Boys Don't Cry is a 1999 American biographical film directed by Kimberly Peirce, and co-written by Peirce and Andy Bienen. The film is a dramatization of the real-life story of Brandon Teena (played by Hilary Swank), an American trans man who attempts to find himself and love in Nebraska but falls victim to a brutal hate crime perpetrated by two male acquaintances. The film co-stars Chloë Sevigny as Brandon's girlfriend, Lana Tisdel.

After reading about the case while in college, Peirce conducted extensive research for a screenplay, which she worked on for almost five years. The film focuses on the relationship between Brandon and Lana. The script took dialogue directly from archive footage in the 1998 documentary The Brandon Teena Story. Many actors sought the lead role during a three-year casting process before Swank was cast. Swank was chosen because her personality seemed similar to Brandon's. Most of the film's characters were based on real-life people; others were composites.

Filming occurred during October and November 1998 in the Dallas, Texas area. The producers initially wanted to film in Falls City, Nebraska, where the real-life events had taken place; however, budget constraints meant that principal photography had to occur in Texas. The film's cinematography uses dim and artificial lighting throughout and was influenced by a variety of styles, including neorealism and the films of Martin Scorsese, while the soundtrack consisted primarily of country, blues, and rock music. The film's themes include the nature of romantic and platonic relationships, the causes of violence against LGBT people, especially transgender people, and the relationship among social class, race, and gender.

The film premiered at the New York Film Festival on October 8, 1999, before appearing at various other film festivals. Distributed by Fox Searchlight Pictures, the film received a limited release in the United States on October 22, 1999, and it performed well at the North American box office, gaining three times its production budget by May 2000. The film was acclaimed by critics, with many ranking it as one of the best films of the year; praise focused on the lead performances by Swank and Sevigny as well as the film's depiction of its subject matter. However, some people who had been involved with Brandon in real life criticized the film for not portraying the events accurately.

Boys Don't Cry was nominated for multiple awards; at the 72nd Academy Awards in 2000, Swank was awarded the Academy Award for Best Actress and Sevigny was nominated for Best Supporting Actress. The pair were also nominated at the 57th Golden Globe Awards, with Swank winning the Best Actress – Drama award. Boys Don't Cry, which dealt with controversial issues, was initially assigned an NC-17 rating but was later reclassified to an R rating. It was released on home video in September 2000.

In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
Brandon Teena is a young trans man. When Brandon is discovered to be transgender by a former girlfriend's brother, he receives death threats. Soon after, he is involved in a bar fight and is evicted from his cousin's trailer. Brandon moves to Falls City, Nebraska, where he befriends ex-convicts John Lotter and Tom Nissen,  and their friends Candace and Lana Tisdel. Brandon becomes romantically involved with Lana, who is initially unaware both of his anatomy and his troubled past. The two make plans to move to Memphis, where Brandon will manage Lana's karaoke singing career. Eventually, they kiss during a date night which ends with them having sex.

The police detain Brandon on charges that arose before his relocation; they place him in the women's section of the Falls City jail. Lana bails Brandon out and asks why he was placed in a women's jail. Brandon attempts to lie to her, saying he was born a hermaphrodite and will soon receive genital reconstruction surgery, but Lana stops him, declaring her love for him regardless of his gender. However, while Brandon is in jail, Candace finds a number of documents listing Brandon's birth name, and she and her friends react to this news with shock and disgust. They enter Brandon's room, search among Brandon's things, and discover  transgender pamphlets that confirm their suspicions. When Brandon and Lana return, Tom and John violently confront Brandon and take him into the bathroom, forcing him to remove his pants and reveal his genitals. They try to make Lana look, but she shields her eyes and turns away. After this confrontation, Tom and John drag Brandon into John's car and drive to an isolated location, where they brutally beat and gang rape him.

Afterward, they take Brandon to Tom's house, where Brandon escapes through a bathroom window. Although his assailants threaten Brandon and warn him not to report the attack to the police, Lana convinces him to do so. However, the police chief proves to be less concerned with the crime and interrogates Brandon about his sexual identity.

Later, John and Tom get drunk and drive to Candace's house. Lana attempts to stop them, but they find Brandon, who has been hiding in a nearby shed. John shoots Brandon under the chin, killing him instantly. While Candace is crying out to them to spare her baby, Tom shoots her in the head and kills her as Lana fights with them, begging them to stop. Tom stabs Brandon's lifeless body. John and Tom flee the scene while a crying Lana lies with Brandon's body and the baby toddles through the open door to the outside, crying. The next morning, Lana awakens next to Brandon's corpse. Her mother arrives and takes her away from the scene. As Lana leaves Falls City, a letter to her from Brandon that she found on his body, is heard in a voiceover, saying that in Memphis "I'll be waiting for you, love always and forever".

Cast
 Hilary Swank as Brandon Teena
 Chloë Sevigny as Lana Tisdel
 Peter Sarsgaard as John Lotter
 Brendan Sexton III as Marvin "Tom" Nissen
 Lecy Goranson as Candace
 Jeannetta Arnette as Linda Tisdel, Lana's Mother
 Matt McGrath as Lonny, Brandon's Cousin
 Alison Folland as Kate Lotter, John's Sister and Lana's Best Friend
 Lou Perryman as Sheriff Charles B. Laux
 Cheyenne Rushing as Nicole, Brandon's Fictional First Girlfriend in Lincoln
 Libby Villari as The Nurse
 Gail Cronauer as Clerk
 Gabriel Horn as Lester, Restraining Order Guy

Production

Background

Brandon Teena was a trans man who was gang raped and murdered by a group of male acquaintances in December 1993, when he was 21. Kimberly Peirce, at the time a Columbia University film student, became interested in the case after reading a 1994 Village Voice article by Donna Minkowitz. Peirce became engrossed in Brandon's life and death; she said, "the minute I read about Brandon, I fell in love. With the intensity of his desire to turn himself into a boy, the fact that he did it with no role models. The leap of imagination that this person took was completely overwhelming to me." The sensationalist news coverage of the case prolonged her interest. Peirce said she looked beyond the brutality of the case and instead viewed the positive aspects of Brandon's life as part of what eventually caused his death.  She admired Brandon's audacity, ability to solve complicated problems, and what she perceived as the sense of fantasy invoked by his personality.

Peirce wanted to tell the story from Brandon's perspective. She was familiar with Brandon's desire to wear men's clothing: "I started looking at all the other coverage and a great deal of it was sensational. People were focusing on the spectacle of a girl who had passed as a boy because that is so unfamiliar to so many people. Where to me, I knew girls who had passed as boys, so Brandon was not some weird person to me. Brandon was a very familiar person." Peirce was influenced by the public perception of the case, believing the American public was generally misinformed: she said, "People were also focusing on the crime without giving it much emotional understanding and I think that's really dangerous, especially with this culture of violence that we live in". Peirce began working on a concept for the film and gave it the working title Take It Like a Man.

The project drew interest from various production companies. Diane Keaton's production company, Blue Relief, showed interest in the screenplay in the mid-1990s. Initially, the film was to be largely based on Aphrodite Jones' 1996 true crime book All She Wanted, which told the story of Brandon's final few weeks.  Earlier drafts of the script incorporated scenes featuring Brandon's family background, including his sister Tammy and mother Joann, as well as some of Teena's ex-girlfriends. However, Peirce modified the script to fit her vision to focus on the relationship between Brandon and his 19-year-old girlfriend Lana Tisdel, which Peirce termed a "great love story", in contrast to All She Wanted, which did not place an emphasis on the relationship.

To fund the writing and development of the project, Peirce worked as a paralegal on a midnight shift and as a 35mm film projectionist; she also received a grant from the New York Foundation for the Arts. The project attracted the attention of producer Christine Vachon, who had seen a short film Peirce had made for her thesis in 1995 about the case. IFC Films, Hart Sharp Entertainment, and Killer Films, Vachon and Eva Kolodner's production company, provided financing for the project. IFC contributed roughly $1 million, but the film's eventual budget remained under $2 million. Peirce co-wrote the screenplay with Andy Bienen. They worked together for 18 months on the final drafts and were careful not to "mythologize" Brandon; the aim was to keep him as human as possible. In the editing stage of the script, Peirce sent the draft to Fox Searchlight Pictures, which agreed to produce and distribute the film while giving Peirce artistic license.

Prior to filming, Peirce researched the facts by interviewing the people surrounding the case. She immersed herself in the information available about the murder, including trial transcripts. She met Lana Tisdel at a convenience store and interviewed her at Tisdel's home. Tisdel, who began dating Brandon just two weeks before he was murdered, was 19 years old at the time of the murders and lived in Falls City with her mother. Peirce also interviewed Tisdel's mother and Brandon's acquaintances. However, she was unable to interview Brandon's mother or any of his biological family. Much factual information, including Nissen being a convicted arsonist, was incorporated into Boys Don't Cry.

Casting

The filmmakers retained the names of most of the case's real-life protagonists, but the names of several supporting characters were altered. For example, the character of Candace was named Lisa Lambert in real life. The casting process for Boys Don't Cry lasted almost four years. Drew Barrymore was an early candidate to star in the film. Peirce scouted the LGBT community, looking mainly for masculine, lesbian women for the role of Brandon Teena. Peirce said the LGBT community was very interested in the project because of the publicity surrounding the murder. High-profile actors avoided Peirce's auditions at the request of their agents because of the stigma associated with the role.

At one point, the project was nearly abandoned because Peirce was not satisfied with most of the people who auditioned. In 1996, after a hundred female actors had been considered and rejected, the relatively unknown actor Hilary Swank sent a videotape to Peirce and was signed on to the project. Swank successfully passed as a boy to the doorman at her audition. During her audition, Swank, who was 22, lied to Peirce about her age. Swank said that like Brandon she was 21 years of age. When Peirce later confronted her about her lie, Swank responded, "But that's what Brandon would do". Swank's anonymity as an actor persuaded Peirce to cast her; Peirce said she did not want a "known actor" to portray Teena. In addition, Peirce felt that Swank's audition was "the first time I saw someone who not only blurred the gender lines, but who was this beautiful, androgynous person with this cowboy hat and a sock in her pants, who smiled and loved being Brandon."

Peirce required that Swank "make a full transformation" into a male. Immediately after being cast, Peirce took Swank to a hairdresser, where her lower-back length hair was cut and dyed chestnut brown. When she saw her then-husband, Chad Lowe, again, he barely recognized her. Swank prepared for the role by dressing and living as a man for at least a month, including wrapping her chest in tension bandages and putting socks down the front of her trousers as Brandon Teena had done. Her masquerade was convincing; Swank's neighbors believed the "young man" coming and going from her home was Swank's visiting brother. She reduced her body fat to seven percent to accentuate her facial structure and refused to let the cast and crew see her out of costume. Swank earned $75 per day for her work on Boys Don't Cry, totaling $3,000. Her earnings were so low that she did not qualify for health insurance.

