americans don't know what happened at the Constitutional Convention, according to a recent survey by Newsweek.
The "Teaching American History" grants—the largest Federal program supporting history education—have been completely eliminated.
Visits to the Top 20 Civil War battlefields have dropped in half from 1970 to 2009 according to official National Park Service statistics.
40% of Americans can't identify whom we fought in World War II, according to a recent survey by Newsweek.
A quarter of Americans believe Congress shares power over U.S. foreign policy with the United Nations, according to a recent Annenberg survey.
"There is little that is more important for an American citizen to know than the history and traditions of his country," John F. Kennedy wrote in American Heritage.
The "We the People Program," which touched some 30 million students and 90,000 teachers over 25 years, has been completely eliminated.
Two-thirds of Americans could not correctly name Yorktown as the last major military action of the American Revolution, according to a recent national Gallup survey.
The National Heritage Areas and Scenic Byways program, the only major Federal program encouraging visits to historic places, has been completely eliminated in Congressional committee.
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Hardbound, 8.5" z 11", facsimile
Notes on Confederate Uniforms and ways to distinguish among those used in the early, middle and late periods of the Civil War.
Softcover, 8.5" x 11", 103 p.
Small Confederate flag presented to a large cannon called "Widow Blakely." Flag bears 11 stars on field, should be 13 but 2 have been torn out leaving a hole in the blue field. A letter accompanied the small Confederate flag. The letter was written by D. R. McCutchen to his wife telling her to keep the flag for him until he returns from the war.
Cloth. L 20.0 W 39.3 cm
© Copyright 2011 American Heritage Publishing Company. All Rights Reserved.


text:
motor scooter
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text:
Calm Water front view by Fire-RedheadWatch
©2012-2016 Fire-Redhead
Finally completed my best sculpture to date! I initially was going to make this a Lava haired woman but given her serene expression and pose I went with water instead. Very pleased with the turn out.
Ceramic with water soluble oil paints.
Ceramic with water soluble oil paints.
Wow how did you make the waves like that I'd love to try that tehnicue out
Thanks! Well that's hard to describe...essentially I start out by building my figure bald. Then I slip and score wavy chunks onto the scalp (crimp with hands) and gradually build around the figure. Then for the texture I just pinch a few little balls of clay flat and stick them in areas where the "water" would be frothy. Easier demonstrated than written
Maybe you should do a companion piece with a more fiery expression and pose and the lava hair to contrast and complement this piece. Nice concepts either way.
Thank you! I intend to so a fiery one with a more intense glare and pose. I'd love to do the whole Elemental thing as a series.
wow amazing work
Beautiful! Yes, the water works well!
Oooh yeah, she DOES seem at peace in her element.
Like the position of her hands, I feel it does add to the overall impact.
Like the position of her hands, I feel it does add to the overall impact.


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Arizona Cardinals
Updated Dec 21, 2012 - 5:36 pm
Cardinals DC Horton says job interviews are 'win-win' for all involved
Arizona Cardinals defensive coordinator Ray Horton figures to be a fairly hot commodity with regards to head coaching jobs this offseason.
Horton, who interviewed for the St. Louis Rams opening last offseason before the team hired Jeff Fisher, is credited for transforming Arizona's defense from one of the worst units in the league to one of the best.
So it stands to reason at least a few teams with openings will take a look at Horton.
A guest of Arizona Sports 620's Doug and Wolf Thursday, Horton said an interview like the one he had with the Rams is valuable for for both sides.
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Topics include Johnny Manziel, the Presidential race, and the Super Bowl. It's sports news skewered
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Friday February 5
This Super Bowl is especially bittersweet for Cardinals fans
Larry Fitzgerald, Sr. - NFL Beat Writer
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Mr. Fitz gives props to the Super Bowl head coaches and gets us all excited for the big game


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Live updates
Paula Radcliffe arrives at stadium ahead of Olympic run
Scene is set for Olympic anniversary race
The scene is set for today's National Lottery Anniversary Race, which is taking place at the Olympic Park in Stratford, east London:
Morning everyone. It's the big day!!! You are going to be one of the first #backtothestadium
Not long now!! #backtothestadium http://t.co/st2t14ffVp
Radcliffe 'looking forward' to Olympic anniversary run
Paula Radcliffe, who missed out on competing at the London 2012 Olympics due to injury, said she is "looking forward" to the National Lottery Anniversary Run later today:
Looking forward to @tnlar #backtothestadium in the morning. Hydrate well guys and see you there!
