Cannibal Holocaust is a 1980 Italian cannibal film directed by Ruggero Deodato and written by Gianfranco Clerici. It stars Robert Kerman as Harold Monroe, an anthropologist who leads a rescue team into the Amazon rainforest to locate a crew of filmmakers that have gone missing while filming a documentary on local cannibal tribes.

Produced as part of the contemporary cannibal trend of Italian exploitation cinema, Cannibal Holocaust was inspired by Italian media coverage of Red Brigades terrorism. Deodato believed the news reports to be staged, an idea which became an integral aspect of the film's story. Additional story elements were also influenced by the  Mondo documentaries of Gualtiero Jacopetti, particularly the presentation of the documentary crew's lost footage, which constitutes approximately half of the film. The treatment of this footage, which is noted for its visual realism, innovated the found footage style of filmmaking that was later popularized in American cinema by The Blair Witch Project. Cannibal Holocaust was filmed primarily on location in the Amazon rainforest of Colombia with a cast of indigenous tribes interacting with mostly inexperienced American and Italian actors recruited in New York City.

Cannibal Holocaust achieved notoriety as its graphic violence aroused a great deal of controversy. After its premiere in Italy, it was ordered to be seized by a local magistrate, and Deodato was arrested on obscenity charges. He was later charged with multiple counts of murder due to rumors that claimed several actors were killed on camera. Although Deodato was cleared of these charges, the film was banned in Italy, Australia, and several other countries due to its graphic content, including sexual assault and genuine violence toward animals. Although some nations have since revoked the ban, it is still upheld in several countries. Critical reception of the film is mixed, although it has received a cult following. The film's plot and violence have been noted as commentary on journalism ethics, exploitation of South American countries, and the difference between Western and non-Western countries, yet these interpretations have also been met with criticism, with any perceived subtext deemed hypocritical or insincere due to the film's presentation.

Plot
An American film crew disappears in the Amazon rainforest while filming a documentary about indigenous cannibal tribes. The team consists of Alan Yates, the director; Faye Daniels, script writer; and two cameramen, Jack Anders and Mark Tomaso. Harold Monroe, an anthropologist at New York University, agrees to lead a rescue mission in hopes of finding the missing filmmakers. In anticipation of his arrival, military personnel stationed in the rainforest conduct a raid on the local Yacumo tribe and take a young man hostage in order to negotiate with the natives. Monroe flies in via floatplane and is introduced to his guides, Chaco and his assistant, Miguel.

After several days of trekking through the jungle, the rescue team encounters the Yacumo. They arrange the release of their hostage in exchange for being taken to the Yacumo village. Once there, the group is initially greeted with hostility and learns that the filmmakers caused great unrest among the people. The next day, Monroe and his guides head deeper into the rainforest to locate two warring endocannibal tribes, the Ya̧nomamö and the Shamatari. They encounter a group of Shamatari warriors and follow them to a riverbank, where Monroe's team saves a smaller group of Ya̧nomamö from death. The Ya̧nomamö invite the team back to their village in gratitude, but they are still suspicious of the foreigners. To gain their trust, Monroe bathes naked in a river, where he is joined by a group of Ya̧nomamö women. The women lead Monroe from the river to a shrine, where he discovers the skeletal remains of the filmmakers with their film reels nearby. Shocked by what he sees, he confronts the Ya̧nomamö in the village, during which time he plays music from a tape recorder. The intrigued natives agree to trade it for the reels of film.

Back in New York, executives of the Pan American Broadcasting System invite Monroe to host a broadcast of the documentary to be made from the recovered film, but Monroe insists on viewing the raw footage before making a decision. One of the executives first introduces him to Alan's work by showing an excerpt from his previous documentary, The Last Road to Hell, after which she informs Monroe that Alan staged dramatic scenes to get more exciting footage. Monroe then begins to view the recovered footage, which first follows the group's trek through the rainforest. After walking for days, their guide, Felipe, is bitten by a venomous snake. The group amputates Felipe's leg with a machete to save his life, but he dies and is left behind. Upon locating the Yacumo in a clearing, Jack shoots one in the leg so they can easily follow him to the village. Once they arrive, the crew proceeds to intimidate the tribe and kill a young child's pet pig before herding the natives into a hut, which they burn down in order to stage a massacre for their film. Monroe expresses apprehension about the staged footage and the treatment of the natives, but his concerns are ignored.

After he finishes viewing the remaining footage, Monroe expresses his disgust toward the station's decision to air the documentary. To convince the executives otherwise, he shows them the remaining unedited footage that only he has seen. The final two reels begin with the filmmakers locating a Ya̧nomamö girl, whom the men take turns raping against Faye's protests, stating they are wasting film footage. A Ya̧nomamö man can be seen in the background stalking them as the fracas occurs. They later encounter the same girl impaled on a wooden pole by a riverbank, where they claim that the natives killed her for loss of virginity, although it is implied that the group themselves killed her and staged it as a murder by the natives for dramatic effect. Shortly afterwards, they are attacked by the Ya̧nomamö tribe as revenge for the girl's rape and death. Jack is hit by a spear, and Alan shoots him to prevent his escape. The scene then moves to the crew filming the natives undressing Jack in their captivity and cutting his genitalia off with a large machete before completely mutilating Jack's lifeless body. Thereafter, an exhausted Alan says they have gotten completely lost trying to escape, and are now surrounded by the natives who pursued them. As a last resort, Alan attempts to scare them off with a flare gun. During the commotion, Faye is captured by the Ya̧nomamö. Alan insists that they attempt to rescue her, but Mark continues to film as she is stripped naked, gang-raped, beaten to death, and beheaded. The Ya̧nomamö then locate and kill the last two team members as the camera drops to the ground. Disturbed by what they have seen, the executives order all of the footage to be burned. Monroe leaves the station, pondering "who the real cannibals are".

Cast

 Robert Kerman as Professor Harold Monroe
 Carl Gabriel Yorke as Alan Yates
 Luca Giorgio Barbareschi as Mark Tomaso
 Francesca Ciardi as Faye Daniels
 Perry Pirkkanen as Jack Anders (credited as Perry Pirkanen)
 Salvatore Basile as Chaco
 Ricardo Fuentes
 Paolo Paoloni as Executive
 Lionello Pio Di Savoia as Executive
 Luigina Rocchi
 Kate Weiman as Executive
 Enrico Papa as TV Interviewer
 David Sage as Mr. Yates
 Ruggero Deodato as Man on University Campus

Production

Development

Production on Cannibal Holocaust began in 1979, when director Ruggero Deodato was contacted by West German film distributors to make a film similar to his previous work, Last Cannibal World. He accepted the project and immediately went in search of a producer, choosing his friend Francesco Palaggi. The two first flew to Colombia to scout filming locations. Leticia, Colombia was chosen as the principal filming location after Deodato met a Colombian documentary filmmaker at the airport in Bogotá, who suggested the town as a location ideal for filming. Other locations had been considered, specifically those where Gillo Pontecorvo's Burn! had been shot, but Deodato rejected these locations due to lack of suitable rainforest.

Deodato conceived of the film's premise while talking to his son about news coverage of the terrorism of the Red Brigades. Deodato thought that the media focused on portraying violence with little regard for journalistic integrity and believed that journalists staged certain news angles in order to obtain more sensational footage. The Italian media was symbolized by the behavior in the film team in Cannibal Holocaust, the depiction of whom was also influenced by the works of Gualtiero Jacopetti, a documentary filmmaker of whom Deodato was a fan. Jacopetti and his partner, Franco Prosperi, are credited with popularizing Mondo films, a genre of documentary, with their first release, Mondo cane. Mondo films focused on sensational and graphic content from around the world, including local customs, violence, sexuality, and death. Deodato included similar content in Cannibal Holocaust, such as graphic violence and animal death, and the documentary that is produced in Cannibal Holocaust resembles a Mondo film. The scene of Monroe bathing naked in a river and the scene of a forced abortion rite have also been noted as being similar to scenes in Antonio Climati's Mondo film Savana violenta.

The Italian screenwriter Gianfranco Clerici wrote the script under the working title Green Inferno. He had collaborated with Deodato in his previous films Ultimo mondo cannibale and The House on the Edge of the Park, the latter of which was filmed before Cannibal Holocaust but released afterward. The screenplay included multiple scenes that did not make the film's final cut, including a scene in which a group of Ya̧nomamö cuts off the leg of a Shamatari warrior and feeds him to piranhas in a river. This scene was to take place directly after Monroe's team rescues a smaller group of Ya̧nomamö from the Shamatari. Attempts were made to film this scene, but the underwater camera did not operate properly, and the piranha were difficult to control. As a result, Deodato abandoned his efforts, and still photographs taken during the scene's setup are its only known depiction. The originally scripted version of The Last Road to Hell, which was written to depict soldiers advancing upon an enemy position, also went unused, as Deodato instead decided to use stock footage of political executions for the segment in order to draw further parallels to the films of Jacopetti. The character names Mark Williams and Shanda Tommaso in Clerici's screenplay were also changed to Mark Tomaso and Faye Daniels, respectively, in the film.

Casting

Deodato decided to film Cannibal Holocaust in English in order to appeal to a wider audience and to lend the film credibility. However, the film had to establish a European nationality so that it could be more easily distributed among European countries. Under Italian law, for the film to be recognized as Italian, at least two actors who spoke Italian as a native language had to star in the film. Luca Giorgio Barbareschi and Francesca Ciardi, two inexperienced students from the Actors Studio in New York City, were cast as Mark Tomaso and Faye Daniels, respectively, in part because they were native Italian speakers who also spoke English. Deodato also hired an American from the Actors Studio, Perry Pirkkanen, to play Jack Anders.

A friend of Pirkkanen was initially cast to play Alan Yates, but he dropped out of the film shortly before the production team left for the Amazon. He instead appears in the film as an ex-colleague of Yates. Casting director Bill Williams subsequently contacted Carl Gabriel Yorke to play the role. Yorke, a stage actor who had studied under Uta Hagen, was chosen in part because he was the right size for the costumes and boots, which had already been purchased. Because Cannibal Holocaust was a non-union production, Yorke originally wanted to be credited under the stage name Christopher Savage, although he ultimately decided it to be unnecessary due to the film's obscurity and remote filming location.

Robert Kerman had years of experience working in adult films under the pseudonym R. Bolla, including the well-known Debbie Does Dallas, before breaking into the Italian film industry. Kerman was recommended to Deodato for his previous film, The Concorde Affair, in which Kerman played an air traffic controller, and his performance impressed Deodato enough to have Kerman cast as Harold Monroe in Cannibal Holocaust. Kerman went on to star in the Italian cannibal films Eaten Alive! and Cannibal Ferox, both directed by Umberto Lenzi. Kerman's girlfriend at the time was cast as one of the station executives, as she was available to film in both New York City and Rome.

Direction
Film historian David Kerekes contends that the film's sense of reality is based on the direction and the treatment of the film team's recovered footage, noting that the "shaky hand-held camerawork commands a certain realism, and 'The Green Inferno,' the ill-fated team's film-within-a-film here, is no exception", and that "this very instability gives the 'Green Inferno' film its authentic quality." David Carter of the cult horror webzine Savage Cinema says that Deodato's methods added a first-person narration quality to the film team's footage, writing: "The viewer feels as if they are there with the crew, experiencing the horrors with them." Deodato was proud of other aspects of the cinematography, namely the numerous moving shots using a standard, shoulder-mounted camera, foregoing the use of a steadicam.

