The Supreme Court of California is the highest and final court of appeals in the courts of the U.S. state of California. It is headquartered in San Francisco at the Earl Warren Building, but it regularly holds sessions in Los Angeles and Sacramento. Its decisions are binding on all other California state courts.  Since 1850, the court has issued many influential decisions in a variety of areas including torts, property, civil and constitutional rights, and criminal law.

Composition
Under the original 1849 California Constitution, the Court started with a chief justice and two associate justices. The Court was expanded to five justices in 1862.  Under the current 1879 constitution, the Court expanded to six associate justices and one chief justice, for the current total of seven. The justices are appointed by the Governor of California and are subject to retention elections.

According to the California Constitution, to be considered for appointment, as with any California judge, a person must be an attorney admitted to practice in California or have served as a judge of a California court for 10 years immediately preceding the appointment.

To fill a vacant position, the Governor must first submit a candidate's name to the Commission on Judicial Nominees Evaluation of the State Bar of California, which prepares and returns a thorough, confidential evaluation of the candidate. Next, the Governor officially nominates the candidate, who must then be evaluated by the Commission on Judicial Appointments, which consists of the Chief Justice of California, the Attorney General of California, and a senior presiding justice of the California Courts of Appeal. The Commission holds a public hearing and if satisfied with the nominee's qualifications, confirms the nomination. The nominee can then immediately fill an existing vacancy, or replace a departing justice at the beginning of the next judicial term.

If a nominee is confirmed to fill a vacancy that arose partway through a judicial term, the justice must stand for retention during the next gubernatorial election. Voters then determine whether to retain the justice for the remainder of the judicial term. At the term's conclusion, justices must again undergo a statewide retention election for a full 12-year term. If a majority votes "no," the seat becomes vacant and may be filled by the Governor.

The electorate has occasionally exercised the power not to retain justices. Chief Justice Rose Bird and Associate Justices Cruz Reynoso and Joseph Grodin were staunchly opposed to capital punishment and were subsequently removed in the 1986 general election. Newly reelected Governor George Deukmejian was then able to elevate Associate Justice Malcolm M. Lucas to Chief Justice and appoint three new associate justices (one to replace Lucas in his old post and two to replace Reynoso and Grodin).

Structure

Between 1879 and 1966, the court was divided by the state constitution into two three-justice panels, Department One and Department Two.  The chief justice divided cases evenly between the panels and also decided which cases would be heard "in bank" (en banc) by the Court sitting as a whole.  During the late 1920s, the court gradually transitioned to routinely hearing all appeals in bank, apart from two unusual exceptions in 1941 when it again tried to sit in departments. The 1966 formal abolition of the department system merely confirmed how the court had been actually operating for quite some time.
  Oral argument was mandatory only for in bank hearings of appeals, which meant that many appeals were decided by three-justice departments on the briefs alone. However, the state constitution required department decisions to be unanimous to produce a final judgment. Any dissent automatically triggered an in bank hearing. After a constitutional amendment in 1966, the Court currently sits in bank (all seven together) when hearing all appeals.  When there is an open seat on the court, or if a justice recuses himself or herself on a given case, justices from the California Courts of Appeal are assigned by the chief justice to join the court for individual cases on a rotational basis.

The procedure for when all justices recuse themselves from a case has varied over time. For a 1992 case, the chief justice requested the presiding justice of a Court of Appeal district (different from the one where the case originated) to select six other Court of Appeal justices from his district, and they formed an acting Supreme Court for the purpose of deciding that one case.  However, in a later case where all members of the Court recused themselves when Governor Schwarzenegger sought a writ of mandate (Schwarzenegger v. Court of Appeal (Epstein)), seven justices of the Courts of Appeal were selected based on the regular rotational basis, not from the same district, with the most senior one serving as the acting chief justice, and that acting supreme court eventually denied the writ petition.  In a yet more recent case (Mallano v. Chiang) where all members of the Court recused themselves on a petition for review by retired Court of Appeal justices on a matter involving those justices' salaries (that apparently involved matters up to and including the 2016–2017 fiscal year), the Court ordered that six superior court judges be selected from the pool that took office after July 1, 2017, to serve as the substitute justices for the six sitting justices, with the senior judge among that group serving as the acting Chief Justice; that acting Supreme Court eventually denied the petition for review.

Membership

Six current justices were appointed by Democrats (Liu, Kruger, Groban, Jenkins, Guerrero and Evans) and one by Republicans (Corrigan).

There are three African American (Kruger, Jenkins, Evans) justices, one East Asian American justice (Liu), two non-Hispanic white justices (Corrigan, Groban) and one Latina (Guerrero). One justice earned an undergraduate degree from a University of California school (Guerrero at Berkeley), five from private universities in California (Corrigan at Holy Names, Liu, Groban and Evans at Stanford, and Jenkins at Santa Clara), and one from an out-of-state private university (Kruger at Harvard).  Two justices earned their law degrees from a University of California law school (Corrigan at UC Law SF and Evans at Davis), two from a private California university (Guerrero at Stanford and Jenkins at the University of San Francisco), and three from law schools at out-of-state private universities (Liu and Kruger at Yale, and Groban at Harvard).

The most recent addition to the court is Associate Justice Kelli Evans, who was sworn in on January 2, 2023, to replace then-Associate Justice Patricia Guerrero, who was elevated to chief justice. In 2023, Guerrero became the first Latina to serve as chief justice.

The court first had a female majority from 2011 to 2017.  The majority was achieved in 2011 after Republican Governor Arnold Schwarzenegger appointed Chief Justice Tani Cantil-Sakauye to the court, joining Justice Joyce L. Kennard (an appointee of Republican Governor George Deukmejian), Justice Kathryn Werdegar (appointed by Republican Governor Pete Wilson), and Justice Carol A. Corrigan (another Schwarzenegger appointee).  When Kennard retired in 2014, Democratic Governor Jerry Brown preserved the female majority by appointing Leondra Kruger to succeed her. The female majority was restored in 2022, with the swearing-in of Guerrero.

Operation

Jurisdiction
The Constitution of California gives the Court mandatory and exclusive appellate jurisdiction in all cases imposing capital punishment in California, although the Court has sponsored a state constitutional amendment to allow it to assign death penalty appeals to the California Courts of Appeal.  The Court has discretionary appellate jurisdiction over all cases reviewed by the Courts of Appeal; the latter were created by a 1904 constitutional amendment to relieve the Supreme Court of most of its workload so the Court could then focus on dealing with non-frivolous appeals that involved important issues of law.

According to research by Justice Goodwin Liu, each year the Court has averaged 5,200 petitions for writs of certiorari and 3,400 petitions for habeas corpus, plus 40 additional petitions from inmates already on death row.  In an average year the Court will decide to hear 83 cases and will be required to hear appeals from 20 new inmates joining death row.  Each week, the Court votes on 150 to 300 petitions, paying special attention to a staff-recommended "A list" as well as to certified questions from the United States Court of Appeals for the Ninth Circuit.

Internal procedure
The Court is open for business year-round (as opposed to operating only during scheduled "terms" as is commonplace in jurisdictions that observe the legal year).  The Court hears oral argument at least one week per month, 10 months each year (except July and August).  It has been headquartered in San Francisco since 1874.  Since 1878, it has regularly heard oral argument each year at San Francisco (four months), Los Angeles (four months), and Sacramento (two months).

According to Justice Liu, when a case is granted review, the Chief Justice assigns the case to a justice, who, after the parties finish briefing, then prepares a draft opinion.  Each justice writes a preliminary response to the draft opinion, and if the assigned justice is in the minority, she may ask the Chief Justice to reassign the case to someone in the majority.  The Court then hears oral arguments and, immediately afterwards, meet alone to vote.  The California Constitution requires suspension of the justices' salaries if the Court fails to then file a decision within 90 days. The Court issues unanimous opinions in 77% of cases, compared to 43% by the Supreme Court of the United States.

Throughout the year (including July and August), the justices have a conference every Wednesday the Court is not hearing oral argument, with the exception of the last week, respectively, of November and December (Thanksgiving and New Year's).  New opinions are published online on Monday and Thursday mornings at 10 a.m.  Paper copies also become available through the clerk's office at that time.

The Court is one of the few U.S. courts apart from the U.S. Supreme Court that enjoys the privilege of having its opinions routinely published in three hardcover reporters.  The Court's Reporter of Decisions contracts with a private publisher (currently LexisNexis) to publish the official reporter, California Reports, now in its fifth series; note that the series number changes whenever the publisher changes, although the most recent changeover to the fifth series did not involve a change in reporter. West publishes California decisions in both the California Reporter (in its second series) and the Pacific Reporter (in its third series).  (The New York Court of Appeals opinions are similarly published in three reporters.)

Each justice has five assigned chambers attorneys. Since the late 1980s, the Court has turned away from the traditional use of law clerks, and has switched to permanent staff attorneys.  Justices Goodwin Liu and Leondra Kruger, however, have returned to the traditional use of recent law school graduates as one-year clerks for some of their staff positions. The Court has about 85 staff attorneys, some of whom are attached to particular justices; the rest are shared as a central staff.  The advantage to this system is that the reduced turnover of staff attorneys (versus the traditional system of rotating through new law clerks every year) has improved the efficiency of the court in dealing with complex cases, particularly death penalty cases.

During its first half-century of operation, the Court struggled to keep up with its soaring caseload and very frequently fell behind, until the California Courts of Appeal were created in 1904.  This resulted in provisions in the 1879 Constitution requiring the Court to decide all cases in writing with reasons given (to get rid of minor cases, it had often given summary dispositions with no reasons given) and requiring California judges to certify in writing every month that no matter submitted for consideration had been outstanding for more than 90 days, or else they will not be paid.  To comply with the latter provision, the Court does not schedule oral argument until the justices and their staff attorneys have already studied the briefs, formulated their respective positions, and circulated draft opinions.  Then, after the matter is formally "argued and submitted" before the Court, the justices can polish and file their opinions well before reaching the 90-day deadline. This differs sharply from the practice in all other federal and state appellate courts, where judges can schedule oral argument not long after written briefing is finished, but then may take many months (or even a year) after oral argument to file their opinions.

Historical procedure

In March 1885, the state legislature authorized the creation of the Supreme Court Commission to help with the Court's overwhelming backlog of pending appeals.  The justices were initially allowed to hire three commissioners. Since oral argument was not mandatory except for in bank hearings of appeals, the justices began to assign cases to the commissioners which could likely be resolved on the briefs alone.  The number of commissioners was expanded in five in 1889.

In retrospect, the commissioners can be seen as an important precursor of the law clerks and staff attorneys which the Court began to hire in the 1930s.  In contrast to modern practice, where appellate justices are expected to take ownership of the opinions to which they sign their names and staff members are mere ghostwriters, the commissioners openly signed their opinions.  Each of the approximately 4,400 appeals (3,700 reported, 700 unreported) handled by the commissioners was resolved by an opinion signed by one commissioner with the concurrence of two others.  The opinions always ended in a recommended disposition, such as: "We find no error in the record and the judgment should be affirmed."  Originally, this was followed by a one-line unsigned per curiam statement in the name of "The Court," such as: "For the reasons given in the foregoing opinion the judgment is affirmed." Starting in 1892, the three justices who reviewed and summarily adopted each commissioners' opinion began to also sign their names.