Paula Radcliffe to compete at Olympic Stadium event
Marathon world record-holder Paula Radcliffe will run the first event to be staged at London's Olympic Stadium since the 2012 Games later today.
Radcliffe, who was unable to compete at the London Olympics due to injury, will join a host of sporting stars including Olympic gold medallists Sir Chris Hoy and Victoria Pendleton, who are more used to cycling than running.
They will be among the 12,500 people taking part in the five-mile (eight-kilometre) National Lottery Anniversary Run, in which competitors will complete the final 328 yards (300m) on the Olympic Stadium's track.
Radcliffe has predicted the event would "recapture the spirit of the London 2012".
Hoy: Froome will be 'frustrated' by doping questions
Sir Chris Hoy told ITV News Tour de France leader Chris Froome would be "frustrated" by the constant questions on doping but the recent scandal in athletics involving Asafa Powell and Tyson Gay showed the "testing procedures are working well".
He'll be frustrated by it. There's no doubt it must be incredibly frustrating. But his frustrations will be with the people who were cheating in the past not with people asking the questions, they have to ask the questions.
It's what the public want to know. They want to know is it possible? Are we looking at clean performances? Can we believe these current crop of athletes?
I like to think that with 99 per cent of them, you can. It is possible and yes there has been scandal in the last week with athletics and it is bad news for sport, for all sport but on the flip side think about the clean athletes.
At least they know they're getting the chance to compete on a level playing field, that the cheats are being caught. And it's a sign that the testing procedures are working well and there's nowhere to run - if you excuse the pun.
Sir Chris Hoy becomes Air Cadet Honorary Captain
The Ministry of Defence has announced that Britain's most successful Olympian Sir Chris Hoy is becoming an Ambassador and Honorary Group Captain for the Air Cadets.
Last week the six time Olympic champion announced his retirement from competitive cycling.
- ITV Report
Olympic great Sir Chris Hoy retires from cycling
Great Britain's most successful Olympian, Sir Chris Hoy, has announced the end of his illustrious cycling career.Read the full story ›
Chris Hoy's wife 'in awe' of his achievements
Chris Hoy's wife Sarra paid tribute to her partner on Twitter, writing:
Sarra, who married Hoy in Edinburgh in 2010, said they would be toasting his retirement later.She joked:
Cycling stars tweet tributes to Hoy
Sir @chrishoy has been an incredible ambassador for cycling, not only nationally but also globally. A huge inspiration throughout my career.
What a career for @chrishoy ! An true Inspiration and always up for a laugh!
All the best to @chrishoy in his retirement, place wont be the same without you! Inspiration to all..


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The second of Camp's Willowmere trilogy demonstrates her ability for drawing her readers into an intensely passionate and sexually charged romance. She pairs a confirmed bachelor with an innocent widow, adds touches of humor, blackmail and mayhem, and the result is a well-crafted, delightful read.
After the death of her husband, Eve Hawthorne eagerly accepts the position of chaperone to the Earl of Stewksbury's American cousins. Unbeknownst to Eve, the gentleman she had a slight flirtation with is the earl's brother, Fitzhugh Talbot, who escorts her to Willowmere. She must show Fitz that she is a respectable widow. Eve settles in as companion to her charges, but Fitz is a test to her emotions. Though innocent in the arts of seduction, Eve feels the physical attraction. It is not long before they discreetly start an affair. Soon Fitz realizes he wants her for his wife. When anonymous threatening letters arrive for Eve telling her to leave Willowmere, she and Fitz take action to see who and what is behind them. (POCKET STAR, Jun., 356 pp., $7.99)
Reviewed by:
Joan Hammond


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A Pixel Documentary
To all those who loved the original Nintendo and the pixel art it introduced us to, watch this. Here's an 11-minute documentary exploring the merits and impact of pixel art, animation and chiptune music. Interviews with: Jason Rohrer, Joe Brumm and Alex Yabsley By Simon Cottee httpv://www.youtube.com/watch?v=7mqAZ06dwKU&feature=player_embedded#!