For the role of Brandon's girlfriend, Lana Tisdel, Peirce had envisioned a teenage Jodie Foster. The role was also offered to Reese Witherspoon and Sarah Polley. Peirce ultimately decided to cast Chloë Sevigny based on her performance in The Last Days of Disco (1998). Sevigny had auditioned for the role of Brandon, but Peirce decided Sevigny would be more suited to playing Lana because she could not picture Sevigny as a man.

Sevigny dyed her hair red for the role to match Lana's strawberry blonde hair. Peirce later said, "Chloë just surrendered to the part. She watched videos of Lana. She just became her very naturally."

Peter Sarsgaard played John Lotter, Lana's former boyfriend, who raped and murdered Teena. Sarsgaard was one of the first choices for the role. He later said he wanted his character to be "likable, sympathetic even", because he wanted the audience "to understand why they would hang out with me. If my character wasn't necessarily likable, I wanted him to be charismatic enough that you weren't going to have a dull time if you were with him." In another interview, Sarsgaard said he felt "empowered" by playing Lotter. In an interview with The Independent, Sarsgaard said, "I felt very sexy, weirdly, playing John Lotter. I felt like I was just like the sheriff, y'know, and that everyone loved me." Sarsgaard recalled watching footage of and reading about Lotter to prepare for the role. Peirce cast Alicia Goranson, known for playing Becky on the sitcom Roseanne, as Candace because of her likeness to Lisa Lambert. Like Sevigny, Goranson had also initially auditioned for the lead role.

Principal photography

Initially, Boys Don't Cry was scheduled to film for thirty days. However, principal photography for the film lasted from October 19 to November 24, 1998. The small budget dictated some of the filming decisions, including the omission of some incidents to speed up the overall pacing. Timing constraints and Peirce's visions relating to the plot limited what could be achieved with the narrative. For example, the film portrays a double murder when in actuality a third person, Phillip DeVine—a black disabled man—was also killed at the scene. At the time, he had been dating Lana Tisdel's sister, Leslie, who was omitted from the story. Boys Don't Cry was primarily filmed in Greenville, Texas, a small town about  northeast of Dallas. Most of the incidents in the case took place in Falls City, Nebraska, but budget constraints led the filmmakers to choose locations in Texas.

Peirce initially wanted to shoot in Falls City, but Vachon told her that filming there would not be possible. Afterwards, the film was going to be shot in Omaha, Nebraska, but Peirce felt that "none of [the places] looked right." In addition, Peirce also scouted filming locations in Kansas and Florida before deciding on Texas.  One of Peirce's main goals was for the audience to sympathize with Brandon. On the film's DVD commentary track, Peirce said, "The work was informing me about how I wanted to represent it. I wanted the audience to enter deeply into this place, this character, so they could entertain these contradictions in Brandon's own mind and would not think he was crazy, would not think he was lying, but would see him as more deeply human".

Some scenes in Boys Don't Cry required emotional and physical intensity; these were allocated extended periods of filming. The scene in which Brandon, at the wishes of his friends, bumper-skis on the back of a pickup truck, was delayed when a police officer, just arriving at a shift change, required a large lighting crane to be moved from one side of the road to the other. The scenes took six hours to shoot and were filmed at sunrise, resulting in a blue sky being seen in the background. There were some technical complications: some of the filming equipment got stuck in the mud, and radio wires in some of the scenes conflicted with the sound production. Swank required a stunt double for a scene in which she falls off the back of a truck. Teena's rape scene was given an extended filming time; Sexton, who portrayed one of the attackers, walked away in tears afterward. Swank found portraying her character daunting and felt the need to "keep a distance" from the reality of the actual event. When scenes became difficult, Swank requested the company of her husband on set. At times, Peirce worked for seventeen hours a day to complete more work, but the other crew members told her that this was taking up potential nighttime filming hours.

Cinematography

Peirce, who had originally sought a career in photography before moving into filmmaking, applied techniques she had learned to the film. She described the film's mood as an "artificial night". Director of Photography Jim Denault showed her the work of photographer Jan Staller, whose long-exposure night photography under artificial lighting inspired Denault to avoid using "moonlight" effects for most of the film. As a way to further incorporate the sense of artificial night, John Pirozzi, who had been experimenting with time-lapse photography using a non-motion-controlled moving camera, was invited to create the transition shots seen throughout the film.

The film's visual style depicts the Midwestern United States in a "withdrawn", dark and understated light to give a "surreal" effect. Denault shot Boys Don't Cry in flat, spherical format on 35mm film using Kodak Vision film stock. The film was shot with a Moviecam Compact camera fitted with Carl Zeiss super speed lenses. For the scene in which Brandon is stripped, a hand-held camera was used to give a sense of subjectivity and intimacy.

The use of low natural light and heavy artificial light is illustrated early in the film in the opening roller rink scene in which Brandon pursues his first relationship with a young woman. For this scene, Peirce used a three-shot method similar to that used in a scene in The Wizard of Oz (1939) in which Dorothy leaves her house and enters Oz. The scene consists of a three-shot sequence meant to symbolize Brandon's metaphorical "entrance to manhood", or Brandon's social transition from a woman to a man. Some scenes were given a prolonged shooting sequence to induce a feeling of hallucination. An example is the sequence in which Brandon and Lana first have sex, followed by a shot of her, Brandon, Candace, and Kate driving in a car against a city skyline backdrop. The scene in which John and Tom strip Brandon was filmed with three cameras due to time constraints, even though Peirce wanted six cameras to film it. The scene took an hour and a half to film in total.

Peirce drew inspiration from the filming style of John Cassavetes and the early work of Martin Scorsese, and she incorporated neo-realist techniques into the film. She was also influenced by a second style of work—the "magical" films of Michael Powell and Kenji Mizoguchi. The former style is used when Brandon joins the social circle of John, Tom, Lana and her mother, while the latter is used when Brandon and Lana begin to depart from that life. The film was also influenced by Bonnie and Clyde (1967). Peirce incorporated influences from Raging Bull (1980) by opening the film with a shot of Brandon traveling along a highway, as seen from the character's imaginative or dream perspective, similar to the beginning of Raging Bull. When a character expresses a dream or hopeful assertion, Peirce cuts to an "eerily lit" dream landscape. The Pawnbroker (1964) inspired the cinematography and editing of Brandon's rape scene, particularly in its use of fast cutting.

Music
Because the film is set in the rural Midwestern United States, the Boys Don't Cry soundtrack album features a compilation of country, blues and rock music. Nathan Larson and Nina Persson of The Cardigans composed an instrumental version of Restless Heart's 1988 country-pop song "The Bluest Eyes in Texas", a variation of which was used as the film's love theme and score. The song itself is heard during a karaoke scene, sung by Sevigny's character, and at the end of the film. The title of the film is taken from the song of the same name by British rock band The Cure. An American cover of the song, sung by Nathan Larson, plays in the background in the scene in which Lana bails Brandon out of jail and during one of their sex scenes. However, the song is not included in the released soundtrack. Songs by Lynyrd Skynyrd ("Tuesday's Gone"), Paisley Underground band Opal ("She's a Diamond") and The Charlatans ("Codine Blues") also appear in the film, as do cover versions of other songs. The soundtrack was released on November 23, 1999, by Koch Records. "The Bluest Eyes in Texas" was played when Hilary Swank went onstage to receive her Academy Award for Best Actress in 2000. The song also plays over the film's end credits.

Themes and analysis

Boys Don't Cry has been widely discussed and analyzed by scholars and others. Roger Ebert described the film as a "romantic tragedy" embedded in a working class American setting, calling it "Romeo and Juliet set in a Nebraska trailer park". Philosopher Rebecca Hanrahan argued that the question of identity—particularly Brandon's—is alluded to frequently in Boys Don't Cry and that Peirce poses the nature of identification and self as the film's main question. Journalist Janet Maslin said the film is about accepting identity, which in turn means accepting the fate predisposed for that identity. Paula Nechak called the film a "bold cautionary tale"; she regarded the film as a negative, dismal depiction of Midwestern America, writing that "[Peirce's film has] captured the mystique and eerie loneliness" and "isolation of the Midwest, with its dusty desolation and nowhere-to-go frustration that propels people to violence and despair".

Christine Vachon, the film's executive producer, said, "It's not just about two stupid thugs who killed somebody. It's about these guys whose world is so tenuous and so fragile that they can't stand to have any of their beliefs shattered", referring to John and Tom's views of their lives, Brandon's aspirations and his biological sex. Along with other turn-of-the-millennium films such as  In the Company of Men (1997), American Beauty (1999), Fight Club (1999), and American Psycho (2000), Vincent Hausmann said Boys Don't Cry "raises the broader, widely explored issue of masculinity in crisis". Jason Wood said the film, together with Patty Jenkins's Monster (2003), is an exploration of "social problems".

Romantic and platonic relationships

Several scholars commented on the relationship between Brandon and Lana as well as Brandon's relationship with John and Tom. Carol Siegel regarded the film as a thematically rich love story between two ill-fated lovers, similar to Romeo and Juliet. Jack Halberstam attributed Boys Don't Cry'''s success to its ostensible argument for tolerance of sexual diversity by depicting a relationship between two unlikely people.

This tragic aspect of the love story led Halberstam to compare Brandon and Lana's relationship and subsequent drama to classic and modern romances including Romeo and Juliet, often using the term star-crossed lovers. In the Journal for Creativity in Mental Health, Jinnelle Veronique Aguilar discussed Brandon's ability to create interpersonal relationships in the film. She opined that Brandon wanted to create close relationships, but he could not due to his transgender status until he became close with Lana. "Although Brandon can make a brief but authentic connection with Lana, he continues to experience a sense of aloneness in the world. He consistently faces a sense of fear related to the power-over dynamics that he and others who are transsexual face…Brandon experiences the central relational paradox, in which he yearns for connection; however, due to the real threat he faces, he is unable to make that connection."

Myra Hird, in the International Feminist Journal of Politics, argued that John and Brandon exemplify two different and contrasting types of masculinity, and that Brandon's version is preferred by the film's female characters, comparing them to Arnold Schwarzenegger and Jimmy Stewart, respectively. "Throughout the film, John offers the viewer a typified narrative of heteronormative masculinity. […] Against this hegemonic masculinity, Brandon offers a masculinity reminiscent of a by-gone era of chivalry." Furthermore, she contended that John was threatened by Brandon's version of masculinity. "Gender boundaries are taken extremely seriously in Western society, and Boys Don't Cry depicts how intensely threatened John and Tom are by Brandon's superior portrayal of a masculinity 'schedule'. John cannot abide Brandon's desire, and clear ability, to access male privilege, and his reaction is to force Brandon to be female through the act of rape."

Causes of violence against LGBT people

Other commentators discussed the more complex psychological causes of Brandon's murder. Halberstam commented on the complicated causes of the murder, and whether it was due to transphobia or homophobia: "Ultimately in Boys [Don't Cry], the double vision of the transgender subject gives way to the universal vision of humanism, the transgender man and his lover become lesbians and the murder seems instead to be the outcome of vicious homophobic rage." Ebert called the film a "sad song about a free spirit who tried to fly a little too close to the flame".

