Le cornichon de Noël (en anglais , en allemand ) est une décoration de Noël en forme de cornichon. Elle est liée à une tradition américaine, prétendument d'origine allemande, qui consiste à cacher cette décoration dans un sapin de Noël.

Tradition

Aux États-Unis

La tradition du cornichon de Noël est surtout présente dans le Midwest américain, où un nombre significatif d'habitants ont des origines allemandes.

Cette décoration est la dernière placée dans un sapin décoré, le soir du réveillon de Noël, de manière à être cachée parmi les épines. Le premier enfant qui la découvre reçoit un cadeau supplémentaire, peut déballer ses cadeaux en premier, et/ou reçoit de la chance pour l'année à venir.

La ville de Berrien Springs dans le Michigan s'autoproclame « capitale mondiale du cornichon de Noël ». Il s'y tient un festival au début du mois de décembre, avec une parade, lors de laquelle sont distribués des cornichons frais.

En Allemagne
Contrairement à l'idée reçue aux États-Unis, cette tradition n'est pas populaire en Allemagne : en , l'entreprise de sondage internationale YouGov recense que sur 2057 Allemands interrogés, 91% ne connaissent pas cette tradition. Néanmoins, depuis le milieu des années 2010, la vente de décoration en forme de cornichons s'est développée en Allemagne, sous l'influence des Etats-Unis.

Origines supposées
Plusieurs hypothèses, plus ou moins plausibles, permettent d'expliquer l'origine de cette tradition, soi-disant allemande.

Une explication populaire fait le lien entre la tradition et l'histoire d'un soldat d'origine bavaroise, John Lower, combattant du côté de l'Union lors de la guerre de Sécession américaine. Capturé et emprisonné dans le camp confédéré d'Andersonville, en Géorgie, il tombe malade et, affamé, il supplie ses geôliers de le nourrir. Un garde lui donne un cornichon, lui permettant de survivre. À la fin de la guerre, libéré, il instaure la tradition du cornichon de Noël, afin de se souvenir de cette épreuve. Néanmoins, cette version n'a pu être authentifiée.

Une seconde légende, originaire de Berrien Springs, veut que deux garçons espagnols aient été enfermés dans un tonneau de cornichons par un aubergiste, sur le chemin du retour de l'internat pour Noël. Ils sont sauvés par saint Nicholas, qui tape le tonneau avec sa lance.

L'explication la plus vraisemblable est que les Américains ont tendance à associer tout type de décoration de Noël avec l'Allemagne. En effet, jusqu'à la fin du , la fête de Noël et la décoration du sapin sont surtout réservées aux riches immigrés anglais et allemands, avant d'être adoptées par la population américaine de façon plus large. Dans les années 1880, un commerçant du nom de Frank Winfield Woolworth commence à vendre des décorations de Noël, dont une partie était importée d'Allemagne. De plus, en , des artisans de la ville de Lauscha, dans l'actuel Land de Thuringe, commencent à produire des décorations en verre () en large quantité, en forme de fruits et de noix, exportées en Europe et aux États-Unis : une partie a pu être en forme de cornichon.

Notes et références

Références

Voir aussi

Articles connexes

 Noël
 Noël en Allemagne
 Décorations de Noël

Tradition
Décoration de Noël

Cornichon de Noël


Le col de Rossatière est un col autoroutier des Terres froides situé dans le département de la Isère. Ce col de l'autoroute A48 se trouve à  d'altitude.

Géographie

Le col marque approximativement la limite administrative entre les communes de Bizonnes à l'ouest et de Châbons à proximité du hameau de cette dernière commune dont il a reçu le nom.

Ce passage, positionné au sud du plateau des Terres froides est situé au niveau du PK57 ce qui permet à l'autoroute de relier la trouée de Colombe, qui est une vallée sèche au sud, à la vallée de l'Hien, affluent de la Bourbre.

Si l'altitude du col est évaluée à  par l'IGN, le panneau autoroutier indique . Depuis 2019, une station météorologique est installée au niveau du col à Bizonnes, à une altitude de .

Histoire
Il est tombé plus d'un mètre de neige du 8 au . Les fortes précipitations sur ce secteur, conjuguées aux fortes pentes (5 %) de l'autoroute, peuvent entraîner des situations de blocage du trafic routier. Un incident identique a frappé ce même col dans des conditions similaires en novembre 2013.

Notes et références

Voir aussi

Articles connexes
 Autoroute A48 (France)
 Terres froides

Rossatière
Rossatière

Col de Rossatière


Noget med mennesker er en dokumentarfilm instrueret af Marianne Kjær, der også har skrevet filmens manuskript.

Handling
Et billede af arbejdet som hjemmehjælper, der viser de vigtigste sider af den opgave, det er at yde god bistand, pleje og omsorg til andre mennesker. Samarbejdet mellem borger og hjælper vises – og hvor afgørende det er, at hjælperen har de rette personlige forudsætninger og er åben overfor det menneske, der skal hjælpes. Hvordan er det at være fremmed i andre menneskers hjem og samtidig være deres hjælper? Forskelle og ligheder i de gamles livsformer, kultur og familiemønstre kommer også klart frem.

Referencer

Eksterne henvisninger

Danske film fra 1991
Dokumentarfilm fra Danmark

Noget med mennesker


Star+ (estilizado como ST★R+) é um serviço de vídeo sob demanda da The Walt Disney Company lançado na América Latina em 31 de agosto de 2021. Além de conteúdo original produzido na região e séries lançadas exclusivamente na plataforma, o Star+ também distribui de forma exclusiva filmes cinematográficos de seus estúdios de produção após sua exibição nos cinemas.

Filmes

Lançamentos regionais exclusivos
Filmes lançados regionalmente em países da América Latina e distribuídos pela Buena Vista International/Star Distribution.

20th Century Studios

Searchlight Pictures

Ver também
 Lista de programas originais do Star+

Notas

Referências

Listas relacionadas à Internet
Listas de filmes

Lançamentos exclusivos

Lista de lançamentos cinematográficos exclusivos do Star+


ව්‍යවහාරික කලාව යනු එදිනෙදා භාවිතා කරන යම් වස්තුවකට නිර්මාණයක් සහ රසඥතාවයක් යෙදීමයි. එය ලලිත කලායන් නරඹන්නාගේ සහ ශාස්ත්‍රඥයින්ගේ ප්‍රාඥ උත්තේජනයක් යන අයුරින්ම මෙම ප්‍රායෝගික කලාවෙන්ද පාවිච්චියට ගනු ලබන දෑ එනම් කෝප්ප, සඟරා හෝ උද්‍යාන බංකු වැනි උපකරණවලට සංයුක්ත නිර්මාණයක් සහ නිර්මාණාත්මක සිතුවිලි එක්කරයි.

කාර්මික නිර්මාණකරණය, චිත්‍රක නිර්මාණකරණය, මෝස්තර නිර්මාණකරණය, අභ්‍යන්තර නිර්මාණකරණය සහ සැරසිලි කලාව වැනි ක්ෂේත්‍ර ව්‍යවහාරික කලා ගණයට අයත්ය. එසේම නිර්මාණාත්මක හෝ භාවාත්මක සංදර්භයක දී ගෘහ අලංකරණය සහ ඡායාරූපකරණය වැනි ක්ෂේත්‍ර ද ප්‍රායෝගික කාලවන් සේ සැලකේ. අධ්‍යාපනයේ සමහර අංශ එනම් ඉගැන්වීම වැනි දෑ ද ප්‍රායෝගික කලාවන්සේ හඳුනාගෙන ඇත. තවද ප්‍රායෝගික කලා ක්ෂේත්‍ර‍යන් බොහෝමයක් තුළ අන්තර්ගත වී ඇත්තේ ව්‍යවහාරික විද්‍යාවේ ඇති ක්‍රම හා තාක්ෂණයන් වීම ද සුවිශේෂත්වයකි.

ව්‍යවහාරික කලාව


Viktor Yanukoviç ( / Viktor Fedoroviç Yanukoviç, ; d. 9 Temmuz 1950), Ukraynalı politikacı ve Ukrayna'nın 4. cumhurbaşkanı.

Ukrayna-Avrupa Ortaklık Anlaşması'nı reddeden Yanukoviç, 2014 Ukrayna Devrimi'nde görevden alındı. Günümüzde Rusya'da sürgünde yaşamaktadır. Yanukoviç, 1997'den 2002'ye kadar Ukrayna'nın doğusundaki bir eyalet olan Donetsk Oblastı'nın valisi olarak görev yaptı. 21 Kasım 2002'den 7 Aralık 2004'e ve 28 Aralık 2004'ten 5 Ocak 2005'e kadar Cumhurbaşkanı Leonid Kuçma'nın başkanlığında Ukrayna Başbakanıydı. Yanukoviç ilk olarak 2004 yılında cumhurbaşkanlığına adaylığını koymuştu: ikinci tur seçimlere yükseldi ve başlangıçta eski Başbakan Viktor Yuşçenko'ya karşı galip ilan edildi. Ancak seçim, seçim sahtekarlığı ve seçmene gözdağı verme iddialarıyla doluydu. Bu, yaygın vatandaş protestolarına neden oldu ve Kiev'in Bağımsızlık Meydanı, Turuncu Devrim olarak bilinen olayda işgal edildi. Ukrayna Yüksek Mahkemesi ikinci tur seçimleri iptal etti ve ikinci tura karar verdi. Yanukoviç, bu ikinci seçimi Yuşçenko'ya kaybetti. Cumhurbaşkanı Yuşçenko'nun başkanlığında 4 Ağustos 2006'dan 18 Aralık 2007'ye kadar ikinci kez Başbakan olarak görev yaptı.