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Narrow your search
You love the look and feel of old typewriters, but don't want to give up the comforts of modern technology. Meld the two with the Qwerkywriter keyboard.
Actor Tom Hanks recentlyy debuted a typewriter app for iPads called Hanx Writer. Since its release, Hanx has skyrocketed to the top of iTunes as the most downloaded app. In this Tech Minute, CNET's Kara Tsuboi explains the novelty of Hanx and recommends other typewriting apps to download, if you too crave a modern spin on that old fashioned clickety-click of the keys.
In just four days, Tom Hanks' Hanx Writer has rocketed to the top spot on the App Store's freebie chart.
Tom Hanks loves typewriters and wants to give iPad writers the feeling and sound of using a manual typewriter.
What happens when kids are asked to use a typewriter for the first time? The Fine Brothers find out in this latest "make us all feel old" video series.
Commentary: A proposal by Federal Communications Commission Chairman Tom Wheeler calls for cable companies like Comcast to "unlock the set-top box." Unlocking isn't enough. The box should die, once and for all, and be replaced by apps.
Russia's inner workings have reportedly been spooked by the rise of WikiLeaks and the Snowden revelations. So the Kremlin has reverted to something less technical, but more secure.
Matt Armstrong's detailed Lego brick creations run the gamut from telegraphs to ray guns. Is there anything he can't build?
It might seem like crowdfunding a portable word processor is very 1980s, but there's never been a better time for one. Plus, this "distraction-free digital typewriter" has a very modern twist.
On today's show we'll discuss Chicago's planned "smart corners" project, gasp at a Comic Sans typewriter, wonder why speedometers list illegal speeds and usher in the future of porn with Oculus Rift.


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Most Recent Articles in #reviews
First Impressions of the New Jupiter 3+ Lens: Tat Tsowritten by Lomography on 2016-01-29 in #gear #reviews
Subtle intimacy seems to be the principle behind Tat Tso's portraits. Each image is a capsule of a raw emotion or a candid fleeting moment, further defined by the lens' bokeh.2 11 Share Tweet
First Impressions of the New Jupiter 3+ Art Lens: Devin Blaskovichwritten by Lomography on 2016-01-27 in #gear #reviews #lomoamigos
New York based photographer Devin Blaskovich had the chance to be one of the first people to try the New Jupiter 3+ Art Lens. The result: a series of intimate, sensual, behind-closed-doors photos.2 10 Share Tweet
Winter in Vienna: First Impressions of the Lomo'Instant Widewritten by azinteimoori on 2016-01-25 in #world #reviews
I've been shooting analogue as long as I can remember but it wasn't until a few months ago that I was introduced to instant photography. So, you can imagine when I was given the chance to try out the recently introduced Lomo'Instant Wide, I "instantly" said yes and hit the streets of Vienna!2 4 Share Tweet
First Impressions of the New Jupiter 3+ Art Lens: Kiekowritten by Lomography on 2016-01-25 in #gear #lifestyle #reviews
Here's a quick chat with Kieko, a happy lomographer from Tokyo. She talks about her experience with the New Jupiter 3+ Art Lens and shares some of her photos.1 9 Share Tweet
There Are So Many More Reasons To Fall In Love With The Lomo'Instant Widewritten by pearlgirl77 on 2016-01-10 in #gear #reviews
In the first part of my Lomo'Instant Wide Review I already showed pictures you can take with the standard 90mm lens, the wide angle lens, the close-up lens, the splitzer and the remote control. But with all the other extras this camera can do so much more!4 Share Tweet
Lomo'Instant Wide - A Camera To Fall In Love Withwritten by pearlgirl77 on 2016-01-05 in #gear #reviews
I was really excited when I got to test the Lomo'Instant Wide recently. Nine packs of film and and one week later I can say: "This camera works really well and I am looking forward to my own Portobello Road Edition!"10 4 Share Tweet
CS Muncy Meets the Minitar 1 Lenswritten by Samantha Norman on 2016-01-02 in #people #reviews #lomoamigos
New York LomoAmigo CS Muncy freelances as a photojournalist for a broad and high-profile clientele. He has worked with Lomography on creative projects in the past, but he has yet to showcase his talent using the LC-A Minitar 1 Lens.9 Share Tweet
