Spartacus is a 1960 American epic historical drama film starring Kirk Douglas in the title role, a slave who leads a rebellion against Rome and the events of the Third Servile War. Adapted by Dalton Trumbo from Howard Fast's  1951 novel of the same title, the film was directed by Stanley Kubrick. In support of Douglas as Spartacus, the film stars Laurence Olivier as Roman general and politician Marcus Licinius Crassus, Charles Laughton as Sempronius Gracchus, Peter Ustinov as slave trader Lentulus Batiatus, and John Gavin as Julius Caesar. Jean Simmons played Spartacus' Varinia, a fictional character, and Tony Curtis played the fictional slave Antoninus.

Douglas, whose company Bryna Productions was producing the film, removed original director Anthony Mann after the first week of shooting. Kubrick, with whom Douglas had made Paths of Glory (1957), was brought on board to take over direction. It was the only film directed by Kubrick where he did not have complete artistic control. Screenwriter Dalton Trumbo was blacklisted at the time as one of the Hollywood Ten. Douglas publicly announced that Trumbo was the screenwriter of Spartacus, and President John F. Kennedy crossed American Legion picket lines to view the film, helping to end blacklisting; Howard Fast's book had also been blacklisted and he had to self-publish the original edition.

The film won four Academy Awards (Best Supporting Actor for Ustinov, Best Cinematography, Best Art Direction and Best Costume Design) from six nominations. It also received six nominations at the Golden Globes, including Woody Strode's only career Golden Globe nomination (for Best Supporting Actor), ultimately winning one (Best Motion Picture – Drama). At the time of the film's release, it was the biggest moneymaker in Universal Studios' history, which it remained until it was surpassed by Airport (1970).

In 2017, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

Plot
In the first century BC, the Roman Republic has slid into corruption, its menial work done by slaves. One slave, a Thracian named Spartacus, is so uncooperative in his position in a mining pit that he is sentenced to death by starvation. By chance, he is displayed to Roman businessman Lentulus Batiatus, who – impressed by his ferocity – purchases Spartacus for his gladiatorial school and instructs trainer Marcellus to not overdo his indoctrination, believing the slave "has quality". Amid the abuse, Spartacus forms a quiet relationship with Varinia, a serving woman whom he refuses to rape when she is sent to "entertain" him in his cell. The two are forced to endure numerous humiliations for defying the conditions of servitude.

Batiatus receives a visit from the wealthy Roman senator Marcus Licinius Crassus, who aims to become dictator of Rome. Crassus eventually buys Varinia, and for the amusement of his companions arranges for Spartacus and others to fight to the death. When Spartacus is disarmed, his opponent, an Ethiopian named Draba, spares his life in a burst of defiance and attacks the Roman audience, only to be speared in the back by a guard and killed by Crassus. The next day, with the ludus' atmosphere still tense over this episode, Batiatus sends Varinia away to Crassus's house in Rome. Spartacus kills Marcellus, who was taunting him over his affections, and their fight escalates into a riot. Batiatus flees while the gladiators overwhelm their guards and escape into the countryside.

Spartacus is elected chief of the fugitives and decides to lead them out of Italy and back to their homes. They plunder country estates as they go, collecting enough money to buy sea transport from Rome's foes, the pirates of Cilicia. Many slaves join the group, making it as large as an army. Among the new arrivals is Varinia, who escaped while being delivered to Crassus. Another is Antoninus, a slave entertainer who also fled Crassus's service after finding out Crassus expected Antoninus to become his sex slave. Spartacus feels inadequate because of his lack of education. However, he proves an excellent leader and organizes his diverse followers into a tough and self-sufficient community. Varinia, now his informal wife, becomes pregnant.

The Roman Senate becomes increasingly alarmed as Spartacus defeats every army sent against him. Crassus's opponent Gracchus knows that his rival will try to use the crisis as a justification for seizing control of the Roman army. To try to prevent this, Gracchus channels as much military power as possible into the hands of his own protégé, the young senator Julius Caesar. Although Caesar lacks Crassus's contempt for the lower classes of Rome, he mistakes the man's rigid outlook for a patrician. Thus, when Gracchus reveals that he has bribed the Cilicians to get Spartacus out of Italy and rid Rome of the slave army, Caesar regards such tactics as beneath him and goes over to Crassus.

Crassus uses a bribe of his own to make the pirates abandon Spartacus and has the Roman army secretly force the rebels away from the coastline towards Rome. Amid panic that Spartacus means to sack the city, the Senate gives Crassus absolute power. Now surrounded by Roman legions, Spartacus persuades his men to die fighting. Just by rebelling and proving themselves human, he says that they have struck a blow against slavery. In the ensuing battle, most of the slave army is massacred. The Romans try to locate the rebel leader for special punishment by offering a pardon (and return to enslavement) if the men will identify Spartacus. Every surviving man responds by shouting "I'm Spartacus!". Crassus has them all sentenced to death by crucifixion along the Via Appia, where the revolt began.

Meanwhile, after finding Varinia and Spartacus's newborn son, Crassus takes them prisoner. He is disturbed by the idea that Spartacus can command more love and loyalty than he can, and hopes to compensate by making Varinia as devoted to him as she was to her former husband. When she rejects him, he furiously seeks out Spartacus (whom he recognizes from having watched him at Batiatus' school) and forces him to fight Antoninus to the death. The survivor is to be crucified, along with all the other slaves. Spartacus kills Antoninus to spare him this terrible fate. The incident leaves Crassus worried about Spartacus's potential to live in legend as a martyr. In other matters, he is also worried about Caesar, who he senses will someday eclipse him.

Gracchus, having seen Rome fall into tyranny, commits suicide. Before doing so, he bribes his friend Batiatus to rescue Spartacus's family from Crassus and carry them away to freedom. On the way out of Rome, the group passes under Spartacus's cross. Varinia comforts him in his dying moments by showing him his son, who will grow up free and knowing who his father was.

Cast

Production
The development of Spartacus was partly instigated by Kirk Douglas's failure to win the title role in William Wyler's Ben-Hur. Douglas had worked with Wyler before on Detective Story, and was disappointed when Wyler chose Charlton Heston, instead. Shortly after, Edward (Eddie) Lewis, a vice president in Douglas's film company, Bryna Productions (named after Douglas's mother), had Douglas read Howard Fast's novel, Spartacus, which had a related theme—an individual who challenges the might of the Roman Empire—and Douglas was impressed enough to purchase an option on the book from Fast with his own finances. Universal Studios eventually agreed to finance the film after Douglas persuaded Olivier, Laughton, and Ustinov to act in it. Olivier was also to direct the picture. Lewis became the producer of the film, with Douglas taking executive producer credit. Lewis subsequently produced other films for Douglas.

At the same time, Yul Brynner was planning his own Spartacus film for United Artists, with Douglas's agent Lew Wasserman suggesting he try having his film produced for Universal Studios. With Dalton Trumbo's screenplay being completed in two weeks, Universal and Douglas won the "Spartacus" race.

Douglas originally offered the role of Varinia to French actress Jeanne Moreau, but she didn't want to leave her boyfriend in France. German actress Sabine Bethmann was then cast. The studio gave her the anglicized name of "Sabina Bethman" for use in the film's publicity, but she was replaced by Jean Simmons after only days of filming.