In the same journal, Julianne Pidduck commented on the film's rape and murder scenes, "Effectively, the viewer is asked to experience the rape from the victim's point of view. The film invites political, emotional and corporeal allegiances linked to known and imagined risk, especially for female and/or queer viewers. An allegiance with Brandon's outsider status aligns the viewer with Brandon's initial exhilaration at his transgressive success as a boy, drawing us through to the film's disturbing finale."

Self and transgender identity
Many scholars addressed the various performances of gender by the characters in the film; Moss and Lynne Zeavin offered a psychoanalytic analysis, calling the film a "case report" that "presents [Brandon's] transsexual inclinations as a series of euphoric conquests" and "focuses on a range of anxious reactions to her  transsexuality. […] or a case not for what they might reveal about female hysteria, but for what they might reveal about misogyny". Elaborating on the themes of the film, they wrote:

In her film, Pierce [sic] inserts the unconventional problems of transsexuality into a conventional narrative structure. Throughout the film Brandon is presented as a doomed, though beguiling and beautiful rascal, recognizably located in the lineage of well-known cinematic bad-boys like James Dean, Steve McQueen, and Paul Newman. Like these predecessors, Brandon's heroic stature derives from her [sic] unwillingness to compromise her [sic] identity … Pierce [sic] presents Brandon's struggles against biological determinism as the struggles of a dignified renegade.
Brenda Cooper, in Critical Studies in Media Communication, argued that the film "can be read as a liberatory narrative that queers the centers of heteronormativity and hegemonic masculinity by privileging female masculinity and celebrating its differences from heterosexual norms." She argued that the film challenged heteronormativity by criticizing the concept of the American Heartland, by presenting problems with heterosexual masculinity and its internalised aggression, by "centering female masculinity", and blurring gender boundaries.

Later on in the same essay, she commented that Brandon both embodied and rejected traditional masculinity, providing a new outlook on what it means to be a man which excited and thrilled the women in the film: "Brandon's performance of masculinity, however, can be interpreted as operating on two levels in the narratives: When Brandon tries to establish his male identity with his new buddies, he imitates the kind of overly aggressive macho machismo that John and Tom represent. But Lana falls for Brandon because of his version of masculinity, which contradicts and challenges traditional assumptions about what it takes to be a man and to please a woman. Brandon's articulation of manhood effectively mocks sexist masculine ideals and appropriates the codes of normative masculinity." Michele Aaron, in Screen, claimed that the film was primarily centered on "the spectacle of transvestism" and that the film as a whole was "a tale of passing".

Jennifer Esposito wrote that "We watch onscreen as Brandon binds his breasts, packs a dildo, fixes his hair in a mirror. His masculinity is carefully scripted. John and Tom…are never shown preparing for masculinity. They are already masculine." Melissa Rigney argued that the film defied traditional portrayals of transgender characters by not confining Brandon to certain stereotypes. "On the surface, Boys Don't Cry appears to hold the potential of rendering gender in excess: the figure of Brandon Teena can be read variously as butch, male, lesbian, transgender, transsexual, and heterosexual. […] Although female masculinity comes to the forefront in this film, I argue that the film attempts to subsume the transgressive potential of the gender outlaw within a lesbian framework and narrative, one that reduces and, ultimately, nullifies Brandon's gender and sexual excess."

In contrast, Annabelle Wilcox opined that the film primarily reinforced the gender binary by showing that "Brandon's body is branded by such rhetoric and representation, and is assumed to be a site of 'truth' that closes the question that being transgender poses for subjectivity, gender, and sexuality." She also went on to note that many film critics either disregarded Brandon's male identity or used female pronouns when referring to him. Rachel Swan, writing for Film Quarterly, wrote that Brandon's masculinity was often contrasted with Lana's femininity as a means of illustrating the two sides of the gender binary. In addition, she regarded John and Tom's rape of Brandon as an attempt to psychologically castrate him.

In another piece, Halberstam compared the media portrayal of Brandon to that of Billy Tipton, a jazz musician who no one knew was transgender until the post-mortem discovery that he was assigned female at birth. She wrote, "On some level Brandon's story, while cleaving to its own specificity, needs to remain an open narrative—not a stable narrative of FTM transsexual identity nor a singular tale of queer bashing, not a cautionary fable about the violence of rural America nor an advertisement for urban organizations of queer community; like the narrative of Billy Tipton, Brandon's story permits a dream of transformation." Christine Dando argued that "masculinity is associated with outside and femininity with interior spaces."

Social class and race
Lisa Henderson commented on the intersection between social class and gender in the film, particularly Brandon's working-class status: "My reading of Boys [Don't Cry] through the lens of class representation is not born of a univocal search for so-called positive images, but I do recoil at what appears to me to be a new instalment in a long history of popular images of working-class pathology. […] But that is not the whole story. Within this universe of feeling and reaction structured by lack and tinted blue by country lyrics and a protective and threatening night-time light, characters imbricate gender and class through their longings for love, acceptance and a better life."

Jennifer Devere Brody commented on the film's exclusion of Philip DeVine, a disabled African-American man who was another victim of the shooting. "Perhaps one can only speculate about the motivations behind this decision. But the effects are familiar ones in the history of racist representations. The erasure of DeVine from the narrative places the white female bodies as the only true victims of crime; and the film's inability to show DeVine as violated rather than violator perpetuates the myth of the black man as always already a perpetrator of crime." Regarding DeVine, Halberstam wrote, "Peirce perhaps thought that her film, already running close to two hours, could not handle another subplot, but the story of Philip DeVine is important and it is a crucial part of the drama of gender, race, sexuality, and class that was enacted in the heartland. Race is not incidental to this narrative of mostly white, Midwestern small towns and by omitting DeVine's story from Boys Don't Cry, Peirce contributes to the detachment of transgender narratives from narratives about race, consigning the memory of DeVine to oblivion."

Culture of the Midwestern United States

Several authors commented on the possible impact that the film's setting of Falls City, Nebraska, located in the Midwestern United States, could have had on the film's plot. Maslin called Boys Don't Cry a tale of a trapped, small town character's search for life beyond the rural existence and the high price he pays for his view of the American Dream. Regarding the film's portrayal of Nebraska, Halberstam wrote, "The landscape of Nebraska then serves as a contested site upon which multiple narratives unfold, narratives indeed which refuse to collapse into simply one story. Some of these narratives are narratives of hate, some of desire; others tell of ignorance and brutality; still others of isolation and fear; some allow violence and ignorant prejudices to become the essence of white poor rural identity; still others provoke questions about the deployment of whiteness and the regulation of violence."

Christina Dando wrote that the typical portrayal of the Midwest as a "frontier" area did not come through in the film until the setting switched from Lincoln to Falls City: "The flat landscape, the spacious sky, the home, evoke two different Plains time periods familiar to many Americans through historic photographs: the early settlement process…and 1930s Farm Security Administration photographs. It is virtually timeless. There is also a sense of both place and placelessness. While the landscape is distinctively Plains, it could be described as nowhere."

She went on to argue that the setting is not only conveyed visually, but also through the characters' homes. "While there is no trailer park in Falls City, Brandon's community there occupies the margin: Candace and Lana's homes appear to be on the outskirts of town, or even outside of town. There are no complete families, only the family that that has been created. The men appear to have no homes, relationally or physically: none are shown to have a family. Speaking about the film's cinematography and the relation to its themes:

Dando compared the film to other tragic books and films that have been set on the Great Plains, including My Ántonia, Giants in the Earth, The Grapes of Wrath, In Cold Blood, and Badlands, writing that unlike the other works, "Brandon is [a] character who truly crosses frontiers."

Release

Premiere and commercial performanceBoys Don't Cry aired in Canada at the Toronto International Film Festival (TIFF) in September 1999. It premiered in the U.S. at the New York Film Festival on October 8, 1999, to critical acclaim. It was shown at the Reel Affirmations International Gay and Lesbian Film Festival in early October, where it won further praise and appeared at the Venice International Film Festival. Boys Don't Cry was given a special screening in snippets at the Sundance Film Festival. At that time, the film was still called Take It Like a Man. The film received a limited release theatrically on October 22, 1999, in the U.S., where it was distributed by Fox Searchlight Pictures, a subsidiary of Twentieth Century Fox that specializes in independent films. Initially, many viewers complained via email to Peirce that the film was not being shown near them, as the film was only being shown on 25 screens across the country. However, this number increased to nearly 200 by March 2000. The film grossed $73,720 in its opening week. By December 5, the film had grossed in excess of $2 million. By May 2000, it had a U.S. total gross of $11,540,607—more than three times its production budget. Internationally, the film was released on March 2, 2000, in Australia and on April 9, 2000, in the United Kingdom.

Critical reception
Critics lauded Boys Don't Cry upon its release, with many calling it one of the best films of the year. Review aggregator Rotten Tomatoes reports 90% of 82 professional critics gave the film a positive review, with an average rating of 7.90/10; the site's consensus states, "Harrowing yet stirring, Boys Don't Cry powerfully commemorates the life -- and brutally unjust death -- of transgender teen Brandon Teena". Another review aggregator, Metacritic, gave the film an 86 of 100 based on 33 reviews, indicating "universal acclaim". One reviewer said the film was a "critical knockout".

Critics often praised the performances by Swank and Sevigny; Peter Travers said the pair "give performances that burn in the memory", and The Film Stage termed Swank's performance "one of the greatest" Best Actress Oscar-winning performances. Peter Stack of the San Francisco Chronicle lauded the lead acting performances of Swank, Sevigny, Saarsgard, and Sexton III, writing, "It may be the best-acted film of the year". Online film reviewer James Berardinelli gave the film three and a half stars out of four; he highlighted the performances of Swank and Sevigny as the film's greatest success and likened the film's intensity to that of a train wreck. Berardinelli wrote that Swank "gives the performance of her career" and that "Sevigny's performance is more conventional than Swank's, but no less effective. She provides the counterbalance to the tide of hatred that drowns the last act of the film." Emanuel Levy of Variety called the acting "flawless" and concluded that the "stunningly accomplished" and "candid" film could be "seen as a Rebel Without a Cause for these culturally diverse and complex times, with the two misfits enacting a version of the James Dean—Natalie Wood romance with utmost conviction, searching, like their '50s counterparts, for love, self-worth and a place to call home". Stephen Hunter of The Washington Post said the performances are of such "luminous humanity that they break your heart". Premiere listed Swank's performance as one of the "100 Greatest Performances of All Time". Owen Gleiberman of Entertainment Weekly called Swank a "revelation" and wrote, "by the end, her Brandon/Teena is beyond male or female. It's as if we were simply glimpsing the character's soul, in all its yearning and conflicted beauty."