Kerekes noted the animal slaughter and inclusion of footage from The Last Road to Hell as adding to the sense of reality of the film. Lloyd Kaufman of Troma Entertainment compares these scenes to Vsevolod Pudovkin's theory of montage, saying: "In Cannibal Holocaust, we see the actors kill and rip apart a giant sea turtle and other animals. [...] The brain has been conditioned to accept that which it's now seeing as real. This mixture of real and staged violence, combined with the handheld camerawork and the rough, unedited quality of the second half of the movie, is certainly enough to convince someone that what they are watching is real." Deodato says he included the execution footage in The Last Road to Hell to draw further similarities to Cannibal Holocaust and the Mondo filmmaking of Gualtiero Jacopetti.

Filming

Principal photography began on 4 June 1979. The scenes featuring the film team were shot first with handheld 16mm cameras in a cinéma vérité style that mimicked an observational documentary, a technique Deodato had learned from his mentor Roberto Rossellini. This same style was also used by Climati in his Mondo film Ultime grida dalla savana, which may have been influential on Deodato's direction. After shooting with the film team was completed, Kerman flew down to film his scenes in the rainforest and then to New York to film exterior shots in the city. Leticia was only accessible by aircraft, and from there, the cast and crew had to travel by boat to reach the set. The interior shots of New York were filmed later in a studio in Rome.

Production on the film was delayed numerous times while in the Amazon. After the actor originally cast as Alan Yates dropped out of the role, filming was halted for two weeks until new casting calls were completed and Yorke arrived in Leticia. During principal filming with Kerman, the father of the actor who played Miguel was murdered, and production was again halted as the actor flew back to Bogotá to attend his father's funeral. The locale also presented problems for the production, in particular the heat and sudden rain storms, which sporadically delayed filming.

Interpersonal relationships were strained on the set. Kerman and Deodato frequently clashed, as the two got into long, drawn-out arguments every day of shooting, usually because of remarks made by Deodato to which Kerman took offense. Although Deodato noted that the two were always friendly again a few minutes later, Kerman expressed his personal dislike of Deodato in several interviews. He described Deodato as remorseless and uncaring on set and stated that he did not believe that Deodato had a soul. Kerman also noted hostile treatment of other cast and crew members by Deodato, stating: "He was a sadist. He was particularly sadistic to people that couldn't answer back, people that were Colombian, [and] people that were Italian but could be sent home." Yorke and co-star Perry Pirkanen also did not get along, which Yorke attributed to disappointment that Pirkanen felt after his friend dropped out of the production. Yorke also alienated Ciardi after he declined to have sex with her in preparation for filming their sex scene.

Multiple cast and crew members were uncomfortable with the film's graphic content, in particular the genuine killing of animals. Yorke described the shoot as having "a level of cruelty unknown to me" and was initially unsure if he was taking part in a snuff film. When his character was scripted to kill a pig on camera, Yorke refused, leaving the duty to Luca Barbareschi. Yorke had traveled with the pig to the set and felt he had formed a relationship with the animal. When it was shot, the emotional impact of hearing the pig squeal subsequently caused Yorke to botch a long monologue, and retakes were not an option because the production did not have access to additional pigs. Kerman similarly objected to the killing of the coati and stormed off the set while its death scene was filmed; he had repeatedly pressed Deodato to let the animal go in the minutes leading up to filming. Pirkanen cried after filming the butchering of a turtle, and crew members vomited off camera when a squirrel monkey was killed for the film.

The film's sexual content also proved a point of contention among the cast members. Ciardi did not want to bare her breasts during the sex scene between her and Yorke, and she became agitated with him during the filming of the scene. When she refused to comply with the direction, Deodato led her off the set and screamed at her in Italian until she agreed to perform the scene as instructed. Yorke also became severely upset while filming a scene in which his character takes a part in the rape of a native girl. The film's content had given Yorke anxiety throughout his time in Colombia, and this tension peaked during the rape scene. His experiences on set ultimately weighed so heavily on him that Yorke ended his relationship with his girlfriend in New York shortly after his return from the Amazon.

Yorke experienced unfair payment practices when his first payment for the film came in the form of Colombian pesos and was less than what had been agreed upon. He refused to continue shooting until he was paid the correct amount in United States dollars. The native extras also went unpaid for their work despite their involvement in numerous dangerous scenes, including a scene in which they were forced to stay inside a burning hut for a prolonged period of time.

Soundtrack

The film's soundtrack was composed entirely by Italian composer Riz Ortolani, whom Deodato specifically requested because of Ortolani's work in Mondo Cane. Deodato was particularly fond of the film's main theme, "Ti guarderò nel cuore", which was given lyrics and became a worldwide pop hit under the title "More". The music of Cannibal Holocaust is a variety of styles, from a gentle melody in the "Main Theme", to a sad and flowing score in "Crucified Woman", and faster and more upbeat tracks in "Cameraman's Recreation", "Relaxing in the Savannah", and "Drinking Coco", to the sinister-sounding "Massacre of the Troupe". The instrumentation is equally mixed, ranging from full orchestras to electronics and synthesizers.

The film's main theme was used in 2022 for the American teen series Euphoria, where it was played during the closing credits for the season 2 episode "The Theater and Its Double".

Track listing

Release
Cannibal Holocaust premiered on 7 February 1980 in the Italian city of Milan. Although the courts later confiscated the film based on a citizen's complaint, the initial audience reaction was positive. After seeing the film, director Sergio Leone wrote a letter to Deodato, which stated (translated): "Dear Ruggero, what a movie! The second part is a masterpiece of cinematographic realism, but everything seems so real that I think you will get in trouble with all the world." In the ten days before it was seized, the film had grossed approximately $2 million. In Japan, it grossed $21 million, becoming the second highest-grossing film of that time after E.T. the Extraterrestrial. Deodato has claimed the film has grossed as much as $200 million worldwide in the wake of its various re-releases.

Critical response
Critics remain split on their stances of Cannibal Holocaust. Supporters of the film cite it as a serious and well-made social commentary on the modern world. Sean Axmaker praised the structure and setup of the film, saying: "It's a weird movie with an awkward narrative, which Deodato makes all the more effective with his grimy sheen of documentary realism, while Riz Ortolani's unsettlingly lovely, elegiac score provides a weird undercurrent." Jason Buchanan of AllMovie said: "While it's hard to defend the director for some of the truly repugnant images with which he has chosen to convey his message, there is indeed an underlying point to the film, if one is able to look beyond the sometimes unwatchable images that assault the viewer."

Detractors, however, criticize the over-the-top gore and the genuine animal slayings and also point to the hypocrisy that the film presents. Nick Schager criticized the brutality of the film, saying: "As clearly elucidated by its shocking gruesomeness—as well as its unabashedly racist portrait of indigenous folks it purports to sympathize with [the real indigenous peoples in Brazil whose names were used in the film—the Ya̧nomamö and Shamatari—are not fierce enemies as portrayed in the film, nor is either tribe truly cannibalistic, although the Ya̧nomamö do partake in a form of post-mortem ritual cannibalism]—the actual savages involved with Cannibal Holocaust are the ones behind the camera."

Robert Firsching of AllMovie made similar criticisms of the film's content, saying: "While the film is undoubtedly gruesome enough to satisfy fans, its mixture of nauseating mondo animal slaughter, repulsive sexual violence, and pie-faced attempts at socially conscious moralizing make it rather distasteful morally as well." Slant Magazine'''s Eric Henderson said it is "artful enough to demand serious critical consideration, yet foul enough to christen you a pervert for even bothering."

In recent years, Cannibal Holocaust has received accolades in various publications as well as a cult following. Review aggregator website Rotten Tomatoes gives the film an approval rating of 67% based on 18 reviews, with a weighted average of 5.5/10. British film magazine Total Film ranked Cannibal Holocaust as the tenth greatest horror film of all time, and the film was included in a similar list of the top 25 horror films compiled by Wired. The film also came in eighth on IGNs list of the ten greatest grindhouse films.

InterpretationsCannibal Holocaust is seen by some critics as social commentary on various aspects of modern civilization by comparing Western society to that of the cannibals. David Carter says: "Cannibal Holocaust is not merely focused on the societal taboo of flesh eating. The greater theme of the film is the difference between the civilized and the uncivilized. Though the graphic violence can be hard for most to stomach, the most disturbing aspect of the film is what Deodato is saying about modern society. The film asks the questions 'What is it to be 'civilized'?' and 'Is it a good thing? Mark Goodall, author of Sweet & Savage: The World Through the Shockumentary Film Lens, also contends the film's message is [to show] "the rape of the natural world by the unnatural; the exploitation of 'primitive' cultures for Western entertainment."

Deodato's intentions regarding the Italian media coverage of the Red Brigades have also fallen under critical examination and has been expanded to include all sensationalism. Carter explores this, claiming that "[the lack of journalistic integrity] is shown through the interaction between Professor Monroe and the news agency that had backed the documentary crew. They continually push Monroe to finish editing the footage because blood and guts equal ratings." Lloyd Kaufman claims that this form of exploitative journalism can still be seen in the media today and in programming such as reality television. Goodall and film historians David Slater and David Kerekes have also suggested that Deodato was attempting to comment on the documentary works of Antonio Climati with his film.

Despite these interpretations, Deodato has said in interviews that he had no intentions in Cannibal Holocaust but to make a film about cannibals. Actor Luca Barbareschi asserts this as well and believes that Deodato only uses his films to "put on a show". Robert Kerman contradicts these assertions, stating that Deodato did tell him of political concerns involving the media in the making of this film.

These interpretations have also been criticized as hypocritical and poor justification for the film's content, as Cannibal Holocaust itself is highly sensationalized. Firsching claims that "The fact that the film's sole spokesperson for the anti-exploitation perspective is played by porn star Robert Kerman should give an indication of where its sympathies lie", while Schager says Deodato is "pathetically justifying the unrepentant carnage by posthumously damning his eaten filmmaker protagonists with a 'who are the real monsters – the cannibals or us?' anti-imperialism morale."

Controversies
Since its original release, Cannibal Holocaust has been the target of censorship by moral and animal activists. Other than graphic gore, the film contains several scenes of sexual violence and genuine cruelty to animals, issues which find Cannibal Holocaust in the midst of controversy to this day. Due to this notoriety, Cannibal Holocaust has been marketed as having been banned in over 50 countries. In 2006, Entertainment Weekly magazine named Cannibal Holocaust as the 20th most controversial film of all time.

Snuff film allegations

Ten days after its premiere in Milan, Cannibal Holocaust was confiscated under the orders of a local magistrate, and Ruggero Deodato was charged with obscenity. As all copies were to be turned over to the authorities, the film was released in other countries like the United Kingdom via subterfuge. In January 1981, during the film's theatrical run in France, the magazine Photo suggested that certain deaths depicted in the film were real, which would have made Cannibal Holocaust a snuff film. Following the publication of the Photo article, the charges against Deodato were amended to include murder. The courts believed that the actors who portrayed the missing film crew and the native actress featured in the impalement scene were killed for the camera.