Screenplay development
Howard Fast was originally hired to adapt his own novel as a screenplay, but he had difficulty working in the format. He was replaced by Dalton Trumbo, who had been blacklisted as one of the Hollywood 10, and intended to use the pseudonym "Sam Jackson".

Kirk Douglas insisted that Trumbo be given screen credit for his work, which helped to break the blacklist. Trumbo had been jailed for contempt of Congress in 1950, after which he had survived by writing screenplays under assumed names. Douglas publicly announced that Trumbo was the screenwriter of Spartacus. Further, President John F. Kennedy publicly ignored a demonstration organized by the American Legion and went to see the film.

In his autobiography, Douglas states that this decision was motivated by a meeting that Edward Lewis, Stanley Kubrick, and he had regarding whose names to list for the screenplay in the film credits, given Trumbo's shaky position with Hollywood executives. One idea was to credit Lewis as co-writer or sole writer, but Lewis vetoed both suggestions. Kubrick then suggested that his own name be used. Douglas and Lewis found Kubrick's eagerness to take credit for Trumbo's work revolting, and the next day, Douglas called the gate at Universal saying, "I'd like to leave a pass for Dalton Trumbo." Douglas writes, "For the first time in 10 years, [Trumbo] walked on to a studio lot. He said, 'Thanks, Kirk, for giving me back my name.'

In reality, the public announcement of Trumbo's screenwriting credit for Spartacus did not come until August 1960, seven months after producer-director Otto Preminger's January 20, 1960, announcement that he had hired Trumbo to adapt Leon Uris' novel Exodus for the screen. Douglas later successfully denied Trumbo credit for the film Town Without Pity, as he worried that his continued association with the screenwriter would hurt his career.

Filming
After David Lean turned down an offer to direct Spartacus, Anthony Mann was hired. Mann was then best known for his Westerns such as Winchester '73 and The Naked Spur. Douglas fired Mann at the end of the first week of shooting, during which the opening sequence in the quarry had been filmed. "He seemed scared of the scope of the picture," wrote Douglas in his autobiography, yet a year later, Mann would embark on another epic of similar size, El Cid. The dismissal (or resignation) of Mann is mysterious since the opening sequences, filmed at Death Valley, California, set the style for the rest of the film. Large parts of the film were shot at Wildwood Regional Park in Thousand Oaks, California. Parts were also filmed at nearby California Lutheran University, where an army can be seen storming off Mount Clef Ridge.

Thirty-year-old Stanley Kubrick was hired to take over. He had already directed four feature films (including Paths of Glory, also starring Douglas). Spartacus was a bigger project by far, with a budget of $12 million (equivalent to about $million in today's funds) and a cast of 10,500, a daunting project for such a young director. Paths of Glory, his previous film, had only been budgeted at $935,000. Kubrick immediately fired Sabine Bethmann, who had only worked two days on the film. He and Douglas felt that she wasn't right for the role, so she was paid $3,000 to go home. Bethmann was replaced with Jean Simmons, who had been campaigning for the role. Douglas had originally chosen to cast Bethmann over Simmons because he imagined Varinia having a strikingly different accent from the aristocratic Romans, who were to be played mostly by actors with British accents. Simmons was fortunately still available and took over the role in the film with only a day's notice.

Spartacus was filmed using the 35-mm Super 70 Technirama format and then blown up to 70 mm film. This was a change for Kubrick, who preferred using the standard spherical format. This process allowed him to achieve ultra-high definition and to capture large panoramic scenes. Kubrick had wanted to shoot the picture in Rome with cheap extras and resources, but Edward Muhl, president of Universal Pictures, wanted to make an example of the film and prove that a successful epic could be made in Hollywood itself, and "stem the flood of 'runaway' producers heading for Europe". A compromise was reached by filming the intimate scenes in Hollywood, and the battle scenes, at Kubrick's request, in Spain. Kubrick found working outdoors or in real locations to be distracting, and he believed the actors would benefit more from working on a sound stage, where they could fully concentrate. To create the illusion of the large crowds that play such an essential role in the film, Kubrick's crew used three-channel sound equipment to record 76,000 spectators at a Michigan State – Notre Dame college football game shouting "Hail, Crassus!" and "I'm Spartacus!"

The battle scenes were filmed on a vast plain outside Madrid. About 8,000 trained soldiers from the Spanish infantry were used to double as the Roman army. Kubrick directed the armies from the top of specially constructed towers. However, he eventually had to cut all but one of the gory battle scenes, due to negative audience reactions at test screenings. So precise was Kubrick, that even in arranging the bodies of the slaughtered slaves he had each "corpse" assigned with a number and instructions. Shooting locations also included the countryside near Guadalajara and Iriépal.

Disputes broke out during the filming. Cinematographer Russell Metty, a veteran with experience working in big pictures such as Orson Welles' The Stranger (1946) and Touch of Evil (1958) and Howard Hawks's Bringing Up Baby (1938), complained about Kubrick's unusually precise and detailed instructions for the film's camerawork, and disagreed with Kubrick's use of light. On one occasion, he threatened to quit to Ed Muhl, to which Kubrick told him: "You can do your job by sitting in your chair and shutting up. I'll be the director of photography."  Metty later muted his criticisms after winning the Oscar for Best Cinematography. Kubrick wanted to shoot at a slow pace of two camera set-ups a day, but the studio insisted that he do 32; a compromise of eight had to be made. Kubrick and Trumbo fought constantly over the screenplay. Kubrick complained that the character of Spartacus had no faults or quirks.

Despite the film being a huge box-office success, gaining four Oscars, and being considered to rank among the very best of historical epics, Kubrick later distanced himself from it. Although his personal mark is a distinct part of the final picture, his contract did not give him complete control over the filming, the only occasion he did not exercise such control over one of his films.

Music
The original score for Spartacus was composed and conducted by six-time Academy Award-nominee Alex North. It was nominated by the American Film Institute for their list of greatest film scores. It is a textbook example of how modernist compositional styles can be adapted to the Hollywood leitmotif technique. North's score is epic, as befits the scale of the film. After extensive research of music of that period, North gathered a collection of antique instruments, while not authentically Roman, that provided a strong dramatic effect. These instruments included a sarrusophone, Israeli recorder, Chinese oboe, lute, mandolin, Yugoslav flute, kythara, dulcimer, and bagpipes. North's prize instrument was the ondioline, similar to an earlier version of the electronic synthesizer, which had never been used in film before. Much of the music is written without a tonal center, or flirts with tonality in ways that most film composers would not risk. One theme is used to represent both slavery and freedom, but is given different values in different scenes, so that it sounds like different themes. The love theme for Spartacus and Varinia is the most accessible theme in the film, and  a harsh trumpet figure was created for Crassus.

A soundtrack album was released on LP in 1960, containing selections from the score totaling 41 minutes. This album was released on CD in 1990, to coincide with the film's restoration. Soon after, Varèse Sarabande Records attempted to re-record 75 minutes of highlights from the score personally chosen by North, to be conducted by his friend and fellow film composer Jerry Goldsmith, but the project was delayed multiple times and remained unrecorded when Goldsmith died in 2004.

In 2010, Varèse Sarabande released a limited collector's edition of 5,000 copies, containing six CDs, one DVD, and a 168-page booklet. The first disc contained all 72 minutes of the score that survive in stereo, including all music from the 1960 album. Discs two and three featured the entire score to the film, in mono. Disc four contained alternate and preliminary cues from the original recording sessions. Discs five and six contained re-recordings of the film's iconic love theme, adapted by numerous modern film composers and other musicians. The DVD contained a documentary interviewing those same musicians about the score's impact.