Other reviewers were positive towards the way Boys Don't Cry portrayed its subject matter. and Roger Ebert of the Chicago Sun-Times listed Boys Don't Cry as one of the five best films of 1999, saying, "This could have been a clinical movie of the week, but instead it's a sad song about a free spirit who tried to fly a little too close to the flame". Janet Maslin of The New York Times said the film was "stunning" and gave it four stars out of four stars. Maslin said, "unlike most films about mind-numbing tragedy, this one manages to be full of hope". Kenneth Turan of the Los Angeles Times praised the lack of romanticization and dramatization of the characters, and wrote, "Peirce and Bienen and the expert cast engage us in the actuality of these rootless, hopeless, stoned-out lives without sentimentalizing or romanticizing them" and that "Boys Don't Cry is an exceptional—and exceptionally disturbing film". Mike Clarke of USA Today commended Peirce's depth of knowledge of the case and the subject matter, writing, "Peirce seems to have researched her subject with grad-school-thesis intensity".

Jay Carr of The Boston Globe wrote, "Boys Don't Cry not only revisits the crime, but convinces us we're being taken inside it". Stephanie Zacharek of Salon gave a positive review, singling out the directing and acting. She wrote, "Peirce ... covers an extraordinary amount of territory, not just in terms of dealing with Brandon's sexual-identity and self-fulfillment issues, but also in trying to understand the lives of those around him". Zacharek described Swank's performance as "a continual revelation" and Sevigny's performance as "transformative". She said, "When Brandon dies, Boys Don't Cry reaches an emotional intensity that's almost operatic. The saddest thing, though, is seeing Sevigny's Lana crumpled over his corpse—the way she plays it, you know that when Brandon went, he took a part of her with him, too". David Edelstein of Slate was also very positive towards the film, calling it "a meditation on the irrelevance of gender." He went on to praise Swank, Sevigny, and Sarsgaard in their roles, especially Sevigny, writing that she "keeps the movie tantalizing".

The film was not without detractors, who focused on the film's portrayal of Brandon and his actions. Richard Corliss of Time magazine was one of the film's negative reviewers; he wrote, "the film lets down the material. It's too cool: all attitude, no sizzle". Peter Rainer of New York Magazine compared the film unfavorably with Rebel Without a Cause (1954), calling it a "transgendered " version, elaborating that the film "could have used a tougher and more exploratory spirit; for Peirce, there was no cruelty, no derangement in Brandon's impostures toward the unsuspecting." In 2007, Premiere ranked the film on its list of "The 25 Most Dangerous Movies".

The film was generally well-received by the LGBT community. Boys Don't Crys release came a year after the murder of a homosexual teenager, Matthew Shepard, which occurred October 12, 1998. The murder sparked additional public interest in hate crime legislation in America and in Brandon Teena, and increased public interest in Boys Don't Cry. Cooper wrote that Boys Don't Cry "is perhaps the only film addressing the issue of female masculinity by a self-described queer filmmaker to reach mainstream audiences and to receive critical acclaim and prestigious awards." However, Noelle Howey, writing for Mother Jones, wrote that despite the critical acclaim, relatively few critics understood what she perceived as the main point of the film—Brandon being a victim of trans bashing. Howey said, "Even a cursory glance at reviews of Boys Don't Cry reveals that while most critics admired the film, few absorbed its main point: that Brandon Teena was a biological girl who felt innately that she was a man. Most of the media instead cast Teena as a Yentl for the new millennium, rather than a victim of anti-transgender bigotry."

Factual accuracy
The accuracy of Boys Don't Cry was disputed by real-life people involved in the murder. The real Lana Tisdel declared her dislike for the film; she said Brandon never proposed to her and that when she discovered Brandon was transgender, she ended the relationship. Tisdel disliked the way she was portrayed in the film, and called the film the "second murder of Brandon Teena". Before the film's theatrical release, Lana Tisdel sued the film's producers, claiming that the film depicted her as "lazy, white trash and a skanky snake" and that her family and friends had come to see her as "a lesbian who did nothing to stop a murder". Tisdel settled her lawsuit against Fox Searchlight for an undisclosed sum. Sarah Nissen, cousin of murderer Marvin Nissen, was also critical of the film, saying, "There's none of it that's right. It was just weird." Leslie Tisdel, Lana's sister, called the film "a lie of a movie".

Lana Tisdel's potential involvement in the rape and murder of Brandon Teena was also highlighted. Various people involved in the case, particularly Brandon's family, have alleged that Tisdel was somehow involved with the murders, or had at least set them up in an act of vengeance. Perhaps the most notable admission about Tisdel's motives came from Tom Nissen, who infamously confessed that Tisdel was present at the time of the murders in the car and had even tried knocking on the door of the farmhouse where Brandon, Lambert and DeVine were staying.

Awards and nominations

The film won a variety of awards, most of which went to Swank for her performance. Swank won a Best Actress Oscar while Sevigny received a nomination in the category of Best Supporting Actress. From the Hollywood Foreign Press, the film received two Golden Globe nominations in the same two categories (Best Actress, Best Supporting Actress) for Swank and Sevigny, winning Best Actress. Swank and Sevigny both received Best Actress Awards from the New York Film Critics Circle, the Chicago Film Critics Association Awards and an Independent Spirit Award. The film won three awards at the Boston Society of Film Critics Awards: Best Actress (Swank), Best Supporting Actress (Sevigny) and Best Director (Peirce). Swank and Sevigny won Satellite Awards for their performances, and the film was nominated in two categories; Best Picture (Drama) and Best Director. It was named one of the best films of the year by the National Board of Review of Motion Pictures.

The family of Brandon Teena criticized Swank for her repeated use of the male gender pronoun "he" in her Oscar acceptance speech. Teena's mother JoAnn Brandon said her child's transgenderism was a defense mechanism that was developed in response to childhood sexual abuse, rather than being an expression of Teena's gendered sense of self. She said, "She pretended she was a man so no other man could touch her". Despite the criticism, Kevin Okeefe, writing for Out, defended Swank's acceptance speech; he said, "Swank deserves a place in the great acceptance speech canon for being bold, not only as an actress, but as an award winner".

Rating and home mediaBoys Don't Cry garnered significant attention for its graphic rape scene. The film was initially assigned an NC-17 rating from the Motion Picture Association of America (MPAA); the content was toned down for the U.S. release, where it was rated R. Peirce was interviewed for a 2005 documentary titled This Film Is Not Yet Rated, which discussed the film's problems with the MPAA, particularly the censoring of the sex scenes. The portrayal of a double rape caused significant problems with the MPAA and had to be trimmed to avoid the NC-17 rating. Both the Australian and European version are more explicit, particularly the first rape. Peirce was angry because the MPAA wanted the sex scene between Brandon and Lana removed but was satisfied with the level of brutality in the murder scene. She also claimed that one objection from the MPAA was that one scene featured an orgasm that was "too long", and rhetorically asked if anyone had ever been hurt by an orgasm that was too long. The film is rated 18 by the British Board of Film Classification.Boys Don't Cry'' was first released on home video by Fox Searchlight Pictures in September 2000 as part of a "Premiere Series", preceded by a DVD release in April 2000 in the United States and Canada. The DVD's special features included a commentary by Kimberly Peirce and a behind-the-scenes featurette containing interviews with Peirce, Swank and Sevigny; there was also a theatrical trailer and three television trailers. This same edition was re-released in 2009 with different cover art. The film was released on Blu-ray on February 16, 2011, by 20th Century Fox Entertainment in conjunction with Fox Pathé Europa.

See also

Notes

References

Citations

Sources

Further reading

External links

1999 films
1990s biographical drama films
1999 LGBT-related films
LGBT-related coming-of-age films
American biographical drama films
American independent films
American LGBT-related films
American romantic drama films
1990s English-language films
Films set in 1993
Films set in Nebraska
Films about gender
Films shot in Texas
Homophobia in fiction
Films about anti-LGBT sentiment
LGBT in Nebraska
LGBT-related films based on actual events
Films about trans men
Crime films based on actual events
Films featuring a Best Actress Academy Award-winning performance
Films featuring a Best Drama Actress Golden Globe-winning performance
Films directed by Kimberly Peirce
Films produced by Christine Vachon
Films about rape
Fox Searchlight Pictures films
Killer Films films
United States National Film Registry films
1999 directorial debut films
1999 independent films
1999 drama films
Biographical films about LGBT people
LGBT-related controversies in film
Rating controversies in film
1990s American films
English-language independent films

Boys Don't Cry (1999 film)


Tunnelen () er en tysk/fransk science fiction-film fra 1933 instrueret af Kurt Bernhardt. Filmen er baseret på romanen af samme navn skrevet af Bernhard Kellermann i 1913. Der blev optaget en fransksproget udgave af filmen samtidig med den tyske film med samme filmhold og primært franske skuespillere. Samme roman blev også filmatiseret i Storbritannien to år senere.

Filmen handler om konstruktionen af en enorm tunnel under Atlanterhavet til at forbinde Europa og Amerika.

Handling
En ingeniør ansættes til at planlægge og overvåge konstruktionen af en tunnel mellem Europa og USA. Imidlertid er der stærke interesser, der ikke ønsker tunnelen anlagt, og som bruger alle midler, herunder sabotage og mord, for at forhindre konstruktionen af tunnelen.

Medvirkende
 Paul Hartmann - Mac Allan
 Attila Hörbiger - Hobby
 Olly von Flint - Mary Allan
 Gustaf Gründgens - Hr. Woolf, direktør for tunnelsyndikatet
 Otto Wernicke - Bärmann
 Max Weydner - Hr. Lloyd, finansmand
 Elga Brink - Ethel Lloyd
 Richard Ryen - Gordon
 Georg Henrich - Vandrstyfft
 Max Schreck - Chesterfield

Eksterne henvisninger

Tyske film fra 1933
Science fiction-film fra Frankrig
Science fiction-film fra Tyskland
Franske film fra 1933
Film baseret på bøger

Tunnelen (film fra 1933)


Jacques Berger (né en 1934 à New York de parents suisses, mort en 1995) est un ciliatologiste américain.

Éducation
Jacques Berger soutient la thèse The Morphology, Systematics and Biology of the Entocommensal Ciliates Ofeechinoids à l'Université de l'Illinois à Urbana-Champaign en 1964. Son directeur de thèse est John Corliss.

Publications scientifiques
  J.C. Thompson et J. Berger, 1965. « Paranophrys marina n. g., n. sp., a New Ciliate Associated with a Hydroid from the Northeast Pacific (Ciliata: Hymenostomatida) », Journal of Protozoology, , ,  .

Hommages
  John O. Corliss--ciliatologiste extraordinaire. 1 janvier 1992, Journal of Protozoology, , , ,  (lien).
  « In Memoriam: Jacques Berger (1934–1995) », Journal of Eukaryotic Microbiology, 1 Novembre 1995, .

Liens externes

  Jacques Berger sur le site de l'Université de Toronto (site visité le 5 avril 2022).

Biologiste américain
Naissance en 1934
Décès en mars 1995

Jacques Berger (biologiste)


Fersfield est un village du Norfolk en Angleterre.