The commissioners were only partially successful in reducing the chronic backlog.  The Commission was also subject to heavy criticism as an unelected "auxiliary court". Attorneys who enjoyed appellate work but had difficulty holding onto judicial seats in partisan elections repeatedly bounced back and forth between serving as elected justices and unelected commissioners.  After two more decades of debate, the state legislature recognized that the state needed to establish intermediate appellate courts and referred the issue to the electorate.   In November 1904, Senate Constitutional Amendment No. 2 was approved by the state's voters, which abolished the Supreme Court Commission and created the California Courts of Appeal.   All five commissioners were promptly appointed in 1905 to serve among the original nine justices of the Courts of Appeal.

Publication of opinions

Except for one decade at its founding, the Court has never been required by constitutional or statutory law to publish all its opinions. The Court currently chooses to publish all opinions as a matter of public policy, as disclosed in rule 8.1105(a) of the California Rules of Court.   The original California Constitution of 1849 authorized the Court to publish all opinions that it "may deem expedient," and the current California Constitution of 1879 authorizes the Court to publish all opinions that it "deems appropriate."  In 1850, a statute was enacted directing the Supreme Court to publish opinions in all cases, but in 1855, the Court began to direct that some opinions should not be reported, and this procedure was retroactively approved by the legislature in an 1860 statute.   Over 1,800 unreported opinions were filed by the Court over the next 25 years (which includes the 700 unreported opinions filed by the commissioners).   The Pacific Reporter started to collect and publish the Court's unreported opinions at its launch in 1883, and then the Court gave in and switched back to publication of all opinions.  A small group of lawyers later recovered and compiled all the unreported opinions filed by the Supreme Court and the Supreme Court Commission before that point, which were published in a separate seven-volume reporter called California Unreported Cases starting in 1913.  Despite its name, those cases are citable as precedent.

Ancillary responsibilities
The Court supervises the lower courts (including the trial-level California superior courts) through the Judicial Council of California and the California Commission on Judicial Performance, and also supervises California's legal profession through the State Bar of California. All lawyer admissions are done through recommendations of the State Bar, which then must be ratified by the Supreme Court, and attorney discipline is delegated to the State Bar Court of California (although suspensions longer than three years must be independently decided upon by the Court). California's bar is the largest in the U.S. with 210,000 members, of whom 160,000 are practicing.

The court, with the assistance of the Reporter of Decisions, publishes the California Style Manual for use by the California Courts of Appeal and the superior courts.

Reputation

As the Wall Street Journal said in 1972:

The state's high court over the past 20 years has won a reputation as perhaps the most innovative of the state judiciaries, setting precedents in areas of criminal justice, civil liberties, racial integration, and consumer protection that heavily influence other states and the federal bench.

Statistical analyses conducted by LexisNexis personnel at the Court's request indicate that the decisions of the Supreme Court of California are by far the most followed of any state supreme court in the United States. Between 1940 and 2005, 1,260 decisions of the Court were expressly followed by out-of-state courts (meaning that those courts expressly found the Court's reasoning persuasive and applied it to the cases before them).

Many important legal concepts have been pioneered or developed by the Court, including strict liability for defective products, fair procedure, negligent infliction of emotional distress, palimony, insurance bad faith, wrongful life, and market-share liability.

The major film studios in and around Hollywood and the high-tech firms of Silicon Valley both fall under the Court's jurisdiction. Thus, the Court has decided a number of cases by, between, and against such companies, as well as several cases involving Hollywood celebrities and high-tech executives.

The California Supreme Court and all lower California state courts use a different writing style and citation system from the federal courts and many other state courts. California citations have the year between the names of the parties and the reference to the case reporter, as opposed to the national standard (the Bluebook) of putting the year at the end.  For example, the famous case Marvin v. Marvin, which established the standard for non-marital partners' ability to sue for their contributions to the partnership, is rendered Marvin v. Marvin (1976) 18 Cal.3d 660 [134 Cal.Rptr. 815, 557 P.2d 106] in California style, while it would be Marvin v. Marvin, 18 Cal. 3d 660, 557 P.2d 106, 134 Cal. Rptr. 815 (1976), in Bluebook style.  The California citation style, however, has always been the norm of common law jurisdictions outside the United States, including England, Canada and Australia.

While the U.S. Supreme Court justices indicate the author of an opinion and who has "joined" the opinion at the start of the opinion, California justices always sign a majority opinion at the end, followed by "WE CONCUR," and then the names of the joining justices.  California judges are traditionally not supposed to use certain ungrammatical terms in their opinions, which has led to embarrassing fights between judges and the editor of the state's official reporters.  California has traditionally avoided the use of certain French and Latin phrases like en banc, certiorari, and mandamus, so California judges and attorneys use "in bank," "review," and "mandate" instead (though "in bank" has become quite rare after 1974).

Finally, the Court has the power to "depublish" opinions by the Courts of Appeal (as opposed to the federal practice of not publishing certain "unpublished" opinions at all in the federal case reporters).  This means that even though the opinion has already been published in the official state reporters, it will be binding only upon the parties.  Stare decisis does not apply, and any new rules articulated will not be applied in future cases.  Similarly, the California Supreme Court has the power to "publish" opinions by the California Courts of Appeal which were initially not published.

Important cases
The California Supreme Court has handed down important and influential decisions since 1850. Some of the most significant of these important and influential Court decisions are listed below in date ascending order.  Most of the Court decisions that follow were landmark decisions that were among the first such decisions in the United States or the world.
 People v. Hall (1854): A case which held that Chinese persons may not testify against a white man, even if the white man is accused of murdering a Chinese person; effectively overturned by state law in 1873. The Hall case has been described as "containing some of the most offensive racial rhetoric to be found in the annals of California appellate jurisprudence" and "the worst statutory interpretation case in history."
 Houston v. Williams (1859): A leading case on the separation of powers under the California Constitution.
 Escola v. Coca-Cola Bottling Co. (1944): Then-Associate Justice Roger Traynor suggested in a now-famous concurring opinion that the Court should dispose of legal fictions like warranties and impose strict liability for defective products as a matter of public policy.
 Perez v. Sharp (1948): The Court overturned the statutory ban on interracial marriage as unconstitutional.  Perez directly influenced the landmark U.S. Supreme Court decision on this issue, Loving v. Virginia (1967).
 Summers v. Tice (1948): The Court shifted the burden to the defense to disprove causation when it was clear that one of two defendants must have caused the plaintiff's injury, but it was not clear which one.
 Dillon v. Legg (1968): The Court radically expanded the tort of negligent infliction of emotional distress (NIED) beyond its traditional form, which historically had been limited to plaintiffs standing in the same "zone of danger" as a relative who was killed.
 Pacific Gas & E. Co. v. G. W. Drayage & Rigging Co., Inc. (1968): The Court held that parol evidence could be conditionally received by a trial court to determine if a contract was ambiguous when not ambiguous on its face. This decision has not been followed by the courts of any other state.
 Rowland v. Christian (1968): The Court abolished the old distinctions between different types of persons entering land and imposed a general duty of care in the context of the tort of negligence.
 People v. Belous (1969): The Court held the state's criminal statute prohibiting abortions to be unconstitutionally vague, in a 4-3 decision.
 People v. Anderson (1972): The Court relied upon the state constitutional clause prohibiting "cruel or unusual punishment" (note the difference from the federal Constitution's "cruel and unusual punishment" clause) to abolish capital punishment in California.  The state electorate promptly overruled Anderson that same year with a popular initiative, Proposition 17, that kept the "cruel or unusual" clause but declared the death penalty to be neither cruel nor unusual.
 Pitchess v. Superior Court (1974): The Court held that criminal defendants have a right to access the arresting officer's personnel file when the defendant alleges in an affidavit that the officer used excessive force or lied about the circumstances of the arrest.
 Li v. Yellow Cab Co. (1975): The Court embraced comparative negligence as part of California tort law and rejected strict contributory negligence.
 Tarasoff v. Regents of the University of California (1976): The Court held that mental health professionals have a duty to protect individuals who are being threatened with bodily harm by a patient. The original 1974 decision mandated warning the threatened individual, but a 1976 rehearing resulted in a decision calling for a "duty to protect" the intended victim, which did not necessarily require that a potential victim be informed of the threat.
 Marvin v. Marvin (1976): The Court ruled in favor of the enforceability of non-marital relationship contracts, express or implied, to the extent that they are not founded purely upon meretricious sexual services.  In other words, even though California does not recognize common law marriage, persons who cohabit for long periods of time and commingle their assets are allowed to plead and prove marriage-like contracts for support and division of property.
 Robins v. Pruneyard Shopping Center (1979): The Court found that the broad right to freedom of speech in the state constitution included an implied right to freedom of speech in private shopping centers.  The U.S. Supreme Court in turn held that the state supreme court's decision did not amount to a "taking" of the shopping center under federal constitutional law.
 Sindell v. Abbott Laboratories (1980): The Court imposed market share liability on the makers of fungible hazardous products.
 Thing v. La Chusa (1989): The Court withdrew from the expansive form of NIED set forth in Dillon and imposed a rigid bright-line test for recovery in bystander NIED cases.  The Thing decision included extensive dicta hostile to plaintiffs which more generally limited the scope of recovery for both the tort of negligence and emotional distress damages in California.
 Moore v. Regents of the University of California (1990): The Court held that patients do not have intellectual property rights in profits from medical discoveries made with their body parts.
 Wendland v. Wendland (2001): The Court held that in the absence of a legally recognized method of determining who should make medical decisions on the behalf of an incompetent patient, the constitutional right to life and right to privacy granted special protection to the incompetent person.
 Yount v. City of Sacramento (2008): The Court held that a criminal conviction does not limit an individual's right to bring civil action for deprivation of rights in cases of excessive use of force.
 In re Marriage Cases (2008): The Court held that sexual orientation is a protected class which requires strict scrutiny and under such scrutiny, laws prohibiting same-sex marriage are unconstitutional under the state constitution. The state electorate overturned the marriage portion of the decision that same year by enacting a popular initiative, Proposition 8, but left in place the discrimination protections.
 Silicon Valley Taxpayers' Assn., Inc. v. Santa Clara County Open Space Authority (2008): The Court unanimously held in a Proposition 218 ("Right to Vote on Taxes Act") case that courts must exercise their independent judgment in reviewing local agency legislative decisions adopting special assessments. The highly deferential standard of review before Proposition 218 became law was grounded in separation of powers. Because the constitutional provisions of Proposition 218 were of equal dignity to the separation of powers doctrine, it no longer justified allowing a local agency to usurp the judicial function of interpreting and applying the constitutional provisions that governed assessments under Proposition 218.
 People v. Diaz (2011): The Court held that the warrantless search of information in a cell phone was valid when incident to a lawful arrest.  (The holding in Diaz was eventually repudiated by the United States Supreme Court in Riley v. California.)