Political commentary, Christianity, and reception
The film parallels 1950s American history, specifically House Un-American Activities Committee (HUAC) hearings and the civil rights movement. The HUAC hearings, where witnesses were pressured to "name names" of communists and communist  sympathizers, mirror the climactic scene as the defeated slaves, ordered by Crassus to identify their leader from the multitude, individually stand up and proclaim, "I'm Spartacus". Howard Fast, author of the original novel, had written Spartacus while in prison for refusal to name names to HUAC investigators.  The fight to end segregation and to extend equality to African Americans is symbolized in the racial mixing in the gladiatorial school, as well as in the army of Spartacus, where all must battle for freedom. Another allusion to the political situation in the United States is hinted at in the beginning, when Rome is described as a republic "fatally stricken with a disease called human slavery", describing Spartacus as a "proud, rebellious son dreaming of the death of slavery, 2000 years before it finally would die". Thus an ethical and political vision becomes a philosophical framework for the ensuing action.

The introductory voice-over also describes Rome as destined to collapse with the rise of Christianity:

In the last century before the birth of the new faith called Christianity, which was destined to overthrow the pagan tyranny of Rome and bring about a new society, the Roman Republic stood at the very center of the civilized world. "Of all things fairest" sang the poet, "First among cities and home of the Gods is Golden Rome." Yet even at the zenith of her pride and power, the Republic lay fatally stricken with the disease called human slavery. The age of the dictator was at hand, waiting in shadows for the event to bring it forth. In that same century, in the conquered Greek province of Thrace, an illiterate slave woman added to her master's wealth by giving birth to a son whom she names Spartacus. A proud, rebellious son, who was sold to living death in the mines of Libya, before his 13th birthday. There, under whip and chain and sun, he lived out his youth and his young manhood, dreaming the death of slavery 2000 years before it finally would die.

Thus, Rome is described as an oppressive state suffering from its own excesses in the years before the adoption of Christian beliefs begins to end Roman oppression and slavery.

While the film's release was occasioned applause from the mainstream media, it sparked protest from right-wing and anticommunist groups such as the National Legion of Decency, which picketed theaters exhibiting the film. The controversy over its "legitimacy as an expression of national aspirations" continued until newly elected US President John F. Kennedy crossed a picket line set up by anticommunist organizers to attend the film.

Release

The film opened to the public on October 6, 1960, at the DeMille Theatre in New York City after four days of invitational previews. It played just 188 theatres in the United States and Canada in its first year and played for over a year at the DeMille before moving to the RKO Palace and opening in the New York circuit theaters around Thanksgiving 1961.

The film was re-released in 1967, without 23 minutes that had been in the original release. For the 1991 release, the same 23 minutes were restored by Robert A. Harris, as were another five minutes that had been cut from the film before its original release.

1991 restoration
The idea for the film's restoration came about after the American Cinematheque asked Universal Pictures for a print of Spartacus following their then-recent tribute to Kirk Douglas. They were later informed that the original negatives had been cut twice and the colors were badly faded. Steven Spielberg gave his backing to the restoration effort and recommended that Stanley Kubrick be informed of the project. Kubrick, who had disowned the film, gave his approval to the effort and participated by providing detailed instructions through long-distance communication via phone and fax machine from London. Kubrick's print of the film, which was donated to the Museum of Modern Art, could not be used for the restoration because it was considered archival. The original studio black-and-white separation prints, used as a backup in 1960, were used, though the processing lab had to develop a new lens capable of printing the Technirama frame without losing fidelity. The restoration cost about $1 million.

A team of 30 archivists restored several violent battle sequences that had been left out because of the negative reaction of preview audiences. Among the deleted footage was a bath scene in which the Roman patrician and general Crassus attempts to seduce his slave Antoninus, speaking about the analogy of "eating oysters" and "eating snails" to express his opinion that sexual preference is a matter of taste rather than morality. The four-minute scene had been removed following an objection by the National Legion of Decency. When the film was restored (two years after Olivier's death), the original dialogue recording of this scene was missing; it had to be redubbed. Tony Curtis, by then 66, was able to re-record his part, but Crassus's voice was an impersonation of Olivier by Anthony Hopkins, who had been suggested by Olivier's widow, Joan Plowright. A talented mimic, Hopkins had been a protégé of Olivier's during Olivier's days as the National Theatre's artistic director, and had portrayed Crassus in the Jeff Wayne musical album. The actors separately recorded their dialogue.

For the 1991 theatrical re-release, Universal Pictures partnered with the American Film Institute, in which the restored film premiered at the Directors Guild of America Theater in Los Angeles on April 25, with the proceeds going towards the AFI Preservation Fund and the Film Foundation. The general release began in Los Angeles, New York City, and Toronto on the following day. On May 3, the release was expanded into an additional 31 cities in the United States and Canada.

Home media
The film was first released on VHS in 1985 by MCA Home Video in a reconstructed version that reinstated most of the footage cut from subsequent reissues. The restored version was released on VHS by MCA/Universal in November 1991, and was subsequently released on LaserDisc by The Criterion Collection the following year. Criterion would later release the movie on DVD in 2001.

The film was released on Blu-ray in 2010 by Universal Pictures, but this release was panned by critics and fans alike, mainly due to the lackluster picture quality and sound. As a result, this release was highly controversial and did poorly in sales.

In 2015, for its 55th anniversary, the film went through an extensive 4K digital restoration, from a 6K scan of the 1991 reconstruction of the film, in which Robert A. Harris served as consultant. The 2015 restoration is 12 minutes longer and the original, six-channel audio track was also remixed and remastered in 7.1 surround sound. The film was re-released to Blu-ray Disc on October 6, 2015, featuring a 1080p transfer of the 2015 restoration in 2.20:1 aspect ratio and 7.1 DTS-HD Master Audio surround sound. Special features include a featurette on the 2015 restoration, a 2015 interview with Kirk Douglas, and several features from the Criterion Collection DVD.

On July 21, 2020, Universal Pictures Home Entertainment released a 4K Blu-ray disc of the film.

The 2015 restoration had originally been scheduled to have its theatrical premiere in March 2015 at the TCM Classic Film Festival, but was pulled from the festival, and from a July 2015 engagement in Chicago, because the restoration had not been completed in time. The DCP version of the restoration played at Film Forum in New York City, November 4–12, 2015.

Reception

Box office
Spartacus was a commercial success upon its release and became the highest-grossing film of 1960. In its first year from 304 dates (including 116 in 25 countries outside the US and Canada), it had grossed $17 million, including nearly $1.5 million from over half a million admission in over a year  at the DeMille Theatre. By January 1963, the film had earned theatrical rentals of $14 million in the United States and Canada. The 1967 re-release increased its North American rentals to $14.6 million.

Critical response

Variety declared in a contemporaneous review, "Spartacus appears to have what it takes to satisfy the multitudes ... Kubrick has out-DeMilled the old master in spectacle, without ever permitting the story or the people who are at the core of the drama to become lost in the shuffle. He demonstrates here a technical talent and comprehension of human values." John L. Scott of the Los Angeles Times praised the "fabulous cast," Trumbo's "expert screenplay" and "impressive" climactic battle scenes, writing, "Here young director Stanley Kubrick gives notice that from now on he's definitely to be reckoned with. His use of cameras and handling of people are very effective and skillful."