Géographie

Fersfield est délimité à l'est et au sud par le village de Bressingham, à l'ouest par  et North Lopham et au nord par Kenninghall. Historiquement, la paroisse marquait la limite de Diss.

Histoire

Fersfield a porté les noms de Fersevella, Fervessella, Ferefeud, Fairfeud, Fairvill et Fersfell mais son nom actuel remonte à 1086 d'après le Domesday Book.

Son église est dédiée à Saint Andrew et remonte, au moins en partie, du  siècle. Elle comporte un font baptismal d'architecture romane normande et une effigie en bois peinte d'un certain Robert du Bois.

Le village a été connu aussi pour son , un ancien aérodrome utilisé lors de la Seconde Guerre mondiale qui a été fermé après la guerre et brièvement utilisé comme piste de course automobile avant d'être remis en usage agricole.

Personnalité
 Francis Blomefield (1705-1752), historien, y est né.

Notes et références

Liens externes

Village dans le Norfolk

Fersfield


Die Open Sud de France 2010 waren ein Tennisturnier, welches vom 25. bis 31. Oktober 2010 in Pérols bei Montpellier stattfand. Es war Teil der ATP World Tour 2010 und wurde in der Halle auf Hartplatz ausgetragen. In derselben Woche wurden in Wien die Bank Austria TennisTrophy sowie in St. Petersburg die St. Petersburg Open gespielt, die genau wie die Open Sud de France zur Kategorie ATP World Tour 250 zählten.

Titelverteidiger im Einzel war Ivan Ljubičić, der in diesem Jahr erneut bis ins Finale vordrang. Dort unterlag er dem Lokalmatador Gaël Monfils in drei Sätzen mit 2:6, 7:5 und 1:6. Dies war der erste Sieg in diesem Jahr für Monfils und sein dritter insgesamt. Im Doppel war das französische Duo Julien Benneteau und Nicolas Mahut Titelverteidiger, sie nahmen jedoch nicht mehr gemeinsam am Turnier teil. Während Benneteau gar nicht mehr teilnahm, schied Mahut mit Arnaud Clément in der ersten Runde aus. Im Finale gewann das Duo Stephen Huss und Ross Hutchins gegen Marc López und Eduardo Schwank in drei Sätzen. Für Huss war dies der vierte und letzte Titel seiner Karriere, Hutchins gewann seinen zweiten Karrieretitel.

Das Teilnehmerfeld der Einzelkonkurrenz bestand aus 28 Spielern, jenes der Doppelkonkurrenz aus 16 Paaren. Die vier topgesetzten Spieler im Einzel bekamen jeweils ein Freilos in die zweite Runde. Das Gesamtpreisgeld betrug 650.000 Euro; die gesamten finanziellen Verbindlichkeiten lagen bei 575.250 Euro.

Qualifikation
Die Qualifikation fand vom 23. bis 25. Oktober 2010 statt. Ausgespielt wurden vier Qualifikantenplätze, die zur Teilnahme am Hauptfeld des Turniers berechtigten.

Folgende Spieler hatten die Qualifikation überstanden und spielten im Hauptfeld des Turniers:

Preisgelder und Weltranglistenpunkte
Es wurden die folgenden Preisgelder und Weltranglistenpunkte für das Erreichen der jeweiligen Runde ausgezahlt bzw. gutgeschrieben. Spieler, die aus der Qualifikation in das Hauptfeld eingetreten waren, erhielten die angegebenen Qualifikationspunkte zusätzlich zu denen für das Erreichen der jeweiligen Runde. Ansonsten sind die Beträge nicht kumulativ zu verstehen. Die Beträge für den Doppelbewerb galten pro Team.

Einzel

Setzliste

Ergebnisse

Doppel

Setzliste

Ergebnisse

Weblinks und Quellen
 Offizielle Homepage des Turniers

Turnier der ATP World Tour 2010
Tennisturnier in Pérols

Open Sud de France 2010


صاروخ موجه مضاد للدروع  الاختصار بالعربية صاروخ م-د الاختصار بالإنجليزية  هو صاروخ موجه صمم أساساً لضرب وتدمير الدروع لاسيما الدبابات و مركبات القتال المدرعة على مسافات تصل إلى 8 كليو مترات، وهي قادرة على أختراق دروع بسمك يترواح من 500 إلى 1,000 ملم.

أول صاروخ موجه مضاد للدروع هو الصاروخ السوفيتي ماليوتكا (بالروسية:Малютка) أدخل في الخدمة لدى الجيش السوفيتي في سنة 1961 ثم ظهرت بعدها أنواع أحدث من الصواريخ الموجه المضادة للدروع التي شكلت تحدياً للدبابات، وتتفاوت أنظمة الصواريخ الموجهة المضادة للدروع بحسب مداها إلى صواريخ بعيدة المدى فوق 2000م، ومتوسطة المدى من 1000 حتى 2000، وقريبة المدى دون 1000م.

الجيل الأول
وهي الصواريخ الموجهة المضادة للدروع ذات التوجيه السلكي التي يجب على الرامي أن يتحكم في توجيهها يدوياً بواسطة عصا التوجيه حتى الهدف، وعلى الرامي أيضاً أن يرصد الهدف وصاروخه الموجه في آن واحد من خلال منظاره. وهذا يتطلب دقة كبيرة وأقل خطأ في التوجيه يؤدي إلى إبعاد الصاروخ عن هدفه.

الجيل الثاني
تتميز الصواريخ الموجهة المضادة للدروع من الجيل الثاني بجهاز نصف آلي للتحكم فيكفي أن يقوم الرامي بإبقاء علامة التسديد منطبقة على الهدف حتى وصول الصاروخ إليه، تم تحسين صواريخ الجيل الثاني وزيادة سرعتها الأمر الذي يقلل من مدة تحليقها، كما أن شحناتها أصبحت أكثر فاعلية وزادت قدرتها على اختراق التدريع.

الجيل الثالث
يعد الصاروخ الأمريكي أي جي أم-114 هيلفاير أحد أبرز صواريخ الجيل الثالث فهو يتمتع بمدى يصل إلى 8 كليو مترات ولا يتطلب سوى التسديد المبدئي نحو الهدف والإطلاق تبعاً لآلية أطلق وانس فالصاروخ يتجه تلقائياً نحو الهدف مستعينا بكاشفه الليزري على الشعاع الليزري الذي يذهب من المنظومة إلى الهدف وينعكس منه إليها، فيكون الشعاع بمثابة خط سير الصاروخ. أما سرعته فتصل إلى 1.3 ماخ ما يعادل 425 متر بالثانية.

وتم العمل على زيادة القطر صواريخ في صواريخ الجيل الثالث مع وزن الحشوات القتالية الجوفاء، وزُوّدت رؤوس القذائف بقضبان تؤمن انفجارها على المسافة المثالية للحشوة الجوفاء، وبالتالي زيادة قدرتها على الاختراق.

المصادر

 مجلة الدفاع السعودية، الصواريخ الموجهة المضادة للدروع عبد الحميد شقير
 مجلة كلية الملك خالد العسكرية، الأنظمة الصاروخية الموجهة في القوات البرية المضادة للدبابات العميد الركن إبراهيم إسماعيل كاخيا

أنواع الصواريخ الموجهة
دبابات
صواريخ موجهة مضادة للدروع

صاروخ موجه مضاد للدروع


Gibraleón, İspanya'nın on yedi özerk bölgesinden en çok nüfusa sahip olan, ülkenin güneybatı köşesindeki Endülüs otonom bölgesinin 8 eyaletinden Portekiz ve Atlas Okyanusu'na kıyısı bulunan Huelva eyaletine bağlı belediyesi. Gibraleón belediyesinin nüfusu, 2005 yılı nüfus sayımlarına göre 11.202 kişidir.

Gibraleón


Comino () is a small island of the Maltese archipelago between the islands of Malta and Gozo in the Mediterranean Sea, measuring  in area. Named after the cumin seed, the island has a permanent population of only two residents and is part of the municipality of Għajnsielem, in southeastern Gozo, from where one priest and one policeman commute. The island is a bird sanctuary and nature reserve (Natura 2000 marine protected area).

Environment

The island has a karst landscape supporting sclerophyllous shrubland. Some limited afforestation with pine trees has been carried out. The sand-dunes at Santa Maria bay retain some native vegetation, including Vitex and Tamarix trees. The island has been identified as an Important Bird Area (IBA) by BirdLife International because it supports fifty to eighty breeding pairs of yelkouan shearwaters.

History
Formerly called Ephaestia (Ηφαιστεία in Ancient Greek), Comino is known to have been inhabited by farmers during Roman times, but for long periods in its history it has been sparsely populated, privately owned, or abandoned entirely. Its rugged coastline is delineated by sheer limestone cliffs, and dotted with deep caves which were popular with pirates and marauders in the Middle Ages. The caves and coves of Comino were frequently used as staging posts for raids on hapless boats crossing between Malta and Gozo. From 1285 until some time after 1290, Comino was the home of exiled Jewish prophet and Kabbalist Abraham Abulafia. It was on Comino that Abulafia composed his Sefer ha-Ot (The Book of the Sign), and his last work, Imre Shefer (Words of Beauty).

In later years, the Knights of Malta used this island as hunting and recreational grounds.  The Knights were fiercely protective of the local game, which consisted of wild boar and hares (Maltese: fenek tal-grixti): upon conviction, poachers were liable to a penalty of three years as a galley slave. In the 16th and 17th centuries, Comino served as a place of imprisonment or exile for errant knights. Knights who were convicted of minor crimes were occasionally sentenced to the lonely and dangerous task of manning St. Mary's Tower.

During the French occupation of Malta, Comino served as a quarantine and existing buildings served as an isolation hospital. The island served as a temporary prison site before a decision on the accused is taken.

On 6 March 1889 the British battleship HMS Sultan grounded on an uncharted rock in the Comino Channel, ripping her bottom open. She slowly flooded and, in a gale on 14 March 1889 she slipped off the rock and sank. The Italian firm of Baghino & Co raised her in August 1889 for a fee of £50,000. On 27 August, Sultan was brought into Malta.

In the 1920s, the island was leased by the British colonial government to the Zammit Cutajar family, which established the Comino Farming Company. Around  of land were placed under cultivation, growing various crops and fruit orchards as well as snails which were exported to Italy. The island's population peaked at around 80 people in the late 1940s, including a number of migrants from Sicily. The island had no electricity and population largely engaged in subsistence farming, as well as fishing and bird-hunting.

In 1960, the farming company's lease was revoked and the British government controversially granted a 150-year lease of the island to John Gaul, a British property magnate, on a near-peppercorn rent of £100 per year (). The terms of the lease obliged Gaul's Comino Development Ltd to establish a 200-room hotel on Comino by 1963. The lease was later renegotiated to a smaller area encompassing the current Comino Hotel at San Niklaw Bay and the bungalows at Santa Marija Bay.

, Comino has a permanent population of only two residents, following the deaths of two other residents in 2017 and 2020.