Yanukoviç, 2010 yılında Başbakan Yulya Timoşenko'yu yenerek cumhurbaşkanı seçildi. Seçim, uluslararası gözlemciler tarafından özgür ve adil olarak değerlendirildi. Kasım 2013'te onun devlet başkanı olarak görevden alınmasına yol açan bir dizi olayın başlangıcına tanık oldu. Yanukoviç, beklemede olan bir AB ortaklık anlaşmasını reddederek, bunun yerine bir Rus kredi kurtarma paketini ve Rusya ile daha yakın ilişkileri sürdürmeyi tercih etti. Bu kararı, protestolara ve Ukrayna'yı Avrupa Birliği'ne uyumlu hale getirme taraftarları tarafından "Euromaidan" olarak adlandırılan bir dizi olay olan Kiev Bağımsızlık Meydanı'nın işgaline yol açtı. Ocak 2014'te bu, Ukrayna vatandaşları Berkut ve diğer özel polis birimleriyle karşı karşıya geldiğinde Bağımsızlık Meydanı'nda ve Ukrayna'nın diğer bölgelerinde ölümcül çatışmalara dönüştü. Şubat 2014'te, protestocular ve özel polis güçleri arasındaki şiddetli çatışmalar birçok ölüme ve yaralanmaya yol açtığı için, Ukrayna iç savaşın eşiğine geldi. 21 Şubat 2014'te Yanukoviç, uzun tartışmalardan sonra muhalefetle bir anlaşmaya vardığını iddia etti. Ancak o günün ilerleyen saatlerinde, Kiev'den ayrılırken arabasına ateş edildiğini ve Kırım yakınlarında seyahat ettiğini ve sonunda güney Rusya'da sürgüne gönderildiğini söyleyerek başkentten Harkiv'e gitti.

22 Şubat 2014'te Ukrayna parlamentosu, Yanukoviç'i görevden almak için oy kullandı. Parlamento, Yanukoviç'in yerine geçecek kişiyi seçmek için özel seçim tarihi olarak 25 Mayıs'ı belirledi, ve iki gün sonra, Yanukoviç'i "sivilleri toplu olarak öldürmekle" suçlayarak tutuklama emri çıkardı." Yanukoviç, ayrılmasından sonra birkaç basın toplantısı düzenledi. Bunlardan birinde, kendisinin "Ukrayna vatandaşları tarafından oylamayla seçilen Ukrayna devletinin meşru cumhurbaşkanı" olarak kalacağını ilan etti. 18 Haziran 2015'te Yanukoviç, Ukrayna'nın Verkhovna Rada'sı (Ukrayna parlamentosu) tarafından resmen Ukrayna devlet başkanı unvanından mahrum edildi. 24 Ocak 2019'da bir Ukrayna mahkemesi tarafından vatana ihanetten gıyaben on üç yıl hapis cezasına çarptırıldı.

Görevden ayrılmasından bu yana yapılan anketlerde Yanukoviç, Ukrayna tarihinin en kötü başkanlarından biri olarak görülüyor.

Yaşamı

Siyaset öncesi
Viktor Yanukoviç, 1950 yılında Donetsk Oblastı' nın Yenakiieve şehri yakınlarındaki Hukovka köyünde, Belarus ve Polanyalı kökenlerine sahip lokomotif makinisti bir baba ile Rus kökenli hemşire bir annenin çocuğu olarak doğdu. Genç yaşta anne ve babasını kaybeden Yanukoviç, Varşova' da babaannesi tarafından büyütüldü. 1980 yılında Donetsk Millî Teknik Üniversitesi'nden otomobil mekanik mühendisi olarak mezun oldu. Ulaştırma şirketinde şef ve sonrasında yöneticilik görevlerinde bulundu.

Siyasi hayatı
Yanukoviç'in, 1996 yılı Ağustos ayında Donetsk Oblastı vali Yardımcısı olmasıyla siyasi kariyeri başladı. 1997'den 2002 yılına kadar Donetsk Oblastı'nın temsilci valisi olmuştur. Leonid Kuçma'nın cumhurbaşkanlığı döneminde, 21 Kasım 2002'den 31 Aralık 2004 tarihine kadar bağımsız partili olarak başbakanlık görevinde bulundu. 19 Nisan 2003 tarihinde Bölgeler Partisi lideri oldu. 2004 Ukrayna Cumhurbaşkanlığı seçimleri'nde galip gelmiş ancak rakibi Viktor Yuşçenko'nun seçimlere hile karıştırıldığı iddiası üzerine Yuşçenko taraftarları başkent Kiev'de gösterilere başlamış ve Turuncu Devrim olarak adlandırılan süreçte seçimler iptal edilmiştir. 2005 yılında yenilenen seçimi kaybeden Yanukoviç, 23 Mart 2006 yılında yapılan seçimleri kazanarak Başbakan oldu. 4 Ağustos 2006-18 Aralık 2007 tarihleri arasında başbakanlık görevinde bulundu. Başbakanlığı döneminde dönemin batı yanlısı Cumhurbaşkanı Viktor Yuşçenko ile olan çekişmesi nedeniyle "2007 Ukrayna Krizi" patlak vermiş ve erken seçime gidilmesi kararı alınmıştır. 30 Eylül 2007 seçimlerinde başkanı olduğu "Bölgeler Partisi" %32,14'lük oy oranıyla 1. parti olmasına rağmen muhalefetin Yuliya Timoşenko başkanlığında hükûmet kurması üzerine görevi sona ermiştir.

2010 yılı Ocak ayı Cumhurbaşkanlığı seçiminde %35 oy alarak ikinci tura çıkmış, 7 Şubat 2010 tarihinde ise %49 oy alarak Ukrayna'nın Cumhurbaşkanı seçilmiştir. 25 Şubat 2010 tarihinde ise yemin ederek görevine başlayan Yanukoviç'ın Kasım 2013'te AB ile "Ortaklık ve Serbest Ticaret Anlaşması"'nı imzalamaması üzerine Ukrayna'daki AB yanlısı muhalefet Kiev'de protesto gösterilerine başlatmıştır. Yanukoviç'in Rusya ile yakınlaşma kararıyla protesto gösterileri hemen hemen tüm Ukrayna'ya yayılmış, protestocularla güvenlik güçleri arasında yaşanan çatışmalar ve şiddet olayları sonrasında Yanukoviç, Şubat 2014'te Rusya'ya kaçmak zorunda kaldı.

Kişisel aşırılıklar
Yanukoviç, başkentten kaçtığında büyük mülkü Mezhyhirya malikanesini terk etti. Mezhyhirya malikanesi, Kiev'in eteklerinde eski bir orman koruma alanında yer almaktadır.

Eleştirmenlere göre, mülkü 2007 yılında karmaşık bir dizi şirket ve işlem yoluyla satın almıştı. Yanukoviç, "çok ciddi bir bedel" olarak nitelendirmesine rağmen ödediği bedeli açıklamadı. Mezhyhirya'nın 75 milyon ABD dolarından fazla satıldığı tahmin ediliyor.

Polis ve güvenliğin Kiev'deki görevlerinden ayrılmasının ardından protestocular, eski cumhurbaşkanının ofisine ve evine karşı konulmaz bir şekilde yürüdüler. Protestocular hükûmet binalarına ve başkanlık malikanesine ve mülküne serbest erişime sahipti. Özel bir hayvanat bahçesi, bir araba filosu ve büyük bir tekne de dahil olmak üzere, bulduklarının zenginliği ve savurganlığı karşısında hayrete düştüler.

Mülkiyet özel bir hayvanat bahçesi, yeraltı atış poligonu, 18 delikli golf sahası, tenis ve bowling salonunu içeriyordu. Makalenin yazarı, konağın karmaşık mülkiyet planını açıkladıktan sonra, "Viktor Yanukoviç'in ve ikametgahının hikayesi bir paradoksu vurgulamaktadır. İnsan hakları ve demokrasi gibi Avrupa değerlerini tamamen reddeden Ukrayna cumhurbaşkanı, Avrupa'yı kirli parasını cezasızlıkla saklamak için bir yer olarak kullanıyor." dedi.

Yanukoviç'in evinden alınan belgeler, diğer harcamaların yanı sıra balıklar için 800 dolar tıbbi tedavi, masa örtüleri için 14.500 dolar ve aydınlatma armatürleri için yaklaşık 42 milyon dolarlık bir sipariş yapıldığını gösterdi. Ayrıca, Yanukoviç'in düşmanları olarak algılanan, özellikle de kurban Tetyana Chornovol da dahil olmak üzere medya mensupları hakkındaki dosyalar da ele geçirildi. Kitle iletişim araçlarını izlemenin maliyetinin yalnızca Aralık 2010 ayı için 5,7 milyon dolar olduğu bildirildi.

Viktor Yanukoviç malikaneden ayrıldığında geride 35 araba ve yedi motosiklet kalmıştı. Kiev Bölge Mahkemesi, 2016 yılında Mezhyhirya'da bulunan filodan bazıları 1 milyon ABD dolarından fazla değere sahip 27 eski model arabaya el koydu.

Özel hayatı
Evli ve iki çocuk sahibi olan Yanukoviç'in küçük oğlu Viktor Yanukoviç, 24 Mart 2015 tarihinde Baykal gölünde kırılan buzun içine düşerek ölmüştür.

İç bağlantılar
 Turuncu Devrim
 Viktor Yuşçenko

Kaynakça

Dış bağlantılar
 Yanukoviç'in 2006'da başbakan olduktan sonraki ilk ziyareti, Rusya

1950 doğumlular
Ukrayna başbakanları
Ukrayna devlet başkanları
Yaşayan insanlar
Haydar Aliyev Nişanı sahipleri

Viktor Yanukoviç


Louise Joy Brown (født 25. juli 1978) er en engelsk kvinde, der er kendt som verdens første "reagensglasbarn", hvor befrugtningen af moderens æg skete uden for kroppen i et reagensglas.