Richard L. Coe of The Washington Post wrote that the film "achieves the unlikely triumph of being intimate on a big scale, a lengthy spectacle consistently interesting for reasons that may vary from scene to scene." Harrison's Reports graded the film as "Very Good. A thinking man's star-studded spectacle." Brendan Gill of The New Yorker wrote that the protagonist's speeches "sound much more like Howard Fast ... talking to himself in the nineteen-fifties than they do like an illiterate warrior of the first century before Christ. What redeems the picture is several stretches of good acting, especially by Peter Ustinov and Laurence Olivier; the intrinsic interestingness of the physical details (accurately scaled interiors of Roman houses, Roman legions marching exactly as they must have marched); and the directorial aplomb of Stanley Kubrick, who handles his crowd scenes with extraordinary grace."

Stanley Kauffmann writing for The New Republic said of Spartacus, "entertaining if mindless show, with many well-done scenes, intimate and panoramic."

Not all reviews were positive. Bosley Crowther of The New York Times called the film a "spotty, uneven drama" that "comes out a romantic mish-mash of a strange episode in history. The performances are equally uneven. Mr. Douglas sets his blunt, horse-opera style against the toga-clad precision of Mr. Laughton and the Roman-nosed gentility of Mr. Olivier." The Monthly Film Bulletin found it "disappointing" that "in spite of enormous expenditure, technical resource and an unusually talented team, so much of Spartacus falls into the old ruts of cliché and sentiment." The review noted that Douglas "probably has fewer lines than any other hero in screen history. Unhappily he does not make up for his verbal deficiencies by mobility of countenance, maintaining the same wooden grimace through more than three hours of trial and suffering." When released, the movie was attacked by both the American Legion and the Hollywood columnist Hedda Hopper because of its connection with Trumbo. Hopper stated, "The story was sold to Universal from a book written by a commie and the screen script was written by a commie, so don't go to see it."

Roger Ebert, reviewing the 1991 restored version, gave the film three stars out of four and wrote, "Two things stand up best over the years: the power of the battle spectacles, and the strength of certain performances – especially Olivier's fire, Douglas' strength, and Laughton's mild amusement at the foibles of humankind. The most entertaining performance in the movie, consistently funny, is by Ustinov, who upstages everybody when he is onscreen (he won an Oscar)."

On Rotten Tomatoes the film has an approval rating of 94% based on 63 reviews, with an average rating of 8.2/10. The critical consensus states: "Featuring terrific performances and epic action, Kubrick's restored swords-and-sandals epic is a true classic." On Metacritic it has a weighted average score of 87% based on 17 critics, indicating "universal acclaim".

Awards and nominations

In June 2008, American Film Institute revealed its "10 Top 10"—the best 10 films in 10 "classic" American film genres—after polling over 1,500 people from the creative community. Spartacus was acknowledged as the fifth-best film in the epic genre. AFI also included the film in AFI's 100 Years...100 Thrills (#62), AFI's 100 Years...100 Heroes and Villains (Spartacus #22 Hero), AFI's 100 Years...100 Movies (10th Anniversary Edition) (#81), and AFI's 100 Years...100 Cheers (#44).

"I'm Spartacus!"

In the climactic scene, recaptured slaves are asked to identify Spartacus in exchange for leniency. Spartacus tries to identify himself, but his attempt is thwarted when each of his comrades proclaims himself to be Spartacus, thus sharing his fate. The documentary Trumbo suggests that this scene was meant to dramatize the solidarity of those accused of being Communist sympathizers during the McCarthy era, who refused to implicate others,  thus were blacklisted.

This scene is the basis for an in-joke in Kubrick's next film, Lolita (1962), where Humbert asks Clare Quilty, "Are you Quilty?" to which he replies, "No, I'm Spartacus. Have you come to free the slaves or something?" Many subsequent films, television shows, and advertisements have referenced or parodied the iconic scene. One of these is the film Monty Python's Life of Brian (1979), which reverses the situation by depicting an entire group undergoing crucifixion all claiming to be Brian, who, it has just been announced, is eligible for release ("I'm Brian." "No, I'm Brian." "I'm Brian and so's my wife.") Further examples have been documented in David Hughes' The Complete Kubrick and Jon Solomon's The Ancient World in Cinema.

The audio of the scene was also played at the start of each The Wall Live (2010–2013) tour show as an introduction to the song "In the Flesh?".

In an episode of the U.S. version of The Office, Michael Scott inadvertently reveals he does not understand the point of the "I am Spartacus!" moment. He says, "I've seen that movie half a dozen times, and I still don't know who the real Spartacus is" which he says is what makes the film a "classic whodunit."

This scene is referenced in the Starz 2010 television series, Spartacus: War of the Damned, where many of Spartacus's lieutenants claim to be him while raiding separate areas of the Italian countryside. However, the purpose behind the line is different in this case, as Spartacus and his comrades are attempting to confuse their Roman adversaries about the rebel leader's whereabouts.

In other media
In the American TV Show M*A*S*H, Hawkeye and BJ play charades, in which Spartacus is referenced.  However, M*A*S*H* takes place during the Korean War, which ended in 1953, a full seven years before Spartacus was released, thereby making BJ's reference to "Spartacus" a historical impossibility.

In the teen romantic comedy, Clueless, characters watch Spartacus.

Comic-book adaptation
 Dell Four Color #1139 (November 1960)

Films
 Il Figlio di Spartacus (The Son of Spartacus; English title: The Slave) is a 1962 Italian unofficial sequel to the film.

See also

 List of American films of 1960
 List of films set in ancient Rome
 List of historical drama films
 List of films featuring slavery
 List of war films and TV specials set between 3050 BC and AD 476
 Spartacus (2010–2013 TV series)

References

Citations

General sources

External links

 "Rare, Never-Seen: Spartacus at 50"  at LIFE "Kirk Douglas: Rare Early Photos of a Hollywood Legend"
 "Spartacus"—an essay by Stephen Farber at the Criterion Collection
 Spartacus – Varese Sarabande 6-disc box set music review

1960 films
1960 drama films
1960 war films
1960s historical adventure films
1960s historical films
1960 LGBT-related films
American drama films
American epic films
American historical films
Best Drama Picture Golden Globe winners
Bisexuality-related films
Bryna Productions films
Cultural depictions of Marcus Licinius Crassus
Cultural depictions of Spartacus
Depictions of Julius Caesar on film
Films about gladiatorial combat
Films about rebels
Censored films
Films about slavery
Films adapted into comics
Films based on American novels
Films based on historical novels
Films directed by Stanley Kubrick
Films featuring a Best Supporting Actor Academy Award-winning performance
Films scored by Alex North
Films set in Capua
Films set in the 1st century BC
Films shot in Madrid
Films that won the Best Costume Design Academy Award
Films whose art director won the Best Art Direction Academy Award
Films whose cinematographer won the Best Cinematography Academy Award
Films with screenplays by Dalton Trumbo
Third Servile War films
United States National Film Registry films
Universal Pictures films
Films shot in the province of Guadalajara
1960s English-language films
1960s American films
Films about activists

Spartacus (film)


The Atlanta Compromise was an informal agreement, between the black people of the cotton-producing states of the United States, and the government of these states. It came after a speech by Booker T. Washington, given in 1895. The compromise is the following: The black people would tolerate means of racial segregation, most notably the Jim Crow laws. In exchange the white government of these states would allow them to get some basic education for free; this education was focused on technical jobs or basic training in jobs the industry needed. This would also improve the living conditions of the black people. Black people would no longer focus on fighting for equality, integration into society or justice. White people would finance educational institutions for black people, such as Tuskegee University. Even though people agreed on these points, their agreement was never written down.