Buildings and structures

St Mary's Tower

Saint Mary's Tower is the most visible structure on the island.  Its background dates back to 1416, when the Maltese petitioned their king, Alfonso V of Aragon, to build a tower on Comino to serve as an early warning system in case of invasion, and to deter marauding Turks, pirates, smugglers and corsairs from using Comino as a hiding place and staging ground for devastating sorties onto the sister islands of Malta and Gozo.  Two years later the king levied a special tax on imported wine to raise funds for this project, but diverted the monies into his coffers; the island remained undefended for another two hundred years.

Finally, in 1618 the Knights of Malta under Grandmaster Wignacourt erected St Mary's Tower (Maltese: it-Torri ta' Santa Marija), located roughly in the center of the southern coast of the island.  The tower formed part of a chain of defensive towers — the Wignacourt, Lascaris, and De Redin towers — located at vantage points along the coastline of the Maltese Islands, and greatly improved communications between Malta and Gozo.  The tower is a large, square building with four corner turrets, located about  above sea level. The Tower itself is about  tall, with walls that are approximately  thick, and it is raised on a platform and plinth that are approximately  high.

During the French Blockade (1798–1800), St Mary's Tower served as a prison for suspected spies. In 1829 the British Military abandoned the site. For several decades it was deemed to be property of the local civil authorities, and may have been used as an isolation hospital, or even as a wintering pen for farm animals. The tower again saw active service during both World War I and World War II. Since 1982 the tower has been the property of the Armed Forces of Malta. It now serves as a lookout and staging post to guard against contraband and the illegal hunting of migratory birds at sea. The tower underwent extensive restoration between 2002 and 2004. Today, it remains the most notable structure on Comino.

Comino chapel

A chapel dedicated to the Assumption of St Mary existed in the proximity of the Bay of St Mary since at least 1296. Indeed, it was this chapel which gave the bay its name and not opposite.

A Roman Catholic chapel dedicated to the Holy Family Upon its Return from Egypt is located above Santa Marija Bay. Built in 1618, and enlarged in 1667 and again in 1716, the chapel was originally dedicated to the Annunciation. It has been deconsecrated and reconsecrated at least once in its history, when Comino was devoid of residents. The earliest record of a chapel on this site dates back to the 12th century, and can be seen in a navigational map of the period, located in the National Maritime Museum and Royal Observatory in Greenwich, London.

In the past, and well into the 20th century, whenever the seas were too rough for the Gozitan priest to make the crossing to Comino for the celebration of Holy Mass, the local community would gather on the rocks at a part of the Island known as Tal-Ħmara, and gaze across the channel towards the Chapel of Our Lady of the Rocks (Maltese: il-Madonna tal-Blat), in Ħondoq ir-Rummien, Gozo, where Mass was being celebrated. They followed along with the progression of the Mass by means of a complex flag code.

Saint Mary's Battery and Redoubt

Saint Mary's Battery, built in 1716, at the same time as various other batteries around the coastline of mainland Malta and Gozo, is situated facing the South Comino Channel. It is a semi-circular structure with a number of embrasures facing the sea. The Battery still houses two 24-pound iron cannon, and remains in a fair state of preservation mainly due to its remote location. Its armament originally included four 6-pound iron cannon. The Battery underwent restoration in 1996 by Din l-Art Ħelwa. Saint Mary's Redoubt, an additional defensive structure, was also constructed in 1716 on the northern coast of Comino, however it was subsequently demolished. The Knights also constructed army barracks on Comino. In the early 20th century the barracks were periodically used as an isolation hospital.

Contemporary structures

The Comino Hotel was built in the 1960s above San Niklaw Bay. There are also holiday bungalows by the Santa Marija Bay. The hotel is being rebuilt by Hili Ventures Ltd (run by Melo Hili) with an investment of €120m and set to be completed in 2023. The project is for the 100-room Comino Hotel to be demolished and replaced by a 70-room hotel and 19 bungalows. The environmental impact assessment of the project noted the negative impact of extraction of rock and soil from the site, and the loss of habitat in both sites due to the change in location and the increased number of building, further encroaching on the surrounding garrigue. The project has yet to receive full planning and environmental permission. Hotel and bungalow village are expected to open by 2025.

The Comino Police Station is located between the bungalows and the Comino Chapel. It is responsible for the small community and visitors, aided by the Malta Police Force in Malta and Gozo when necessary.

Transport
Ferries provide transportation to Comino from either Malta or Gozo, with scheduled boat trips departing from Cirkewwa or Mġarr. Schedules vary by season. Providers offer boat taxi service from Blue Lagoon, Comino back to the mainlines as well as tours of the Santa Maria Caves in Comino.

Economy

Impact of tourism
Between Comino and adjacent islet of Cominotto (Maltese: Kemmunett) lie the transparent, cyan waters of the Blue Lagoon (Maltese: Bejn il-Kmiemen, literally "Between the Cominos"). Frequented by large numbers of tourists and tour boats daily, the Blue Lagoon is a picturesque bay with a white sandy base and rich marine life. It is popular with divers, snorkelers and swimmers. Other beaches on Comino include Santa Maria Bay (Maltese: Ramla ta' Santa Marija) and St. Nicholas Bay (Maltese: Bajja San Niklaw).

The touristic over-exploitation of Comino, and in particular of the Blue Lagoon, became a matter of contention in the late 2010s. Despite regulations, at least seven illegal kiosks have sprung up on the coastline; none of them has a permit from the Malta Tourism Authority, and they are permanently parked on the spot, while they should be left on wheels and removed every day. Operators have also started deploying deckchairs and umbrellas in the Blue Lagoon sandy beach as early as 7 AM, filling up all public space. Cruise liners bringing hundreds of tourists on the spot are leading to a strong environmental impact (with loud music and trash left on the spot, attracting rats) and creeping privatisation of the former natural hotspot, while providing no upkeep of the bay.

Commercial interests and political connections have fostered the touristic exploitation of Comino. The deck-chair rentals at the Blue Lagoon are owned by Daniel Refalo, an associate of construction tycoon Joseph Portelli, and by Mark Cutajar, brother of Labour MEP Josianne Cutajar and former canvasser for Gozo Minister Clint Camilleri in 2022, are the two individuals who own the deckchair rental operations on Comino's Blue Lagoon. Back in 2016, Refalo and Cutajar claimed that they were being scapegoated, and that "the chaos that now exists in the Blue Lagoon... is part of a larger and deeper problem facing Maltese tourism". Pleasure and Leisure Ltd, one of the companies running daily ferries to Comino under the brand Oh Yeah Malta, is owned by the father and uncles of Tourism Minister Clayton Bartolo from nearby Mellieħa. One of the kiosks, tal-Ekxa, is run by Victor Refalo, a former Labour local councillor from Żebbuġ, Gozo and canvasser of Gozo Minister Clint Camilleri.

In early 2021, with the pretext of emergency procedures to prevent the road from caving in, the Gozo Ministry conducted illegal works to install a service culverts with manholes to pass utility services along the dirt road to the Blue Lagoon. According to the ministry, the culvert would eliminate the use of electricity generators, while denying that fixed kiosks were being planned for Blue Lagoon. Environmental activists including Friends of the Earth Malta noted that the works, later greenlighted by the Environment Resources Authority, had an impact on the natural surroundings, with excavation on trenches and widening of the track, and accused the authorities to attempt to legitimise illegal commercial activity. The works were welcomed by the illegal kiosk owners, including Refalo. The Labour Party organising secretary, architect William Lewis, also applied to install a wooden walkway over the garrigue terrain leading to the kiosks and the Blue Lagoon; a permit is pending.

Malta's Moviment Graffitti has denounced the over-development and touristification, also conducting direct actions to remove the illegal deck-chairs and umbrellas in June and August 2022. Graffitti called for a master plan for Comino that would limit activity on the island as well as set defined areas for operators.

Cinema industry
Comino is a popular location for filmmakers. It appears in the feature films Troy, The Count of Monte Cristo (in which St. Mary's Tower is featured as the prison fortress Château d'If) and Swept Away.

References

Further reading
 Bartolo, Evarist (2013). X' taf fuq Kemuna?. Għaqda Mużikali Imperial [Imperial Band Club Magazine]. pp. 138–139. Retrieved 19 July 2016.
 HMS Sultan disaster
 Gossett, William Patrick (1986). The Lost Ships of the Royal Navy, 1793–1900. (London: Mansell). .

External links

 Gozo Comino Ferry
 Dive sites in Comino
 Comino – Travel guide on MaltaUncovered.com
 Comino, the Comino Caves & St. Mary's Tower – Photos on UnitedCominoFerries.com

Għajnsielem
Important Bird Areas of Malta
Islands of Malta

Comino


Pyrola picta er tegund blómplantna af lyngætt. Hún er ættuð frá vesturhluta N-Ameríku.

Tilvísanir

Lyngætt

Pyrola picta


1935 යනු ශක වර්ෂ ක්‍රමයෙන් 1935 වන වර්ෂයයි.

උදාව
බක් මස පුර ජලවක තිථිය ලත් ශනි දින උදයාදී පැය 48 විනාඩි 17ට මෙම වසර උදාවිය.

ශ.ව. 20වන සියවස

ශක වර්ෂ 1935


Orquestras sociais ou orquestras comunitárias são grupos formados em projetos sociais de música, geralmente por crianças e adolescentes. As Orquestras Sociais possuem o foco do seu trabalho em práticas musicais baseadas na construção coletiva de conhecimento. No âmbito de uma orquestra social, os processos educativos são compreendidos pelo conjunto de aprendizagens que se dão, a partir da convivência, nos mais variados aspectos que surgem nos ensaios, viagens, festas do grupo e concertos. Esses processos educativos são de natureza musical, cultural e humana.

Essa interações sociais acabam favorecendo o desenvolvimento de relações de afeto, de processos criativos, de desenvolvimento da imaginação e da sensibilidade auditiva, o que proporciona um diálogo entre os músicos, dos músicos com o regente, com os arranjadores, com o público e, também de cada músico consigo mesmo.

Repertório
Em geral, os projetos sociais que atuam na formação de orquestras enfatizam a importância com o social, fazendo uso da música como um meio transformador. Em contrapartida, muitos projetos não dão ênfase a progressividade do desenvolvimento técnico dos alunos que pretendem seguir na carreira musical, com isso, surgem lacunas no que concerne a formação técnica. Na maioria dos casos, os projetos que priorizam o lado social fazem uso de arranjos e adaptações que facilitam a execução, porém sem procedimentos técnicos graduais, o que faz com que a técnica e o repertório fiquem limitados.

Os projetos desenvolvem algumas práticas orquestrais com objetivo de ampliar o conhecimento no repertório, porém há uma carência de um repertório progressivo que possa contribuir para a sistematização gradual a cada ano de evolução do grupo.