Fødsel
Hun blev født på Oldham General Hospital i Manchester, Storbritannien. Ved planlagt kejsersnit, leveret af registrator John Webster, kom Louise til verdenen kort før midnat, og hendes ankomst skabte internationale nyhedsoverskrifter. Louises mål var 5 pund og 12 oz ved hendes fødsel.

Forskning
Siden 1968 havde doktor Robert Edwards og doktor Patrick Steptoe forsket i fertilitetsmetoder, der indgik inseminering og in vitro-befrugtning, kaldet IVF.

IVF blev betragtet som uetisk af mange religiøse grupper, og de læger, der praktiserede denne metode til befrugtning, blev ofte udsat for anklager om at "lege gud". Ikke desto mindre er der siden Louises fødsel i 1978 blevet undfanget over en million børn ved hjælp af IVF.

Senere liv
Louise bruger ikke beskrivelsen "reagensglasbaby" om sig selv. Hun har afvist adskillige tilbud fra avis- og tv-journalister om at sælge hendes historie, men hun er stadig stolt af sin personlige rolle i udviklingen af lægevidenskaben.

På trods af hendes dengang usædvanlige start på livet har hun formået at føre et beskedent liv. I 1999 blev hun ansat på en planteskole i Bristol.

Familie
Hendes lillesøster, Natalie, blev også undfanget med IVF. Natalie, der blev født fire år efter Louise, var det første "reagensglasbarn" til selv at føde. Hendes barn kom til verden naturligt.

Kilder

Personer fra Storbritannien

Louise Brown


Lagunimages est le premier festival de film béninois. Le festival est créé en 2000 par Monique Mbeka Phoba. Lagunimages est une biennale qui organise des projections gratuites de films et de documentaires pour le public, dans des salles de cinéma ou en plein air. La fondatrice qui veut quitter définitivement le Bénin pour rentrer chez elle en Belgique, met en place une association : l'association Lagunimages dont l'objectif principal est de continuer l'organisation des futures éditions de la biennale festival Lagunimages. Christiane Chabi Kao est à la tête de cette association depuis sa création en 2007. L'association Lagunimages organise également des ateliers et des formations pour les professionnels de l'audiovisuel (réalisateurs, producteurs, techniciens, etc.). Pendant l'année entre les festivals, des projections sont organisées dans les écoles et les hôpitaux. L'édition 9 du festival s'est tenu à Cotonou du 30 novembre au 11 décembre 2020 sous le thème « Cinéma et tourisme, un duo gagnant ». Au cours de son lancement, la présidente de l'association rappelle la quintessence du festival en disant :

Références

Article connexe
 Elvire Adjamonsi

Lagunimages


Esbach ist ein Gemeindeteil der Stadt Herrieden im Landkreis Ansbach (Mittelfranken, Bayern).

Geographie
Beim Weiler entspringt der Steinbach, der ein linker Zufluss des Käferbachs ist, der wiederum ein linker Zufluss der Altmühl ist. Im Norden und im Südosten jenseits der Bundesautobahn 6 grenzen Gewerbeflächen an. Im Westen liegt das Steinbacher Holz, im Südwesten der Burgerwald. Gemeindeverbindungsstraßen führen nach Regmannsdorf (0,8 km südlich), Steinbach (1 km westlich) und zur Staatsstraße 2248 bei der Anschlussstelle 51 zur A 6 (0,6 km nordöstlich).

Geschichte
Wohl aus dem Erbe der Dornberger besaßen 1388 die Herren von Heideck Güter in Esbach.

1736 regelte ein Vertrag zwischen Brandenburg-Ansbach und Eichstätt strittige Fragen um Ansprüche im jeweils fremden Territorium. Hierbei wurde anerkannt, dass Esbach zwar innerhalb der ansbachischen Fraisch lag, aber die Dorf- und Gemeindeherrschaft dem eichstättischen Stiftskapitel Herrieden zustand.

Gegen Ende des Alten Reiches, im Jahr 1800, gab es in dem Weiler sechs Haushalte, die alle dem eichstättischen Stiftskapitel Herrieden untertan waren.

Im Königreich Bayern wurde Esbach im Zuge des Gemeindeedikts (frühes 19. Jahrhundert) dem Steuerdistrikt und der Ruralgemeinde Neunstetten zugeordnet und gehörte damit zum Landgericht und Rentamt Herrieden. Mit Neunstetten wurde Esbach im Zuge der Gebietsreform in Bayern zum 1. Januar 1972 nach Herrieden im Landkreis Ansbach eingemeindet.

Einwohnerentwicklung

Religion
Der Ort ist römisch-katholisch geprägt und nach St. Vitus und Deocar (Herrieden) gepfarrt. Die Einwohner evangelisch-lutherischer Konfession sind nach St. Laurentius (Elpersdorf bei Ansbach) gepfarrt.

Literatur

Weblinks

Fußnoten

Ortsteil von Herrieden
Ort im Landkreis Ansbach
Weiler in Mittelfranken

Esbach (Herrieden)


Roskilde Avis, grundlagt 1829, var et dansk dagblad, der blev udgivet frem til 1954. Avisen var den første i Roskilde og blev udgivet af Johan Henrich Tauber Gjemsøe fra 1829 til 1831. Avisen blev fra 1831 udgivet af læge Jørgen Broberg og efterfølgende udgivet af bogtrykker Johan David Chr. Hanson fra 1832 til 1860. Fra 1861 til 1884 blev avisen udgivet af H.A. Müller og derefter af Georg Christensen frem til 1918. Fra 1918 til 1919 af H. Winkel, A.L. Thomassen frem til 1923, journalist C.C. Steen Rasmussen frem til 1930, forretningsfører Th. Hald fra 1931 til 1944, journalist Svend Jacobsen fra 1935 til 1954. Avisen blev i 1954 udgivet af journalist Karl Jacobsen.

Historie
Roskilde avis fik en sløv start som avis, men vandt fremgang under Hanson, som var en dygtig bogtrykker. Hanson satsede på at, at avisens indhold skulle være lokalt og alment samt på annoncer i avisen. Samtidig var Roskilde hovedsæde og mødested for øernes stænderforsamling, hvilket skabte en livlig offentlig debat.
Under Müeller skete der en positiv udvikling for avisen, både teknisk, redaktionelt og oplagsmæssigt. Fra 1870'erne udgjorde daværende konkurrenter en betydelig trussel for avisen i landdistrikterne, mens avisen fortsat dominerede i byen. Under Georg Christensen var avisen politisk aktuel og forbundet med det bedre borgerskab og samtidig en god forretning. Indtil 1. Verdenskrig var avisen en succesfuld forretning, men stagnerede i 1920'erne, da venstrebladende kom til byen og fra 1930 var avisen derfor økonomisk udfordret.

Navnevarianter
 Avis for Roeskilde Bye og Omegn (1829-1833)
 Roeskilde Avis og Avertissementstidende (1833-1857)
 Roskilde Avis (1858-1954)

Referencer

Eksterne henvisninger
 Digitaliserede udgaver af Roskilde Avis i Mediestream
 Roskilde Avis i opslagsværket "De Danske Aviser"

Aviser fra Danmark
Etableret i 1829

Roskilde Avis


Wigtownshire or the County of Wigtown (, ) is one of the historic counties of Scotland, covering an area in the south-west of the country. Until 1975, Wigtownshire was an administrative county used for local government. Since 1975 the area has formed part of Dumfries and Galloway for local government purposes. Wigtownshire continues to be used as a territory for land registration, being a registration county. The historic county is all within the slightly larger Wigtown Area, which is one of the lieutenancy areas of Scotland and was used in local government as the Wigtown District from 1975 to 1996.

Wigtownshire forms the western part of the medieval lordship of Galloway, which retained a degree of autonomy until it was fully absorbed by Scotland in the 13th century. In 1369, the part of Galloway east of the River Cree was placed under the control of a steward and so became known as the Stewartry of Kirkcudbright. The rest of Galloway remained under the authority of a sheriff, and became known as the Shire of Wigtown, or Wigtownshire. The area was also sometimes called West Galloway (). The county town was historically Wigtown, with the administrative centre moving to Stranraer, the largest town, following the creation of Wigtownshire County Council in 1890.

History
The 11th-century ex-King of Dublin and Mann, Echmarcach mac Ragnaill, had the title , "King of the Rhinns", attributed to him on his death in 1065 AD. The western sections of Galloway had been firmly aligned with the Isle of Man, and Norse and Gaelic-Norse settlement names from the 10th and 11th centuries are spread all along the coastal lands of south-western Scotland. These coastal lands became the sub-kingdom or semi-autonomous Lordship of Galloway. Following the death of Lord Alan of Galloway in 1234 the area was fully brought under the control of the Scottish crown. In 1369 Archibald the Grim, Earl of Douglas, was given the part of Galloway east of the River Cree, where he appointed a steward to administer the area, which became known as the Stewartry of Kirkcudbright. The following year, he acquired the rest of Galloway west of the Cree, which continued to be administered by the king's sheriff, and so became known as the Shire of Wigtown. This led to the local custom of referring to Kirkcudbrightshire as "The Stewartry" and Wigtownshire as "The Shire", which continued into the 20th century.

Most of Wigtownshire was still Gaelic-speaking at the beginning of the 16th century.

Elected county councils were established in Scotland in 1890 under the Local Government (Scotland) Act 1889. Wigtownshire County Council held its first meeting at Wigtown County Buildings in The Square at Wigtown on 22 May 1890, when it was decided to hold the council's annual meeting each May at Wigtown, but other meetings were to be held alternately at Stranraer and Newton Stewart. The council later established its main offices at Ashwood House on Sun Street, Stranraer, close to the Sheriff Court on Lewis Street which was the council's meeting place when it met in Stranraer.