Shortly afterwards, around 1900, African-American leaders, such as W. E. B. Du Bois and William Monroe Trotter, said that black people should instead focus on the stuggle for civil rights. It was Du Bois who coined the term to Atlanta Compromise to refer to the speech by Booker T. Washington.

19th century in the United States
African-American history

Atlanta Compromise


The spider species Herpyllus ecclesiasticus is commonly called the eastern parson spider, after the abdominal markings resembling an old-style cravat worn by clergy in the 18th century. It is mainly found in North America east of the Rocky Mountains, from Alberta, Canada, east to Nova Scotia, and south to Tamaulipas, Mexico, and Florida, US. Individuals can be found throughout the year. They can be found in homes and under rocks or logs in deciduous forests.

Description
Individuals are covered with black hairs on the cephalothorax and gray hairs on the abdomen. On the back is the distinctive white mark that gives the species its common name; there is a small white spot above the spinnerets.

Behavior
During the day, individuals reside in silken retreats. They emerge to hunt at night.

Bite
Bites are painful, and some individuals may experience an allergic reaction.

References

Gnaphosidae
Spiders of North America
Spiders described in 1832

Herpyllus ecclesiasticus


Eberhard Werdin (19 October 1911 in Spenge – 25 May 1991 in Weilheim in Oberbayern) was a German composer and writer on music.

He studied in Hanover, Bielefeld and Cologne, and then became a schoolteacher. From 1955 to 1969 he was a lecturer at the conservatory in Düsseldorf, and in 1952 he became a professor at the Municipal Music School in Leverkusen.

Werdin wrote music for the stage, works for school orchestras as well as professional orchestras, choral music and chamber music, including a large number of works for brass instruments. He also wrote on aspects of musical education.

Compositions: Concertino Fur Flöte, Gitarre und Streichorchester (1969)

1911 births
1991 deaths
20th-century classical composers
German classical composers
Hochschule für Musik und Tanz Köln alumni
Officers Crosses of the Order of Merit of the Federal Republic of Germany
German male classical composers
20th-century German composers
20th-century German male musicians

Eberhard Werdin


The Stowe Psalter (British Library Stowe MS 2, also known as Spelman Psalter or King Alfred's Psalter) is a psalter from the "2nd or 3rd quarter of the 11th century", at the end of Anglo-Saxon art.  The text includes the Gallican version of the Psalms, followed by the Canticles with an interlinear Old English gloss.

Description
This Psalter is closely related to the  Tiberius Psalter (British Library Cotton MS. Tiberius C.VI).  Both Psalters have identical prayers added to the end of each psalm. The Psalters also each have large initial "B"s, Beatus initials, at the beginning of Psalm 1 which closely resemble each other in form. The Anglo-Saxon glosses appear to have been written at the same time as the Latin text.

There are 180 extant vellum folios. The folios are 220 by 180 mm, with the text being written in an area of 225 by 120 mm. In its current binding there are two vellum flyleaves that are not counted in the foliation of the manuscript.  Two folios at the end of the Canticles have been cut away. The manuscript was re-bound  in tooled leather during the 17th century.

The text is written in English half-uncials, while the titles of the Psalms are written in rustic capitals.  The large decorated Beatus initial at the beginning of Psalm 1 (folio 1r), and smaller decorated initials at the beginning of Psalm 51 (folio 56r) and Psalm 101 (folio 111v), are the only major decorations in the manuscript, a common pattern in psalters.  Other divisions in the text are marked by smaller colored initials.  There are occasional marginal ritual directions and antiphons added in a 15th-century hand.  There are also a few added marginal decorations.

The manuscript was probably created at the abbey of New Minster, in Winchester.  There are three other manuscripts from New Minster that were written by the scribe of this manuscript.  The manuscript is signed on folio 9 recto "Kateryn Rudston" in a 16th-century hand.  It belonged to Sir Henry Spelman, who signed it on folios 1 recto and 180 verso. An edition of the text was published by Spelman's son.

It was sold by Walter Clavell in 1742. The manuscript was later owned by Thomas Astle, who called it King Alfred's Psalter. Astle included a facsimile of folio 1 verso in his Origin and Progress of Writing. It was owned by the Richard Temple-Nugent-Brydges-Chandos-Grenville, 1st Duke of Buckingham and Chandos and kept at Stowe House. It contains his press mark inside the front cover. In 1849 it was sold by his son, along with the rest of the manuscripts from Stowe House to Bertram Ashburnham, 4th Earl of Ashburnham.  In 1883, the British Museum purchased this manuscript, along with 1084 other manuscripts from the Stowe collection, from the 5th Earl of Ashburnham.

Gallery

See also

 St. Albans Psalter
 Tiberius Psalter

References

Andrew C. Kimmins, The Stowe Psalter,  Toronto Old English Series (1979).

manuscript catalogues
Catalogue of the Stowe Manuscripts in the British Museum, 2 vols (London: British Museum, 1895–1896), I, no. 2.
Gneuss, Helmut, Handlist of Anglo-Saxon Manuscripts: A List of Manuscripts and Manuscript Fragments Written or Owned in England up to 1100, Medieval and Renaissance Texts and Studies, 241 (Tempe: Arizona Center for Medieval and Renaissance Studies, 2001), no. 499.
Ker, N. R., Catalogue of Manuscripts containing Anglo-Saxon (Oxford: Clarendon Press, 1957), no. 271.
O'Conor, Charles, Bibliotheca Ms. Stowensis: A Descriptive Catalogue of the Manuscripts in the Stowe Library, 2 vols (Buckingham: Seeley, 1818–1819), II, 27–34.
Pulsiano, Phillip, Anglo-Saxon Manuscripts in Microfiche Facsimile, Volume 2: Psalters I, Medieval & Renaissance Texts & Studies, 137 (Binghamton, NY: Medieval & Renaissance Texts & Studies, 1994), pp. 65–68.
Temple, Elzbieta, Anglo-Saxon Manuscripts 900-1066, Survey of Manuscripts Illuminated in the British Isles, 2 (London: Harvey Miller, 1976), no. 99, p. 64, pl. 296 [with additional bibliography].

External links
British Library catogue entry
British Library catalogue of illuminated manuscripts entry

Illuminated psalters
2 (Psalter)
Later Anglo-Saxon illuminated manuscripts

Stowe Psalter


Nembe City FC is a Nigerian football club based in Nembe, Bayelsa State, Nigeria.

They won promotion to the Nigeria Premier League by winning their division with a game to go. They became the first Nigerian club since Gabros International in 1998 to be promoted to the top flight in their first year.

The promotion was challenged in January 2013 after a court questioned if the takeover of Dalkat F.C.'s slot in the national League was legal.
They were prohibited from the 2014 season for financial irregularities and not passing a ground inspection, but were readmitted right before Matchday 5.