Sistema de Nivelamento
O trabalho com orquestras, coros ou bandas estudantis requer do regente um constante cuidado com o processo de aprendizado dos alunos que compõem tais grupos, além de uma constante busca por informação, sendo que a escolha de repertório, assim como a elaboração de arranjos – prática comum dos regentes de banda – precisa respeitar a realidade técnica dos grupos. Um fator importante a ser observado em grupos estudantis se refere à instrumentação disponível em cada banda ou orquestra estudantil, que dificilmente possui um mesmo padrão instrumental.

Para estímulo à criação de novas obras para orquestra por parte de compositores brasileiros, com direcionamento artístico e forte fundamentação pedagógica, foi preparada uma Tabela de Parâmetros Técnicos para Cordas. O objetivo é contribuir para a pesquisa na área, sintetizando os conhecimentos já disponibilizados na literatura mundial sobre o tema, além de iniciar um estudo para incluir e classificar características rítmicas da música brasileira.

A Tabela de Parâmetros pode constituir uma grande ferramenta de apoio para os compositores, arranjadores e regentes, através de seus exemplos e conselhos – desde que seus critérios sejam respeitados e levados a sério por esses profissionais. Quando a escolha da obra a ser utilizada pelo grupo seja uma obra original ou um arranjo adequado ao conjunto – leva em consideração o seu nível técnico, não só permitirá um execução primorosa como também proporcionará ao grupo uma excelente experiência musical.

Com objetivo de contribuir para essa escassez de repertório gradual específico para orquestras e grupos iniciantes, o arranjador e regente Vinícius Louzada disponibiliza o portal Arranjos para Orquestras Sociais (APOS) para contribuir no desenvolvimento do trabalho das orquestras de formação, e também oferecer um canal para que arranjadores e compositores possam fornecer seus arranjos e composições. Este trabalho é um produto do Programa de Mestrado Profissional em Ensino das Práticas Musicais (PROEMUS) desenvolvido no ano de 2022.

Ligações Externas
 Tabela de Parâmetros Técnicos para Cordas
 Programa de Mestrado Profissional em Ensino das Práticas Musicais (PROEMUS)
 Pequeno Guia Prático para o Regente de Banda.

Orquestras do Brasil

Orquestras sociais


An Dyckia milagrensis in uska species han Liliopsida nga ginhulagway ni Elton Martinez Carvalho Leme. An Dyckia milagrensis in nahilalakip ha genus nga Dyckia, ngan familia nga Bromeliaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Dyckia

Dyckia milagrensis


Et Kino Drama er en dansk stumfilm fra 1912, der er instrueret af Eduard Schnedler-Sørensen efter manuskript af Marcus Nathan Kalckar.

Handling

Eksterne henvisninger

Stumfilm fra Danmark
Danske film fra 1912

Et Kino Drama


The dizi (, pronounced ), is a Chinese transverse flute. It is also sometimes known as the di () or héngdi (), and has varieties including Qudi (), Bangdi (), and Xindi (). It is a major Chinese musical instrument that is widely used in many genres of Chinese folk music, Chinese opera, as well as the modern Chinese orchestra. The dizi is also a popular instrument among the Chinese people as it is simple to make and easy to carry.

Most dizi are made of bamboo, which explains why dizi are sometimes known by simple names such as Chinese bamboo flute. However, "bamboo" is perhaps more of a Chinese instrument classification like "woodwind" in the West. Northern Chinese dizi are made from purple or violet bamboo, while dizi made in Suzhou and Hangzhou are made from white bamboo. Dizi produced in southern Chinese regions such as Chaozhou are often made of very slender, lightweight, light-colored bamboo and are much quieter in tone.

Although bamboo is the common material for the dizi, it is also possible to find dizi made from other kinds of wood, or even from stone. Jade dizi (or ) are popular among both collectors interested in their beauty, and among professional players who seek an instrument with looks to match the quality of their renditions; however, jade may not be the best material for dizi since, as with metal, jade may not be as tonally responsive as bamboo, which is more resonant.

The dizi is not the only bamboo flute of China. Other Chinese bamboo wind instruments include the vertical end-blown xiao and the koudi.

History

Recently, archaeologists have discovered evidence suggesting that the simple transverse flutes (though without the distinctive mokong of the dizi) have been present in China for over 9,000 years. Fragments of bone flutes from this period are still playable today, and are remarkably similar to modern versions in terms of hole placement, etc. The Jiahu neolithic site in central Henan province of China has yielded flutes dating back to 7,000 BC – 5,000 BC that could represent the earliest playable instruments ever found. These flutes were carved with five to eight holes, and are capable of producing sounds that roughly span an octave. The dizi as we know it today roughly dates to the 5th century BC, and there have been examples of bamboo dizi that date back to 2nd century BC.

These flutes share common features with other simple flutes from cultures all around the world. Multiple examples from different cultures consist of a drilled piece of bone, which is well-suited as a material due to its hollow nature. The earliest known examples of bone flutes date back around 42,000 years ago.

Modern modifications

Traditionally dizi is made by using a single piece of bamboo. While simple and straightforward, it is also impossible to change the fundamental tuning once the bamboo is cut, which made it a problem when it was played with other instruments in a modern Chinese orchestra. In the 1920s musician Zheng Jinwen (, 1872–1935) resolved this issue by inserting a copper joint to connect two pieces of shorter bamboo. This method allows the length of the bamboo to be modified for minute adjustment to its fundamental pitch.

On traditional dizi the finger-holes are spaced approximately equidistant, which produces a temperament of mixed whole-tone and three-quarter-tone intervals. Zheng also repositioned the figure-holes to change the notes produced. During the middle of the 20th century dizi makers further changed the finger hole placements to allow for playing in equal temperament, as demanded by new musical developments and compositions, although the traditional dizi continue to be used for purposes such as kunqu accompaniment.

In the 1930s, an 11-hole, fully chromatic version of the dizi was created called the xindi (), pitched in the same range as the western flute. However, the modified dizi's extra tone holes prevent the effective use of the membrane, so this instrument lacks the inherent timbre of the traditional dizi family.

While the bangdi (pitched in the same range as western piccolo) and qudi (pitched a fourth or fifth lower than the bangdi) are the most prevalent, other dizi include the xiaodi/gaoyindi (pitched a fourth of fifth higher than the bangdi), the dadi/diyindi (pitched a fourth or fifth lower than qudi), and the deidi/diyindadi (pitched an octave lower than qudi.)

Membrane

Whereas most simple flutes have only a blowing hole (known as chui kong () in Chinese) and finger-holes, the dizi has a very different additional hole, called a mo kong (), between the embouchure and finger-holes. A special membrane called dimo (, lit. "di membrane"), made from an almost tissue-like shaving of reed (made from the inner skin of bamboo cells), is made taut and glued over this hole, traditionally with a substance called ejiao, an animal glue. Garlic juice may also be used to adhere the dimo, but it is not recommended as a permanent replacement. This application process, in which fine wrinkles are created in the centre of the dimo to create a penetrating buzzy timbre, is an art form in itself.

The dimo-covered mo kong has a distinctive resonating effect on the sound produced by the dizi, making it brighter and louder, and adding harmonics to give the final tone a buzzing, nasal quality. Dizi have a relatively large range, covering about two-and-a-quarter octaves.

Playing styles and techniques
Contemporary 'dizi' styles or schools based on the professional conservatory repertory are divided into two: Northern and Southern, each style having different preferences in dizi and playing techniques, with different methods for embellishment and ornamentation of the melody.
 Northern school (Beipai) – The dizi used for the Northern school, the bangdi, is shorter and higher in pitch, and its sound quality is brighter and more shrill. In Northern China, it is used in kunqu and bangzi opera, and as well as regional musical genres such as errentai. Dizi music of the Northern school is characterized by a fast, rhythmic and virtuosic playing, employing techniques such as glissando, tremolo, flutter tonguing, and fast tonguing.
 Southern school (Nanpai) – In Southern China, the qudi is the lead melodic instrument of kunqu opera and is also used in music such as Jiangnan sizhu. It is longer, and has a more mellow, lyrical tone. The music of the Southern school is usually slower, and the ornamentations are predominantly short melodic turns, trills, and appoggiatura or grace note.
Dizi are often played using various "advanced" techniques, such as circular breathing, slides, popped notes, harmonics, "flying finger" trills, multiphonics, fluttertonguing, and double-tonguing, which are also common in similar instruments, such as the western concert flute and recorder. Most professional players have a set of seven dizi, each in a different key (and size). Additionally, master players and those seeking distinctive sounds such as birdsong may use extremely small or very large dizi.

Performers

There have been several major performers of the 20th century who have contributed to dizi playing in the new conservatory professional concert repertory, often based on or adapted from regional folk styles. Following the Chinese Communist Revolution, the instrument was used extensively in revolutionary music.

Feng Zicun (, 1904–1987) was born in Yangyuan, Hebei province. Of humble origins, Feng had established himself as a folk musician by the time of the founding of the People's Republic of China, playing the dizi as well as the four-string fiddle sihu in local song and dance groups, folksongs and stilt dances. He also introduced Errentai, the local opera of Inner Mongolia, to Hebei after spending four years there as a musician in the 1920s.

In 1953, Feng was appointed to the state-supported Central Song and Dance Ensemble in Beijing as dizi soloist, and accepted a teaching post at the China Conservatory of Music (Beijing) in 1964.

Feng adapted traditional folk ensemble pieces into dizi solos, such as Xi xiang feng (Happy Reunion), Wu bangzi (Five Clappers), contributing to the new Chinese conservatory curricula in traditional instrument performance. Feng's style, virtuosic and lively, has been known as representative of the folk musical traditions of northern China.

Liu Guanyue (, 1918–1990) was born in An'guo county, Hebei. Born to a poor peasant family, Liu was a professional folk musician who had earned a meagre living playing the guanzi, suona, and dizi in rural ritual ensembles before becoming a soloist in the Tianjin Song-and-Dance Ensemble (Tianjin gewutuan) in 1952.

Liu together with Feng Zicun are said to be representatives of the Northern dizi style. His pieces, including Yin zhong niao (Birds in the Shade),  He ping ge (Doves of Peace) and Gu xiang (Old Home village) have become part of the new conservatory professional concert repertory.

Lu Chunling (, 1921–2018) was born in Shanghai. In pre-1949 Shanghai, Lu worked a trishaw driver, but was also an amateur musician, performing the Jiangnan sizhu folk ensemble repertory. In 1952, Lu became dizi soloist with the Shanghai Folk Ensemble (Shanghai minzu yuetuan), and also at the Shanghai Opera Company (Shanghai geju yuan) from 1971 to 1976. In 1957 he taught at the Shanghai Conservatory of Music, and became associate professor in 1978.

Lu has performed in many countries as well as throughout China and has made many recordings. His dizi playing style has become representative of the Jiangnan dizi tradition in general. He is well known as a longtime member of the famous Jiangnan sizhu music performance quartet consisting of Lu Chunling, Zhou Hao, Zhou Hui, and Ma Shenglong. His compositions include Jinxi (Today and Yesterday).