Wigtownshire was abolished as an administrative county in 1975 under the Local Government (Scotland) Act 1973. A two-tier system of regions and districts was put in place instead, with the area becoming part of the Dumfries and Galloway region and the Wigtown district. The Wigtown district covered all of the former administrative county of Wigtownshire plus the two parishes of Kirkmabreck and Minnigaff from neighbouring Kirkcudbrightshire. Further local government reform in 1996 saw the Wigtown district abolished and its functions passed to Dumfries and Galloway Council, which continues to operate a Wigtown area committee for the pre-1996 Wigtown district. The former Wigtown district is also used as a lieutenancy area.

Geography

Wigtownshire borders the Irish Sea to the west, the Solway Firth to the south, Ayrshire to the north, and the Stewartry of Kirkcudbright (or Kidcudbrightshire) to the east. Across the sea to the west lies Northern Ireland and to the south the Isle of Man, both of which can be readily seen on a clear day. Together the Stewartry and Wigtownshire are referred to as Galloway. The county is largely flat, with some low hills in the north, with Craigairie Fell being the county's tallest peak at a modest . The western 'hammer-head' peninsula of Wigtownshire is known as Rhinns of Galloway, and is split from the 'mainland' by Loch Ryan in the north and Luce Bay in the south; its northern tip is Milleur Point and its southern the Mull of Galloway, which is also the southernmost point in Scotland. Across Luce Bay lies the Machars peninsula, a roughly triangular-shaped land of low hills, separated from Kidcudbrightshire by Wigtown Bay, and culminating in Burrow Head. Machars contains a number of small lochs in its north, notably Dernaglar Loch, Whitefield Loch, Castle Loch and Mochrum Loch. The Scares, a group of very small rock-islands, lie in Luce Bay.

Transport
Major road links to the area comprise the A77 to the north, and A75 to the east. The European route E18 starts in Northern Ireland and runs from Stranraer, Wigtownshire (A75) – Gretna (M6) – Carlisle (A69) to Newcastle.  It then re-joins at Norway, goes through Sweden, Finland and ends at Saint Petersburg, Russia. Like all European routes, it is not signposted as such in the United Kingdom. The European Union is partly financing "The Stranraer and Loch Ryan Waterfront Project", at Inch.

Ferries

The port at Cairnryan is Scotland's main embarkation point for ferries to Northern Ireland, with regular crossings to Larne and the Port of Belfast. These services formerly left from Stranraer.

Railways
Stranraer station connects the Glasgow South Western Line to Ayr,  and Glasgow Central as well as .

The Beeching cuts cut off the Castle Douglas and Dumfries Railway and Portpatrick Railway in 1965 resulting in an adverse mileage increase via the Glasgow South Western Line to reach Stranraer from Carlisle and the West Coast Main Line.

Proposed Irish Sea bridge
Wigtownshire has been one of the mooted locations for a proposed bridge or tunnel linking Britain and Ireland. A 2010 report by the Centre for Cross Border Studies estimated building a bridge from Galloway to Ulster would cost just under £20.5 billion.

Archaeology
In 2012 the University of Glasgow led a community archaeology project in Inch, between Stranraer and Cairnryan, including a geophysical survey of the area to the north of the motte at Innermessan. It is a site with a very long history – from the early mesolithic, about 10,000 years ago, to a medieval town, now disappeared, which in its time was more important than Stranraer.

An unnamed detectorist found a gold lunula in a cultivated field near Garlieston, Sorbie in March 2011, the first Scottish gold lunula found in over 100 years. The lunula is a flat, crescent-shaped neck ornament thought to date from around 2300 – 2200 BC, and described by some archaeologists as a symbol of power. The gold sheet, probably hammered out from a bar, is very thin () and decorated around its edges with incised and punched zigzags, lines and dots. It had been cut up and folded, and the two pieces do not join; together they amount to just under a third of the original collar. Initial surface analysis has shown that the metal contains 11% silver and 0.5% copper. Further analysis may indicate whether the lunula had been made of Irish or Scottish gold. Staff of Stranraer Museum and the Wigtownshire branch of the University of the Third Age walked the field looking for artefacts. Test pits were dug and Historic Scotland commissioned a geophysical survey. No more metalwork was found, nor any evidence for why the lunula might have been buried there.

From Glenluce Sands there have been recovered "more objects of antiquity than from any area of similar extent in Scotland".  The relics range from neolithic to mediaeval times.

The fields between the mound and Dunragit village and Droughduil Mote, Old Luce, Wigtownshire, contain "one of the most important Stone Age sites in Scotland". Aerial photography and archaeological excavation of the henge has revealed the remains of three massive concentric timber circles; the outer circle was  in diameter, almost six times the size of Stonehenge. Built , this huge monument was a ceremonial centre and a meeting place for south-west Scotland's early farming communities. Funding for the dig was provided by Historic Scotland and the University of Southampton. The staff at Stranraer Museum assisted with computing and communications facilities and access to collections.

Civil parishes

Wigtownshire was divided into civil parishes:
 Glasserton
Glenluce
 Inch, Wigtownshire
 Kirkcolm
 Kirkcowan
 Kirkinner
 Kirkmaiden
 Leswalt
 Mochrum
 Penninghame
 Portpatrick
 Sorbie
 Stoneykirk
 Whithorn
 Wigtown
The civil parish of Stranraer was created out of parts of Leswalt and Inch parishes in 1622. The parish of Glenluce was split into the parishes of New Luce and Old Luce in 1646.

Other parishes became defunct at earlier dates:

 Clayshant and Toskarton/Kirkmadrine: merged into Stoneykirk in 1618
 Cruggleton and Eggerness: merged into Sorbie in 1635
 Longcastle: merged into Kirkinner in 1650
 Soulseat: merged into Inch c. 1650

Towns and villages

Ardwell
Cairnryan
Clachanmore
Drummore
Dunragit
Elrig
Garlieston
Glenluce
Isle of Whithorn
Kirkcolm
Kirkcowan
Kirkinner
Kirkmaiden
Leswalt
Lochans
Monreith
New Luce
Newton Stewart, a burgh from 1677
Port Logan (Port Nessock)
Portpatrick
Port William
Sandhead
Sorbie
Stoneykirk
Stranraer, a royal burgh from 1617
Whauphill
Whithorn, a royal burgh from 1511
Wigtown, a royal burgh from 1469

Places of interest
Castle of St. John, Stranraer, now a Visitor Centre and museum.
Galloway House
Monreith House
Mull of Galloway Lighthouse at the southernmost point of Scotland, which includes a visitor centre and RSPB nature reserve.
Sorbie Tower
Wigtown Castle
Historic Scotland properties:
Castle of Park
Glenluce Abbey
St Ninian's Chapel at the Isle of Whithorn, and St Ninian's Cave, two miles north-west
Kirkmadrine Monogram Stones
Rispain Camp
Torhousekie Stone Circle, dating from the 2nd millennium BC, this is one of the best preserved sites in Britain. The circle is around  in diameter and comprises 19 stones up to  high.
Whithorn Priory and exhibition centre

Notable people

Janet Donald (c.1825–1892), New Zealand church leader

References

External links

"Wigtownshire" from A Topographical Dictionary of Scotland by Samuel Lewis, 1846 (British History Online)
List of Wigtownshire parishes in 1684
John Ainslie's county map, 1782
Wigtownshire Chamber of Commerce
Wigtown Agricultural Society

Former counties of Scotland
Galloway
Counties of the United Kingdom (1801–1922)

Wigtownshire


In video technology, 24p refers to a video format that operates at 24 frames per second (typically, 23.976 frame/s when using equipment based on NTSC frame rates, but now 24.000 in many cases) frame rate with progressive scanning (not interlaced). Originally, 24p was used in the non-linear editing of film-originated material. Today, 24p formats are being increasingly used for aesthetic reasons in image acquisition, delivering film-like motion characteristics. Some vendors advertise 24p products as a cheaper alternative to film acquisition.

When working entirely within the digital non-linear domain, 24p material is more easily handled than material of higher frame rates. 24p material requires care when it is processed using equipment designed for standard video frame rates.

There are two common workflows for processing 24p material using video equipment, one using PAL frame rates, and the other using NTSC frame rates. Of these two, the PAL route is the simpler, but each has its own complications.

24p vs. PAL video

Converting 24p to PAL

24p material can be converted to the PAL format with the same methods used to convert film to PAL. The most popular method is to speed up the material by 1/24 (≈4.1%). Each 24p frame will take the place of two 50i fields. This method incurs no motion artifacts other than the slightly increased speed, which is typically not noticeable. As for audio, the ≈4.1% increase in speed raises the pitch by 0.707 of a semitone, which again typically is not noticed. Sometimes the audio is pitch shifted to restore the original pitch.

If 24p footage cannot be sped up (for example if it were coming through a live NTSC or HD feed), it instead can be converted in a pattern where most frames were held on screen for two fields, but every half second a frame would be held for three fields. Thus the viewer would see motion stutter twice per second. This was the common result when programs were shot on film or had film portions, edited on NTSC, and then shown in PAL countries (mostly music videos). NTSC to PAL conversion also tends to blur each film frame into the next, and so is seen as a sub-optimal way to view film footage.

30p can be preferable over 24p since performing a standards conversion to 25i PAL has fewer technical complexities – any NTSC–PAL converter will do. The larger differences between the 30p and 25i framerates will cause less noticeable motion artifacts upon conversion.

Non-linear editing and 24/25 telecine

The process of transferring 24 frame/s video at 25 frame/s rates is also the most common method for ingesting 24p film rushes into a non-linear editor. The resulting 25 frame/s video can then be transferred into a non-linear editing system at 25 frame/s, maintaining the 1:1 frame correspondence between film frames and video frames. Once in the non-linear editing system, the editing system, knowing that the material actually originated 24 frame/s rather than at 25 frame/s, will replay it at the correct speed.