2013–14 season
The 2013–14 season was a turbulent one for the club. They started the season facing the possibility of not being part of the League as they were unable to produce proof that they could meet the requirements set out by the League Management Company but they were allowed to join the League as the issue was later resolved. But that was the first of many more that beleaguered the team.

They spent most of the season at the foot of the table and were eventually relegated to the lower division amassing just 28 points in 38 matches. They also shipped in a record 73 goals, including a 6–0 trashing in the hands of Dolphins, a game in which striker Emem Eduok scored all six to set the record of most goals scored by a single player in a Nigeria Premier League match.

Achievements
Nigeria National League: 1
2012

References

Club logo
Nembe City gain promotion to Premier League

Association football clubs established in 2011
Football clubs in Bayelsa State
2011 establishments in Nigeria
Sports clubs and teams in Nigeria

Nembe City F.C.


The Fourth Way (1957) is a book about the Fourth Way, a system of self-development as introduced by Greek-Armenian philosopher G.I. Gurdjieff. It is a compilation of the lectures of P. D. Ouspensky at London and New York City between the years 1921 through 1946, published posthumously by his students in 1957.

The term "The Fourth Way" has also come to be used as a general descriptive term for the body of ideas and teachings which Gurdjieff brought to the west from his study of eastern schools.

Ouspensky was given the task of bringing these ideas to a wider audience in an unadulterated form by Gurdjieff. The Fourth Way is considered to be the most comprehensive statement of Gurdjieff's ideas as taught by Ouspensky.

The book consists of adaptations of Ouspensky's lectures, and the accompanying question and answer sessions.

The Fourth Way

The 'Fourth Way' to which the title refers is a method of inner development - "the way of the sly man," as Gurdjieff described it. Rather than the three commonly known ways of enlightenment -- physical, spiritual, and emotional -- The Fourth Way presents a new way of reaching enlightenment, a more effective combination of the three known ways. This way is to be followed under the ordinary conditions of everyday life, as opposed from the three traditional ways that call for retirement from the world: those of the fakir, the monk, and the yogi, which Gurdjieff maintained could only result in partial, unbalanced development of man's potential.

References

Further reading
 Opening Text - The Fourth Way Amazon.com

External links
 Books by P. D. Ouspensky

1957 non-fiction books
Philosophy books
Self-help books
Fourth Way
Books by P. D. Ouspensky
Alfred A. Knopf books

The Fourth Way (book)


American Anthropologist is the flagship journal of the American Anthropological Association (AAA), published quarterly by Wiley. The "New Series" began in 1899 under an editorial board that included Franz Boas, Daniel G. Brinton, and John Wesley Powell. The current editor-in-chief is Elizabeth Chin (ArtCenter College of Design).

The journal publishes research articles from all four subfields of anthropology as well as book reviews and obituaries, and includes sections on Public Anthropologies, Multimodal Anthropologies, and World Anthropologies. The journal also maintains a website with essays, virtual issues, teaching resources, and supplementary material for print articles.

Past editors

F. W. Hodge (1899–1910)

John R. Swanton (1911)

F. W. Hodge (1912–1914)

Pliny E. Goddard (1915–1920)

John R. Swanton (1921–1923)

Robert H. Lowie (1924–1933)

Leslie Spier (1934–1938)

Ralph Linton (1939–1944)

J. Alden Mason (1945–1948)

Melville J. Herskovits (1949–1952)

Sol Tax (1953–1955)

Walter R. Goldschmidt (1956–1959)

Edward H. Spicer (1960–1962)

George D. Spindler (1963–1966)

Ward H. Goodenough (1967–1970)

Laura Bohannan (1971–1973)

Robert A. Manners (1974–1975)

Richard B. Woodbury (1976–1978)

David L. Olmsted (1979–1981)

H. Russell Bernard (1982–1985)

Thomas C. Greaves (1985–1986)

H. Russell Bernard (1986–1989)

Janet Keller (1990–1993)

Barbara Tedlock & Dennis Tedlock (1993–1997)

Robert Sussman (1998–2001)

Susan H. Lees & Fran Mascia-Lees (2001–2005)

Ben Blount (2005–2007)

Tom Boellstorff (2007–2012)

Michael Chibnik (2012–2016)

Deborah A. Thomas (2016–2020)

Four-field approach
The four main subfields of anthropology include cultural, linguistic, archeology, and biological/physical. Sometimes applied anthropology and public anthropology are added as additional subfields.

Among the journals published by the AAA, American Anthropologist is the only one that follows the "four-field" approach, publishing articles from the four main subfields of anthropology. Proponents of the four-field approach see American Anthropologist'''s broad scope as important to maintaining disciplinary unity, while critics have expressed serious reservations about this aim, and criticize pressures since the 1970s against editors and works that do not subscribe to four-field holism as an ideal for anthropological scholarship.

In 2010, then editor-in-chief Tom Boellstorff proposed that American Anthropologist'' be viewed as an "interdisciplinary" journal, arguing that the goal should be "to present the best work in 'anthropology'—as defined in the broadest possible sense. That certainly includes work that speaks across subdisciplines in some manner, often by integrating methods, problematics, and relevant literatures from more than one subfield. However, it also includes work that is not invested in the four-field concept and presents itself as, say, cultural anthropology or archaeology, with no reference to a four-field vision of 'the discipline.'"

Notes

References

External links
 American Anthropologist website

Anthropology journals
Pre-Columbian studies
Publications established in 1888
Mesoamerican studies journals
Wiley-Blackwell academic journals

American Anthropologist


Escape From Terror: The Teresa Stamper Story is a 1995 American crime drama television film based on a true story from Unsolved Mysteries.  It stars Adam Storke, Maria Pitillo, Brad Dourif and Cindy Williams.

Plot

The movie begins with an introduction from Teresa Stamper, giving an interview about her ex-husband Paul Stamper, and how he caught her when she wasn't looking with her thinking that he was a charmer.

The story then flashes back to when 23-year-old Teresa Walden was living with her mother, Wanda, in Hennessey, Oklahoma in November 1982. She applies for a job as a secretary for Stamper Oil Company, owned and operated by Paul Stamper. She gets the job and becomes attracted to Paul, her boss, and they eventually begin dating. One day, Paul brings Teresa some flowers and a wedding ring and proposes to her. They get married in Las Vegas in February 1983; and afterwards, Paul gives Teresa's job away to another lady Mrs. Lawson, angering Teresa.

When Teresa confronts Paul about it, he slaps her across the face, which begins a string of abusive episodes. Later, he shows up at Wanda's house, where Teresa had moved back to, and apologizes to Teresa. It is revealed that Teresa's father abused Wanda when Teresa was a little girl. Meanwhile, Paul takes Teresa to a house he bought, and also gives Teresa a new jacket he bought for her, and they kiss and make up.

After two years of a seemingly happy marriage, Paul and Teresa have a daughter, whom they name Katie. However, unbeknownst to Teresa, Paul had been stealing oil pumps. When Teresa goes to look for Paul at a local bowling alley, he abuses her again by yelling at her and grabbing her violently believing that she is seeing someone behind his back. The next day, Charlie, one of Paul's employees, informs Teresa about Paul's theft and that Paul had also been abusing drugs; but Teresa doesn't believe it.