Long Exposures Around Europe with the Minitar-1 Art Lenswritten by antoniocastello on 2015-12-10 in #gear #lifestyle #locations #reviews
One of the things I like the most about the Minitar-1 Art lens is how sharp the focus can be when you shoot with a small aperture. So if you are one of those that like to shoot at night, get a tripod, add this to a late dark winter afternoon, and you will end up with a bunch of beautiful long exposures. This is what I did on my last trip to Europe.4 8 Share Tweet
11 Beloved Toy Cameraswritten by lomographymagazine on 2015-12-09 in #gear #reviews
For some, it marked their first foray into the wonderful world of analog photography. Others consider it a trusty, go-to camera despite having a massive camera collection which sometimes include some of the best gear there is. Whatever the case may be, toy cameras will always hold a special place in the hearts (and shelves) of analog photographers everywhere, quirks and all.17 Share Tweet
Reviews on Rewind: Lomography Ringflashwritten by lomographymagazine on 2015-11-27 in #gear #reviews
Looking for a reliable flash? Consider the Lomography Ringflash, which throws an even burst of light around your subject! We scoured the Magazine and found these community-written reviews for you to peruse.2 Share Tweet
Faaabii's First Impressions of the Minitar-1 Art Lenswritten by faaabii on 2015-11-16 in #gear #reviews
Faaabii took the Minitar-1 Art Lens on a trip through the city of Stuttgart and tested it with his analog and digital camera. In this review he describes his experience and shows his first results!11 Share Tweet
Six 35mm Vintage Rangefinderswritten by lomographymagazine on 2015-11-11 in #gear #reviews
We're back with another GAS-inducing camera listicle! This time, we're putting six notable vintage rangefinders under the spotlight.3 26 Share Tweet
Wilson Lee Explores Hong Kong with the New Russar+written by Lomography on 2015-10-24 in #gear #lifestyle #locations #reviews #lomoamigos
Wilson Lee is not new to Lomography. He has taken photos using the Petzval Lens, and produced stunning results. Before going back to London to finish his master's degree, he used the New Russar+ lens and Lomography Lady Grey film to preserve his memories of his hometown, Hong Kong, in black and white.2 Share Tweet
Explore Osaka with Yamanaka Yuko's AM Renaultwritten by Lomography on 2015-10-24 in #gear #lifestyle #locations #reviews #lomoamigos
As a core member of Yamanaka Yuko, a local hiking group based in Hong Kong, AM Renault is deeply in love with nature. He is also part of the creative photography group Six Dimen Boy and is good at intertwining photography with art and design elements -- making photos not only useful for documenting what we see, but also as a means to tickle the imagination. The young and talented AM tried out the New Russar+ lens while traveling in Japan with his father. He talks about his experience and shares the sights from his journey in this Lomography Magazine exclusive.3 Share Tweet
Lomo'Instant Wide First impressions: dopwritten by jillytanrad on 2015-10-23 in #gear #reviews
Diana, better known in the community as dop, had the rare opportunity of testing a Lomo'Instant Wide prototype. She recalls her experience in this brief interview.10 Share Tweet
10 Impressive 120/220 Cameraswritten by lomographymagazine on 2015-10-21 in #gear #reviews
A fair warning before you proceed: this post might induce GAS (gear acquisition syndrome)!6 22 Share Tweet
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The LC-Wide is definitely one of Lomography's must-have cameras. Its Minigon 1 Ultra-Wide-Angle lens adds a different flavor to your shots, on top of the stunning vignettes, intense colors and breathtaking saturation and contrast LC-A cameras are known for. The Lomography Team is no stranger to the LC-Wide's creative potential, and has proven it capable of the most captivating images. First on the list is danika, from the Lomography Headquarters in Vienna.6 Share Tweet
7 Charming Half-Frame Cameraswritten by lomographymagazine on 2015-10-07 in #gear #reviews
All photographers must have at least one half-frame camera in their arsenals, if we say so ourselves. Here's a list to kick start your quest for the perfect one.6 12 Share Tweet