Notable former justices

 Serranus Clinton Hastings, Chief Justice (1850–1852) (First Chief Justice, founded UC Law SF)
 Solomon Heydenfeldt, Associate Justice (1852–1857) (First Jewish justice to be elected by direct vote of the people)
 David S. Terry, Chief Justice (1857–1859) (Killed while attempting to assassinate his successor, Stephen Field)
 Stephen J. Field, Chief Justice (1859–1863) (Appointed by President Lincoln to the U.S. Supreme Court)
 Addison Niles, Associate Justice (1872–1880)
 Curtis D. Wilbur, Chief Justice (1923–1924) (Appointed by President Coolidge as U.S. Secretary of the Navy)
 Mathew Tobriner, Associate Justice (1962–1982)
 Roger J. Traynor, Chief Justice (1964–1970), Associate Justice (1940–1964) (Well-respected legal scholar; generally regarded as the greatest justice in the history of the Court)
 Stanley Mosk, Associate Justice (1964–2001) (Longest serving justice)
 Wiley W. Manuel, Associate Justice (1977–1981) (First African-American on the Court; well known for his pro bono work)
 Rose E. Bird, Chief Justice (1977–1987) (First woman appointed to the Court; only Chief Justice ever not to be retained by the electorate)
 Otto Kaus, Associate Justice (1981–1985)
 Allen Broussard, Associate Justice (1981–1991)
 Cruz Reynoso, Associate Justice (1982–1987) (First Latino on the Court)
 Janice Rogers Brown, Associate Justice (1996–2005) (Appointed by President G.W. Bush to the United States Court of Appeals for the District of Columbia Circuit)
 Ronald M. George, Chief Justice (1996–2011), Associate Justice (1991–1996)
 Tani Cantil-Sakauye, Chief Justice (2011-2023) (first Asian American chief justice)

List of chief justices

See also

 Judiciary of California
 Judicial Council of California
 J. Edward Johnson, a historian of the Court
 Impeachment in California

References

External links

 Supreme Court of California
 California Supreme Court Historical Society
 At the Lectern – California Supreme Court Practice Blog

Supreme Court of California
1849 establishments in California
Courts and tribunals established in 1849
California state courts

Supreme Court of California


Panic Room is a 2002 American thriller film directed by David Fincher. The film stars Jodie Foster and Kristen Stewart as a mother and daughter whose new home is invaded by burglars, played by Forest Whitaker, Jared Leto, and Dwight Yoakam. The script was written by David Koepp, whose screenplay was inspired by news coverage in 2000 about panic rooms.

The film was Fincher's fifth feature film, following Fight Club (1999). Fincher and Koepp brought together a crew of people with whom each had worked before. The house and its panic room were built on a Raleigh Studios lot. Nicole Kidman was originally cast as the mother, but she left after aggravating a previous injury. Her departure threatened the completion of the film, but Foster quickly replaced Kidman. The filmmakers used computer-generated imagery to create the illusion of the film camera moving through the house's rooms. Foster became pregnant during the shooting schedule, so filming was suspended until after she gave birth. The film's production cost .

The film was commercially released in the United States and Canada on , 2002. The film grossed  on its opening weekend. In the United States and Canada, it grossed . In other territories, it grossed  for a worldwide total of . The film was well-received by critics, who praised Foster's performance and the film's suspense. Panic Room has been assessed for its portrayal of childhood and feminism, the elements of video surveillance and diabetes, and its thematic approach to mortality.

Plot
Recently divorced Meg Altman and her eleven-year-old daughter, Sarah, move into a four-story brownstone in New York City's Upper West Side. The house's previous owner, a reclusive millionaire, installed a "panic room" to protect the occupants from intruders. The room is reinforced by concrete and steel on all sides and a thick steel door. There is also an extensive security system with multiple surveillance cameras and a public address system.

On Meg and Sarah's first night, three men break into the home: Junior, the previous owner's grandson; Burnham, an employee of the home's security company; and Raoul, a thug Junior has recruited. They intend to steal bearer bonds locked inside a floor safe inside the panic room by the previous owners, as Junior doesn't want to share them with his extended family when his grandfather's estate is settled in probate.

When Meg awakes during the night to use the bathroom, she sees the men on the security cameras, and she and Sarah rush to the panic room. To force them out, the men pump propane gas into the room's air vents. Meg ignites the gas while she and Sarah cover themselves with fireproof blankets; the ignited propane leaves Junior badly burned. Meg taps into the main telephone line and calls her ex-husband, Stephen. As she attempts to explain their situation, the intruders cut the line, abruptly ending the call.

When all attempts to breach the room fail, Junior gives up on the robbery, while letting slip that there is more money in the safe than he initially disclosed. When he attempts to leave, Raoul fatally shoots him then forces Burnham to continue with the robbery. Stephen arrives and is immediately taken hostage. Raoul severely beats him, making sure Meg sees it on the security camera. Sarah, a diabetic, then suffers a seizure as her glucagon syringes are in her bedroom.

Raoul tricks Meg into thinking it is safe to temporarily leave the panic room and, when she leaves to retrieve Sarah's medication, the men enter the room with Sarah inside. Meg manages to throw the med kit in just as Burnham closes the door, inadvertently crushing Raoul's hand. She pleads with the men to give Sarah her medication, which Burnham does. Two policemen later arrive at the house following up on Stephen's earlier 911 call and complaints from the neighbors. To protect Sarah, Meg convinces the officers everything is fine and they leave. Meanwhile, Burnham opens the safe and finds $22 million in bearer bonds inside.

As the men prepare to leave using Sarah as a hostage, Meg leads them into an ambush where she uses a sledgehammer to knock Raoul over a banister and into a stairwell. As Burnham flees, the injured Raoul crawls back up and overpowers Meg, preparing to bludgeon her with the sledgehammer. Burnham, hearing Sarah's terrified screams, rushes back and shoots Raoul, killing him. The police, alerted by Meg's earlier odd behavior, arrive back at the house in force and apprehend Burnham, who is forced to drop the bearer bonds, which scatter in the wind.

A few days later, Meg and Sarah search the newspaper for a new, smaller home, having recovered from their harrowing ordeal.

Cast

Jodie Foster stars as Meg Altman, a recently divorced woman who, with her daughter Sarah, looks for a new home in New York City. Nicole Kidman was originally cast as Meg, but she left the project due to a knee injury. Foster, who almost joined the cast of Fincher's 1997 film The Game, replaced Kidman. Fincher said Kidman's portrayal was "about glamour and physicality", while Foster's portrayal was "more political". Meg was originally written to be helpless, but with Foster's involvement, the character was revised to be stronger. The casting change also led to Meg's being rewritten to be similar to her daughter, whereas Meg had been different from her before. Foster became pregnant soon after she started filming. She told the filmmakers, and they decided to keep filming her scenes but with a wardrobe that would conceal her pregnancy. Studio executives did not like the dailies and suspended production until Foster gave birth and returned to perform re-shoots. Foster was reportedly paid  for her role.

Kristen Stewart stars as Sarah, Meg's diabetic daughter. Hayden Panettiere was originally cast as Sarah, but when she left the project toward the end of 2000, Stewart was cast in the role. Panic Room was Stewart's second feature film after The Safety of Objects (2001). When Kidman was cast as Meg, Fincher said Stewart was "to complement [Kidman's portrayal], to be her antithesis, tomboyish, androgynous, dismissive, a teenager at ten years old. It was about the daughter being a parent to her mother." When Foster replaced Kidman, the character Meg was rewritten so she and Sarah would be similar.

Forest Whitaker, Jared Leto, and Dwight Yoakam star as the film's burglars, Burnham, Junior, and Raoul, respectively. Whitaker's character Burnham was originally written to be "a slick, technical type" and the designer of the panic room in Meg and Sarah's home. Fincher did not think a designer could be persuaded to break into a home, so he rewrote the character to be a blue-collar worker who installs panic rooms for a living. The director told Whitaker to watch Key Largo (1948) and to emulate Humphrey Bogart's character. Whitaker said he liked Burnham's "conflicted" nature and preferred it to Raoul's villainy. Raoul was originally written to be "a giant scary hulking guy", but Fincher rewrote him to be "this wiry, mean kind of ex-con white trash guy". In one revised instance, Raoul punches Meg instead of slapping her to be reinforced as "an appalling character". The role of Raoul was originally offered to Maynard James Keenan, whom Fincher had directed in a music video for A Perfect Circle's "Judith". Keenan was too busy as the lead singer for Tool, so Fincher then offered the role to Yoakam, knowing him from his performance in Sling Blade (1996). For the role of Junior, Fincher cast Leto, who was in the cast of Fincher's previous film Fight Club (1999). As part of atypical class division, Junior is "the uptown rich kid", where Burnham is blue-collar, and Raoul is undefinable.

Patrick Bauchau had a minor role as Meg's ex-husband Stephen. Kidman, though she left the primary role due to her knee injury, had an uncredited off-screen role as the voice of Stephen's supermodel girlfriend. Screenwriter Andrew Kevin Walker, who was a credited writer for Seven and The Game and an uncredited writer for Fight Club, had a cameo in Panic Room as a sleepy neighbor.

Production

 David Fincher – director
 David Koepp – screenwriter, producer
 Ceán Chaffin – producer
 Judy Hofflund – producer
 Gavin Polone – producer
 Howard Shore – composer
 Conrad W. Hall – cinematographer
 Darius Khondji – cinematographer
 James Haygood – editor
 Angus Wall – editor
 Arthur Max – production designer
 Keith Neely – art director
 James E. Tocci	– art director
 Jon Danniells – set decorator
 Garrett Lewis – set decorator
 Michael Kaplan – costume designer

Panic Room was directed by David Fincher based on a screenplay written by David Koepp. The film, produced at Columbia Pictures, was Fincher's fifth feature film, following Fight Club (1999). Koepp was also a producer for Panic Room, and he was joined by Judy Hofflund and Gavin Polone, with whom he collaborated on Stir of Echoes (1999). Fincher included as producer Ceán Chaffin, with whom he had worked on commercials and music videos. Fincher also included in his initial crew people with whom he had worked before: cinematographer Darius Khondji, production designer Arthur Max, costume designer Michael Kaplan, and editors James Haygood and Angus Wall.

Fincher envisioned Panic Room as a popcorn movie about survival. His previous film Fight Club had 400 scenes and 100 locations, so he wanted to simplify the production of Panic Room. To this end, he wanted to focus production on a single set and to plan the scenes and shots thoroughly before the start of filming. Despite the preparation, he experienced difficulty in production with changes in the cast and the crew as well as the inherent inflexibility of his initial planning.

Development
Screenwriter David Koepp was inspired by news coverage in 2000 about how safe rooms were becoming prevalent among the wealthy living in urban areas. He sold the script to Sony Pictures for . Before Fincher's involvement, director Ridley Scott was briefly connected to the project, and actor-director Forest Whitaker studied the script before declining the opportunity to direct. Fincher said he was interested in the script's omniscience and that he was reminded of "the specific subjectivity" of Rear Window (1954). He also saw Panic Room as a cross between Rear Window and Straw Dogs (1971), though he was concerned "a modern audience" would compare Panic Room more to Home Alone (1990) than to Rear Window.

Fincher also saw Panic Room as a crime thriller similar to The Treasure of the Sierra Madre (1948), where money is "an object that everyone's after for the wrong reasons". The director was also interested in the story's conciseness of happening in one place and in one night, and how the screenplay was well-laid out to let the director decide a variety of shots and use of set-pieces. Fincher also saw the project as a way to be "in lock-step with the audience" in a change of pace from his previous films.

Koepp's screenplay emphasized pace over exposition. Koepp and Fincher agreed to streamline the film so the opening would introduce the characters as soon as possible. Fincher also sought to lay out the film so audiences could see characters make plans and thus be ahead of them, calling the tense foresight "a very cinematic notion". He wanted to track the different characters' agendas and to also keep scenes chronological, so he set up "computer-generated motion-control shots" to move the camera around the set. He planned scenes in which parallel scenes could be seen through the panic room's video monitors and also intercut between different characters. The final screenplay was similar in outline to the original one; there were minor changes in dialogue and specific moments, especially in the interaction between Meg and Sarah Altman due to Foster replacing Kidman. Explicit mention of Sarah's diabetes, such as the emergency syringe containing glucagon, were removed from the dialogue. Careful beverage intake, refrigerated medicine bottles, and Sarah's glucometer watch were intended as evidence of her diabetes.