Compounding matters was the fact that the supposedly deceased actors had signed contracts with the production which ensured that they would not appear in any type of media, motion pictures, or commercials for one year following the film's release. This was done in order to promote the idea that Cannibal Holocaust was truly the recovered footage of missing documentarians. During the subsequent court proceedings, questions arose as to why the actors were in no other media if they were alive as Deodato claimed.

To prove his innocence, Deodato had Luca Barbareschi get in contact with the other three actors, and the four of them were interviewed for an Italian television show. Deodato also explained in court how the special effect in the impalement scene was achieved: a bicycle seat was attached to the end of an iron pole, upon which the actress sat. She then held a short length of balsa wood in her mouth and looked skyward, thus giving the appearance of impalement. Deodato also provided the court with pictures of the girl interacting with the crew after the scene had been filmed. After they were presented with this evidence, the courts dropped all murder charges against Deodato.

Censorship
Although the snuff film allegations were successfully refuted, the Italian courts decided to ban Cannibal Holocaust due to the genuine animal slayings, citing animal cruelty laws. Deodato, Franco Palaggi, Franco Di Nunzio, Gianfranco Clerici, producer Alda Pia and United Artists Europa representative Sandro Perotti each received a four-month suspended sentence after they were all convicted of obscenity and violence. Deodato fought in the courts for three additional years to get his film unbanned. In 1984, the courts ruled in favor of Deodato, and Cannibal Holocaust was granted a rating certificate of VM18 for a cut print. It would later be re-released uncut.Cannibal Holocaust also faced censorship issues in other countries around the world. In 1981, video releases were not required to pass before the British Board of Film Censors (BBFC), which had power to ban films in the United Kingdom. Cannibal Holocaust was released straight-to-video there, thus avoiding the possible banning of the film. This did not save the movie, however, because in 1983, the Director of Public Prosecutions compiled a list of 72 video releases that were not brought before the BBFC for certification and declared them prosecutable for obscenity. This list of "video nasties" included Cannibal Holocaust, which was successfully prosecuted and banned. The film was not approved for release in the UK until 2001, albeit with nearly six minutes of mandated cuts. In 2011, the BBFC waived all but one of these previous edits and passed Cannibal Holocaust with fifteen seconds of cuts. It was determined that the only scene that breached the BBFC's guidelines was the killing of a coatimundi, and the BBFC acknowledged that previous cuts were reactionary to the film's reputation.

The film was also banned in Australia, the United States, Norway, Finland, Iceland, New Zealand, Singapore and several other countries in or before 1984. The movie was briefly released in the US by Trans American Films in 1985, but this release lasted for less than a month before being pulled from theaters, likely due to the large controversies surrounding the film. It would eventually get a two-disc DVD release in 2005 by Grindhouse Releasing. In 2005, the Office of Film and Literature Classification in Australia lifted the ban, passing Cannibal Holocaust with an R18+ rating for the uncut print, including the consumer advice, "High level sexual violence, high level violence, animal cruelty." In 2006, the film was rejected for classification and banned in its entirety by the OFLC in New Zealand. Cuts to retain an R18 classification were offered by the Office, but they were eventually refused.

Animal cruelty
Many of the censorship issues with Cannibal Holocaust concern the on-screen killings of animals. Deodato himself has condemned his past actions, saying: "I was stupid to introduce animals." Although six animal deaths appear onscreen, seven animals were killed for the production, as the scene depicting the monkey's death was shot twice, resulting in the death of two monkeys. Both of the animals were eaten by indigenous cast members, who consider monkey brains a delicacy. The animals that were killed onscreen were:
 a coati (mistaken for a muskrat in the film), killed with a knife
 an arrau turtle, decapitated and its limbs, shell, and entrails removed
 a tarantula, killed with a machete
 a boa constrictor, also killed with a machete
 a squirrel monkey, decapitated with a machete
 a pig, shot in the head with a .22 caliber rifle at point blank range

Film historian Andrew DeVos has argued that the animal deaths have been harshly condemned because of the film's classification as exploitation, whereas animal mutilations in films perceived by critics to be classics or art films are often ignored. DeVos cites several examples of this double standard, including The Rules of the Game, El Topo, Wake in Fright, and Apocalypse Now. The BBFC made a similar conclusion regarding the censorship of scenes in which the deaths were quick and painless, noting: "Removing these sequences would be inconsistent with the BBFC's decisions to permit quick clean kills in several other films, such as Apocalypse Now."

LegacyCannibal Holocaust was innovative in its plot structure, specifically with the concept of the "found footage" being brought back to civilization and later viewed to determine the fate of the crew that shot it. This was later popularized as a distinct style in Hollywood cinema by The Last Broadcast and The Blair Witch Project, both of which use similar storytelling devices. Each film uses the idea of a lost film team making a documentary in the wilderness, and their footage returned. Advertisements for The Blair Witch Project also promoted the idea that the footage is genuine. Deodato has acknowledged the similarities between his film and The Blair Witch Project, and though he holds no malice against the producers, he is frustrated at the publicity that The Blair Witch Project received for being an original production. The producers of The Last Broadcast have denied that Cannibal Holocaust was a major influence. Nonetheless, the film was cited by director Paco Plaza as a source of inspiration for the found footage films REC and REC 2.Cannibal Holocaust has been regarded as the apex of the cannibal genre, and it bears similarities to subsequent cannibal films made during the same time period. Cannibal Ferox also stars Kerman and Pirkanen, and star Giovanni Lombardo Radice says it was made based on the success of Cannibal Holocaust. Cannibal Ferox has also been noted as containing similar themes to Cannibal Holocaust, such as comparison of Western violence to perceived uncivilized cultures and anti-imperialism. In a mixed review, film journalist Jay Slater claims: "Certainly a tough customer, Cannibal Ferox still fails where Deodato succeeds. [...] Lenzi attempts to tackle cultural defilement and racial issues, but Cannibal Ferox is nothing more than a shoddy exercise in sadism and animal cruelty." Reviewer Andrew Parkinson also notes: "At the end, there is a basic attempt to validate Cannibal Ferox, posing that old chestnut of whether civilised man is actually more savage than the uncivilised tribespeople."

Unofficial sequels to Cannibal Holocaust were produced in the years following its release. The titles of these films were changed following their original theatrical releases in order to associate the film with Cannibal Holocaust in different markets. In 1985, Mario Gariazzo directed Schiave bianche: violenza in Amazzonia, which was also released as Cannibal Holocaust 2: The Catherine Miles Story. In addition to the new title, Slater notes similarities between the score in The Catherine Miles Story and Riz Ortolani's score in Cannibal Holocaust. Previously known for his work in Mondo films, Antonio Climati directed Natura contro in 1988, which was released as Cannibal Holocaust II in the United Kingdom.

In 2005, Deodato announced that he planned to make a companion piece to Cannibal Holocaust entitled Cannibals. Deodato was originally hesitant about directing his new film, as he thought that he would make it too violent for American audiences. However, while he was in Prague filming his cameo appearance in Hostel: Part II for Eli Roth, Deodato viewed Hostel and decided that he would direct after all, citing it as a similarly violent film that was given a mainstream release in the United States. Although the screenplay, written by Christine Conradt, was completed, a financial conflict between Deodato and the film's producer led to the project's cancellation. In 2013, Roth directed The Green Inferno, which takes its title from the fictional documentary produced in Cannibal Holocaust. Roth's film was intended as an homage to Cannibal Holocaust and other cannibal films from the same era.

The film's influence has extended to other media as well. In 2001, Death metal band Necrophagia released a song entitled "Cannibal Holocaust" from the eponymous record.

It was revealed in April 2020, that the movie would be getting a video game sequel called Ruggero Deodato, Cannibal. The game is being developed by Fantastico Studios and was expected to be available from November 2020 for Nintendo Switch, PlayStation 4, Xbox One, PC and mobile. However, in December 2020, the game was retitled Borneo: A Jungle Nightmare and delayed to Spring 2021, but has yet to be released.

Alternate versions (home media)
Due to its graphic content, there are several different versions in circulation, edited to varying degrees. In the United Kingdom, it was originally released on VHS by Go Video in 1982 with approximately six minutes of cuts. These cuts were self-imposed by the distributor, possibly due to technical limitations of the tape. In 2001, the film was passed for release on DVD by the British Board of Film Classification with five minutes and 44 seconds of cuts to remove scenes of animal cruelty and sexual violence; all but 15 seconds of these cuts were waived for a re-release in 2011. The latter also includes a new edit sponsored by Deodato, which reduces the violence toward animals. Grindhouse Releasing's home video releases contain an "Animal Cruelty Free" version that omits the six animal deaths. Other versions also contain alternative footage shot specifically for Middle Eastern markets that do not depict nudity.

There are multiple versions of the Last Road to Hell'' segment, which causes variances even among uncensored releases. An extended version includes approximately 10 seconds of footage not seen in an alternative, shorter version. This additional footage includes a wide-angle shot of firing-squad executions, a close-up of a dead victim and extended footage of bodies being carried into the back of a truck. The longer version also includes different titles that correctly name the film crew as they appear in the final film, while the shorter version gives the names that originally appear in the script.

In August 2022, UK based distributor 88 Films announced a newly restored 4K UHD Blu-ray will be available in November.

References

External links

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Video nasties

Cannibal Holocaust


الأمير منصور بن ناصر بن عبد العزيز آل سعود هو دبلوماسي سعودي، وسفير خادم الحرمين الشريفين لدى سويسرا منذ 10 فبراير 2019 وحتى 21 أكتوبر 2020 إذ خلفه في المنصب عادل بن سراج مرداد. كما أنه عديل عمه خادم الحرمين الشريفين الملك فهد بن عبد العزيز آل سعود والأمير عبد الرحمن بن عبد العزيز آل سعود.

نشأته ودراسته
ولد الأمير منصور بن ناصر بن عبد العزيز آل سعود في الرابع من شهر تشرين الثاني - نوفمبر 1962م الموافق للسابع من شهر جمادى الآخر 1382ه وهو متزوج وقد رزقه الله بأحد عشر من الأولاد (أربعة ذكور وسبع اناث).
وتلقى علوم الابتدائية والمتوسطة والثانوية في مدارس المملكة العربية السعودية ولبنان وواصل دراسته الجامعية في بريطانيا حيث نال درجة الماجستير الفلسفية في العلاقات الدولية في العام 1407ه (1987).

والدته
سميرة بنت مختار السعداوي وهي ابنة شقيق بشير السعداوي مستشار الملك عبد العزيز

مناصبه

 رئيس مجلس الإدارة في مؤسسة منصور بن ناصر القابضة
 رئيس مجلس الإدارة الشركة السعودية للخدمات النفطية المحدودة
 شريك في شركة مابس جيوسيستمز
 رئيس مجلس الإدارة وشريك في الشركة السعودية الدولية للخدمات العسكرية المحدودة
 رئيس مجلس الإدارة والشريك لشركة ايزكون للفحص والمعاينة الرقابية والفنية المتعلقة بسلامة التفتيش ونوعية التأمين
 مستشاراً لخادم الحرمين الشريفين بمرتبة وزير قدم استقالته من جميع مناصبه في هذه الشركات للتفرغ لمهام منصبه الجديد.
 سفير خادم الحرمين الشريفين في جمهورية سويسرا الاتحادية وإمارة ليختنشتاين منذ 10 فبراير 2019.