Later that night, Teresa takes Paul to a bar, believing that he is just tired from working. While at the bar, Teresa sneaks into the men's bathroom, and catches Paul injecting himself with heroin. He hits her violently and leaves. Teresa is found by an old friend from high school, Chris Butler, who takes her to the hospital. At the hospital, Sheriff Bill Douglass advises Teresa to get a restraining order against Paul, which states that if Paul bothers Teresa again, he will be jailed.

The next day, Teresa hires an attorney and files for divorce. She obtains a restraining order against Paul, and the attorney gives Teresa a tape recorder to record any potentially abusive phone calls from Paul. Later that night, when Paul calls Teresa, threatening to kill her if she divorces him, she records the call. In court, Paul lies and says that he never threatened to kill Teresa and that he loved her, but Teresa's attorney proves him wrong by playing the tape. The judge then grants Teresa a restraining order against Paul and orders him to stay away from her or else he will be arrested.

After the divorce, Teresa begins a relationship with Chris. One night, as they are driving home, they are pulled over by a car that they think is the police, but it is Paul, posing as a police officer and stalking Teresa. Paul shoots Chris and kidnaps Teresa. Paul holds Teresa hostage until the next day, when she manages to escape from him at a diner and she hurries to a nearby establishment, and calls 9-1-1. The police then catch Paul, who attempts to escape on a bus, and arrest him. Teresa is returned home to Wanda and Katie, learning that Chris survived the shooting.

In jail, Paul meets an inmate who will be released in three days. Seeing this as an opportunity for a jailbreak, Paul lies to the inmate, telling him that he is rich and will pay him if he helps him escape. The inmate foolishly believes Paul, and helps him break out of jail. Sheriff Douglass finds out and advises Teresa, Wanda, and Katie to stay at his sister-in-law's house in Norman, Oklahoma, until they recapture Paul. Their escape from Paul is unsuccessful, as he finds them there and leaves Teresa flowers. Sheriff Douglass tries to recapture Paul at the hotel room of the inmate who had helped him escape from prison, but the recapture was also unsuccessful. Chris encourages Teresa to break up with him so she can start a new life, to which she kisses him and accepts.

Five years later, on Katie's fifth birthday at their new house in Nashville Tennessee, Paul calls Teresa and tells her to wish his daughter a happy birthday for him. Teresa tells Paul to leave her and Katie alone. Teresa reports this incident to Sheriff Douglass and he decides to put Paul's picture on the TV show Unsolved Mysteries. People begin to call in about a man supposedly named Gary Wickle, who resembles Paul and who is a truck driver. "Wickle" lives in Commerce City, Colorado and had kidnapped a woman, threatening to kill her if she didn't marry him.

Douglass calls the Commerce City Police and asks them to do surveillance of Gary Wickle's house, where it is revealed that "Gary Wickle" is in fact Paul Stamper. He had married a woman with two children of her own from a previous marriage, and she is pregnant with their first child together. As Paul boards his truck to make a delivery run to Kansas, the police ambush and arrest him. When Sheriff Douglass gets the news, he informs Teresa and she happily embraces her mother.

Back to the present day; Teresa, in her interview, reveals that Paul was sentenced to 35 years in prison and that after the trial he was still saying that he loved Teresa. Teresa also says Paul never knew what love was and that she now knows what it isn't.

Cast
Adam Storke as Paul Stamper-Teresa's abusive husband, the father of Katie from his marriage to Teresa and an unborn child from his 2nd marriage, and the film's main antagonist who stalks his 1st wife throughout the movie.  He owns an oil company.  He later works for a trucking company in Colorado under the alias Gary Wickle.
Maria Pitillo as Teresa Walden Stamper-Paul's wife, mother of Katie, and daughter of Wanda.  She's the film's Main protagonist who must protect her mother and daughter from her abusive husband.
Brad Dourif as Sheriff Bill Douglass-the sheriff who makes sure Teresa is safe and tries to catch Paul.
Cindy Williams as Wanda Walden-mother of Teresa and maternal grandmother of Katie.  She suffered from an abusive marriage to Teresa's dad.
Tony Becker as Chris Butler-A friend of Teresa's who she later starts to date, and gets shot by Paul but survives.
Luce Rains as Charlie-One of Paul's employees at the oil company who senses that Paul is trouble.
Stanley M. Fisher as the judge-a judge who grants Teresa a restraining order from Paul after she divorces him.
Pat Mahoney as Luke Burnham-a kind elderly man who Paul buys his house from for him and Teresa after Luke moves.
Caitlyn Flinn as Jennifer, the little girl on the bus-a little girl who Paul meets on the bus while trying to escape from the police.  Her parents are divorced and she is on the bus to go visit her grandmother on her farm.

References

External links

1995 television films
1995 films
1995 crime drama films
American crime drama films
Films about domestic violence
Crime films based on actual events
American drama television films
1990s English-language films
1990s American films

Escape from Terror: The Teresa Stamper Story


YMCK is a Japanese chiptune band, composed of Midori Kurihara (vocals), Takeshi Yokemura (music, lyrics, arrangement), and Tomoyuki Nakamura (composition, music video).

Their work has not been confined to Japan, having released albums in Korea, Thailand and the United States as well as appearing at various events around East Asia and Europe.

YMCK's name is derived from the CMYK subtractive color model.

History
YMCK was formed in May 2003 when Kurihara joined Yokemura and Nakamura. They soon released their first work; a CD-R containing 6 tracks.

In 2004, YMCK appeared at Microdisko in Stockholm, Sweden. In the same year they released their first full album, Family Music.

In 2005, YMCK again appeared outside Japan, this time at the Formoz Festival in Taipei, Taiwan and at the Fat Festival in Bangkok, Thailand. This year also marks the first release of the Magical 8bit Plug, a synthesizer developed by Yokemura himself, motivated by frustration with the quality of game sounds available in the synthesizers used for Family Music. Now making use of the Magical 8bit Plug, they released their second album: Family Racing.

In 2006, they again appeared at the Formoz Festival in Taiwan.

In 2008, YMCK  released their third album Family Genesis, now under pop label Avex Trax, made available for the first time on the iTunes Store in the United States. Later that year and under the same label, they would release their first cover album, the YMCK Songbook, a collection of covers of Japanese music from the era before the NES.

In January 2009, they appeared in Sweden once again, this time at UppCon in Uppsala, and also played in the opening ceremonies for Katsucon 15 in Arlington, Virginia (DC). In that same month they also released Family Cooking. In 2009, YMCK also remixed the No. 1 hit song Days by Japanese mega-star Ayumi Hamasaki.

During 2013, YMCK released Family Days, this time through not records. The theme of this album was said to be YMCK describing their own ordinary lives.

In 2015, they released Family Dancing.

In 2017, Family Swing was released, and for the first time they also released through Bandcamp, under U.K. chiptune label Hyperwave.

Discography

Note: The English is not necessarily a direct translation of the Japanese. The English titles are taken from the English version of the website. For example, track one on "FAMILY RACING" was actually titled "FAMILY RACING" instead of "Opening" on the Japanese release.