Pre-production
The house was built on a soundstage on a Raleigh Studios lot. The set was designed by production designer Arthur Max, and it cost  to build. The panic room was  by . Three versions of the room were built so Fincher could film scenes from multiple angles. A 3D computer model of the set on the soundstage was designed. Fincher, who had done pre-visualization for Fight Club, used the model to design shots and decide their sequence. The computer model also enabled the camera to have "total freedom to travel" inside the house. Fincher said, "What we were just trying to do with CG was to say, there's no camera operator, there's no crew, there's no track, and the camera can go everywhere." The crew applied photogrammetry—"mapping still images over the surface of computer-generated 'sets'". The filming schedule was also shortened since camera setups could be evaluated and discarded virtually. Fincher had two-thirds of Panic Rooms shots planned before the start of filming. Director Steven Soderbergh reviewed Fincher's test footage and warned him that excessive planning would make actual production difficult for him and his crew.

Fincher sought to light his film less than most other films; he believed darkness contributed to the scare factor. Entering production, he initially planned to film the first half of the film in near-total darkness but decided that it required too much patience from audiences. Instead, he chose a "shadowy ambience" as a backdrop for Meg and Sarah Altman.

Filming

Casting began in 2000, with Nicole Kidman and Hayden Panettiere cast as Meg and Sarah Altman, the film's mother and daughter. Forest Whitaker, Jared Leto, and Dwight Yoakam were also cast as the film's burglars. In December 2000, before the start of filming, Panettiere left the project, and was replaced by Kristen Stewart. Filming began in January 2001. Shortly after the start of filming, cinematographer Darius Khondji was fired from the film. Khondji said he was fired after a conflict with a crew member that he did not want to name, but David Fincher said he and Khondji could not agree "on aspects of production". Much of the film was already planned in pre-production, and Khondji could not be given flexibility. Fincher replaced Khondji with Conrad W. Hall, with whom he found "a balance". Khondji said he supported Hall as his replacement.

After two weeks of filming, at the end of January 2001, Kidman was injured on set. An x-ray revealed a hairline fracture underneath one of her knee joints. The fracture was an injury from Kidman's filming of Moulin Rouge! (2001), and the fracture had never fully healed. When Kidman left the project, Fincher continued filming scenes that did not include her character. During the same time of Kidman's departure, the Writers Guild of America and the Screen Actors Guild were threatening to strike over contractual disputes, so Fincher was pressured to re-cast the role of Meg Altman before it took place. Since the film was early in production, Fincher was ready to shut down, but the studio wanted to continue production and find a replacement. If the studio had shut down production permanently, it would have collected  from insurance. If production was shut down then restarted, it would cost the studio , necessitating a quick replacement for Kidman. Rumored actors included Sandra Bullock, Angelina Jolie, and Robin Wright. Jodie Foster was previously occupied with directing duties of Flora Plum before its star Russell Crowe was injured and left the project, leading to that production's shutdown. To join Panic Room, Foster also stepped down as head of the awards jury at the 2001 Cannes Film Festival. Foster had a week to prepare for her role before filming resumed.

Five weeks after Foster began filming Panic Room, she learned she was pregnant. She informed Fincher and his producer Chaffin of her pregnancy, and they decided to continue filming. Fincher did not want to rush production, so Foster changed her wardrobe from a tank top to a heavy sweater to disguise indications of her pregnancy. For action scenes, stunt double Jill Stokesberry replaced Foster.

In the film's progression, the house degrades in quality, so Fincher filmed scenes in continuity as the set changed. He also filmed many sequences twice due to their near-parallel appearance on the panic room's video monitors. Editor Wall said there were  for the film with most set-ups having two cameras. One repeated take was when Raoul attempts to break into the panic room through the plaster ceiling below it. The plaster took 45 minutes to replace, so combined with repeated takes, a scene that was an eighth of a page in the script took two days to film. Another repeated take was one five-second shot being filmed over a hundred times: Meg being attacked by Raoul and dropping Sarah's medical kit. The shot was repeated so it would look like Meg did not toss the kit but instead lost it. Simultaneously, the kit needed to land in frame and in focus for the audience. Fincher argued for repeated takes so he could combine performances by the actors for "fluid" scenes. He also repeated takes with Stewart to ensure that her acting would be comparable to Foster's veteran performance.

The studio planned to release Panic Room in February 2002, but it determined that production could not be completed by then. Executives reviewed dailies of the film's opening scene and did not like Foster "hiding her stomach under a coat and purse". (Foster was also suffering from a sprained hip from distended ligaments due to her pregnancy.) The studio suspended production until after Foster's childbirth and rescheduled for the film to be released in March 2002. Foster gave birth in September 2001, and she returned to perform re-shoots, including the opening scene. She also returned two months later for additional filming, which concluded that November. Columbia Pictures screened the film for test audiences, who rated poorly the ending with the SWAT raid and Burnham's capture. By the screening, the set had been deconstructed due to storage costs, and Fincher estimated that it would cost  to rebuild enough of the set to reshoot the ending. Instead, editors Haygood and Wall revisited Burnham's scenes and chose takes in which the character would appear less sympathetic. The final production budget for Panic Room was .

Visual and practical effects

A seamless shot at the beginning of Panic Room took nine days to film on set but took several months to complete in post-production. The shot was a combination of camera footage and computer-generated effects. Koepp originally wrote the opening scene to be a series of shots that would zero in on the brownstone house, but Fincher instead chose a sequence of landmarks in New York City with credits hovering in front of them before the sequence transited seamlessly to introduce the film's main characters. The opening titles were inspired by those seen in The Trouble with Harry (1955) and North by Northwest (1959). The scene of Burnham's arrest also used computer-generated effects. Several scenes also involved practical effects: Junior's injuries from a flaming gas burn and Stephen Altman's bloodied, beaten self. A team of puppeteers was used to move Stephen's sticking-out collarbone. Fincher also sent the film reel to be digitally color-corrected as he had done for Fight Club and Seven.

Analysis

Conspiracy thrillers and feminism
Academic Jyotsna Kapur identifies Panic Room as one of several American conspiracy thrillers in the 2000s that re-cast the subject of childhood as "one of horror and alarm", where it had previously been a subject of celebration in family films dating back to the early 1980s. Kapur also says the depiction of paranoia in the decade's conspiracy thrillers is divided by gender, describing the male protagonist as "an idealized subject who thinks fast on his feet and cuts through fear to find the conspirators". In contrast, the female protagonist "gives in to her fear, turns delusional and vulnerable to suggestion"; Kapur cites Meg Altman in Panic Room as such a depiction with her divorcee status and her residence in a home too big for her and her daughter Sarah. The academic says calling this depiction merely a sexist stereotype is too dismissive: "It is logical that anxieties around the home and loss of children would privilege women because the domestic sphere has remained a gendered space." Kapur recalls 1940s films wherein a woman enters the husband's home as a stranger, with "the house and the husband as sources of dependence and dread". She contrasts them with films like Panic Room, in which the female protagonists instead defend against dangerous intruders. She writes, "They are not economically dependent on the marriage. Yet they portray for most of the film an image of feminized vulnerability, replaying the racist trope of diminutive white women in need of protection from outsider threats."

Medicine and technology
Panic Room is one of several films at the turn of the 21st century that use video surveillance as a key element. In particular, video surveillance is featured to illustrate aspects of a "surveillance society". The home is wired with a closed-circuit television system, and the images are displayed in the home's panic room. Since the burglars want to access the safe in the panic room where Meg and her daughter Sarah are hiding, there is an irreconcilable contradiction of freedom and safety. Dietmar Kammerer says there is no closed system within the home for the characters: "There is always communication; every action provokes a reaction." In contrast, the film's "camera eye" can travel unimpeded throughout the home, passing through walls. The surveillance footage in the film is never the camera eye; the camera eye itself observes the footage on the monitors. Of the cameras, Kammerer says, they are "Extremely mobile, but unstable: the surveillance technology in Panic Room is useful and harmful, good and evil at once." When the cameras are destroyed, Meg and Sarah are able to overcome the burglars. Kammerer says the cameras reflect ambivalence in the film, between "freedom and security, openness and closedness".

In the film, Sarah is diabetic. Kevin L. Ferguson says, "With diabetes, this self-aware focus on the ethics of the body is drawn sharply by films that also raise the older form of direct, punitive power. This is the reason why diabetics appear with frequency in films involving criminality and law." In a review of nearly forty films with diabetes as a key element, Panic Room is one of the only three that shows a glucometer (a device diabetics use to measure their glucose; Sarah wears a glucometer as a watch.) Sarah's diabetes in the film is never explicitly outlined for audiences, but they hear dialogue about moderating beverage intake and see the glucometer count down. Ferguson says, "The glucometer arranges the viewer's acknowledgement of diabetic selfcare, thus implicating the viewer in the process of control. The pure watchfulness of cinemagoers mimics the controlling relationship diabetic characters must endure." Though mother and daughter bond in the film, the mother actively monitors her daughter's health. Ferguson says, "Panic Rooms emphasis on vision and technology necessitates a paternalistic, monitoring attitude towards the diabetic character." He also notes that the glucometer parallels the overarching surveillance system in the film in being read "excessively".

Approach to mortality
Academic John Kitterman says audiences see Panic Room as a way to confront their fears and to achieve catharsis, but he argues that the film cannot provide that experience authentically. He notes that the film's protagonist Meg Altman is reminded by the panic room of author Edgar Allan Poe, who wrote several short stories related to premature burial. Kitterman highlights one story, "The Premature Burial", as synonymous with Panic Room. He says, in both works, "It is in the representing or acting out of such fears of being buried alive or being the victim of a home invasion that the protagonist actually calls for that trauma to happen." He says that Meg's nervous recognition of the panic room guarantees that her fear will come to pass. Though the home "looks like a mausoleum", the combination of the panic room's being able to monitor all the rooms and the unbounded movement of the film's camera leads audiences to believe they have some control over confronting their fears. Kitterman says the confrontation is unauthentic because of the function of Jacques Lacan's symbolic order, "We can never find what we are looking for because truth and reality exist on a different plane of discovery... Truth is hidden in the symbolic order, and no panoptical vision is going to reveal it to us." Kitterman says the film hides the truth of mortality, especially by making everywhere in the film visible to audiences. He concludes, "[Fincher] hides the truth behind a veil of visibility, using the camera to create a hegemony of vision that brainwashes us all into believing that what we are seeing is real. But the real of death cannot be symbolized."

Theatrical run
Columbia Pictures marketed Panic Room as being produced by the same director who produced Seven and Fight Club. Fincher disagreed with the approach because he believed that Panic Room did not match the tone of his previous two films and that it would not appeal to the same audiences. He believed Panic Room would appeal more to audiences who saw Kiss the Girls (1997) and The Bone Collector (1999). He also disagreed with the studio's marketing materials for Panic Room, which advertised it as "the most terrifying movie ever made". Fincher also argued with the studio about the poster design, which he believed reflected the film's themes, and the studio relented in publishing Fincher's poster.