أسرته
زوجته:
 الأميرة منى بنت إبراهيم بن عبد العزيز آل إبراهيم
 الأميرة كريمه بنت محمد راجي

الأبناء
 الأميرة سارة بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأميرة غاليه بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأمير فهد بن منصور بن ناصر بن عبد العزيز آل سعود متزوج من كريمة الأمير عبد الله بن سعود بن مشاري الخميس 20 رجب 1434 هـ - 30 مايو 2013م
 الأميرة الجوهرة بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأمير سلطان بن منصور بن ناصر بن عبد العزيز آل سعود
 الأميرة نوره بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأميرة ريما بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأميرة آلاء بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأميرة آية بنت منصور بن ناصر بن عبد العزيز آل سعود
 الأمير ناصر بن منصور بن ناصر بن عبد العزيز آل سعود
 الأمير سلمان بن منصور بن ناصر بن عبد العزيز آل سعود

الجوائز
أدرجته هيئة التعريف العالمية بمتصدري النجاح المهني في قائمة متصدري النجاح العالمية في دليلها المتضمن أسماء كبار رجال الأعمال وذلك استناداً إلى انجازاته العملية ووفق معاينة سيرته الذاتية في العمق.

مراجع

أبناء ناصر بن عبد العزيز آل سعود
أشخاص على قيد الحياة
أصحاب أعمال سعوديون
سفراء السعودية لدى سويسرا
سفراء السعودية لدى ليختنشتاين
مواليد 1382 هـ
مواليد 1962

منصور الثاني بن ناصر بن عبد العزيز آل سعود


هارون هاشم رشيد (1927 - 27 يوليو/تموز 2020) هو شاعرٌ فلسطيني من مواليد حارة الزيتون بمدينة غزة، وهو من شعراء الخمسينات ممن أطلق عليهم شعراء النكبة أو شعراء العودة. يمتاز شعره بروح التمرد والثورة ويعد من أكثر الشعراء الفلسطينيين استعمالاً لمفردات العودة حتى أطلق عليه الشاعر الفلسطيني عز الدين المناصرة لقب (شاعر القرار 194) [قرار الأمم المتحدة حول حق العودة].

أصدر عشرين ديواناً شعرياً، وشغل منصب مندوب فلسطين المناوب بجامعة الدول العربية. وهو حاصل على وسام القدس للثقافة والفنون والآداب من الرئيس الفلسطيني عام 2016، واختير كشخصية العام الثقافية من قبل وزارة الثقافة الفلسطينية عام 2014، وحائز على وسام القدس للعام 1990.

حياته

درس هارون هاشم رشيد في مدارس غزة فأنهى دراسته الثانوية في العام 1947، وحصل على شهادة المعلمين العليا. وعمل بعد حصوله على الدبلوم العالي لتدريب المعلّمين من كليّة غزة في سلك التعليم حتى عام 1954.

انتقل للعمل في المجال الإعلامي فتولّى رئاسة مكتب إذاعة «صوت العرب» المصرية في غزة عام 1954 لعدة سنوات، وعندما أُنشئت منظمة التحرير الفلسطينية كان مشرفاً على إعلامها في قطاع غزة من عام 1965 إلى 1967.

بعد سقوط غزة في أيدي الإسرائيليين عام 1967 ضايقته قوات الاحتلال وأجبرته في النهاية على الرحيل من قطاع غزة. فانتقل إلى القاهرة وعُيّن رئيساً لمكتب منظمة التحرير فيها، ثم عمل لثلاثين عاماً مندوباً دائماً لفلسطين في اللجنة الدائمة للإعلام العربي واللجنة الدائمة للشؤون المالية والإدارية بالجامعة العربية. إضافة إلى ذلك واصل عمله الإبداعي في الكتابة والصحافة والتأليف والشعر.

عاصر الشاعر هارون هاشم رشيد الاحتلال ومعاناة الغربة وشاهد بأم عينيه جنود الجيش البريطاني قبل الإسرائيلي يهدمون المنازل ويقتلون العُزّل والأطفال والنساء والشيوخ حتى أصبحت تلك المشاهد هي الصورة اليومية لحياة المواطن الفلسطيني. من رحم هذه المحن وتلك العذابات أطلق هارون هاشم رشيد عهده في النضال حتى آخر بيت شعر، فتغنى بالشهداء وافتخر بالمعتقلين الشرفاء، ووقف مع المقاتلين من أجل استرجاع الحقوق الفلسطينية من قبضة الاحتلال.

يعبّر شعره عن مأساة الفلسطينيين الذين اقتلعوا من أرضهم وبيوتهم زديارهم، ويصف عذابهم ومشاعر الفقدان والاغتراب العميقة التي عايشوها عبر السنين. أطلقت عليه ألقاب مختلفة مستوحاة من مراحل عذابات شعبه، فهو «شاعر النكبة»، و«شاعر العودة»، ز«شاعر الثورة» وهو لقبٌ أطلقه عليه الشهيد خليل الوزير عام 1967 بعد قصيدته «الأرض والدم»، وأطلق عليه الشاعر الفلسطيني عز الدين المناصرة لقب (شاعر القرار 194) قرار حق العودة.

أصدر قرابة عشرين ديواناً شعريّاً منها «الغرباء» 1954، و«عودة الغرباء» 1956، «غزة في خط النار»، «حتى يعود شعبنا» 1965، «سفينة الغضب» 1968، «رحلة العاصفة» 1969، «فدائيون» 1970، «مفكرة عاشق» 1980، «يوميات الصمود والحزن» 1983، «ثورة الحجارة» 1991، «طيور الجنة» 1998، وغيرها.

قَدّمَ ما يقارب تسعين من قصائده الشعرية أعلام في الغناء العربي، وفي مقدمة من شدوا بأشعاره فيروز، وفايدة كامل، ومحمد فوزي، وكارم محمود، ومحمد قنديل، ومحمد عبده، وطلال مداح، وآخرون.

كتب أيضاً أربع مسرحياتٍ شعريةٍ، مُثِل منها علي المسرح في القاهرة مسرحية «السؤال» من بطولة كرم مطاوع وسهير المرشدي. وبعد حرب العبور 1973 كتب مسرحية «سقوط بارليف» وقٌدمت على المسرح القومي بالقاهرة عام 1974، ومسرحية «عصافير الشوك»، إضافة إلى العديد من المسلسلات والسباعيات التي كتبها لإذاعة «صوت العرب» المصرية وعدد من الإذاعات العربية.

الدراسات
قدم العديد من الدراسات منها:
 الشعر المقاتل في الأرض المحتلة (المكتبة العصرية، صيدا، 1970م).
 مدينة وشاعر: حيفا والبحيري (مطابع دار الحياة، دمشق، 1975م).
 الكلمة المقاتلة في فلسطين (الهيئة المصرية العامة للكتاب، القاهرة، 1973م).

الجوائز

نال هارون هاشم رشيد عدة جوائزَ تقديريةٍ منها:

 الجائزة الأولى للمسرح الشعري من الألكسو 1977.
 الجائزة الأولى للقصيدة العربية من إذاعة لندن 1988.
 وسام القدس عام 1990.

من أعماله

 مع الغرباء -الديوان الأول (القاهرة، 1954م)- وقد اختار منها الأخوان رحباني عندما زارا القاهرة بدعوةٍ من إذاعة صوت العرب عام 1955 قصيدة جميلة هي حوارية بين فتاة فلسطينية من اللاجئين اسمها ليلى وبين والدها بالإضافة لقصيدتي سنرجع يوماً، وجسر العودة للتلحين وغنتهن فيروز وسجلن في القاهرة ضمن باقةٍ من ثمانيةٍ وأربعين عملاً أنتجوا في تلك الرحلة.
 عودة الغرباء (بيروت، 1956م).
 غزة في خط النار (بيروت، 1957م).
 أرض الثورات -ملحمة شعرية- (بيروت، 1958م).
 حتى يعود شعبنا (بيروت، 1965م).
 سفينة الغضب (الكويت، 1968م).
 رسالتان (القاهرة، 1969م).
 رحلة العاصفة (القاهرة، 1969م).
 فدائيون (عمّان، 1970م).
 مزامير الأرض والدم (بيروت، 1970م).
 السؤال -مسرحية شعرية- (القاهرة، 1971م).
 الرجوع (بيروت، 1977م).
 مفكرة عاشق (تونس، 1980م).
 المجموعة الشعرية الكاملة (بيروت، 1981م).
 يوميات الصمود والحزن (تونس، 1983م).
 النقش في الظلام (عمان، 1984م).
 المزّة (غزة، 1988م).
 عصافير الشوك -مسرحية شعرية- (القاهرة، 1990م).
 ثورة الحجارة (تونس، 1991م).
 طيور الجنة (عمان، 1998م).
 وردة على جبين القدس (القاهرة، 1998م).

جذور أعماله الروائية:
 سنوات العذاب (القاهرة، 1970م).

سمات شعره ونموذج منه
يكتب هارون هاشم رشيد الشعر الموزون المقفّى، وجُلُّ شعره على شاكلة البيت التقليدي ذي الشطرين، ويمتاز شعره بروح التمرد والثورة ويعد من أكثر الشعراء الفلسطينيين استعمالاً لمفردات العودة، وشعره عفوي، مباشر، ولغته سهلةٌ، قريبة المتناوَلِ، مفهومة، يسيرةٌ غير معقدة. يقول في قصيدته سنرجع يوماً من ديوانه «مع الغرباء» (1954):

مراجع

شعراء فلسطينيون في القرن 20
حائزون على وسام القدس للثقافة والفنون والآداب
صفحات تحتاج تصنيف سنة الوفاة
إعلاميون فلسطينيون
سياسيون فلسطينيون
مواليد 1348 هـ
مواليد 1927
مواليد في غزة
وفيات 1441 هـ
وفيات 2020
وفيات في ميسيساغا
شعراء فلسطينيون في القرن 21
شعراء بالعربية في القرن 20
شعراء بالعربية في القرن 21

هارون هاشم رشيد


The United Nations Assistance Mission for Rwanda (UNAMIR) was established by United Nations Security Council Resolution 872 on 5 October 1993. It  was intended to assist in the implementation of the Arusha Accords, signed on 4 August 1993, which was meant to end the Rwandan Civil War. The mission lasted from October 1993 to March 1996. Its activities were meant to aid the peace process between the Hutu-dominated Rwandese government and the Tutsi-dominated rebel Rwandan Patriotic Front (RPF).  The UNAMIR has received much attention for its role in failing, due to the limitations of its rules of engagement, to prevent the Rwandan genocide and outbreak of fighting.  Its mandate extended past the RPF overthrow of the government and into the Great Lakes refugee crisis.  The mission is thus regarded as a major failure.

Background
In October 1990 the Rwandan Civil War began when the Rwandan Patriotic Front rebel group invaded across Uganda's southern border into northern Rwanda. The RPF was composed of over 4,000 soldiers, mostly the children of Tutsi refugees who had fled anti-Tutsi purges in Rwanda between 1959 and 1963. It portrayed itself as a democratic, multi-ethnic movement and demanded an end to ethnic discrimination, to economic looting of the country by government elites and a stop to the security situation that continued to generate refugees.  It was supported by the Ugandan government of Yoweri Museveni, who had come to power in the Ugandan Bush War with significant support from the Rwandan refugees in the country.  However, the Rwandan Armed Forces (FAR) was saved by reinforcements from France and Zaire, who backed the government of Rwandan President Juvénal Habyarimana, who had been in power since 1973.