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There is an assortment of applications you can use to scan your film, but I will tell you why you should be using SilverFast over all of the others. Its power is unrivaled, and once you get the hang of it, you will not want to go back.8 10 Share Tweet
LaserSoft Imaging's SilverFast Brings Your Scans to Life (Part 1)written by Robn Kester on 2015-09-29 in #gear #reviews #tipster
There is an assortment of applications you can use to scan your film, but I will tell you why you should be using SilverFast over all of the others. Its power is unrivaled, and once you get the hang of it, you will not want to go back.11 12 Share Tweet
Reviews on Rewind: Lomography Lady Grey 400 (35mm)written by Julien Matabuena on 2015-09-27 in #gear #reviews
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Reviews on Rewind: LomoChrome Purple (Part 2)written by Julien Matabuena on 2015-08-30 in #gear #reviews
With its surreal, psychedelic results that easily remind one of fairy tale-like wonderlands, the LomoChrome Purple has quickly grown to become one of the most popular emulsions in the community. We're giving you that extra push in the form of more community-penned reviews to finally try this film yourself, if you haven't.9 Share Tweet
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Jump from medium to instant format territory easily with this versatile shooter.3 5 Share Tweet
Lomopedia: Lomography Experimental Lens Kitwritten by Julien Matabuena on 2015-07-29 in #gear #reviews #videos
With this creative trio of lenses, micro 4/3 digital camera users can now explore various exciting photographic effects that analog photography enthusiasts have long been raving about—including taking multiple exposure shots!2 Share Tweet
The Beginning: Box Cameraswritten by Rafaello Palandri on 2015-07-23 in #gear #reviews
The history of cameras began in 1820, when Joseph Nicéphore Niépce invented a box camera prototype while working on a pinhole camera. Around 1870, in France, the very first box camera made its appearance on the market, even lacking a shutter mechanism: the photographer had to remove the lens cap to expose the photo.3 15 Share Tweet
Lomopedia: Vivitar EZ35written by Julien Matabuena on 2015-07-22 in #gear #reviews
The Vivitar EZ35 (not to be confused with the Vivitar EZ35 Colors) is a 35mm point-and-shoot camera reportedly produced by the California-based company Vivitar in the 1990s.6 Share Tweet
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With unpredictable results reminiscent of color images taken a few decades ago, Adox Color Implosion is for those looking to experiment with the look of their photographs.7 13 Share Tweet


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- When Bud does his mother's makeup to cover up the fact that she has turned color.
- Bill being the first character who gains any substantial character development after he realizes the only real happiness he ever feels only comes once a year when he gets to paint a *different* thing during Christmas.
- When Betty goes into the soda shop and Bill wipes off her makeup and tells her it's beautiful.
- When after Bud gets his color after punching out the creepy guys looking to assault Betty and the resulting tender moment between the two.
- When Bill looks at the book of artwork
Bill: Where am I going to see colors like that? Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are.
- When David and Bill wake up after painting all night and that inspirational music is playing as the townspeople talk about their mural.
- When Bud turns his own father color. Actually basically his entire speech in the courthouse. "There are so many things, that are so much better..."
Bud: I know you miss her, I mean, you told me you did. But maybe it's not just the cooking or the cleaning you miss. Maybe it's something else. Maybe you can't even describe it. Maybe you only know it when it's gone. Maybe it's like there's a whole piece of you that's missing too. Look at her, dad. Doesn't she look pretty like that? Doesn't she look just as beautiful as the first time you met her? Do you really want her back the way she was? Doesn't she look just wonderful? Now don't you wish you could tell her that?