Panic Room had its world premiere on , 2002 in Los Angeles. Fincher refused to edit the film to receive a PG-13 rating (parental guidance for children under 13) from the Motion Picture Association of America, so the MPAA gave the film an R rating (restricted to filmgoers at least 17 years old) for violence and language. It was commercially released in the United States and Canada on March 29, 2002. It was screened in  and grossed  on its opening weekend. It ranked first at the box office, and for both actor Jodie Foster and director David Fincher, the opening weekend gross was a personal best to date. It surpassed The Matrix (1999) to have the biggest Easter holiday-weekend opening and also had the third biggest opening to date for a non-supernatural thriller film, following Hannibal (2001) and Ransom (1996). Audiences polled by CinemaScore, during the opening-weekend, gave Panic Room a "B" grade on an A+ to F scale. The audience demographic was 53% female and 47% male, and 62% of audience members were aged 25 years and older.

In the film's second weekend (April 5–7) in the United States and Canada, it ranked first again with , competing mainly with the new release High Crimes. The film went on to gross  at the US and Canadian box office and  in other territories' box offices for a worldwide total of . (In 2006, the film had a re-release in Hong Kong that grossed , increasing the total to .) The film was Fincher's second highest-grossing to date after Seven, which grossed  worldwide. In the United States and Canada, Panic Room ranks fifth among David Fincher's films in box office gross. Adjusted for inflation, Panic Room ranks third. Worldwide, unadjusted for inflation, it ranks fifth.

Critical reception
Critics called Panic Room "a high-tension narrative". They compared the film to the works of Alfred Hitchcock, both positively and negatively. Several critics thought the film was too mainstream after Fincher's Fight Club. Rotten Tomatoes reported that 76% of 188 sampled critics gave the film positive reviews, with an average rating of 6.9/10. The consensus states: "Elevated by David Fincher's directorial talent and Jodie Foster's performance, Panic Room is a well-crafted, above-average thriller." Metacritic, which uses a weighted average, gave the film a score of 65 out of 100 based on 36 critics, indicating "generally favorable reviews".

Joe Morgenstern of The Wall Street Journal said, "Seven was stylishly gloomy, and Fight Club was smarmily pretentious, while Panic Room has been admirably stripped down to atmosphere as a function of architecture, and action as a consequence of character." Morgenstern commended the characters Meg and Sarah as feminist heroines and also called the home invaders "intriguing". He also applauded Foster's performance and the film's cinematography, and he said to Koepp's script as "all worked out too". Film critic Roger Ebert gave the film three stars out of four, describing Panic Room as close to "the ideal of a thriller existing entirely in a world of physical and psychological plausibility." Ebert wrote, "There are moments when I want to shout advice at the screen, but just as often the characters are ahead of me." Ebert also called Fincher "a visual virtuoso", and applauded Foster's performance as "spellbinding".

Home media
Panic Room was first released on VHS and DVD on September 17, 2002. The studio produced VHS copies only for rental and not for sale, believing that owners of DVD players were more likely to buy the film. The studio used the design from the theatrical release poster for the video cover, where Fincher had wanted a black cover that would differ from the poster. Though previsualization supervisor Ron Frankel wanted to include materials to show storyboard animation, the DVD was released as a single-disc edition with no audio commentary or other features. Fincher also chose not to include on the DVD scenes filmed with Nicole Kidman before she was replaced by Jodie Foster. In its first week, the film ranked second in DVD sales after Monsters, Inc., though it ranked first in DVD rentals. In March 2004, the studio released a special edition DVD, which consisted of three discs, two which provided featurettes of the pre-production, production, and post-production processes for the film. The DVD also had several commentary tracks, including one by the director. Author John T. Caldwell cites the special edition DVD of Panic Room as an example of demonstrating directorial control to "aesthetically elevate" the film.

Columbia Pictures sold the television rights for Panic Room to Turner Broadcasting and CBS, who shared the rights over five years. In September 2004, Turner aired the film on channels TBS and TNT for 12 months, and afterward, CBS aired the film three times in an 18-month span. Turner resumed airing Panic Room for 30 months after CBS's turn.

A Blu-ray version of the film has yet to be released, but it is available in 1080p HD on Amazon Prime Video, iTunes, Google Play, and other streaming services.

Accolades
Howard Shore won from the American Society of Composers, Authors and Publishers an ASCAP Award in the Top Box Office Film music category for his scores for Panic Room and The Lord of the Rings: The Two Towers. The Art Directors Guild nominated Panic Room for the Excellence in Production Design for a Contemporary Film Award. The Online Film Critics Society Award nominated Panic Room for Best Editing. Panic Room won an award at the 3rd Golden Trailer Awards for having the Best Horror/Thriller film trailer, beating fellow nominees Signs, Brotherhood of the Wolf, Jurassic Park III, and No Such Thing. For her performance in the film, Jodie Foster was nominated for a Saturn Award for Best Actress.

See also

 List of films featuring home invasions
 List of films featuring surveillance
 List of films featuring diabetes
 List of thriller films of the 2000s
 List of American films of 2002
 Cinema of the United States

Notes

References

Footnotes

Bibliography

Further reading

  (Novelization based on the screenplay written by David Koepp.)

External links

2002 films
2002 crime thriller films
2002 psychological thriller films
American crime thriller films
American psychological thriller films
Columbia Pictures films
Films about security and surveillance
Films directed by David Fincher
Films produced by David Koepp
Films scored by Howard Shore
Films set in New York City
Films shot in Los Angeles
Films shot in New York City
Films with screenplays by David Koepp
Home invasions in film
Films about mother–daughter relationships
2000s English-language films
2000s American films

Panic Room


NGC 130 este o galaxie lenticulară situată în constelația Peștii, membră a grupului NGC 128. A fost descoperită în 4 noiembrie 1850 de către Bindon Stoney.

Note

Vezi și
 NGC 129
 NGC 131

Legături externe
 NGC 130 pe spider.seds.org
 NGC 130 pe SIMBAD
 NGC 130 pe WikiSky

Galaxii lenticulare
Obiecte NGC
Constelația Peștii
Obiecte astronomice descoperite în 1850
Obiecte astronomice descoperite de Bindon Stoney

NGC 130


An Mormodes densiflora in uska species han Liliopsida nga ginhulagway ni Francisco E.L.de Miranda. An Mormodes densiflora in nahilalakip ha genus nga Mormodes, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mormodes

Mormodes densiflora


Life'll Kill Ya is the tenth studio album by American singer-songwriter Warren Zevon. The album was released on January 25, 2000, by Artemis Records. It was later hailed in Rolling Stone as his best work since Excitable Boy.

Themes
Several of the album's songs deal with the topic of death; for instance, "My Shit's Fucked Up" is a mournful lament on the aging process and the inevitable decay that accompanies it. "Life'll Kill Ya" and "Don't Let Us Get Sick" also have prominent death themes. Additionally, Zevon had a phobia of doctors leading him to avoid them for several years; that theme is included in the album as well. In 2002, just two years after the album's release, Zevon was diagnosed with mesothelioma and died a year later.

Track listing

Note
On some releases, track 9 is omitted from the rear U-card but appears on the song list in the case booklet.

Personnel
Warren Zevon – percussion, keyboards, guitar, piccolo, vocals, penny whistle, harmonica; theremin on "Porcelain Monkey"
Jorge Calderón – bass guitar, percussion, vocals
Dennis Collins – vocals on "Fistful of Rain"
Babi Floyd – vocals on "Fistful of Rain"
Curtis King – vocals on "Fistful of Rain"
Chuck Prophet – guitar on "For My Next Trick I'll Need a Volunteer"
Jim Ryan – mandolin on "Ourselves to Know"
Winston Watson – percussion, snare drums

Production
Paul Q. Kolderie – producer, engineer
Sean Slade – producer, engineer
Greg Calbi – mastering
 Michael Krumper – A&R
 Warren Zevon – art direction
Jonathan Exley – photography, design

Charts

References

Warren Zevon albums
2000 albums
Albums produced by Sean Slade
Albums produced by Paul Q. Kolderie
Artemis Records albums

Life'll Kill Ya


Aceasta este o listă de episoade a serialului Garfield și prietenii, un desen animat bazat pe benzile desenate Garfield create de Jim Davis. Serialul a fost difuzat între 1998 și 1994 pentru un total de șapte sezoane și 121 de episoade.

Episoade

Crossover special (1990)

Referințe și note

Lista episoadelor din Garfield și prietenii


Bondelum (Frizce: Bonlem), Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Nordfriesland iline bağlı yerleşim yeri. 9,18 km² yüzölçümüne sahiptir. Nüfusu, 31 Aralık 2015 itibarıyla yaklaşık 174 olarak tespit edilmiştir. Kilometrekare başına yaklaşık 19 kişilik bir nüfus yoğunluğuna sahiptir. Belediye Başkanlığı Hans-August Carstensen tarafından yürütülmektedir.

Dış bağlantılar
 www.amt-vioel.de

Kaynakça

Nordfriesland iline bağlı yerleşim birimleri

Bondelum


An Amorphophallus xiei in uska species han Liliopsida nga ginhulagway ni Hen Li ngan Z.L.Dao. An Amorphophallus xiei in nahilalakip ha genus nga Amorphophallus, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Amorphophallus

Amorphophallus xiei


Maket, gerçek veya kurgusal bir nesnenin çeşitli materyaller kullanarak üretilen, belirli bir ölçekteki kopyası. Maketçilik yapılması planlanan bir evin mimari tasarımı için üretilen prototip içeriğinde bir ev maketi olabileceği gibi gerçek hayattaki ulaşım araçlarının (uçak, gemi, tren, araba vb.) birebir bir modelini yapmak da olabilir.

Taşıt maketleri
Statik uçak maketleri, maketçiliğin en çok rağbet rağbet gören dallarından bir tanesidir. 1/72, 1/48 ve 1/32 gibi standart oranları mevcuttur. I. ve II. Dünya Savaşı dönemi uçakları, Soğuk Savaş dönemi uçakları ve modern uçaklar olarak dönem dönem ayrılırlar. Yine ağırlığı II. Dünya savaşı olmak üzere zırhlı araç maketçiliği de 1/72, 1/48 ve 1/35 ölçeklerde önemli bir yer tutmaktadır. Tren maketçiliği maketçiliğin bir kolu olarak gelişmiş ülkelerde yaygın bir hobidir. Yaygın kullanılan ölçekler 1/87 (HO olarak adlandırılır), 1/100, 1/72 ve 1/200'dür. Bu hobi kapsamında demiryollarında işleyen veya geçmişte işletilmiş lokomotif ve vagonların maketi yapılabileği gibi bunların yapılmış hazır maketlerinin koleksiyonu da yaygındır. Demiryolu ulaşımı olan bir mekanın canlandırma amacıyla kurgulamak ve maketini yapmak da ilgi çeken uğraşlardan birisidir.

Dış bağlantılar

 Association of Professional Model Makers, APMM

Maket


Ștefan Holban () a fost un deputat din Sfatul Țării, organismul care a exercitat puterea legislativă în Republica Democratică Moldovenească, în perioada 1917-1918, precum și deputat în Parlamentul României.