The original film Keykode and 24 frame/s audio timecode can be then be reconciled with the 25 frame/s telecine timecode by the generation of a telecine log file containing this information. Again, once the non-linear editor has this information, editing can be performed entirely in terms of 24 frame/s timecode, and the Keykode information preserved for either film cutting or digital intermediate post-production of scanned film images.

Because sound is recorded separately from moving pictures in 24p projects, there are no problems regarding synchronization or audio pitch: the audio material is simply ingested separately from the moving picture material at its natural rate, and synchronized within the non-linear editor.

24p vs. NTSC video

Conversion of 24p to NTSC-based frame/field rates

Working with 24p material via video equipment working at NTSC frame rates has many of the same attributes as the 24 frame/s workflow, but is more complicated by the NTSC-rate practice of using telecine pull-down rather than the PAL practice of transferring 24 frame/s material at 25 frame/s.

At 525 lines analog NTSC video rates (30000/1001 frames per second) a full "interlaced" frame, unlike a progressive frame, is nearly 1/30th of a second and is composed of two separate "fields," each field nearly 1/60 second. The first field (the odd field) contains visible scan lines 21-263 and the second field (the even field) contains visible scan lines 283–525 (though lines 263 and 283 are half-lines). What is seen onscreen is two of these fields, "interlaced" together, to produce a single full frame. This comes from the proper longhand designation being vertical resolution, followed by the interlaced/progressive notation, and then the frame rate. So typical DV video is correctly listed as 480i/30. The long hand for 24p is 480p/24. Often the resolution is dropped and the i/p designation moved after the frame rate for shorthand.

24p cameras do not, as NTSC video cameras do, shoot 30 interlaced frames per second (60 fields); they shoot 24 full progressive frames per second.

24p material can be recorded directly into formats that support the framerate. Some of high definition formats support the 24p framerate in addition to 60i and 50i (PAL). Previously, few formats supported 24p and the industry used workarounds to work with 24p footage with 60i equipment.

To record 24p material onto a 60i format (i.e. any NTSC-based format), pulldown is typically added to 'pad' the 24 frames into 60 fields. This is done by taking every frame and splitting it into two fields. Then, every second frame has one of its fields duplicated, resulting in three fields. The fields are then played back in that pattern – 2-3-2-3-2-3-2-3-2-3-2-3-2-3 ... and so on. The resulting video becomes a 60i stream and can be displayed on NTSC monitors. However, the aesthetic of 24p motion is retained and the footage does not have the motion of typical 60i video.

This 3:2 pulldown is the same process that is used when transferring film into video.

Any editing application which supports NTSC video can be used to edit footage employing the 3:2 pulldown scheme. It can be captured as a standard 60i file and edited like footage from any other camera, while still retaining its 24p aesthetic. There can be issues when editing the footage as 60i, however, including choppiness in short transitions or fades, and also a mismatch in the motion characteristics of the footage and any graphics which may be added to it, such as text or logos. So, while 24p footage can be edited as 60i, it is usually better to edit the footage on a 24p timeline with the pulldown removed.

Most current prosumer-level editing applications which edit native 24p can remove the 3:2 pulldown for editing in native 24p, although some cannot. However, this is not ideal; the removal of the 3:2 pulldown involves reconstruction of every fourth frame from two different field groups, which can cause a generational loss and some banding problems if the application doesn't interpret the footage properly. Therefore, using the 3:2 pulldown scheme is not ideal when planning to edit on a 24p timeline.

Note: "3:2 pulldown" has a cadence of 2-3-2-3-2-3..., but in the industry is called "3:2 pulldown", even though the cadence is 2–3. Some people use the term "2:3 pulldown", which corresponds to the cadence, but is not normally used in the industry for the technique.

Advanced pulldown
Another pulldown pattern is the "advanced pulldown" ("24pA") pattern, first implemented in the Panasonic AG-DVX100 camcorder. Instead of padding the frames into a repeating 3:2 pattern, the frames are padded into a 2:3:3:2 pattern. This pattern is specific to the NTSC DV format, and would serve no purpose in native 24p formats.

It converts the first frame into two fields, the second into three fields, the third into three fields, and the fourth into two fields. It then repeats this pattern for every group of four frames that follows. This pulldown pattern is used to avoid segmenting a 24p frame into two different 60i fields that exist in two different 60i frames. When a 24p frame is split up and recorded into separate 60i fields, interlacing artifacts can exist in the 60i "frames" (i.e. two fields). These artifacts decrease the compression efficiency of DV and can result in cycles of efficient compression followed by less-efficient compression. The advanced pulldown scheme avoids this as every 24p frame can be found intact within the resulting sequence of 60i frames, yet the compression efficiency remains the same as with 3:2 pulldown.

When editing 24pA footage, conversion from 60i back to the original 24p is very efficient. It only requires blending the fields made from the frames back into full frames. Then, only every fifth frame will be made up of fields from two different frames, and that frame can be discarded, leaving only the other four full frames. In order for this to work properly, the DVX100 camera records video in chunks of five video frames. This ensures that each clip has regular and predictable cadence.

Because the 2:3:3:2 scheme was devised for efficient pulldown removal for editing, and because 24p editing applications more universally support its removal, it should always be used when planning to edit in native 24p.

Editing systems need specific support for the 24pA format to be able to detect and remove the pulldown properly so that the 24p frames can be edited in a 24p timeline. Many but not all prosumer and professional-level non-linear editing systems are able to recognize and remove this advanced pulldown scheme. However, among the editing applications able to remove pulldown and edit in native 24p, it is more common for them to have support for 24pA 2:3:3:2 pulldown than for standard 24p 3:2 pulldown removal.

Still other editing applications have the option for editing on a 24p timeline, and will accept footage where the pulldown has already been removed in another application.

Remember that although computer editing systems may refer to "24p", usually the frame rate is 23.976 frame/s. To add to confusion, the popular editing program Final Cut Pro refers to 23.976 as "23.98" in menus and dialogs, even though it correctly works with the footage at the 23.976 frame rate. 23.976 is also not precise though, as the real frame rate is 24000/1001, so 23.98 is also a correct approximation.

Also because the 2:3:3:2 pulldown scheme was devised in order to make pulldown removal for editing in native 24p more efficient, the pulldown arrangement is not ideal for watching footage. There can be exaggerated stutters in motion, because the frames which are split into three fields are not only onscreen for 50% longer than the other frames, they are back-to-back. As such, 2:3:3:2 pulldown should be used only when a native 24p edit is planned, and not for final viewing. This includes when shooting the footage initially, and also when printing back to tape from an NLE.

60i to 24p conversions

Another method of achieving the 24p aesthetic is to capture 60i footage and convert it into 24p. Various techniques can be used to perform this conversion. A simple scheme would blend the fields together. This can result in motion artifacts where comb-like jagged artifacts appear in areas of high motion. Deinterlacing can remove these artifacts, but certain methods will cause up to half the footage's vertical resolution to be lost. Adaptive deinterlacing schemes only deinterlace areas of high motion, hence preserving resolution in stationary areas. More advanced techniques can be used to mitigate problems such as aliasing from the temporal displacement between the 60i fields.

The Optical Flow Method

This is currently the highest quality method of converting 60i footage to 24p. It involves using optical flow to extrapolate 24 frames of information from 60 frames while compensating for the time displacement between the two. For example, in one second of 60i footage, each image is captured at 1/60 second, which does not perfectly align with images that would have been captured 24 times per second. Simply "cherry picking" 24 images out of 60 does not present 24 frames with perfect temporal consistency, since more or less time may have elapsed between frames. The result is a slightly jittery picture, which appears to jitter in a cyclic fashion. Optical flow algorithms will analyze the footage and make corrections to the picture in order to better "fit" each frame into the new 24 frame sequence. The resulting footage is much smoother because it simulates equal exposure time between frames.

For best results, footage should be deinterlaced and frame-doubled to 60p. This preserves all of the footage's temporal information, which is key in determining what the "missing" points in time should look like when converting to 24 frame/s.

The last step is to compensate for the lack of motion blur in the 60i footage. Since the images were captured at 1/60 second, there is less motion blur between images than there would have been if shot at 24 frame/s with a 180° shutter (i.e. 1/48 second exposure time). Optical flow is used to introduce motion blur between frames, mimicking the motion blur present when shooting the standard 180° shutter angle. This method of creating motion blur is far more realistic than simple frame blending, which is simple to implement and usually a standard feature in most non-linear editing programs.

The optical flow method also works with 30p footage and is currently the best option for 30p to 24p conversion.

60i to 24p slow-motion conversions

Using Adobe After Effects
This method requires the use of Adobe After Effects and applies to any interlaced material. It uses all of the temporal information in 50i or 60i footage to create the equivalent of a slow motion sequence shot at 50 or 60 frames per second, respectively. It also does not require multiple render passes to achieve the effect, avoiding generation loss from multiple compression cycles.

Using VirtualDub + AviSynth
VirtualDub, along with AviSynth, can be used to perform a 60i to 24p conversion in a similar way to After Effects. AviSynth performs the deinterlacing, then frameserves the 60p half-resolution result to VirtualDub for further processing (specifically, adjusting field height using the "field bob" filter, resizing back to full resolution and then outputting at 24 frame/s). The reason AviSynth must be used is because VirtualDub cannot split the fields into a 60p sequence on its own, and this technique requires 60p input.

Displaying 24p material

With NTSC equipment, it is impossible to display a 24p signal directly as the monitors only support the 60i framerate. Hence, pulldown must be added to the 24p material to be displayed. Most editing systems will either add 3:2 pulldown or 2:2:2:4 pulldown. In the 2:2:2:4 pulldown scheme, used as a choice primarily by Apple's Final Cut Pro v7 and earlier, every fourth frame is repeated. This scheme is easier for slower hardware to implement as it requires less processing, but it introduces significant judder due to frame duplication.

In HD production, the HD-SDI interface supports the 24p framerate in addition to the 60i and 50i framerates. Many HD monitors are able to receive a 24p signal (not a 60i signal with pulldown added) and can display the 24p material directly.