Zhao Songting (, 1924–2001) was born in Dongyang county, Zhejiang. Zhao trained as a teacher in Zhejiang, and studied law and Chinese and Western music in Shanghai. In the 1940s he worked as a music teacher in Zhejiang, and became the dizi soloist in the Zhejiang Song and Dance Ensemble (Zhejiang Sheng Gewutuan) in 1956. He also taught at the Shanghai Conservatory of Music and the Zhejiang College of Arts (Zhejiang Sheng Yishu Xuexiao).

Because of his middle-class background, Zhao suffered in the political campaigns of the 1950s and 1960s and was not allowed to perform, instead he taught many students who went on to become leading professional dizi players, and to refine dizi design. He was reinstated in his former positions in 1976.

Zhao's compositions include San Wu Qi (Three-Five-Seven), which is based on a melody from Wuju (Zhejiang traditional opera).

Yu Xunfa (, 1946–2006) was a prominent dizi soloist and composer from Shanghai. He performed with the Shanghai National Orchestra and served as Head of the Chinese Dizi Culture Research Centre of Shanghai. The State Council of the People's Republic of China gave him a Life Achievement Award as well as a Lifelong Special Allowance from the State. He is also known for having invented the koudi in 1971.

Ma Di (馬迪) is a current composer and soloist known for his technique on the instrument.

Use in other music genres

Ron Korb ( or phonetically translated to ""), born in Toronto, Canada, is the first renowned western musician playing dizi along with numerous other world woodwinds. He graduated from the Faculty of Music at the University of Toronto with an honors degree in performance. On many of his recordings, he uses the dizi as the lead instrument. He has also used dizi in the film soundtracks of The White Countess, Relic Hunter, China Rises, and Long Life, Happiness, & Prosperity.

See also
Chinese flutes
Traditional Chinese musical instruments
Koudi
Music of China

Notes

References

New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001).

External links

Chinese musical instruments
Side-blown flutes
Bamboo flutes

Dizi (instrument)


Samurai Pizza Cats is an American animated television adaptation of the anime series Kyatto Ninden Teyandee (Cat Ninja Legend Teyandee), produced by Tatsunoko Productions and Sotsu Agency. The series originally aired in Japan on TV Tokyo from February 1, 1990 to February 12, 1991 for a total of 54 episodes. Saban Entertainment picked up the North American rights to the series in 1991 and produced a 52-episode English adaptation.

When Saban licensed the English version, proper translations of and information about the original Japanese episodes were either of poor quality or non-existent. It was decided to write completely original dialogue for the English dub, playing the show as a wacky, Animaniacs-esque comedy in contrast to the less farcical original. The English-language version became a cult hit among anime fans due to its rapid-fire pop-culture references and farcical nature.

Saban's distribution rights to the series expired on November 12, 2000. Discotek Media currently holds the North American home video license to the series in North America, while Madman Entertainment holds the license for Australia and New Zealand.

Crunchyroll began streaming the series on December 27, 2015. The series became available for streaming to Amazon Prime subscribers in late 2018. In 2020, it became available on Tubi. In 2021, it became available on Peacock.

Plot

The series is set in Little Tokyo, a mechanical city which fuses feudal Japanese culture with contemporary culture, and is populated by cybernetic anthropomorphic animals. The city is nominally led by Emperor Fred, a doddering eccentric. The city's actual leadership lies in the hands of the city council and the emperor's daughter, Princess Violet. The council is headed by ambitious Prime Minister Seymour "The Big" Cheese, a rat who constantly plots to overthrow the Emperor. Big Cheese is aided by his inept minions: trusted adviser Jerry Atric and Bad Bird, the leader of an army of ninja crows.

Unknown to the prime minister, council member and palace guard commander "Big Al" Dente has learned of his designs on leadership, but is unable to prosecute him for treason because of the plausible deniability he maintains. Instead, Al Dente enlists the services of Speedy Cerviche, Polly Esther, and Guido Anchovy, three cyborg cat samurai who work in the city's pizzeria, along with their operator Francine. Known collectively as the Samurai Pizza Cats, the three are assigned to stop Big Cheese and his evil henchmen's plans to take over Little Tokyo.

Characters

Production
When Saban Entertainment licensed Kyatto Ninden Teyandee, 52 of the 54 episodes that were produced in Japan were translated into English. The two untranslated episodes were clip shows that did little to further the series' plot. Some episodes of the dubbed version were never aired in the United States, due to censorship issues.

The music in the English dub (replacing the original Japanese music) was by Shuki Levy and Haim Saban (credited as Kussa Mahchi). In keeping with the parodic nature of the show, the lyrics of the new theme song make a number of references to American pop culture.

Michael Airington, a writer for the series, also sang the theme song (using a voice very similar to actor Paul Lynde), being credited as "Singing Sensation: Googie Gomez". According to the producer Andy Thomas, Airington had a few drinks before the recording session for the song started, and as a result, accidentally stuttered on one line ("this cat gets down down with a love hangover"); that mistake was kept in the final version of the theme.

Broadcast
The English version of the series first aired in the United Kingdom on ITV on August 31, 1991,  with repeats continuing until 1995. In Canada, the series first appeared in 1992, on YTV, and in 1996, in the United States, on first-run syndication. The series was broadcast on Australian television on the weekday Seven Network morning kid's wrapper programme Agro's Cartoon Connection, from April 1992. A repeat run occurred in the same time slot in early 1994.

Release
Samurai Pizza Cats has been broadcast in Australia, New Zealand, the United Kingdom, Colombia, India, Spain, Finland, Trinidad and Tobago, France, Italy, Poland, Greece, the Netherlands, Germany, Canada, Chile, Peru, Panama, Hong Kong, Thailand, Mexico, Brazil, Israel, Kenya, South Africa, Zimbabwe, Sweden, Armenia, the Philippines, the United States, Portugal, Nigeria, and Russia from 1991 onwards.

Madman Entertainment released the show on DVD for Australia initially in two collections, with four discs in each set. Collection 1, containing episodes 1–26, was released on October 16, 2013; collection 2 containing episodes 27–52, was released on December 4, 2013. A box set of the complete series was released by Madman on April 6, 2016.

Discotek Media versions
In 2012-03-?, Discotek Media announced the release of the show in both the original Japanese-language version and the North American English-language version dubbed by Saban. DVDs were released in region 1 format, with the Japanese version in Dolby Stereo 2.0 and English version in Dolby Digital Mono. The Kyatto-Ninden Teyandee: Complete Uncut Japanese Language Collection was released on April 30, 2013 and the English-dubbed version, Samurai Pizza Cats: Complete English Language TV Series Collection – 8 Disc Set, was released on July 30, 2013. The Kyatto-Ninden Teyandee: Complete Uncut Japanese Language Collection set includes all of the 54 original episodes (including the two clip-show episodes that were never dubbed into English) while the Samurai Pizza Cats: Complete English Language TV Series Collection set includes all 52 English-dubbed episodes. A French-language version, titled Samouraï Pizza Cats, which features a French dub adapted from the English dub, was released on DVD in France by Declic Images across two 5-disc box sets (26 episodes per set) in 2004.

Blu-ray version, titled Samurai Pizza Cats: The Complete Collection, was released on January 19, 2016. This release featured every episode in standard definition on a single disk.

Merchandise
Various toys and model kits were released in both Japan and Europe by Bandai, the latter usually being reboxed versions of the prior. Action figures for the Samurai Pizza Cats and the Rescue Team (the Japanese originals came as model kits comparable to today's Gundam toys, while the European figures came pre-assembled). There were also both large and small (Gachapon-sized) rubber-like figures and playsets for the smaller figures, including the Great Catatonic and the pizza parlor.

Video game
In 1991, Tecmo published a platform video game based on Kyatto Ninden Teyandee for the Famicom (NES) in Japan. Although the game never officially was released in the West, an unofficial fan translation was made of the game, which also changes elements from the game to match that of the English dub, including character and place names.

The main characters of the series were also intended at one point to appear in the Wii fighting game Tatsunoko vs. Capcom: Ultimate All-Stars. The game's producer, Ryota Niitsuma, was quoted in an interview as saying, "One of the main anime we got more requests for than any others was Samurai Pizza Cats... I wanted to see that, but we couldn't reach an agreement."

There is also a hack of Sega's Streets of Rage 2 that includes the leader of the Samurai Pizza Cats, Speedy as a playable character.

American comics
Samurai Pizza Cats comics were released as back-up stories in Saban Powerhouse (published by Valiant/Acclaim) which ran for two issues in 1997.

Notes

References

External links
Tatsunoko Production page: SPC, KNT
Discotek Media page: KNT DVD, SPC DVD, SPC BR
Madman Entertainment page: SPC collection 1, SPC collection 2
Crunchyroll page

1990s American animated television series
1990s American comic science fiction television series
1990 anime television series debuts
1991 American television series debuts
American children's animated action television series
American children's animated comic science fiction television series
American children's animated science fantasy television series
American television series based on Japanese television series
Japanese children's animated action television series
Japanese children's animated comic science fiction television series
Japanese children's animated science fantasy television series
Cross-dressing in television
Discotek Media
Animated television series about cats
ITV children's television shows
Seven Network original programming
Tatsunoko Production
Television series by Saban Entertainment
YTV (Canadian TV channel) original programming

Samurai Pizza Cats


Robinson Ellis (født 5. september 1834 i Barming ved Maidstone i Kent, død 10. oktober 1913 i Oxford) var en engelsk filolog.

Ellis blev professor i latin ved University College i London i 1870, reader i Oxford i 1883 og var fra 1893 professor sammesteds. Han har navnlig beskæftiget sig med Catul, hvis digte han både har udgivet (1867, 1878 og 1904) og oversat (1871) og forsynet med en udførlig kommentar (1876 og 1889). Foruden adskillige arbejder om andre romerske digtere må også nævnes hans udgave af Vellejus Paterculus (1898).

Kilder

Filologer fra Storbritannien
Klassiske filologer
Professorer fra Storbritannien
Ansatte ved University of Oxford
Briter i 1800-tallet
Briter i 1900-tallet

Robinson Ellis


Der Kegelhut, auch Reishut genannt, ist eine traditionelle asiatische Kopfbedeckung, die insbesondere in Vietnam verbreitet ist. Der vietnamesische Nón tơi gilt als ein Wahrzeichen für Vietnam.

Er wird überwiegend aus Reisstroh oder Palmenblättern gefertigt und durch einen aus Stoff gefertigten Kinnriemen am Kopf befestigt. Er dient vor allem als Schutz vor Regen und starker Sonneneinstrahlung. Durch seine flache Kegelform kann er auch als Schale zum Transport verwendet werden oder bei großer Hitze als Fächer.

Siehe auch
 Kultur Vietnams

Weblinks

 Nón lá (englisch)
 Taking home a "non toi" - that is, to take a piece of Vietnam (englisch)
 In Vietnam ist der Hut mehr als nur Kopfbedeckung
 The hat of memories! (englisch)

Hut
Kegelhut

Asiatischer Kegelhut