Biografie
Născut într-o familie de părinți țărani, Ciprian și Paraschiva, cu stare mijlocie. Absolvă școala primară în satul natal, apoi Seminarul Pedagogic în Novîi Bug (Herson) primind bursă de stat. Urmează trei ani la Politehnica din Odesa (secția electrotehnică) și un an în Germania, la Altstrelitz , tot electrotehnica. Stagiul de practică de un an la Societatea Belgiană de Tramvaie din Chișinău. Însă izbucnirea războiului îl pune în imposibilitatea să-și mai depună proiectul de diplomă.

După 27 martie 1918 reintră în învățământ ca director al Școlii Primare nr . 2 din Chișinău, devine președinte al Asociației Învățătorilor din jud. Lăpușna și vicepreședinte pe țară. Se înscrie la Facultatea de Drept din Iași pe care o absolvă în 1926, își dă demisia din învățământ ocupându-se cu avocatura în Boroul din Chișinău.

În 1940 și apoi în 1944 se refugiază în Râmnicu Vilcea, unde sprijină organizarea unei cantine pentru 200 refugiați, cantina fiind condusă de soția sa. În 1957, pe când avea 71  de ani, este condamnat la muncă silnică pentru 15 ani, fiind acuzat de activitate contrarevoluționară,fără însă ca tribunalul să aibă vreo dovadă. A cutreierat în acest timp închisorile din Jilava , apoi Gherla și în sfârșit Botoșani, unde moare în 1961 la 27 august. Familia fiind anunțată abia în anul următor, iar locația mormântului fiind încă ne știută. Astfel i-au construit un cenotaf, în cimitirul botoșănean, cu inscripția: "Undeva în acest cimitir se află corpul neînsuflețit al celui ce a fost Ștefan Holban".

Activitatea politică
În 1916 este mobilizat, îndeplinindu-și stagiul militar la Simferopol, în Crimeea. Este apoi trimis ca interpret la o unitate rusească din Dobrogea, pe frontul român. De aici, este delegat, în 1917, la Congresul Ostașilor Moldoveni din Odesa, unde se hotărăște înființarea, în acel oraș, a unui Comitet Militar Moldovenesc, pe 14 mai. Printre realizările acestui comitet a fost și un apel către moldoveni care să-i îndemne la "unirea tuturor organizațiilor moldovenești spre a lupta cu dușmanii slobozeniei", acesta fiind în legătură cu răscoala generalului rus proțarist Kornilov . Apelul a fost semnat de Ștefan Holban la 30 august 1917. La începutul luni septembrie în ședința extraordinară a Comitetului Executiv Moldovenesc din Odesa, este cooptat în Comitet matelotul sergent major Turkuman din Sevastopol și voluntarul Ștefan Holban.

Între 8 și 14 septembrie 1917, Ștefan Holban participă în Kiev la Congresul Tuturor Popoarelor din Rusia din partea românilor. Iar la 20 septembrie prezintă raportul privind participarea delegației la Congreșul de la Kiev. De asemenea face parte din delegația trimisă la Kerenski în vederea obținerii unei autorizații de a se convoca Congresul General Ostășesc Moldovenesc. Din delegație făceau parte slt. Ion Păscăluță, Ștefan Holban din partea Comitetului din Odesa și cpt. A. Popa din partea Comitetului din Chișinău. Aceștia nu au reușit să obțină audiență la Kerenski, dar li s-a dat de înțeles de către adjutantul lui Kerenski, că, fiind revoluție, controlul e problematic și că în această privință ar trebui să aibă inițiativa proprie. Drept urmare de la Cartierul General din Moghilev, Ion Păscăluță și Holban Ștefan (fără Popa) au expediat următoarea telegramă către toate unitățile militare rusești: "Cu aprobarea Guvernului Provizoriu, pe ziua de 20 octombrie se convoacă la Chișinău, guvernămîntul Basarabiei, Congresul General al Ostașilor Moldoveni din întreaga Rusie. Rugăm dați curs pentru a se alege și trimite la această dată câte doi soldați și câte un ofițer la fiecare 240 de ostași moldoveni. (...) Delegații vor fi prevăzuți cu delegațiuni în curs și bani pentru hrană pe 5 zile. Semnează convocarea praporșcic Ion Păscăluță și Șt. Holban."

Congresul din 20 octombrie 1917 hotărăște înființarea unui birou pentru organizarea Sfatului Țării numind pe Țanțu președinte, iar pe Ștefan Holban secretar. Tot atunci el este aies printre cei 40 de ostași ca deputat în Sfatul Țării. A fost deputat de la 21 noiembrie 1917 pînă la 26 ianuarie 1918, când i s-a retras mandatul. A fost însă reales deputat funcționând de la 25 noiembrie 1918 și până la lichidarea Sfatului Țării, la 27 februarie 1919, răstimp în care a făcut parte din Comisia de Lichidare.

In 1918 Ștefan Holban participă la fondarea Partidului Țărănesc din Basarabia, fiind ales in biroul de conducere alături de Pantelimon Halippa, Daniel Ciugureanu, Ion Inculeț, Ion Pelivan, Petru Cazacu, Ștefan Ciobanu, Ion Costin, Teofil Ioncu, Gheorghe Stârcea și Nicolae Bivol.

Deputat în Parlamentul României Mari in anii 1919, 1920, 1922, 1932. S-a remarcat prin participarea la dezbaterea legilor social umanitare. În legislația din 1932, susține cu vehemență legea privind controlul averilor - atitudine revoluționară și de cutezanță pentru acea epocă. Militant pentru cinste, dreptate si demnitate. Unul din exemplele de conduită cinstită este următorul: în alegerile din 1928, din fondul de 1.800.000 lei, destinat alegerilor și pentru care nu se cereau acte justificative, a restituit Ministerului de Interne 1.100.000 lei - caz unic în politica României postbelice.

Între anii 1928-1931 a activat ca Prefect al Județului Lăpușna.

Decorații

 Ordinul național "Steaua României" în gradul de ofițer și în gradul de Cavaler.
 "Vulturul României" în gradul de ofițer.
 Medalia "Ferdinand I" și Medalia comemorativă "Peleș".
 De asemenea o stradă din Chisinău îi poartă numele (fosta Pestei din sectorul Botanica, carierul Muncești)

Note

Bibliografie
 Chiriac, Alexandru, Mic dicționar al membrilor Sfatului Țării din Chișinău, (21 noiembrie 1917 — 27 noiembrie 1918), în "Patrimoniu. Revistă de cultură istorică", Chișinău, nr.4/1991
 Figuri contemporane din Basarabia, vol. I-III, Editura ARPID, Chișinău, 1939

Lectură suplimentară
 Chiriac, Alexandru, Membrii Sfatului Țării (1917-1918) - dicționar, Editura Fundației Culturale Române, București, 2001
 Cojocaru, Gheorghe E., Sfatul Țării - itinerar, Editura Civitas, Chișinău, 1998
 Colesnic, Iurie, Sfatul Țării - enciclopedie, Editura Museum, Chișinău, 1998

Vezi și
 Sfatul Țării

Nașteri în 1886
Decese în 1961
Oameni din ținutul Chișinău
Membri ai Sfatului Țării
Decorați cu Ordinul Steaua României
Decorați cu Ordinul "Ferdinand I"

Ștefan Holban (membru al Sfatului Țării)


Enrique Granados Gal, nadador olímpico español, (12 de julio de 1897, Ripollet, Barcelona-27 de julio de 1953, Barcelona).

Nadador español, hijo del compositor de música Enrique Granados y padre del también nadador olímpico, Enrique Granados Aumacellas. Sus padres murieron ahogados en un trágico accidente en el océano Atlántico.

Fue campeón de España de natación de 100 metros libres en 1923, y nadó por primera vez en España en estilo crol.

Pero fue con el waterpolo con la que compitió en los Juegos Olímpicos de 1920 y en 1924.

Enlaces externos
Perfil del nadador

Waterpolistas de España
Waterpolistas en los Juegos Olímpicos de Amberes 1920
Waterpolistas en los Juegos Olímpicos de París 1924
Deportistas de España en los Juegos Olímpicos de Amberes 1920
Deportistas de España en los Juegos Olímpicos de París 1924
Deportistas de la provincia de Barcelona
Nacidos en Barcelona
Fallecidos en Barcelona
Nacidos en Ripollet

Enrique Granados Gal


Vittskövle Kilisesi (İsveççe: Vittskövle kyrka) Kristianstad, Skåne, Lund Diocese, İsveç'te bulunan bir kilisedir.

Kilise orijinal olarak 12. veya 13. yüzyılda yapılmıştır. 15. yüzyılda kuzeyine şapel yapılmıştır. Şapel, Anne'e ithaf edilmiştir.

15. yüzyılda, kemerler ve 1480'lerde duvar resimleri ile dekore edilmiştir. 20. yüzyılda duvar resimleri restore edilmiştir. Resimler Genesis (başlangıç) kitabındaki hikâyeleri gösterir. Mihrap yerinde, Nicholos'un efsanesi tarif edilir. Anne şapelinde incil yazarlarının (evangelist) ve 4 kadın azizin sembolleri vardır: Barbara, Ursula, Gertrude ve Catherine.

Kule 16. yüzyılda yapılmıştır. 17. yüzyılda bir mezar şapeli Barnekow ailesi için güney tarafa yapılmıştır. Vaftiz çesmesi orta çağa özgüdür.

Skåne ili
İsveç'teki kiliseler

Vittskövle Kilisesi


Katherine Belov (née en 1973) est une généticienne australienne, professeure de génomique comparative à la School of Life and Environmental Sciences et Pro Vice Chancellor of Global Engagement à l'Université de Sydney. Elle est à la tête de l'Australasian Wildlife Genomics Group et experte en recherche dans le domaine de la génomique comparative et de l'immunogénétique, y compris les diables de Tasmanie et les koalas, deux espèces australiennes emblématiques qui sont menacées par des processus pathologiques. Tout au long de sa carrière, elle a réfuté l'idée que le système immunitaire marsupial est primitif, caractérisé les gènes immunitaires de l'opossum gris à queue courte d'Amérique du Sud, participé au projet Platypus Genome, dirigé des recherches identifiant les propriétés du venin d'ornithorynque et identifié la cause de la propagation du cancer contagieux du diable de Tasmanie.

Belov est une défenseur des  et dirige une équipe de recherche composée en grande partie d'étudiantes et d'étudiantes post-doctorales.

Biographie
Katherine Belov est née en 1973 à Sydney, en Australie, de Nick et Larissa Belov. Ses deux parents étaient des immigrants en Australie et d'origine russe. Belov a grandi à , en Nouvelle-Galles du Sud et a obtenu son diplôme de premier cycle à l'université Macquarie en génétique humaine. Elle a été persuadée de passer de la génétique humaine à la génétique animale par le professeur Des Cooper qui deviendrait son directeur de thèse, et a d'abord travaillé sur les , mais est rapidement passée à l'étude des marsupiaux. Elle a contesté une théorie d'un autre chercheur qui croyait que les marsupiaux n'avaient pas de système immunitaire très développé et a prouvé qu'ils avaient un système immunitaire sophistiqué comparable au nôtre. La recherche l'a incitée à s'inscrire à un programme de doctorat sur l'immunologie marsupiale à l'Université Macquarie. Elle a obtenu son doctorat en 2002 et a commencé son travail postdoctoral au Musée australien avec une bourse du Conseil australien de la recherche .