For end-user viewing of HD material, many digital formats are offering 24p support. Computer formats such as Windows Media, QuickTime, and RealVideo can play 24p video directly on a computer monitor. Many early NTSC plasma and LCD monitors operated at 60 Hz and only supported 1080i (60i) or 720p (60p) content sources, requiring input signals 24p to be converted by the external source. Later 60 Hz monitors could accept 1080p24 content but employed a 3:2 pulldown to display 24p content, creating judder. Many monitors now support signal processing at 120 Hz or higher, allowing 24p content to be displayed without judder by showing each frame for a fixed number of refresh cycles. For example, a 120 Hz display can show each 24p frame for exactly 5 display frames. This capability is independent of the motion interpolation features that are often associated with 120 Hz+ televisions.

24p compared to 30p

As Charles Poynton explains, the 24 frame/s rate is not just a cinema standard, it is also "uniquely suited to conversion to both 50 Hz systems (through 2:2 pulldown, 4% fast) and 59.94 Hz systems (through 2:3 pulldown, 0.1% slow). Choosing a rate other than 24 frame/s would compromise this widely accepted method of conversion, and make it difficult for film producers to access international markets".

Native 24p

24p on DVD

MPEG-2 stream on DVDs is capable of storing the 24000 ÷ 1001 frames losslessly packing them into fields in 30 ÷ 1001 interlaced stream using soft telecine flags. Most of movies are thus laid to disc as a 24000 ÷ 1001 soft telecined stream. With a progressive-scan DVD player and a progressive display, such as an HDTV, the inverse telecine is applied and progressive frames are restored. There is no conversion to an interlaced format, which eliminates the appearance of any interlace or deinterlacing artifacts. When displayed on a back then standard NTSC TV (which only displays 60i) the DVD player will read soft telecine flags and repeat frames, applying interlace to the signal.

In traditional back then television broadcast and VHS, the video stream has 3:2 pulldown already added. This material could not have been displayed progressively without the resolution loss of deinterlacing, unless the deinterlacer has accurate cadence detection and the rusulting framerate was two times more than frame rate of DVD.

Soft telecine flags can be applied to only some portions of a stream. What that means is that part of the movie is progressive and should be inverse telecined and part of the movie is interlaced and should be deinterlaced or presented on interlaced display. That makes the movie variable frame rate (VFR). Moreover, even more complicated cadences can be present on DVDs and those should be also correctly handled.

24p video production

Increasingly, 24p is used to acquire video. The most prolific use of this has been with HDTV and digital cinema such as the Star Wars prequel trilogy.

In 2002, Panasonic released the Prosumer DV camera AG-DVX100 (followed by the updated models AG-DVX100A in 2004 and AG-DVX100B in 2005). This camera was the first DV camera that could switch between different frame rates, including 60i, 30p, and 24p with a choice between the 2:3:3:2 or 3:2 pulldown schemes. The 24p feature on the camera produces film-like video that is preferred by many narrative filmmakers. Canon soon followed suit with the Canon XL-2, offering the same frame rates and pulldown choices as the DVX100.

Following the success of the DVX100, in December, 2005, Panasonic released the Panasonic AG-HVX200, which offers 24p HD at the sub-$10,000 level. Basically an HD version of the DVX100 series, it heavily targets independent filmmakers, as HD has a much higher resolution than DV and will generally look superior on a film blow-up. It is also noteworthy that the camera records HD footage, complete with clip information, to static P2 memory cards instead of tape. This signified a radical change in the video editing workflow.

For recording 24p to tape in formats which typically do not support 24p, such as DV, options include PsF (Progressive segmented Frame), 2:3 Pulldown and advanced pulldown.

Some music videos and television series today are shot with 24p video.

23.976p
Some 24p productions, especially those made only for NTSC TV and video distribution (e.g., in Canada or the USA), actually have a frame rate of 24000 ÷ 1001, or 23. frames per second. Many use the term "24p" as a shorthand for this frame rate, since "23.976" does not roll off the tongue as easily. This is because the "30 frame/s" frame rate of NTSC is actually 30/100.1%, also referred to as 29.97 frame/s – this frame rate is matched when video at 23.976 frame/s has a 3:2 pulldown applied. Similarly, 60i is shorthand for 60/100.1% fields per second. Some NLE programs may refer to 23.976 as 23.98, causing a small amount of confusion.

Note that with 23.976 fps time code, the "second" counter is still increased after 24 frames, even though 24 frames add up to slightly more than a real second. When working with other time sources, confusion can arise since a "second" in 23.976 fps time code notation is slightly longer than a real second, it is 1.001 (24 × 1 / (24000 / 1001)) seconds long. In other words, when a time code was reached of 00:16:40:00, this does not mean the video has played for 16 real minutes and 40 real seconds (1000 seconds), but that it has actually played for exactly 16 minutes and 41 seconds (1001 seconds).

Nevertheless, even in NTSC regions, film productions are often shot at exactly 24 frame/s (this is called integer frame rate), especially for DCI. This can be a source of confusion and technical difficulties. 4K Blu-rays for Europe also often use 24.000 frame rate.

Material is treated as normal video, since the slightly differing frame rates can be problematic for video and audio sync. However, this is not a problem if the video material is merely treated as a carrier for material which is known by the editing system to be "true" 24 frame/s, and audio is recorded separately from moving images, as is normal film practice.

An added technical problem is that the popular Matroska (.mkv) video container format allows novice users to declare that 23.976 video is 24.000, and this can result in codec conversion errors with concomitant video stuttering (due to frame "dropping" and "cloning") and loss of audio sync. On the other hand, some Netflix originals are encoded in 24.000 (such as The Witcher), which is problematic to play for some devices (e.g. via Apple TV, that was fixed 3 years later by Apple, and Xbox Series X).

24p in high definition disc formats
Both HD DVD and Blu-ray Disc support the 24p frame rate, but technical implementations of this mode are different among the two formats. Blu-ray Disc supports both 24.000p or 23.976p with its native timing, while HD DVD uses 60i timing for 24p (replacing "missing" frames with "repeat field flags", the same as in DVD-Video).

Confusion with 23p, 29p, 59p, 119p in Windows
Old menus on Windows 10 used 23p for 24 ÷ 1.001, just like 29 for 30 ÷ 1.001, 59p for 60 ÷ 1.001 and 119p for 120 ÷ 1.001. Integer frame rates were just 24, 30, 60, 120. This was corrected in Windows 10 20H2, where in new display settings menu actual 23.976, 29.970, 59.940 and 119.880 are used.

Disadvantages of 24p

In general, 24 frames-per-second video has more trouble with fast camera motion than other, higher frame rates, sometimes showing a "strobe" or "choppy" motion, just like 24 frame/s film will if shot as if it is video, without slower camera panning and zooming motion. It is therefore not well-suited for programming requiring spontaneous camera action or "reality" camerawork. Nevertheless, effective "smoothing" high frame rate upscalers were created; the latest generation of those on AI do not introduce artifacts in frames.

Future
Digital cinema equipment is now capable of handling much higher frame rates, such as 48p, 60p and 120p frame rates even in 3D, along with the traditional 24p. 3D in Blu-ray is still only 24p max. 48p has twice the motion resolution of 24p, but also requires more bandwidth, data storage, and potentially illumination level. Peter Jackson's three part film The Hobbit is a production that makes use of the 48p frame rate, but 48p was never used on Blu-ray or streaming platforms, only in cinemas. Other movies, however, have been released at higher framerates on Blu-ray (such as Billy Lynn's Long Halftime Walk).

Some current, best-of-breed professional video cameras provide 120 frame/s progressive capture, which is 5 times 24p and can be converted to 24p, 30p, 50i, and 60i/p with editing options and precision in motion shots.

See also
 Frame rate
 Telecine
 Filmizing
 Film look
 Progressive scan
 Digital Cinema Initiatives

References

External links
 24 Questions about DV 24 Frame Progressive
 24p: the AG-DVX100 and digital filmmaking – adamwilt.com
 Frame Rate Test Videos from Netflix
 24p compatible material list – HCFR French forum
 Slow Motion in 24p Filmmaking
 When exact 24 fps beats 23.976… and when it doesn't

Video formats

24p


Die Copa de la Coronación (), offiziell Concurso Madrid de Foot-Ball Association (deutsch: Madrids Wettbewerb des Fußballverbands), gilt als Vorläufer des spanischen Fußballpokals, der Copa del Rey. Das Turnier fand nach einem Vorschlag von Carlos Padrós, dem späteren Präsident von Madrid FC, statt. Dieser wollte ein Fußballturnier zu Ehren des Spanischen Königs Alfons XIII. organisieren, der in diesem Jahr seine Volljährigkeit erreichte und damit die Kontrolle über den spanischen Staat erhielt.

Der Wettbewerb startete am 13. Mai mit dem Spiel der 1. Runde und endete am 16. Mai 1902 mit dem Spiel um die Trostpreis-Trophäe. Am Turnier nahmen zwei Teams aus Barcelona, der FC Barcelona und Club Español de Foot-ball, zwei Teams aus Madrid, der Madrid FC und New Foot-Ball, sowie Club Vizcaya, eine Auswahlmannschaft aus Bilbao mit Spielern von Athletic de Bilbao und Bilbao FC teil.

Das Finale fand am 15. Mai 1902 im Hipódromo de Madrid statt. Dort siegte Vizcaya de Bilbao mit 2:1 gegen den FC Barcelona. Der Erfolg des Turniers führte dazu, dass dieses im folgenden Jahr offiziell unter dem Namen der spanischen Meisterschaft (Copa del Rey) gespielt wurde. Das ist auch der Grund, warum es vom spanischen Verband RFEF nicht als offizielles, sondern als Freundschaftsturnier, anerkannt wird.