- Even before that, when despite still being B&W and conflicted about things, the father still visits his son in jail. He even shares a cocktail olive with him.
- Bud's relationship with Margaret Henderson, particularly when he protects her from Whitey's taunts and when he calms her down during the riot. Solidified at the end, when she tells him not to forget about her as he's returning to his world.


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Discussion: (16 comments)
- Seattle Sam
Yes, you got that right. Diversity doesn't mean what Websters says it does. Diversity is the presence of lots of the "right" groups. Too many white males is not right. Too many women or blacks is right. And as Curtis Purington pointed out above, diversity clearly doesn't extend to viewpoints or thinking. That's because you clearly benefit by sitting next to or being taught by a diverse group of skin colors. You don't benefit by sitting next to or being taught by people whose viewpoints are actually diverse.
- Paul
"Too many white males is not right."
Ditto with Asians.
- Sprewell
I'm guessing their rationale would be that minorities and women are historically oppressed groups in the US. Therefore, if a minority now dominates the NBA, that must be the result of competition, ie the blacks are just better, whereas if white males still dominate journalism, that's probably the result of the old boy's club still raging along. There is some logic to such inferences, certainly one can't argue that blacks are conspiring to dominate the NBA or NFL when the majority of executives in those sports, the ones who hire the athletes, are white. The journalism conclusion is harder, as it's certainly possible that white males are either better at or just happen to congregate in journalism more, just as 80% of education majors are women. It's probably a mix of those benign reasons and perhaps some discrimination, as a majority of journalism majors these days are probably female, yet the profession is still dominated by males. With the upcoming death of all the newspapers and the rise of blogs these days, I suspect that imbalance will be corrected soon.
- Alan J.
I think you nailed it.
- Ron H.
The Institute for
Diversity and EthicsOver Representation of Minorities and Women In Sports
- Krishnan
"Diversity is whatever we say it is. NBA Players? No problem – the composition of the team is a reflection of pure meritocracy. The NBA front offices and elsewhere? The fact that it does not have the same composition as that of the players is evidence of racism. Anywhere there is disparate representation – it is evidence of racism – except when we say it is not"
Wow so 4 men: 2 black males, a jewish male and potentially another jewish male stands in authority to judge grades for diversity. This type of blatant hypocrisy should destroy any credibility.
- Toads
Prof Perry asked :
Did I get that right?
Yes, you got that right. Why are you still expecting them to have a problem with being hypocritical?
You seem to think they care about fairness. When will you learn that they do not?
- Bob Smith
"one can't argue that blacks are conspiring to dominate the NBA or NFL when the majority of executives in those sports, the ones who hire the athletes, are white"
True, but there still is the assumption that white players can't play. That infects football too, in most positions. There have been interviews where white players have said they were told straight up they weren't going to be hired. Were such motives used to not hire blacks, it would be evidence of illegal discrimination.
Those attitudes can be a great resource for your team, if you're willing to avoid them. Look at how good the New England Patriots have been for years now, by picking up discarded white players from other teams and forging them into a perennial super bowl contender. Naturally, they are derided as an allegedly racist team.
- Benjamin Cole
And how many Asian female refs are there in the NBA? Should they not get an "F" in this regard?
Really, this is too silly to warrant comment.
I hate racism, or religious hatred, or sexism (including bashing white males).
The NBA also discriminates against short white women, btw. Not a one on the courts.
- Chad
So should the US prison population get an A rating since 64% of that population is non-white?
- juandos
Diversity = Faux White Guilt Syndrome
- gkim
So according to this logic, the NAACP is the most diverse group EVAH!
Comments are closed.


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Managed Services
Dependable computer network maintenance and IT Management services for businesses throughout Northwest Ohio & Southeast Michigan
Fed Up With Computer Problems? Why can't I get IT support that doesn't cost a fortune? Have you ever said that?
IT Support and IT Management from Computer Programming Unlimited is the answer, bringing predictability and reliability to your technology in Perrysburg, Maumee, Toledo and throughout Northwest Ohio & Southeast Michigan.