The French intervention of two parachute companies, explained as an attempt to protect its own nationals, actually blocked the RPF advance on the capital Kigali.  In contrast, the government of Belgium, the former colonial power, cut all support to the Habyarimana regime, which viewed the action as abandonment.  Thwarted by the French, the RPF suffered a humiliating retreat back into the Virunga Mountains along the border.  After the demoralising death of Major-General Fred Rwigyema, the collapse of the RPF was prevented through the leadership of Paul Kagame.

The RPF thus managed to retain control of a sliver of land in the north, from which it continued to launch raids.  Comparing the RPF and FAR as he saw them in 1993, Canadian Lieutenant-General Roméo Dallaire noted that the rebels "had won all recent contests because of their superior leadership, training, experience, frugality, mobility, discipline and morale."

However, the RPF invasion, which displaced approximately 600,000 people into crowded internally displaced person camps, also radicalised the Hutu populace.  The Tutsi civilians in Rwanda, roughly 14% of the population, were labelled ibyitso ("accomplices") or inyenzi ("cockroaches"), who were accused of secretly aiding the RPF invaders.  Anti-Tutsi propaganda was spread through the publication Kangura, a forerunner to the Radio Télévision Libre des Mille Collines, which was created immediately after the invasion.  The first plans for mass murder of Tutsi were also developed toward the end of 1990, mostly in a series of secret meetings in Gisenyi prefecture of the Akazu, a network of associates based around Agathe Habyarimana, the First Lady.

A number of ceasefire agreements were signed by the RPF and government, including one signed on 22 July 1992 in Arusha, Tanzania that resulted in the Organization of African Unity (OAU) establishing a 50-member Neutral Military Observer Group (NMOG I) led by Nigerian General Ekundayo Opaleye.
The negotiations for a peace settlement continued in Arusha, interrupted by a massive RPF offensive in early February 1993.  Rwanda continued to allege Ugandan support for the RPF, which both the RPF and Uganda duly denied, but resulting in both countries sending letters to President of the United Nations Security Council (UNSC) requesting that military observers be deployed along the border to verify that military supplies were not crossing.

This resulted in the United Nations Observer Mission Uganda–Rwanda (UNOMUR) being approved by the UNSC on 22 June 1993 to deploy along the Ugandan side of the border.  Seven days later, UN Secretary-General Boutros Boutros-Ghali announced that Brigadier-General Dallaire was to be appointed the Chief Military Observer for UNOMUR, which reached its authorised strength of 81 observers by September. NMOG I was deployed inside Rwanda.

In the meantime, talks in Arusha had reconvened on 16 March 1993, resulting in the signing of the Arusha Accords, a comprehensive agreement to create a power-sharing government, on the fourth of August.  Both the RPF and Rwandan government requested UN assistance in implementing the agreement.  In early August, NMOG I was replaced by NMOG II, consisting of about 130 members, in preparation for a UN-led peacekeeping force.

Establishment

Mandate
UNAMIR  mandate was:

(a) To contribute to the security of the city of Kigali inter alia  with in a weapons-secure area established by the parties in and around the city;
(b) To monitor observance of the cease-fire agreement, which calls for the establishment of cantonment and assembly zones and the demarcation of the new demilitarised zone and other demilitarisation procedures;
(c) To monitor the security situation during the final period of the transitional government's mandate, leading up to the elections;
(d) To assist with mine clearance, primarily through training programmes;
(e) To investigate at the request of the parties or on its own initiative instances of alleged non-compliance with the provisions of the Arusha Peace Agreement relating to the integration of the armed forces, and pursue any such instances with the parties responsible and report thereon as appropriate to the Secretary-General;
(f) To monitor the process of repatriation of Rwandese refugees and resettlement of displaced persons to verify that it is carried out in a safe and orderly manner;
(g) To assist in the coordination of humanitarian assistance activities in conjunction with relief operations;
(h) To investigate and report on incidents regarding the activities of the gendarmerie and police.

Its authorised strength was 2,500 personnel, but it took some five months of piecemeal commitments for the mission to reach this level.

On 5 April 1994, the UN voted to extend the mandate of UNAMIR to 29 July 1994, after expressing "deep concern at the delay in the establishment of the broad-based transitional Government and the Transitional National Assembly" and "concern at the deterioration in security in the country, particularly in Kigali."

On 21 April 1994, the Security Council voted to reduce the number of troops from 2,500 to 270 personnel in Resolution 912.

On 17 May 1994, the Security Council passed Resolution 918, which expanded UNAMIR's mandate to include the following additional responsibilities: "(a) To contribute to the security and protection of displaced persons, refugees and civilians at risk in Rwanda, including through the establishment and maintenance, where feasible, of secure humanitarian areas; (b) To provide security and support for the distribution of relief supplies and humanitarian relief operations".

Composition of UNAMIR
The Special Representative of the Secretary-General (SRSG) or  head of the mission, was Jacques-Roger Booh-Booh of Cameroon.  At the beginning of July 1994,  Booh-Booh was replaced by Shahryar Khan of Pakistan.  The military head and Force Commander was Canadian Brigadier-General (promoted Major-General during the mission) Roméo Dallaire. In August 1994, Dallaire, suffering from severe stress, was replaced as Force Commander by Major-General Guy Tousignant, also from Canada. In December 1995, Tousignant was replaced by Brigadier General  Shiva Kumar from India. The Deputy Force Commander was Brigadier-General (promoted Major-General after the mission) Henry Kwami Anyidoho from Ghana.

Troop contributing countries were Belgium, Bangladesh, Ghana, and Tunisia.  Around 400 of the troops in this early part of the mission were Belgian soldiers, despite the fact that Rwanda had been a Belgian colony, and normally the UN bans the former colonial power from serving in such peace-keeping roles.

Squabbling between interested parties delayed the UNAMIR goal of assisting the formation of the transitional government following the inauguration of President Habyarimana on 5 January 1994. The violent clashes that followed, including the assassinations of two major political leaders and the ambush of a UNAMIR-led convoy of RPF forces led the UNAMIR forces to move to a more defensive footing. UNAMIR thus contributed support to the military and civilian authorities in Rwanda, while the UN continued to place pressure on Habyarimana and the RPF to return to the ideas set forth in the Accords.

Operations before the genocide

The United Nations Assistance Mission for Rwanda (UNAMIR) had been in Rwanda since October 1993, with a mandate to oversee the implementation of the Arusha Accords. UNAMIR commander Dallaire learned of the Hutu Power movement during the early phase of deployment; in January 1994, a government informant alerted Dallaire to a group who were rapidly arming militias and planning mass extermination of Tutsi, and led UNAMIR to a secret arms cache. Dallaire sent a cable to the UN Department of Peacekeeping Operations (DPKO) in New York, requesting permission to raid the weapons caches; the UN refused Dallaire's request to raid the arms, and rebuked him for exceeding his mandate. Dallaire's cable also informed the DPKO of the information concerning the genocide; it said: "Since UNAMIR mandate [the informant] has been ordered to register all Tutsi in Kigali. He suspects it is for their extermination. Example he gave was that in 20 minutes his personnel could kill up to 1000 Tutsis." Dallaire received little support from the administrative head of UNAMIR, Cameroonian Jacques-Roger Booh-Booh; the RPF accused Booh-Booh of partiality towards President Habyarimana and the Hutu elite. UNAMIR operated with very limited resources, and its efforts to install the transitional government were obstructed by President Habyarimana and the hardliners throughout early 1994. By April, the Security Council threatened to terminate UNAMIR's mandate if it did not make progress.

Genocide

On 6 April 1994, a plane carrying President Habyarimana and President Cyprien Ntaryamira of Burundi was shot down near Kigali. What followed was the collapse of the unstable peace in Rwanda and the Rwandan genocide, estimated to have claimed between 800,000 and 1,017,100 Tutsi and Hutu victims over 100 days.

Among the first targets of the genocide were Prime Minister Agathe Uwilingiyimana and ten Belgian members of 2nd Commando Battalion, the Paracommando Regiment operating as part of UNAMIR. These troops were murdered after handing over their weapons to Rwandan government troops. They were advised to do so by their battalion commander who was unclear on the legal issues with authorising them to defend themselves, even though they had already been under fire for approximately two hours.

Following the death of Habyarimana, Dallaire liaised repeatedly with both the Crisis Committee and the RPF, in an attempt to re-establish peace. He addressed the government forces during the night of 6 April, expressing regret at Habyarimana's death but urging them to restrain the killings that had commenced; he also urged Kagame not to resume the civil war, to avoid escalating the violence and to give UNAMIR a chance to rein in the killings. Neither side was interested in a ceasefire, the government because it was controlled by the génocidaires, and the RPF because it considered it necessary to fight to stop the killings. UNAMIR's Chapter VI mandate rendered it powerless to intervene militarily, and most of its Rwandan staff were killed in the early days of the genocide, severely limiting its ability to operate. UNAMIR was therefore largely reduced to a bystander role, and Dallaire later labelled it a "failure". Its most significant contribution was to provide refuge for thousands of Tutsi and moderate Hutu at its headquarters in Amahoro Stadium, as well as other secure UN sites. UNAMIR also assisted with the evacuation of foreign nationals; a group of Belgian soldiers, who had been sheltering 2,000 Rwandans at the École Technique Officielle, were ordered to abandon their station to assist in the evacuation. After the Belgians left, Hutu militants entered and massacred everyone inside.

On 12 April, the Belgian government, which was one of the largest troop contributors to UNAMIR, and had lost ten soldiers protecting Prime Minister Uwilingiliyimana, announced that it was withdrawing. Belgium also favoured a complete withdrawal of UNAMIR, and lobbied for this in the UN. Dallaire protested, arguing that the force should be strengthened and given a new mandate to protect the thousands of refugees it was protecting, but the UN Security Council refused, telling Dallaire that UNAMIR would be effectively withdrawn unless the belligerents agreed to a ceasefire by early May. According to Philip Gourevitch, the United States, having recently suffered losses in the UN mission in Somalia, was particularly keen to "get out of Rwanda" and "leave it to its fate". New Zealand, which held the rotating presidency of the UN Security Council, was the lone voice supporting reinforcement, and in late April, persuaded the council to postpone UNAMIR's withdrawal, despite continuing reluctance from the United States and United Kingdom.

Though understaffed and abandoned, members of the UNAMIR forces did manage to save the lives of thousands of Tutsis in and around Kigali and the few areas of UN control. Dallaire requested the immediate insertion of approximately 5,000 troops, but his request was denied.

UNAMIR II

For the next six weeks, approximately, UNAMIR coordinated peace talks between the Hutu government and the RPF to little avail. Eventually, on 17 May 1994, the UN agreed to reinforcement, that would deliver nearly 5,500 troops and much needed personnel carriers and other equipment to UNAMIR, which would be henceforth known as UNAMIR II. The new soldiers did not start arriving until June, and following the end of the genocide in July, the role of UNAMIR II was largely confined to maintaining security and stability. UNAMIR withdrew from Rwanda in 1996, following the withdrawal of support by the RPF-led government.