Viertelfinale
Das Spiel fand am 13. Mai 1902 statt.

|}

Der FC Barcelona, der Madrid FC, und New Foot-Ball zogen per Freilos ins Halbfinale ein.

Halbfinale
Die Halbfinals fanden am 13. und 14. Mai statt.

|}

Copa de la Gran Peña (Trostpreis-Trophäe)
Das Spiel um die "Trostpreis-Trophäe", ähnlich einem Spiel um Platz drei, wurde am 16. Mai, einen Tag nach dem Finale, ausgetragen. New Foot-Ball verzichtete jedoch auf eine Teilnahme, so dass an deren Stelle Club Español de Foot-ball antrat.

|}

Finale

Im Finale triumphierte Vizcaya de Bilbao gegen den FC Barcelona. Als Reaktion auf den Triumph der Auswahlmannschaft aus Bilbao, wurde bereits 1902 Athletic Bilbao (bzw. Athletic Club) als Fusion der beiden Stadtvereine Bilbaos gegründet.

Siegermannschaft

(in Klammern sind die Spiele und Tore angegeben)

Quelle: www.cihefe.es

Torschützen

Quelle: www.cihefe.es

Die Torschützen aus dem Spiel um die Copa de la Gran Peña sind nicht mit einbezogen, da Daten zu diesem Spiel fehlen.

Weblinks
 Spielplan und Ergebnisse auf rsssf.com (englisch)
 Spielplan und Ergebnisse auf linguasport.com (spanisch)
 Artikel bei iffhs.de (spanisch)
 Ausführlicher Artikel bei cihefe.es (spanisch)

Einzelnachweise

1902
Fußballveranstaltung 1902

Copa de la Coronación


Elísabet Gunnarsdóttir (f. 2. október 1976) er íslenskur knattspyrnuþjálfari, íþróttakennari og fyrrverandi leikmaður Vals í úrvalsdeild kvenna í knattspyrnu. Frá árinu 2009 hefur Elísabet þjálfað lið Kristianstads DFF í úrvalsdeild kvenna í Svíþjóð. Elísabet hefur tvisvar sinnum verið útnefnd þjálfari ársins í sænsku úrvalsdeildinni og komið liðinu sínu í meistaradeild Evrópu.

Knattspyrnuferill
Knattspyrnuferill Elísabetar hófst í yngri flokkum Vals. Árið 1995 fór hún yfir til Stjörnunnar í Garðabæ og spilaði tvö tímabil með félaginu. Hún snéri aftur til Vals og spilaði þar til ársins 2001 er hún ákvað að leggja skóna á hilluna og snúa sér að þjálfun. Hún hóf feril sinn sem meistaflokksþjálfari hjá ÍBV í Vestmannaeyjum þegar hún var 24 ára gömul.

Þjálfaraferill
Elísabet hóf þjálfaraferil sinn 16 ára gömul er hún hóf störf sem aðstoðarþjálfari yngri flokka hjá Val. Um níu ára skeið þjálfaði hún hjá Val samhliða því að spila með meistaraflokki félagsins. Hún átti stóran þátt í að byggja upp öflugt starf yngri flokka í kvennaliðum Vals. Lið undir stjórn Elísabetar unnu til fjölda Íslandsmeistaratitla og árið 1999 hlaut hún titilinn yngri flokka þjálfari ársins.

Elísabet yfirgaf Val árið 2001 og hóf störf sem þjálfari úrvalsdeildarliðs kvenna hjá ÍBV í Vestmannaeyjum. Ári síðar tók hún við öðrum flokki kvenna hjá Breiðabliki og varð liðið Íslandsmeistari undir stjórn Elísabetar. Árið 2003 snéri hún aftur til Vals og tók við meistaraflokki kvenna hjá félaginu og vann liðið sinn fyrsta Íslandsmeistaratitil í 15 ár undir stjórn hennar. Elísabet var yfirþjálfari kvennaliðs Vals í fimm ár og vann liðið fjóra Íslandsmeistaratitla undir hennar stjórn auk bikarmeistaratitils.

Í janúar árið 2009 fluttist Elísabet til Svíþjóðar og tók við þjálfun kvennaliðs Kristianstads DFF í sænsku úrvalsdeildinni. Í tíð Elísabetar hjá Kristianstads hafa m.a. knattspyrnukonurnar Margrét Lára Viðarsdóttir, Sif Atladóttir og Svava Rós Guðmundsdóttir leikið með liðinu.

Árin 2017 og 2020 var Elísabet útnefnd þjálfari ársins í sænsku úrvalsdeildinni og í nóvember árið 2020 varð ljóst að lið hennar Kristianstads mun leika í meistaradeild Evrópu.

Heimild

 Fyrirmynd greinarinnar var "Elísabet Gunnarsdóttir" á ensku útgáfu Wikipedia. Skoðað 30. nóvember 2020.

Tilvísanir
Fólk fætt árið 1976
Íslenskir knattspyrnuþjálfarar
Íslenskar konur

Elísabet Gunnarsdóttir (knattspyrnuþjálfari)


John Denver Sanctuary er en mindepark i Aspen som ligger ved Rio Grande Park ned til floden Roaring Fork River, parken åbnede officielt i 2000 tre år efter John Denver styrtede ned med sit fly i Pacific Grove i Monterey Bay den 12. oktober 1997 i Californien.

På grund af manglede finansiering blev en udvidelse af parken først åbnet den 1. juli 2012. Parken er en mindepark med et tilhørende regnvandsfiltreringssystem, som filtrerer det beskidte regnvand fra Aspens østlige dele og leder det ned i floden Roaring Fork River, derudover er der et vådområde i tilknytning til haven. Parken har et tilhørende drivhus og nogle sten, hvor der er indhugget nogle af John Denvers sange som: Windsong, Rocky Mountains High, Annie's Song, Perhaps Love, Autograph, The Eagle and the Hawk, Rhymes and Reasons og Sunshine on my Shoulders.

Eksterne henvisninger

John Denver
Haver
Aspen
Bygninger, konstruktioner og anlæg i Colorado

John Denver Sanctuary


La Carretera de Nebraska 45 (en inglés: Nebraska Highway 45) es una carretera estatal estadounidense ubicada en el estado de Nebraska. La carretera inicia en el Sur desde la  NE 91 sur de Newman Grove hacia el Norte en la  US 275 en Tilden, y tiene longitud de 43,6 km (27.07 mi).

Mantenimiento
Al igual que las autopistas interestatales, y las rutas federales y el resto de carreteras estatales, la Carretera de Nebraska 45 es administrada y mantenida por el Departamento de Carreteras de Nebraska por sus siglas en inglés NDOR.

Cruces
La Carretera de Nebraska 45 es atravesada principalmente por la Carretera de Nebraska 32 norte de Newman Grove.

Véase también

Referencias

Enlaces externos

 Página oficial de NDOR

 Lista de Autopistas por estado
 Lista de sitios web de carreteras para cada estado

Carreteras estatales de Nebraska

Carretera de Nebraska 45


Weddingstedt Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Dithmarschen iline bağlı bölge. 17,89 km² yüzölçüme sahiptir. Nüfusu, 30 Haziran 2005 itibarıyla yaklaşık 2334 olarak tespit edilmiştir. Belediye Başkanlığı Edgar Lehmann tarafından yürütülmektedir.

Dış bağlantılar
 www.amt-weddingstedt.de

Weddingstedt


1. වෙරළ තීරයේ ජීවත් වීමේ වාසි
විශාල නගර ශාරීරික හා මානසික යහපැවැත්ම කෙරෙහි ඇති කරන බලපෑමෙන් මිදීමට කැමති මුහුදු වෙරළ ආශ්‍රිතව ජීවත් වන බොහෝ දෙනෙකුට මුහුද අසල ජීවත් වීම ආකර්ශනීය විකල්පයකි.

පළමුවෙන්ම සහ කඳුකරයේ මෙන්ම වෙරළ තීරයේ ජීවත් වීම යන්නෙන් අදහස් කරන්නේ විශාල නගරවල ජීවන රටාවෙන් movingත් වීමයි. ජීවිතය සන්සුන් වන අතර එම නිසා ඔබ මානසික ආතතියෙන් හා මානසික ආතතියෙන් areත්ව සිටී.

තවද, විද්‍යාත්මක අධ්‍යයනවලින් පෙනී යන්නේ මුහුදු ජලය අයඩින් සහ අනෙකුත් මුහුදු ලවණ වලින් පොහොසත් වන බැවිනි. මෙම සංරචක දිරාපත් වීමේ කාරක ලෙස ක්‍රියා කරන බැවින් මුහුදු වෙරළ අසල ජීවත් වීම හුස්ම ගැනීමේ ගැටළු බොහොමයක් වැඩිදියුණු කිරීමට උපකාරී වේ ඒවා ජලයේ මෙන්ම මුහුදු වෙරළේ ආශ්වාස කරන මුහුදු සුලඟෙහි ද පවතී.

වෙරළ ආශ්‍රිතව ජීවත් වීමෙන් ලැබෙන වාසි


Agonist hücre reseptörlerine bağlanarak hücrede bir tepki oluşturan bileşiklerdir. Agonistler genelde doğal olarak bulunan maddelerin davranışlarını taklit ederler.

Agonistler eylem oluşturur, buna karşın Antagonist bileşikler ise bir eylemin oluşumunu engellerler. Vücut kimyasının ve farmakolojinin anahtar elemanlarındandır.

"Bu metabolitler, hem vazokonstriksiyon yaparak, hem de diğer agonistlerin etkisini arttırarak agregasyonu kuvvetlendirirler." - Tıp fakültesi notundan alınan bu bilgide ise konu içeriğinde olan araşidonik asit metabolitlerin hücre membranında diğer maddeler yani onunla benzer ya da zıt etki yaratan maddelerden bahsetmiştir. Bunlardan eylem oluşturan benzer maddelerden "agonist" ifadesiyle dile getirmiştir. Biyolojik aktivite oluşturan endojen veya eksojen kaynaklı olabilirler.