En 2004, au sein de l'équipe, Belov est devenue l'une des principaux chercheurs à séquencer le génome de l'ornithorynque. Les résultats, impliquant le travail de plus de 100 scientifiques internationaux, ont été publiés dans Nature en mai 2008. Parmi les résultats, l'ornithorynque possède des peptides antimicrobiens uniques avec un potentiel à large spectre pour lutter contre une variété de bactéries et de virus, et peut-être des  chez l'homme. Les recherches de Belov se sont poursuivies et elle dirige maintenant sa propre équipe de chercheurs de l'université de Sydney, ils ont commencé à caractériser le venin d'ornithorynque, qui n'a pas d'antivenin et provoque de graves douleurs chez l'homme. Ils ont pu terminer l'analyse en 18 mois, vérifiant sept métalloprotéinases à zinc ressemblant à des serpents, sept toxines similaires aux alpha-latrotoxines des araignées veuves noires, six  (CRISP) comme celles trouvées dans certains lézards et monstres de Gila, ainsi que quelques composants mineurs similaires à ceux du venin d'anémone de mer.

En 2007, Belov a accepté un poste de chargée de cours à la Faculté des sciences vétérinaires de l'Université de Sydney et a commencé à se concentrer sur le cancer contagieux, la maladie des tumeurs faciales du Diable de Tasmanie, qui a commencé à se propager dans la population du diable de Tasmanie en 1996. Elle a suggéré que le problème était que les diables manquent de diversité génétique du complexe majeur d'histocompatibilité. Belov a prouvé son hypothèse, selon laquelle les démons ne développent pas de réponse immunitaire au cancer parce que la constitution génétique de la tumeur est si similaire à la leur.

Belov est devenue professeure titulaire de génomique comparée à l'Université de Sydney et a reçu un prix Future Fellow du Conseil australien de la recherche pour poursuivre ses recherches sur l'identification des gènes, non seulement pour les diables et les ornithorynques, mais pour d'autres espèces australiennes indigènes comme les scinques et les wallabies. En 2014, elle a reçu la médaille Fenner pour la recherche en biologie de l'Académie des sciences australienne.

En 2016, elle a été nommée au nouveau poste de Pro-Vice-Chancellor (Global Engagement) à l'Université de Sydney. Ce rôle comprend la responsabilité de gérer le développement et l'exécution de la stratégie d'engagement mondial de l'Université.

L'équipe de recherche de Belov a fait des découvertes importantes en 2016. Premièrement, de nouvelles recherches ont prouvé que les peptides antimicrobiens (appelés ) contenus dans le lait du diable de Tasmanie peuvent tuer les bactéries et les champignons les plus mortels, une découverte importante dans la lutte contre les . La seconde était la découverte de neuf nouvelles variantes génétiques dans la population éloignée du diable de .

Belov a publié plus de 170 articles évalués par des pairs, dont des articles dans Nature, les Actes de la National Academy of Sciences et PLoS Biology.

Aujourd'hui, son équipe, l'Australasian Wildlife Genomics Group, étudie la génétique moléculaire et l'évolution des familles de gènes et des génomes de notre faune indigène . La recherche est axée sur le système immunitaire, la  évolutive et les applications pour la gestion de la conservation des espèces.

Belov promeut les  et siège au conseil consultatif SAGE de l'université de Sydney.

Belov a reçu le titre d'Officier de l'Ordre d'Australie en reconnaissance de ses services en tant qu'universitaire et chercheuse dans l'enseignement supérieur (en particulier la génomique comparative).

Prix et distinctions

 2008 – Prix Tall Poppy de l'Institut australien de politique et de science
 2009 – People's Choice Award, au 20e  de l'Australian Museum
 2010 – élue au Top 100 des Sydney-siders les plus influents, par Sydney Magazine
 2011 – Prix Eureka Recherche et Innovation, Recherche Environnementale, The Devils' Advocates
 2014 – Médaille Ross Crozier de la Société de génétique d'Australasie
 2014 – Médaille Fenner de l'Académie australienne des sciences pour la recherche en biologie (hors sciences biomédicales)
 2018 – Membre de la Royal Society of New South Wales
 2019 – Officier de l'Ordre d'Australie

Publications
 .
 .
 .
 .

Références

Liens externes

Femme scientifique du XXIe siècle
Biologiste australien du XXIe siècle
Personnalité liée à Sydney
Professeur à l'université de Sydney
Officier de l'ordre d'Australie
Généticienne
Généticien australien
Naissance en 1973
Universitaire australien du XXIe siècle

Katherine Belov


Piraí do Sul es un municipio brasileño del estado de Paraná.

Etimología
De origen geográfico, en referencia al Río Piraí, que baña el municipio. El término Piraí proviene del Tupí, Pirá = pescado + y = agua, río: Río del Pescado. El término "do Sul" fue añadido para diferenciarlo del municipio homónimo existente en el Estado de Río de Janeiro.

Geografía
Su área es de 1.403 km² representando 0.7039 % del estado, 0.249 % de la región y 0.0165 % de todo el territorio brasileño. Se localiza a una latitud 24°31'33" sur y a una longitud 49°56'56" oeste, estando a una altitud de 1036 m. Su población estimada en 2005 era de 23.046 habitantes

Demografía
Datos del Censo - 2010

Población Total: 23.424
 Urbana: 16.102
 Rural: 7.322
 Hombres: 11.620
 Mujeres: 11.804

Domicilios particulares ocupados: 7.231

Media de moradores en domicilios particulares ocupados:	3,23

Densidad demográfica(hab./km²): 16,69

Mortalidad infantil hasta 1 año (por mil):

Expectativa de vida (años):

Tasa de fertilidad (hijos por mujer):

Tasa de Alfabetización:

Índice de Desarrollo Humano (IDH-M): 0,730
 IDH-M Salario: 0,665
 IDH-M Longevidad: 0,686
 IDH-M Educación: 0,840

Protección al medio ambiente

En el municipio está localizade en la Vegetación Nacional de Piraí del Sur, con el objetivo principal de asegurar la preservación de la Araucaria, árbol que está amenazada de extinción.

Administración
 Prefecto: Antonio El Achkar (2009-2012)
 Viceprefecto: Lido José Priotto

Referencias

Enlaces externos

 Página de la prefectura
 Piraí do Sul en el WikiMapia

Localidades de Paraná

Piraí do Sul


VM i badminton 1980 var det andet VM i badminton afholdt af International Badminton Federation. Mesterskabet blev afviklet i Istora Senayan i Jakarta, Indonesien i perioden 27. maj - 1. juni 1980. Indonesien var VM-værtsland for første gang.

Medaljevindere

Medaljetabel

Kilder

Noter

Sport i 1980
1980

VM i badminton 1980


NK Vihor je nogometni klub iz Baške na otoku krku.

U sezoni  se natječe u MŽNL NS Rijeka.

Izvori

Nogometni klubovi u Primorsko-goranskoj županiji
Krk

NK Vihor Baška


John Habberton (* 1842; † 1921) war ein amerikanischer Schriftsteller und Journalist.

Leben
John Habberton diente im Bürgerkrieg bei der Unionsarmee. Habberton wurde bekannt als Autor humorvoller Kinderbücher und Lausbubengeschichten, darunter Helenes Kinderchen (orig. Helen's Babies 1876, deutsch 1885) und Anderer Leute Kinder (orig. Other People's Children 1877, deutsch 1886).

Deutsche Ausgaben
Helen's Babies
 Helenens Kinderchen, Übers. Käte Icke, Wegweiser Verlag, Berlin 1924
 Helenes Kinderchen, Übers. Illa Uth, Schiller Buch, Berlin 1926
 Helenens Kinderchen, Zeichnung K. M. Schultheiß, Thienemann Verlag, Stuttgart 1927
 Helenes Kinderchen: eine Geschichte für grosse und kleine Leute, Bearbeitung Fred Heinze, Ill. Erwin Bindewald, Sebaldus Verlag, Nürnberg 1948
 Helen's Kinderchen, Übers. Erich von Holst, Ill. Kurt Tessmann, Droemer Knaur, München 1954
 Helens Kinderchen, Ill. Karl Kuess, Christian Kaiser Verlag, Klagenfurt 1964
 Helenes Kinderchen, Ill. im Text Helma Baison, Vollmer Verlag, Wiesbaden 1968
 Helenes Kinderchen, Vollmer Verlag, Wiesbaden 1979
Other People's Children, Fortsetzung von Helen's Babies
 Andrer Leute Kinder oder Bob und Teddi in der Fremde, Übers. Markus Greif, Reclam-Verlag, Leipzig vor 1913
 Anderer Leute Kinder: eine Humoreske, Übers. Else Otten, Agrippina Verlag, Köln, 1954
 Anderer Leute Kinder, Salzwasser-Verlag, Paderborn 2011
Doppelausgaben
 Helenes Kinderchen und anderer Leute Kinder. Übers. Paula Dehmel, Josef Singer Verlag, Straßburg/Leipzig 1913
 Helens Kinderchen und Anderer Leute Kinder. Übers. Erich von Holst, Fraktur (Schrift), Schreiter Verlag, Berlin 1927
 Helenens Kinderchen und anderer Leute Kinder: eine Kindergeschichten für Erwachsene, Übers. Elisabeth Loos, Frakturschrift, Deutsche Buch-Gemeinschaft, Berlin 1929 online im Internet Archive
 Helenes Kinderchen und andrer Leute Kinder: eine Schilderung ihrer unschuldigen, durchtriebenen, engelhaften, ruchlosen [...] Lebensäußerungen, Übers. Marianne Kegel, Hesse & Becker, Leipzig 1929
 Helen's Kinder und anderer Leute Kinder: eine Humoreske, Übers. Else Otten, Franke Verlag, Berlin 1930
 Helenes Kinderchen und Andrer Leute Kinder, Übers. Markus Greif, Nachwort Ruth Schaumann, Reclam-Verlag, Leipzig 1939
 Helenes Kinderchen. Andrer Leute Kinder: Humoresken, Übers. Markus Greif, Frakturschrift, Reclam-Verlag, Leipzig 1941
weitere Werke
 Die Bartonet Temporenzbewegung, Bearbeitung Fr. Dobbert, Hendel Verlag, Halle an der Saale 1892
 Frau Marburgs Zwillinge: oder Mütterchens Freuden und Leiden, Übers. Markus Greif, Reclam-Verlag, Leipzig 1890

Verfilmung
 Kleine Sünder – große Sünder (Sommer mit Onkel Erik, dän. Min sosters born), nach Helen's Babies, Regie Tomas Villum Jensen, 2001

Weblinks

Autor
Literatur (Englisch)
Kinder- und Jugendliteratur
US-Amerikaner
Geboren 1842
Gestorben 1921
Mann

John Habberton


An Cymophyllus fraserianus in uska species han Liliopsida nga syahan ginhulagway ni Ker Gawl., ngan ginhatag han pagkayana nga asya nga ngaran ni John T. Kartesz och Kanchi Natarajan Gandhi. An Cymophyllus fraserianus in nahilalakip ha genus nga Cymophyllus, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Cymophyllus

Cymophyllus fraserianus


Kuzugöbeği (Morchella esculenta), Morchellaceae familyasından, yenilebilen bir mantar türüdür.  Genelde ormanlarda tek tek veya küçük gruplar halinde bulunur, özellikle orman yangınlarında sonra sıkça rastlanır. Genelde bahar aylarında ortaya çıkar. Bahar aylarında yağışın olmaması olumsuz yönde etkiler.

Gyromitra esculenta (sahte kuzu göbeği mantarı) gibi Türkiye'de zehirli türleri ile karıştırılma riski olduğundan dikkatli olunmalıdır.