UNAMIR II and subsequent resolutions were still unclear on the right to use force in stopping the genocide. In one of Dallaire's parting cables, he said that "the [UN] force has been prevented from having a modicum of self-respect and effectiveness on the ground".
Unfortunately, in the face of the mayhem in Rwanda and this diplomatic watering down of UNAMIR's mandate, many UN member states delayed contributing personnel for some time, until the main wave of killings ceased.

After the genocide

In July 1994, the RPF swept into Kigali and ended the genocide that had lasted 100 days, and RPF leader Paul Kagame (who became president several years later—and still is today—but effectively controlled the country from July 1994 through the present) reaffirmed his commitment to the Arusha Accords.

Following the end of the main killings the challenges for UNAMIR (and the many NGOs who arrived in the country) were to maintain the fragile peace, stabilise the government and, most importantly, care for the nearly 4 million displaced people in camps within Rwanda, Zaire, Tanzania, Burundi, and Uganda. The massive camps around Lake Kivu in the northwest of Rwanda were holding about 1.2 million people and this was creating enormous security, health, and ecological problems.

After the late arrival of the much-needed troop support, UNAMIR continued to carry out its mandate to the best of its abilities. In 1996, however, with assertion from the new Rwandese government that UNAMIR had failed in its priority mission, the UN withdrew the UNAMIR mandate on 8 March 1996.
Despite the failure of UNAMIR in its main mission, its humanitarian services during the 1994 genocide are recognised to this day as having saved the lives of thousands or tens of thousands of Rwandan Tutsi and Hutu moderates who would have otherwise been killed. However, the actions of the UN in Rwanda (and particularly the Head of Peacekeeping Operations at the time, Kofi Annan) have been used by some as examples of the over-bureaucratic and dithering approach of the UN. (General Dallaire was particularly critical of Annan's performance.)

Countries that contributed troops to UNAMIR throughout its existence were: Argentina, Australia, Austria, Bangladesh, Belgium, Brazil, Canada, Chad, Congo, Djibouti, Egypt, Ethiopia, Fiji, Germany, Ghana, Guinea, Guinea Bissau, Guyana, India, Jordan, Kenya, Malawi, Mali, Netherlands, Niger, Nigeria, Pakistan, Poland, Romania, Russia, Senegal, Slovakia, Spain, Switzerland, Togo, Tunisia, United Kingdom, Uruguay, Zambia and Zimbabwe.

Casualties
Twenty-seven members of UNAMIR – 22 soldiers, three military observers, one civilian police and one local staff – lost their lives during the mission. The genocide and the spectre of mission failure had a profound effect on Dallaire. On his return to Canada he was diagnosed with acute posttraumatic stress disorder (PTSD); he even attempted suicide. He was eventually released from the Canadian army service on medical grounds. Dallaire received the Aegis Trust Award (the first) for his acts of bravery. In 2004–2005, he was awarded  a fellowship at the Carr Center for Human Rights Policy, Harvard University, where he was studying and writing about different forms of conflict resolution. On 25 March 2005, he was appointed a Canadian senator, representing Québec as a member of the Liberal Party of Canada; he serves on the committee for Human Rights. He also speaks publicly about his experiences relating to genocide, PTSD and suicide.  While Dallaire's issues have been the focus of much attention, particularly in Canada, very little attention has been paid to the plight of the front line soldiers of the Canadian Contingent to UNAMIR who suffered from a rash of suicides, marital breakdowns and career ending diagnoses of PTSD following their return from Rwanda.

See also
 History of Rwanda
 Mogadishu Line
 Shake Hands With the Devil: The Failure of Humanity in Rwanda

References and notes

Further reading
 Barnett, Michael. (2002). Eyewitness to a Genocide: The United Nations and Rwanda. Cornell University Press

External links
 Records of the United Nations Assistance Mission for Rwanda (UNAMIR) (1993-1996) at the United Nations Archives
UNAMIR Official United Nations information webpage

United Nations operations in Rwanda
Military operations involving India
Rwandan genocide
Roméo Dallaire


Chronologie de l'économie
Années 1340 - Années 1350 - Années 1360

Événements
 Vers 1350 : le médecin juif d'Estella Abraham Ezquerra obtient du roi de Navarre un dégrèvement d'impôt pour services rendus à toute la cité.
 1350-1360 : apogée des exportations de laine brute en Angleterre ( sacs par an). Elles tombent entre 2000 de  sacs un siècle plus tard. Parallèlement l'industrie textile est en plein essor. Le nombre de pièces de draps exportés par an passe de  en 1347-1348 à  dans les années 1360 à  à la fin du .
 1353 : fin de la frappe de l'hyperpère dans l'Empire byzantin ; Jean V Paléologue est le dernier empereur byzantin à émettre une monnaie d'or, de meilleur titre mais de poids réduit, à l'effigie de Saint Jean-Baptiste, à l'imitation du florin. À partir de 1367, Jean V frappe une lourde pièce d'argent, le stavraton, de la valeur d'un demi-hyperpère.

 1358 :
 première mention officielle de la ligue Hanséatique, ligue de marchands qui rassemble les cités marchandes d'Allemagne du Nord sous la domination de Lübeck et de Hambourg.
 Grande Jacquerie en Île-de-France.

Notes et références

+1350

Chronologie des faits économiques et sociaux dans les années 1350


Borgerpartiet () var et konservativt politisk parti i Island, der var en forløber for Selvstændighedspartiet.

Partiet blev grundlagt som en løs alliance af konservative kandidater fra det opløste Hjemmestyrepartiet og (det første) Selvstændighedspartiet forud for altingsvalget i 1923. Det vandt valget og fik 16 ud af 28 pladser i Altingets øvre del ("overhus") og 7 ud af 14 i dets nedre del ("underhus"). I februar 1924 dannede 20 af partiets tingmænd Konservative Parti, og Borgerpartiet blev opløst senere samme år. De resterende tre altingsmedlemmer genoptog navnet Selvstændighedspartiet, men dannede i 1927 Liberale Parti. I 1929 sluttede Det Konservative Parti og det Liberale Parti sig sammen til Selvstændighedspartiet, der siden har været Islands dominerende parti.

Henvisninger

Tidligere politiske partier i Island
Etableret i 1923
Ophørt i 1924

Borgerpartiet (Island, 1923)


Tobin Bell (născut Joseph Henry Tobin Jr.; 7 august 1942) este un actor american.

Biografie

Filmografie

Film

Televiziune

Jocuri video

Premii

Note

Lectură suplimentară

Legături externe

Vezi și
Listă de actori americani
Listă de oameni din statul New York

Nașteri în 1942
Actori americani
Actori din Queens, New York

Tobin Bell


Peel ist eine U-Bahn-Station in Montreal. Sie befindet sich im Arrondissement Ville-Marie an der Kreuzung von Boulevard De Maisonneuve und Rue Peel. Hier verkehren Züge der grünen Linie 1. Im Jahr 2019 nutzten 8.182.603 Fahrgäste die Station; dies entspricht dem 7. Rang unter den insgesamt 68 Stationen der Metro Montreal.

Bauwerk
Die vom Architekturbüro Papineau, Gérin-Lajoie et Leblanc entworfene Station entstand in offener Bauweise. Zahlreiche Säulen und Träger stützen die brückenartig konstruierte Verteilerebene und die Decke. Es gibt vier Ausgänge, die alle in benachbarte Gebäude integriert sind (drei am Boulevard De Maisonneuve und einer an der Rue Stanley). Die Bahnsteigebene in 10,7 Metern Tiefe besitzt zwei Seitenbahnsteige. Die Entfernungen zu den benachbarten Stationen, jeweils von Stationsende zu Stationsanfang gemessen, betragen 593,14 Meter bis Guy-Concordia und 296,52 Meter bis McGill (kürzester Stationsabstand des gesamten Metronetzes).

Es bestehen Anschlüsse zu vier Buslinien und zwei Nachtbuslinien der Société de transport de Montréal. Die Station Peel ist in die weitläufige Montrealer Untergrundstadt integriert. Unterirdisch zugänglich sind mehrere Büro- und Geschäftshäuser, die Einkaufszentren Les Cours Mont-Royal und Carrefour Industrielle-Alliance sowie die benachbarte Metrostation McGill. Weitere Sehenswürdigkeiten in der Nähe sind der Wolkenkratzer Édifice Sun Life, verschiedene Gebäude der McGill University und der Square Dorchester.

Kunst
Peel ist eine der wenigen Stationen des Grundnetzes, bei der die Kunst von Anfang an in die Architektur miteinbezogen und nicht später hinzugefügt wurde. Jean-Paul Mousseau schuf zusammen mit Claude Vermette zahlreiche farbige Keramikscheiben, die in Wände und Böden eingelassen sind und der Station ein besonderes Gepräge verleihen. Die Scheiben weisen abstrakte Muster in Orange- und Blautönen auf. Sechs dieser Scheiben – je eine über den Bahnsteigen sowie je eine vor und hinter den beiden Fahrkartenschaltern – besitzen einen Durchmesser von 3,6 Metern. Von den kleineren Scheiben mit einem Durchmesser von 1,8 Metern existierten ursprünglich 48 Stück, doch sind nach diversen Umbauten nur noch 31 vorhanden.

Neben dem Eingang an der Rue Peel 2000 steht die stählerne Skulptur Enterspace. Das 5,5 Meter hohe Werk von Maurice Lemieux wurde 1981 dort aufgestellt und besteht aus vier Elementen in Form des Logos der internationalen Flugtransportvereinigung IATA, die früher ihren Sitz in dem Gebäude hatte.

Geschichte
Die Eröffnung der Station erfolgte am 14. Februar 1966, zusammen mit dem Teilstück zwischen Atwater und Papineau. Peel gehört somit zum Grundnetz der Montrealer Metro. Namensgeber der Station ist die Rue Peel, die wiederum nach dem britischen Premierminister Robert Peel (1788–1850) benannt ist.

Weblinks

 Seite der STM über die Station Peel (französisch)
 Detaillierte Informationen zur Station Peel (französisch)

Einzelnachweise

Station der Metro Montreal
Erbaut in den 1960er Jahren

Peel (Metro Montreal)


Mai multe persoane se numesc Ion Luca:
Ion Luca, dramaturg român
Ion Luca, deputat din Republica Moldova

Vezi și în nume compuse:
Ion Luca Caragiale
Ion Luca-Bănățeanu

Ion Luca (dezambiguizare)


was a town located in Tōhaku District, Tottori Prefecture, Japan.

As of 2003, the town had an estimated population of 8,800 and a population density of 242.89 per km2. The total area was 36.23 km2.

On October 1, 2005, Daiei, along with the town of Hōjō (also from Tōhaku District), was merged to create the town of Hokuei.

Daiei is also the hometown of Japanese manga artist Gosho Aoyama, best known for his manga series Case Closed.

References

External links
Hokuei official website

Dissolved municipalities of Tottori Prefecture
Populated places disestablished in 2005
2005 disestablishments in Japan
Tōhaku District, Tottori
Hokuei, Tottori

Daiei, Tottori


Die Rurstraße in Düren, Nordrhein-Westfalen, ist eine Innerortsstraße.