Agonist kelimesi Latincedeki agnista (yarışçı) kelimesinden gelir. Bu kelime de eski Yunancadaki agn (yarışma) kelimesinden gelmiştir.

Ayrıca bakınız
 PCP
 Muskimol
 Benzodiazepin
 Dolaylı agonist
 Doğrudan agonist

Tıp terimleri
Farmakoloji
Fizyoloji
Farmasötik kimya

Agonist


روبرت موغ  أو روبرت بوب موغ (23 مايو 1934 في مدينة نيويورك - 21 أغسطس 2005 في كارولاينا الشمالية) كان رائد في الموسيقى الإلكترونية ومخترع جهاز موغ - سانتيسيزور، واحد من أوائل الآلات الموسيقية الإلكترونية المستخدمة على نطاق واسع.

حياته
درس موغ الفيزياء في كلية كوينز بمدينة نيويورك، تحصل على درجة دكتوراه في الهندسة الكهربائية من جامعة كولومبيا. صنع في الخمسينات من القرن الماضي أول جهاز موسيقي إلكتروني (Synthesizer) للملحن النمساوي ماكس براند. تخرج عام 1963 من جامعة كورنيل. قام موغ بين عامي 1989 و1992 بتدريس تكنولوجيا الموسيقى في جامعة كارولينا الشمالية في آشفيل. في شهر أبريل عام 2005 أصيب موغ بمرض خبيث في دماغه، وبسبب هذا الورم توفي بعد أربعة أشهر عن 71 سنة.

روابط خارجية

مراجع

أشخاص من كوينز
أعضاء هيئة تدريس جامعة كارولاينا الشمالية في آشفيل (كارولاينا الشمالية)
خربشات جوجل
خريجو ثانوية البرونكس للعلوم
خريجو كلية الهندسة في جامعة كورنويل
خريجو كلية باركلي للموسيقى
خريجو كلية كوينز (جامعة مدينة نيويورك)
خريجو مدرسة كولومبيا للهندسة والعلوم التطبيقية
مخترعون أمريكيون
مخترعو آلات موسيقية
مخترعون يهود
مهندسون أمريكيون
مهندسون من مدينة نيويورك
مهندسون يهود
مواليد 1934
مواليد في نيويورك
وفيات 2005
وفيات السرطان في كارولينا الشمالية
وفيات بسبب ورم الدماغ
وفيات في آشفيل (كارولاينا الشمالية)
يهود أمريكيون

روبرت موغ


Um publieditorial é um anúncio disfarçado de conteúdo editorial e apresentado de forma a que pareça vir de uma fonte independente. O termo "publieditorial" é uma aglutinação das palavras "publicidade" e "editorial".

Em inglês, o termo correspondente, "advertorial", é registrado pela primeira vez pelo dicionário Merriam-Webster em 1946.

Nas publicações impressas, o anúncio geralmente é escrito para se assemelhar a um artigo objetivo e projetado para parecer ostensivamente uma notícia legítima e independente. Na televisão, o anúncio é semelhante a uma breve apresentação infomercial de produtos ou serviços. Estes podem ser na forma de um comercial de televisão ou como um segmento em um talk show ou programa de variedades. No rádio, estes podem assumir a forma de um comercial de rádio ou uma discussão entre o locutor e o representante. Os publieditoriais publicados em sites na internet se confundem com o uso de "publicidade nativa"; no entanto, se os dois termos são ou não sinônimos é objeto de discussão.

Tipos
Os publieditoriais podem ser classificados em três tipos:

 Campanhas de imagem: a organização que executa o anúncio deseja produzir uma visão favorável da organização ou de seus produtos entre os leitores.
 Campanhas de advocacia por uma causa: a organização quer explicar sua visão sobre um assunto controverso.
 Campanhas pseudojornalísticas: a organização quer simular e existência de interesse da mídia para um assunto ou para si mesma. Seu objetivo pode ser inspirar histórias escritas de forma independente sobre sua área de interesse, ser citado em histórias relacionadas ou influenciar como os jornalistas escreverão sobre um assunto no futuro.

Publicações
Os publieditoriais diferem dos anúncios tradicionais por serem projetados para se parecerem com os artigos que aparecem na publicação. A maioria das publicações não aceita anúncios que se pareçam exatamente com histórias do jornal ou revista em que estão aparecendo. As diferenças podem ser sutis, e isenções de responsabilidade - como a palavra "anúncio" ou "informe publicitário" - podem ou não aparecer. Às vezes, são usados termos que descrevem o anúncio, como "recurso promocional especial" ou "seção especial de publicidade". O tom dos publieditoriais costuma ser mais próximo de um press release do que de uma notícia objetiva.

Os publieditoriais também podem ser impressos e apresentados como uma seção inteira do jornal, inseridos da mesma forma dentro de um jornal como folhetos de loja, seções de quadrinhos e outros conteúdos não editoriais. Essas seções geralmente são impressas em um tipo menor de formato de jornal e papel de jornal diferente do papel real, juntamente com diferentes fontes e layouts de coluna. Muitos jornais e revistas atribuem redatores ou freelancers para escrever anúncios publicitários, geralmente sem um crédito de assinatura. Uma grande diferença entre o editorial regular e o publieditorial é que os clientes geralmente têm a aprovação do conteúdo dos publieditoriais, um luxo que geralmente não é fornecido com o editorial regular.

Uma prática parecida, embora não seja a mesma coisa, é a criação de material que se parece com a mídia tradicional (por exemplo, um jornal ou revista), mas na verdade é criado por uma empresa para comercializar seus produtos. Um exemplo familiar são as revistas de bordo de companhias aéreas, que podem apresentar reportagens sobre destinos de viagem para os quais a companhia aérea voa.

Televisão
Os publieditoriais na televisão são mais longos do que o típico anúncios de televisão. Eles geralmente são reproduzidos em canais a cabo e satélite, que são menos caros do que a televisão aberta. Eles podem incluir um enredo para aumentar o valor do entretenimento para os espectadores e, assim, manter sua atenção por mais tempo.

Práticas de publieditoriais no mundo

Brasil
É comum que publieditoriais impressos sejam marcados com a frase "informe publicitário", mas não existe lei específica que obrigue a declaração de conteúdo pago em um publieditorial. Por este motivo, veículos que publicam este tipo de peça sem o aviso costumam ter sua credibilidade questionada.

Estados Unidos
Nos jornais dos Estados Unidos, a ExxonMobil comprou um anúncio posicionado ao lado da página de opinião do The New York Times toda quinta-feira entre 1972 e 2001.

Índia
Na Índia, o nexo entre empresas de televisão a cabo, jornais populares e partidos políticos veio à tona em um documentário de 2011 feito por Prasar Bharati, que revelou que a propriedade de sete das dez maiores empresas de mídia da Índia estava ligada a algum partido político. Isso deu mais credibilidade a relatórios sobre notícias pagas que apareceram em 2015-18 em jornais e canais indianos selecionados conectando os vínculos obscuros entre os dois maiores partidos políticos BJP e o Congresso, dinheiro irregular e pagamentos feitos a canais de mídia para pintá-los de uma forma melhor luz. Em 2018, uma operação policial apelidada de "Cobrabost 136" pela Cobrapost, uma agência indiana de jornalismo investigativo, mostrou vídeos de reuniões realizadas com as 15 maiores empresas de mídia, que concordaram em publicar/transmitir informações enganosas de motivação comunitária e política como uma campanha em troca de pagamentos, encaminhados através de empresas de publicidade e relações públicas.

Questões legais
No Brasil, o Código de Ética e Disciplina da Ordem dos Advogados do Brasil proíbe que escritórios de advocacia façam publicidade, o que leva escritórios de advocacias a tentar realizar publicidade via publieditoriais. O tribunal de ética da instituição entende tais peças como sendo propaganda comum e veda seu uso.

No Reino Unido, a Advertising Standards Authority exige que os anúncios publicitários sejam claramente marcados como tal. Em um caso judicializado, o jornal escocês The Herald publicou um artigo intitulado "Professional Brief" que havia sido apresentado pela empresa de contabilidade Duncan Chartered Accountants, com sede em Glasgow. Segundo uma denúncia, a peça não indicava claramente que se tratava de um anúncio pago. O jornal argumentou que, por se tratar de uma "coluna patrocinada" e ter sido indicado que as opiniões expressas eram do autor, não precisava se referir a ela como um anúncio. A ASA respondeu que, como o pagamento era dado em troca da publicação das colunas e porque o conteúdo era fornecido pelos marqueteiros e não pelo jornal, considerava as colunas anúncios e exigia que indicassem tanto.

Para revistas por assinatura nos Estados Unidos, o Serviço Postal estadunidense tem regras sobre como diferenciar editoriais e publicidade. O Manual de Correio Doméstico afirma que, sob 18 USC 1734, "se um montante substancial for pago, aceito ou prometido pela publicação de qualquer editorial ou outro material de leitura em uma publicação de periódicos, esse assunto deve ser claramente marcado como 'anúncio' pelo editor. Quando um único item de editorial pago ou outro material de leitura ocupa mais de uma página, ele só precisa ser marcado como 'anúncio' na primeira página. A palavra "anúncio" pode ser incluída em uma declaração que explique por que o material está marcado como 'anúncio'. Essa declaração deve ser destacada na primeira página do material e a palavra 'anúncio' na declaração deve ser impressa em negrito ou itálico ou enfatizada de outra forma para que possa ser claramente vista. Editores ou editoras que imprimem tal material sem claramente marcá-lo como 'anúncio' estão sujeitos a uma multa de não mais de US$ 500."

Ver também
 Infomercial
 Publicidade nativa

Publicação
Propaganda
Publicidade

Publieditorial