With Managed Services from Computer Programming Unlimited you can expect us to:
- Fully consider your business, budget and your expectations to give you the IT Support Services you want, NOT what we want.
- Prevent potential disasters in computer support such as data loss and downtime from occurring, instead of reactively dousing the fire.
- Ensure each and every IT Consulting recommendation we make, by offering a 100% guarantee.
We can show you how our IT Support and IT Management plans can change the way you think about technology.
Computer Programming Unlimited is your partner in making sure your technology meets the unique needs of your business. Assisting businesses in Perrysburg, Maumee, Toledo, Rossford, Bowling Green, Sylvania and throughout Northwest Ohio & Southeast Michigan, our strategic computer network maintenance solutions and IT Management can help you get the highest return on your technology investment.
Whether your business is in need of network consulting and systems management services, network maintenance services, IT support, computer wireless networking installation, network and server support, remote & on-site support, or IT management services, we can take care of it.
As experts in the technology industry, we can help you optimize your IT investment, reduce technology-related stress and bring your focus back to your core business. When you have a reliable partner in computer network maintenance and IT Support, you can get back to running your business.
Critical Characteristics You Should Demand From Your Computer Consultant
If you are a small business owner looking for computer support then it's critical that you get and read this small business advisory: An Insider's Guide to Choosing an Honest, Reliable, and Competent Computer Repair Technician.


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Watch | Read | Learn
Primer manuals
Written by Kris Hammerberg, the Primer is intended to be the ultimate starting point for new users of EvoluteTools, as well as a reference for more experienced users. Download now!
This Primer is also available in Simplified Chinese, download now!
|Written by Marko Tomicic, the aim of this Primer is to introduce you to the new possibilities within the EvoluteTools scripting interface and to show you how to take advantage of them. Complete with example scripts. Download now !
Tutorial videos | more coming up...
请浏览中国大陆服务器上的视频 Technology preview, a brief video presenting the workflow and some of the Plugin features.
Basic optimization for meshes.
Surface reconstruction from noisy data acquired with a 3D scanner.
Ballpacking/CirclePacking optimization example.
Developable strips optimization for boat hulls.
Introduction to EvoluteTools, basic video explaining how to install and the basic funtionality.
Basic optimization and coarse mesh creation tips.
请浏览中国大陆服务器上的视频TSplines+EvoluteTools workflow presentation.
TSplines+EvoluteTools webinar recording.
Panelize the YAS Marina Hotel with EvoluteTools webinar recording.
请浏览中国大陆服务器上的视频This video deals extensively with the subdivision tools included in EvoluteTools for Rhino, including multiscale subdivision and mesh modeling and local subdivision rules.
Basic to advanced optimization example.
请浏览中国大陆服务器上的视频Coplanarity optimization example.
TSplines+EvoluteTools webinar follow-up video.
Rhino Example Files
Download and play with the example files used in the tutorial videos :
Learn more about KREOD's geometry
KREOD is an innovative architectural sculpture, organic in form, environmentally-friendly and inspired by nature. Resembling three seeds, these three 20m2 pods combine through a series of interlocking hexagons to create an enclosed structure that is not only magnificently-intricate but secure and weatherproof. KREOD functions beautifully both as an architectural landmark and an imaginative exhibition space – its three pods can be combined in a variety of configurations or installed as free-standing forms.
Download the PDF poster (37 Mb) to read more about KREOD's design story.


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February 13, 2016
In Okemos, Dr. Dennis Perry at Meridian Primary Care, a partner of McLaren-Greater Lansing, is treating poison ivy this week.
The hallmark symptom is an itchy, red, raised rash that often appears in lines or streaks. The rash forms blisters that break open and ooze fluid, eventually crusting over.
You may also have localized swelling, and a feeling of warmth at the exposed area.
Most cases of poison ivy can be treated at home.
Wash the skin as soon as possible with soap and hot water.
Take an oral antihistamine, and put cold compresses on the affected area. Try not to scratch.
A serious case of poison ivy should be seen by a doctor.
Without treatment, the rash usually lasts about 10 days to three weeks.
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