Die Rurstraße beginnt gegenüber dem Annakirmesplatz in der Aachener Straße, kreuzt die Tivolistraße, unterquert die Bahnlinie Köln-Aachen und endet in Düren-Nord an der Einmündung in die Paradiesstraße.

In der Rurstraße steht das denkmalgeschützte Wohnhaus Rurstraße 85. Es ist unter Nr. 1/139 in die Liste der Baudenkmäler in Düren eingetragen. Die Rentnerwohnungen im Haus Rurstraße 37–39 wurden 1959/60 aus den Mitteln einer Stiftung erbaut. Sie geht auf die Eheleute Arnold und Adele Schoeller zurück, zu deren Erinnerung die an diesem Haus angebrachte Tafel gedacht ist (Siehe Plaketten und Denkmäler an Häusern in Düren#Rurstraße 37–39).

Die Rur hatte, wie im 1634 von Wenzel Hollar gezeichneten Stadtplan ersichtlich ist, mehrere Nebenläufe. Einer davon lief dort, wo die heutige Rurstraße verläuft. Vom 6. April 1933 bis 1945 hieß die Straße Horst-Wessel-Straße, benannt nach Horst Wessel, einem SA-Sturmführer, der das Horst-Wessel-Lied, die Parteihymne der NSDAP, textete.

An der Ecke Tivolistraße stand das Gut "Kleintivoli", nach dem die Tivolistraße benannt ist.

Siehe auch
 Liste der Straßen in Düren

Quellen
 Straßenliste auf der Webseite der Stadt Düren (PDF; 58 kB)
 Josef Geuenich: Die Dürener Straßennamen, Düren 1965, herausgegeben von der Stadt Düren und dem Dürener Geschichtsverein

Straße in Düren

Rurstraße (Düren)


Nizhny Novgorod Oblast () is a federal subject of Russia (an oblast). Its administrative center is the city of Nizhny Novgorod. It has a population of 3,119,115 as of the 2021 Census. From 1932 to 1990 it was known as Gorky Oblast ().

The oblast is crossed by the Volga River. Apart from Nizhny Novgorod's metropolitan area (including Dzerzhinsk, Bor and Kstovo) the biggest city is Arzamas. Near the town of Sarov there is the Serafimo-Diveyevsky Monastery, one of the largest convents in Russia, established by Saint Seraphim of Sarov. The Makaryev Monastery opposite of the town of Lyskovo used to be the location of the largest fair in Eastern Europe. Other historic towns include Gorodets and Balakhna, located on the Volga to the north from Nizhny Novgorod.

Geography

The oblast covers an area of , which is approximately equal to the entire area of the Benelux countries or Czech Republic. Agricultural land occupies 41% of this area; forests, 48%, lakes and rivers, 2%; and other lands, 9%. Nizhny Novgorod Oblast borders Kostroma Oblast (N), Kirov Oblast (NE), the Mari El Republic (E), the Chuvash Republic (E), the Republic of Mordovia (S), Ryazan Oblast (SW), Vladimir Oblast (W), and Ivanovo Oblast (NW).

Natural resources
Nizhny Novgorod Oblast is not rich in natural resources, which are limited to commercial deposits of sand (including titanium-zirconium sands), clay, gypsum, peat, mineral salt, and timber.

History
The sites of Pustyn I and the settlement of Naumovka I, Krasny Bor 5 and others belong to the Mesolithic era in the Nizhny Novgorod region. Burial grounds of the Fatyanovo culture of the Bronze Age were found in the Chkalovsky, Vetluzhsky and Krasnobakovsky districts.

In the course of the regional reform of Peter I in 1708, Nizhny Novgorod with the surrounding lands was added to the Kazan Governorate. In 1714, the Nizhny Novgorod Governorate was created.

On January 14, 1929, the Nizhny Novgorod Oblast was formed. On July 15 of the same year, it was transformed into the Nizhny Novgorod Territory.

On October 7, 1932, the Nizhny Novgorod Territory was renamed the Gorky Territory (in honor of the writer Maxim Gorky). On December 5, 1936, the Gorky Territory was transformed into the Gorky Oblast (the Mari and Chuvash Republics were taken from the former territory).

On January 7, 1954, the Arzamas Oblast was separated from the Gorky Oblast. On April 23, 1957, the Arzamas Oblast was abolished, and its territory was returned to the Gorky Oblast.

On October 22, 1990, by the Decree of the Presidium of the Supreme Soviet of the RSFSR, the Gorky Oblast was renamed the Nizhny Novgorod Oblast. On April 21, 1992, the Congress of People's Deputies of Russia approved the decision of the presidium of the parliament to rename the region, amending Art. 71 of the Constitution of the RSFSR of 1978, which entered into force on May 16, 1992.

Politics

During the Soviet period, the high authority in the oblast was shared between three persons: the first secretary of the Nizhny Novgorod (then Gorki) CPSU Committee (who in reality had the greatest authority); the chairman of the oblast Soviet (legislative power); and the chairman of the oblast Executive Committee (executive power). After the abolition of Article 6 of the Constitution of the USSR in March 1990, the CPSU lost its monopoly on power. The head of the Oblast administration, and eventually the governor, was appointed/elected alongside the elected regional parliament.

The Charter of Nizhny Novgorod Oblast is the fundamental law of the region. The Legislative Assembly of Nizhny Novgorod Oblast is the province's standing legislative (representative) body. The Legislative Assembly exercises its authority by passing laws, resolutions, and other legal acts and by supervising the implementation and observance of the laws and other legal acts passed by it. The highest executive body is the Oblast Government, which includes territorial executive bodies such as district administrations, committees, and commissions that facilitate development and run the day to day matters of the province. The Oblast administration supports the activities of the Governor who is the highest official and acts as guarantor of the observance of the oblast Charter in accordance with the Constitution of Russia.

Sights

The unique architectural construction—the  steel lattice hyperboloid tower built by the Russian engineer and scientist Vladimir Grigorievich Shukhov in 1929—is located near the town of Dzerzhinsk on the left bank of the Oka River.

Administrative divisions

Demographics

Population:

According to the 2010 Census, ethnic Russians at 3,109,661 made up 95.1% of the oblast's population. Other ethnic groups included Tatars (44,103, or 1.4%), Mordva (19,138, or 0.6%), Ukrainians (17,657, or 0.5%), and various smaller groups, each accounting for less than 0.5% of the total. Additionally, 42,349 people were registered from administrative databases, and could not declare an ethnicity. It is estimated that the proportion of ethnicities in this group is the same as that of the declared group.

Vital statistics for 2022:
Births: 24,032 (7.7 per 1,000)
Deaths: 48,025 (15.3 per 1,000)

Total fertility rate (2022):
1.31 children per woman

Life expectancy (2021):
Total — 68.93 years (male — 63.81, female — 73.97)

According to the Federal Migration Service, 20,450 foreign citizens were registered in the oblast in 2006. The actual number of foreigners residing in the oblast as of June 1, 2006 was estimated to be over 22,000.

Religion

According to a 2012 survey 69.2% of the population of Nizhny Novgorod Oblast adheres to the Russian Orthodox Church, 2% are unaffiliated generic Christians, 2% are Orthodox Christian believers without belonging to any church or members of other Orthodox churches, and 1% are adherents of the Slavic native faith (Rodnovery). In addition, 15% of the population declares to be "spiritual but not religious", 10% is atheist, and 0.8% follows other religions or did not give an answer to the question.

Economy

The oblast ranks seventh in Russia in industrial output. Processing industries predominate in the local economy. More than 650 industrial companies employ nearly 700,000 people, or 62% of the workforce involved in material production. Industry generates 83% of the regional GDP and accounts for 89% of all material expenditures. The leading sectors are engineering and metalworking, followed by chemical and petrochemical industries and forestry, woodworking, and paper industries. The first three sectors account for about 75% of all industrial production.

The oblast has traditionally been attractive to investors. In 2002, Moody's rating agency confirmed a Caa1rating based on the region's long-term foreign currency liabilities.

The region maintains trade relations with many countries and has an export surplus. The largest volume of exports goes to Ukraine, Belarus, Switzerland, Kazakhstan, Belgium, and France. Imports come mainly from Ukraine, Germany, Belarus, Kazakhstan, Austria, Netherlands, China, and the United States.

The stock market infrastructure is quite well developed in Nizhny Novgorod, and the exchange business is expanding. Companies and organizations registered in the region include 1153 joint-stock companies, 63 investment institutions, 34 commercial banks, 35 insurance companies, 1 voucher investment fund, 1 investment fund, 17 nongovernmental pension funds, 2 associations of professional stock market dealers, and 3 exchanges (stock, currency, and agricultural).  The oblast is noted for having relatively highly developed market relations.
Today, the region needs serious partners interested in equitable, long-term, mutually beneficial partnerships.

There are 650+ industrial companies in the region,  most of them engaged in the following sectors:
Machine-building and engineering
Chemical & petrochemical
Fuel & energy
Ferrous and non-ferrous metallurgy
Construction materials
Glass
Wood and paper
Cloth-making
Food & food processing
Medical & pharmaceuticals
Printing & publishing.
Peat extraction.
These key industries are supplemented by other sectors of the economy such as agriculture, trade, services, communications and transport.

Transportation

The Altsevo peat narrow gauge railway is located in the work settlement of Pizhma
The Pizhemskaya narrow gauge railway is located in the work settlement of Pizhma
The narrow gauge railway of Caprolactam factory is located in Dzerzhinsk
The Kerzhenets peat narrow gauge railway is located in the Borsky District
The narrow gauge railway of Decor-1 factory is located in the Arzamassky District
Narrow gauge railways in the region:

References

Notes

Sources

External links

Official website of the Government of Nizhny Novgorod Oblast
Official website of the Legislative Assembly of Nizhny Novgorod Oblast
Nizhny Novgorod City Guide Travel and business guide to Nizhny Novgorod
 Central Eurasian Information Resource; Images of Nizhny Novgorod Oblast – University of Washington Digital Collections

States and territories established in 1929
1936 establishments in the Soviet Union

Nizhny Novgorod Oblast


Grimhøjmoskeen er et muslimsk samlingssted på Grimhøjvej nummer 7 i Brabrand ved Aarhus i Danmark.

Bag Grimhøjmoskeen står foreningen Den Muslimske Sammenslutning og den erhvervsdrivende fond Fonden for Den muslimske Sammenslutning.
Fonden blev etableret i 2008 og har som formand Oussama Mohamad El-Saadi.

Grimhøjmoskeen har flere gange påkaldt sig mediernes opmærksomhed; bl.a. dokumenterede TV 2 ved brug af skjult kamera i programserien Moskeerne bag sløret , hvordan en imam i moskeen forklarede tilhørerne, at de burde slå deres børn fra 10-årsalderen, hvis ikke børnene bad til gud. Michael Jeppesens tv-dokumentar Michael Jeppesen møder Grimhøj-moskéen indeholder interview med talsmanden Fadi Abdallah.