Çeşitli alerjik reaksiyonlara neden olacağından çiğ olarak yenmemelidir. Fransız mutfağının önemli bir öğesi olan kuzu göbeği mantarı ekonomik değeri olan ve pek çok gurme tarafından tercih edilir.

Galeri

Dış bağlantılar
 Orman Genel Müdürlüğü, Yenebilen Mantarlar
 Ekoloki Magazin, İhraç Edilen Yabani Mantar: Kuzu Göbeği

Kaynakça

Morchella
Yenilebilen mantarlar
Carl Linnaeus tarafından adlandırılmış taksonlar
1753'te tanımlanan mantarlar
1753'te tanımlanan taksonlar

Kuzugöbeği


Listă de actori americani se poate referi la:

 Listă de actori americani (A-D)
 Listă de actori americani (E-H)
 Listă de actori americani (I-L)
 Listă de actori americani (M-Q)
 Listă de actori americani (R-T)
 Listă de actori americani (U-Z)

americani
Actori
 Listă

Listă de actori americani


Colors in alphabetical order A–F

|}

See also

Basic Color Terms: Their Universality and Evolution (book)
Color blindness
Colors of the rainbow
Eye color
Index of color-related articles
List of colors: G–M
List of colors: N–Z
List of color palettes
List of colors (compact)
List of Crayola crayon colors
Pantone colors
Pigment
Primary color
Secondary color
Tertiary color
Tincture (heraldry)
X11 color names

References
Citations

Sources

01

List of colors: A–F


146268 Jennipolakis este un asteroid din centura principală de asteroizi.

Descriere
146268 Jennipolakis este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Junk Bond Observatory de David Healy (astronom). Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,30 ua, o excentricitate de 0,15 și o înclinație de 3,3° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 146001-147000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2001
Centura de asteroizi

146268 Jennipolakis


Mann, oh Mann, oh Mann! ist ein deutscher Fernsehfilm von Peter Weck aus dem Jahr 2002. Er erlebte am 20. Dezember 2002 auf dem Ersten seine Fernsehpremiere.

Handlung
Tierarzt Dr. Josef Heiss, Barbesitzer Andreas und Scheidungsanwalt Roman sind die besten Freunde. Gemeinsam besitzen sie eine Berghütte im Wald, wo sie mit ihren Geliebten Unterschlupf finden. Andreas und Roman sind Single und auch Josef wird nun einer: Seine Frau Barbara verlässt ihn, weil er sie ständig betrogen hat und außerdem nicht nur esoterisch veranlagt ist, sondern auch einen Delfin-Tick hat. Erst kürzlich hat er eine Massenadoption von gefangenen Delfinen vorgenommen. Allein das führt dazu, dass er beim Scheidungstermin leer ausgeht. Barbara stehen unter anderem die Wohnung und das gemeinsame Auto zu. Josef zieht samt Delfinskulpturen und Räucherstäbchen bei Roman ein, der auch sein Scheidungsanwalt war. Innerhalb kürzester Zeit bringt Josef Roman an den Rand eines Nervenzusammenbruchs. Roman darf nicht mehr rauchen, Frauenbesuche sind verboten und die große Wohnung ist bald von Delfinskulpturen bevölkert. Da Josef auch seine Tierarztpraxis aufgegeben hat, muss sich Roman die Wohnung nun zudem mit einem Frettchen und einer Horde Wüstenrennmäuse teilen. Nach einigen Monaten hat er den Zustand akzeptiert, zumal sich Josef wie eine Mutter um ihn kümmert.

Andreas beginnt eine Affäre mit Barbara, die bald darauf schwanger ist. Josef ist entsetzt und bricht mit Roman den Kontakt zu Andreas ab. Das Baby kommt zur Welt und erhält den Namen Elisabeth. Josef hatte sich mit Barbara schon lange ein Kind gewünscht und sogar eine Adoption in Erwägung gezogen. Nun will er zusammen mit Roman eine kleine Familie gründen und erneuert seinen Adoptionsantrag. Die zuständige Beamtin Frau Zander glaubt, dass Josef homosexuell ist.

Als Barbara zur Kur muss, weil sie sich beim ständigen Tragen des Mädchens eine Muskelentzündung zugezogen hat, bittet Andreas Josef und Roman um Hilfe. Barbara hat angekündigt, ihn zu verlassen, doch will Andreas sein Kind nicht verlieren. Roman soll bei Barbara um ihn bitten. Er erfährt von ihr, dass Andreas nicht mehr mit ihr geschlafen hat, seit sie schwanger geworden ist, und sie deshalb frustriert die Trennung will. Als Roman zurück zu Josef und Andreas kommt, trägt er seine Unterhose verkehrt herum. Wenig später sieht Andreas, wie Barbara und Roman sich küssen. Gemeinsam mit Josef sperrt er nun Roman aus dessen Wohnung aus. Zunächst versuchen Josef und Andreas auch, Elisabeth bei sich zu behalten, doch droht Barbara mit einer Klage und so geben sie das Mädchen heraus, als Barbara von der Kur zurückkommt. Als Elisabeth abends jedoch nicht still wird, ruft Barbara die beiden Männer zu Hilfe. Mit ihrem Flötenspiel bringen beide das Kind zum Einschlafen.

Am nächsten Tag steht Frau Zander vor der Tür und will sich ansehen, wie das "Pärchen" Josef und Andreas so lebt. Sie ist zufrieden mit der Wohnung und beide Männer erhalten einen kleinen Jungen zur Probepflege. Eines Tages bittet Barbara Josef zu einem Gespräch. Sie versteht ihren Ex-Mann nun besser, hat ihre eigene esoterische Ader entdeckt und auch einen Delfin adoptiert. Gemeinsam fahren sie auf die Berghütte, die Josef eigentlich anzünden will, doch Barbara schlägt vor, lieber das Matratzenlager der Hütte zu nutzen. Am Ende sitzen alle drei Freunde mit Barbara und den Kindern an einem Tisch und bereiten das Abendbrot vor.

Kritik
Für den Filmdienst war Mann, oh Mann, oh Mann! eine "bis zur Unübersichtlichkeit turbulente Komödie, die traditionelles Rollenverständnis in Frage stellen will, aber weitgehend nur Rollenklischees bedient."

TV Spielfilm fasste den Film als "Stuss von Peter-geh-mir-Weck-mit-so-was" zusammen.

Weblinks

Einzelnachweise

Filmtitel 2002
Deutscher Film
Filmkomödie
Fernsehfilm (Das Erste)

Mann, oh Mann, oh Mann!


حفلة على الخازوق مسرحية كويتية تاريخية، قدمت في عام 1975, وهي من تأليف محفوظ عبد الرحمن وإخراج صقر الرشود وتعد من أشهر أعمال الرشود الإخراجية، عرضت على مسرح كيفان في تاريخ 11 ديسمبر 1975 , وعرضت كذلك على مسرح سيد درويش في القاهرة في الأول من مارس 1977 ولمدة ثلاثة أيام، وعرضت أيضا في مهرجان دمشق للفنون المسرحية في مايو 1977م.

قصة المسرحية
المسرحية مأخوذة من حكايات ألف ليلة وليلة حيث تتمحور المسرحية على قصة حاكم اختار مساعدين له من الرجال غير ذوي الكفاءة فقاموا بأعمال السلب والفساد والظلم للمحافظة على مناصبهم فبدوأ بتلفيق التهم للأبرياء وزجوهم بالسجون وتشكيل مراكز قوى خطرة داخل الدولة، والسلطان على غير علم بما يدور حوله.

مشهد الصناديق
من أشهر مشاهد المسرحية مشهد الصناديق، وكان هذا المشهد معرضا للألغاء بسبب تذمر المسؤولين في مسرح كيفان من كمية الأخشاب المستخدمة في صنع الصناديق ونوعيتها الباهظة الثمن، ولكن المخرج صقر الرشود تمسك بقراره ورفض فكرة إلغاء المشهد، وبعد العرض نال هذا المشهد استحسان الجمهور والنقاد وبات علامة فارقة ومن المشاهد التي رسخت في ذاكرة الجمهور على مدى الأعوام.

بطولة

 سعاد عبد الله
 محمد المنصور
 إبراهيم الصلال
 خالد العبيد
 محمد السريع
 سليمان الياسين
 هيفاء عادل
 عبد الله الحبيل
 حميد السلمان

وصلات خارجية
 صفحة المسرحية في قاعدة بيانات الأفلام العربية

مسرحيات 1975
مسرحيات صقر الرشود

حفلة على الخازوق (مسرحية)


سكة الحديد الضيقة (أو السُكّ: كل سكة ضيقة) هي سكة حديد يتباعد حداها بقياس يقل عن معيار السكك القياسية: متر 1٫435 —أي ′4 ″½8— وتسع السكاك المتر 1٫067 —3′ 6″— غالبا، أو ما دون ذلك۔

السك في العالم

اليابان
ما عدا الشينكانسن فإن معظم القطارات في اليابان تجري على سكاك على عرض 1067 مم، منها طوكيو مترو.

مراجع

سكاك
سكة حديد حسب النوع

سكة حديد ضيقة


An Isolepis venustula in uska species han Liliopsida nga ginhulagway ni Carl Sigismund Kunth. An Isolepis venustula in nahilalakip ha genus nga Isolepis, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Isolepis

Isolepis venustula


Morion  er en åben hjelm også kaldet 'spansk hjelm' eller 'bådhjelm'. Den blev båret af bl.a. de spanske conquistadorer, Europas musketerer og pikenererog bliver i dag båret af Schweizergarden i Vatikanet.
Den blev hovedsageligt brugt fra midten af det 16. og tidlige 17. århundrede.

Opdagelsesrejsende som Hernando de Soto og Coronado  brugte den til deres fodfolk i 1540'erne. 30 til 40 år senere blev den almindeligt anvendt i Spanien og udbredt i mange andre europæiske lande til tyske lejesoldater - landsknægte. De første engelske morionhjelme blev introduceret i Edward VI's regeringstid.

Udformning
De er lavet af metal og har typisk en flad skygge og en kam fra for til bag. Kammen øverst på hjelmen er med til at styrke den og beskytte soldaten mod sværdhug.

Ordet morion er et direkte lån fra spansk.

Kilder

Kamphjelme

Morion (hjelm)


Sega Master System (Japonca: セガ・マスターシステム), Sega'nın 1986 yılında çıkarmış olduğu 8 bit gücünde oyun konsoludur. 1980'li yıllarda Nintendo Entertainment System'le piyasayı paylaşmış, Sega Master System II gibi çeşitli versiyonları piyasada tutmuştur. Sega, Nintendo Entertainment System'den farklı olarak oyun konsollarına promosyon olarak 1+1 oyunla satışını yapmıştır. Bunlar genelde 1 tanesi konsolun hafızasında olmak üzere Sega Master System'de Alex Kidd in Miracle World, Sega Master System II'de Sonic the Hedgehog isimli oyunlardır. Diğer oyun paket olarak Sega Master System'le beraber gelmektedir. Ayrıca Sega Master system, Sega Mark III'ün genişletilmiş türüdür (bkz. SG-1000 Mark III).

Ayrıca bakınız
 Sega oyunları

Dış bağlantılar
 Bilgisayar Müzesi Sitesi

1985 tanıtımları
Bilgi kutusu bulunmayan sayfalar
Ev video oyun konsolları

Master System