Henvisninger

Moskeer i Danmark
Brabrand
Religion i Aarhus

Grimhøjmoskeen


Der Bahnhof Dülmen liegt in Dülmen im westlichen Münsterland. In ihm kreuzen sich die Bahnstrecke Wanne-Eickel–Hamburg (unten) und die Bahnstrecke Dortmund–Enschede (oben). Zwischenzeitlich existierten zwei Verbindungskurven, heute sind die Strecken hier jedoch nicht mehr verbunden. Er ist einer von drei in Betrieb befindlichen Turmbahnhöfen (von ehemals sechs) in Nordrhein-Westfalen.

Geschichte

Die Köln-Mindener Eisenbahn-Gesellschaft (CME) erhielt am 28. Mai 1866 die Konzession zum Bau einer Bahnstrecke von Wanne nach Osnabrück. Diese war Teil der überregionalen Hamburg-Venloer Bahn, welche wiederum Teil einer internationalen Paris-Hamburger Bahn werden sollte. Am 1. Januar 1870 nahm die CME den Personenverkehr auf dem ersten Teilstück zwischen dem Bahnhof Wanne (heute Wanne-Eickel Hauptbahnhof) an ihrer Stammstrecke und dem Bahnhof Münster (heute Münster (Westfalen) Hauptbahnhof) auf; zeitgleich entstand der erste Dülmener Bahnhof.

Das Deutsche Reich und die Niederlande beschlossen am 13. November 1874 die Herstellung einer direkten Eisenbahnverbindung zwischen Dortmund und Enschede. Die zu diesem Zweck gegründete Dortmund-Gronau-Enscheder Eisenbahn-Gesellschaft (kurz DGE) konnte bereits am 25. November 1874 die erste Teilstrecke bis Bahnhof Lünen (heute nicht mehr existierender Bahnhof Lünen Nord) in Betrieb nehmen.

Beim Bau des nächsten Teilstücks nach Dülmen wurde der Bahnhof Dülmen DGE am 15. Juni 1875 einen halben Kilometer nordwestlich des Köln-Mindener Bahnhofs angelegt und deren Strecke niveaufrei überquert. Am 1. August 1875 folgte der nächste Abschnitt bis zum Bahnhof Coesfeld (Westf). Nach der Verstaatlichung der (nominell) privaten Eisenbahngesellschaften in den Preußischen Staatseisenbahnen wurde der Enscheder Bahnhof in Bahnhof Dülmen Ost umbenannt, obwohl er knapp westlich des Köln-Mindener Bahnhofs liegt.

Später erfolgte der Bau einer Verbindungskurve nördlich des Bahnhofs zwischen den beiden bislang unabhängigen Betriebsstellen, Fahrtrichtung Coesfeld–Münster. In den 1950er Jahren wurde der Personenverkehr auf der oberen Strecke vom Bahnhof Dülmen Ost zum Bahnhof Dülmen (hoch) verlegt; mit diesem Bahnhofsteil wurde der Bahnhof Dülmen nun zu einem Turmbahnhof. Die Verbindungskurve wurde in den 1990er Jahren stillgelegt und abgebaut.

Auch östlich des Bahnhofs gab es eine Verbindungskurve in Fahrtrichtung Münster–Lünen. Sie wurde im Zweiten Weltkrieg zerstört und nicht wieder aufgebaut, der Rest ist noch als Anschlussgleis in Betrieb. Beide Verbindungen wurden im Personenverkehr nicht befahren.

Das am 20. Mai 1964 unter Eberhard Kitter eröffnete Empfangsgebäude befindet sich im Winkel der Kreuzung nördlich der Bahnstrecke Wanne-Eickel–Hamburg und westlich der Bahnstrecke Dortmund–Enschede. Es verfügt über ein Reisezentrum und ist nach dem Einbau einer Fahrstuhlanlage zum Bahnsteig nach Münster/Essen weitgehend barrierefrei.

Das Empfangsgebäude des ehemaligen Bahnhofs der Köln-Mindener Eisenbahngesellschaft wurde 1977 abgerissen.

Im Zuge des Projektes "Bahnhof Dülmen – Klimagerecht mobil unterwegs" folgte 2020 wiederum der Abriss des Empfangsgebäudes von 1964. Geplant sind neben einem neuen Empfangsgebäude eine zusätzliche Fuß- und Radfahrerbrücke, ein Fahrradparkhaus sowie ein neuer barrierefreier Vorplatz. Ein neuer Busbahnhof sowie P&R-Parkplätze gehören ebenfalls zu den Planungen. Das Bahnhofsprojekt ist Teil des Klimaschutzkonzeptes der Stadt Dülmen und trägt einen entscheidenden Teil dazu bei, die Treibhausgase zu reduzieren und somit die CO2-Bilanz der Stadt zu verbessern.

Gefördert wird das Projekt durch das Programm "KommunalerKlimaschutz.NRW" (Europäischer Fonds für regionale Entwicklung).

Das neue Empfangsgebäude ist im Dezember 2022 fast fertiggestellt, es kann im Frühjahr 2023 in Betrieb genommen werden. Das Fahrradparkhaus mit 700 Stellplätzen ist seit Ende 2022 in Betrieb. Auch die beiden Parkplätze mit insgesamt 260 Stellplätzen sind in Benutzung.  Probleme gibt es bei der geplanten neuen Fußgängerbrücke, wann sie fertig gestellt werden kann, ist unsicher.

Anlagen
Im unteren Bereich gibt es neben den Bahnsteiggleisen an einem Mittelbahnsteig auch noch drei bahnsteiglose Ausweichgleise. Die ehemaligen Gleise an der Ladestraße im Südwesten des Bahnhofs sind nicht mehr angebunden.

Im oberen Bereich gibt es an der eingleisigen Strecke nördlich der Brücke ein bahnsteigloses Kreuzungsgleis.

Bilder

Bedienung

Im Schienenpersonennahverkehr wird der Bahnhof Dülmen von zwei Regional-Express-Linien und einer Regionalbahnlinie bedient:

Literatur

Weblinks

Deutsche Bahn AG:

NRWbahnarchiv von André Joost:
 [bf/8000083.htm Beschreibung der Personenzugangsstelle Dülmen]
 [esn/EDUL.htm Beschreibung der Betriebsstelle EDUL]
 [esn/EDULH.htm Beschreibung der Betriebsstelle EDULH]

Einzelnachweise

Dulmen
Dulmen
Dulmen
Bauwerk in Dülmen
Bahnstrecke Wanne-Eickel–Hamburg

Bahnhof Dülmen


La peptidyl-glycine alpha-amidating monooxygenase (PAM) est une enzyme qui catalyse la conversion des amides de glycine en amides et en glyoxylate. Elle permet une modification post traductionelle d'alpha amidation de plus de 70% des protéines de l'organisme.

L'enzyme est impliquée dans la biosynthèse de nombreux peptides de signalisation et de certains amides d'acides gras.

Chez l'homme, l'enzyme est codée par le gène PAM. Cette transformation est obtenue par conversion d'une prohormone en l'amide correspondant (C(O)NH2). Cette enzyme est la seule voie connue pour générer des amides peptidiques, ce qui rend le peptide plus hydrophile.

Une fonction
Ce gène code une protéine multifonctionnelle. Il possède deux domaines enzymatiquement actifs avec des activités catalytiques - la peptidylglycine alpha-hydroxylating monooxygenase (PHM) et la peptidyl-alpha-hydroxyglycine alpha-amidating lyase (PAL). Ces domaines catalytiques agissent séquentiellement pour catalyser les peptides neuroendocriniens en produits alpha-amidés actifs. La voie de réaction catalysée par PAM est accessible via un tunnel quantique et une préorganisation du substrat. De multiples variants de transcription épissés alternativement codant différentes isoformes ont été décrits pour ce gène, mais certaines de leurs séquences complètes ne sont pas encore connues.

La sous-unité PHM effectue l'hydroxylation d'un résidu glycine O-terminal :

 peptide-C(O)NHCH2CO2− + O2 + 2 [H] → peptide-C(O)NHCH(OH)CO2− + H2O

Impliquant l'hydroxylation d'un hydrocarbure par O2, ce procédé repose sur un cofacteur de cuivre. La dopamine bêta-hydroxylase, également une enzyme contenant du cuivre, effectue une transformation similaire.

La sous-unité PAL achève alors la conversion, en catalysant l'élimination de la glycine hydroxylée :

 peptide-C(O)NHCH(OH)CO2− → peptide-C(O)NH2 + CH(O)CO2−

Le coproduit éliminé est le glyoxylate, noté ci-dessus CH(O)CO2− .

Chez les insectes
Les PαAM d'insectes sont sensibles aux concentrations d'O et dépendent de Cu. Simpson et al 2015 ont découvert que les PαAM des insectes réagissent à l' hypoxie en régulant l'activité de plusieurs hormones peptidiques. Ils trouvent que PαAM est probablement une partie importante des réponses neuroendocrines à l'hypoxie.

Notes et références

Bibliographie

Chromosome 5 humain

Enzyme d'alpha amidation


Međuopćinska nogometna liga Virovitica – Đurđevac – skupina Virovitica (Međuopćinska nogometna liga Virovitica) je bila liga šestog stupnja nogometnog prvenstva Jugoslavije u sezoni 1982./83.
U ovoj sezoni se dotadašnja jedinstvena Međuopćinska nogometna liga Virovitica – Đurđevac igrala u dvije skupine (jednu za NSO Virovitica, a druga za NSO Đurđevac).
Sudjelovalo je devet klubova, a prvak je bio "Rezovac".

Ljestvica

 Obilićevo, skraćeno za Novo Obilićevo – tadašnji naziv za Zvonimirovo

Rezultatska križaljka

 Izvori:

Povezani članci
 1. općinska liga Virovitica 1982./83.
 2. općinska liga Virovitica 1982./83.
 Zona ZO Bjelovar 1982./83.
 Međuopćinska liga Daruvar – Pakrac – Grubišno Polje 1982./83.
 Međuopćinska liga Koprivnica 1982./83.

Vanjske poveznice

Izvori

 library.foi.hr, "Virovitički list"
 library.foi.hr, "Virovitički list" - glasilo Socijalističkog saveza, br. 1315 (27/1983), god. XXXI, izdano 15. srpnja 1983., str. 10 (Sport; završna ljestvica), preuzeto 3. kolovoza 2021.
 library.foi.hr, "Virovitički list" - glasilo Socijalističkog saveza, br. 1272 (35/1982), god. XXX, izdano 10. rujna 1982., str. 12 (Sport; najava lige), preuzeto 3. kolovoza 2021.

1982-83 0 MOL
MOL Virovitica
1982-83 MOL Virovitica

Međuopćinska nogometna liga Virovitica – Đurđevac – skupina Virovitica 1982./83.


El Valle de Sofía (en búlgaro: Софийска котловина, Sofiyska kotlovina, o bien Софийско поле, Sofiysko pole) es un valle en el centro oeste de Bulgaria, que bordea Stara Planina en el noreste, el Viskyar, Lyulin, y las montañas Vitosha y Lozen hacia el suroeste, la montaña Vakarel hacia el sureste y Slivnitsa hacia el noroeste.

Después de que la parte inferior del valle se formó la corriente del río Iskar estuvo bloqueada y todo el valle se convirtió en un lago, provocando que los suelos se volviesen arenosos y arcillosos, y ahora estos cubren la mayor parte del valle.

Véase también
 Geografía de Bulgaria
 Geografía de Europa

Referencias

Valles de Bulgaria

Valle de Sofía