Studio albums

FAMILY MUSIC (CD-R edition) (2003, self-released)
 Opening
 Pastel Colored Candy [パステル・キャンディーは悪魔のささやき]
 Darling
 Pow * Pow
 Does John Coltrane Dream of a Merry-go-round? [ジョン・コルトレーンは回転木馬の夢を見るか]
 Yellow, Magenta, Cyan and Black (Theme of YMCK) [Yellow, Magenta, Cyan and Black (YMCKのテーマ)]

Family Music (2004, Usagi-Chang (Japan)/Pastel (South Korea)/Records of the Damned (United States))
 Fanfare [ファンファーレ]
 Magical 8bit Tour
 Pastel Colored Candy [パステル・キャンディーは悪魔のささやき]
 Darling
 POW * POW
 Interlude
 SOCOPOGOGO (YMCK Version)
 Synchronicity
 Tetrominon -From Russia with Blocks-
 Does John Coltrane Dream of a Merry-go-round? [ジョン・コルトレーンは回転木馬の夢を見るか]
 Yellow, Magenta, Cyan and Black (Theme from YMCK) [Yellow, Magenta, Cyan and Black (YMCKのテーマ)]
 Your Quest is Over

Family Racing (2005, Usagi-Chang (Japan)/Pastel (South Korea)/smallroom (Thailand)
 Opening [ファミリーレーシング]
 Panic Racer 005 [パニックレーサー005]
 Go YMCK, Go!
 Come on! Swing all stars. [カモン!スウィングオールスターズ]
 Rock'n Roll rendezvous feat. Takahashi Meijin [ロッケンロール・ランデブー featuring 高橋名人]
 Sakana no Mabataki [魚のまばたき]
 Milky Blue -Riddle In Wonderland- [Milky Blue ~不思議の国のリドル~]
 Kira * Kira [キラ*キラ]

Family Genesis (2008, avex Group (Japan)/Records of the Damned (United States))
 Prologue [プロローグ]
 Sabita Tobira no Dai 8 Tengoku [錆びた扉の第8天国]
 Pleiades [プレアデス]
 Starlight
 Izukata no Fue [何方(いずかた)の笛]
 Carving the Rock
 Future Invasion [フューチャー・インヴェージョン]
 Rain
 System Reboot [システム・リブート]
 Floor 99
 Major Swing
 8 Ban me no Niji [8番目の虹]
 Jidai Okure no Sora [時代遅れの空]
 Finale ~Welcome to the 8-bit World~ [フィナーレ ~Welcome to the 8bit world~]

YMCK SONGBOOK: songs before 8bit (2008, avex Group (Japan) - Covers album; original artists listed in parentheses)
 Yume no Naka e (Inoue Yosui)
 Bokutachi no Shippai (Morita Doji)
 Ningen Nante (Yoshida Takuro)
 Kasa ga Nai (Inoue Yosui)
 Shunkashuto (Izumiya Shigeru)
 Manzoku Dekirukana (Endo Kenji)
 Kotoba ni Dekinai (Oda Kazumasa)
 Jinsei o Katarazu (Yoshida Takuro)
 Marude Shojikimono no Yoni (Tomobe Masato)

Family Cooking (2009, Avex Group (Japan))
 Omocha no Heitai no March [おもちゃの兵隊のマーチ]
 Curry da yo! [カレーだよ!]
 Sarada Shabadaba [サラダ・シャバダバ]
 Mitsuboshi Chef no Uta [三ツ星シェフの歌]
 Gourmet na Aitsu [グルメなアイツ]
 Fuwafuwa Tamago no Omu Rice [ふわふわ卵のオムライス]
 Kaerimichi, Bangohan [帰り道、晩ご飯]
 Wonderful Chocolate [ワン!ダブル・チョコレート]
 Ban Ban Cooking [バンバンクッキング]

Family Days (2013, not records (Japan))
Yozora Ha Machino
Sakaraigataki Unmei No Naka
Mirai No Natsumero (feat. P.O.P ORCHeSTRA)
Dot No Hibi
Neko Ni Kakomarete Kurashitai
Sasetsushite Usetsushite
Mata Aruki Dasu Tameni

Family Dancing (2015, not records (Japan))
Los Colors de la Vida
Neo Identity
Disko Kitsch
Time Bomb
Perfect Device
52 Futures
Unity
You Can Be a Star

Family Swing (2017, not records (Japan))
National Anthem of Retrojuego
Glory in my hands (Theme song of YMCK the phantom thieves)
Emerald tact
Great mission Yeah-yeah
Teatime
Thrill me (Theme song of the swingers the phantom thieves)
Melancholic swingers
Slapstick car chase
Random parade
A world waits for me
Annoying swingers
Sound of music

PiCTOBiTS
YMCK composed the music for the DSiWare downloadable puzzle game PiCTOBiTS, which features 8-bit music from Nintendo games.

References

External links
Official Website
Myspace Website
Interview with Deathrockstar (2007)
YMCK biography at Jaapan
Hyperwave records' Bandcamp

Japanese electropop groups
Musical groups established in 2003
Avex Group artists
Chiptune musical groups

YMCK


Empress Hu (胡皇后, personal name unknown) was an empress of the Chinese Northern Qi dynasty. She was Gao Wei's second empress.

She was the daughter of Hu Changren (胡長仁) the Prince of Longdong, who was the brother of Gao Wei's mother Empress Dowager Hu—making her and her husband cousins. Empress Dowager Hu had been discovered by Gao Wei to have carried out an affair with the Buddhist monk Tanxian (曇獻) in 571, and he put her under house arrest. Ashamed and wanting to please her son, she summoned Hu Changren's daughter to the palace and dressed her in the best clothes.  Gao Wei saw her and was infatuated with her. He took her as a concubine.

After Gao Wei killed the general Hulü Guang on suspicion of treason in 572, he deposed Hulü Guang's daughter Empress Hulü.  His powerful wet nurse Lu Lingxuan wanted to make her adoptive daughter Consort Mu Sheli, the mother of Gao Wei's crown prince Gao Heng, empress, but Empress Dowager Hu wanted Consort Hu to be empress.  Not confident that she had sufficient persuasive power, however, she had to flatter and give gifts to Lady Lu, requesting her help. Lady Lu, seeing that Gao Wei favored Consort Hu at that time, she jointly submitted, with the official Zu Ting, the suggestion to make Consort Hu empress. In fall 572, Gao Wei created Consort Hu empress.  To show his love for her, he made clothes out of pearls for her, although those clothes were later burned in a fire.

However, Lady Lu did not relent in her hopes of making Consort Mu empress, stating to Gao Wei, "How can a son be crown prince and a mother be a servant girl, a concubine?" But as Gao Wei favored Empress Hu, she could not carry out her wishes. She therefore engaged witches to use witchcraft on Empress Hu.  It was said that within a month, Empress Hu began to show symptoms of psychosis, often mumbling to herself or laughing without cause.  Gao Wei began to fear and dislike her.  In winter 572, Lady Lu put Consort Mu in empress clothing and put her in a tent, surrounded with magnificent jewelry, and then told Gao Wei, "Let me show you a holy woman."  When Gao Wei saw that it was Consort Mu, Lady Lu stated, "For a woman this beautiful not to be empress, who would be qualified to be empress?"  Gao Wei agreed with her, and he created Consort Mu "Right Empress" and gave Empress Hu the title "Left Empress."

Around the new year 573, Lady Lu would further carry out adverse action against Empress Hu. She intentionally acted angry before Empress Dowager Hu and stated, "What kind of niece would use that kind of language?" When Empress Dowager Hu asked her about it, she initially refused to say anything, and then when Empress Dowager Hu persisted, she said that Empress Hu had told Gao Wei, "The empress dowager's behavior is immoral and should not be followed." Empress Dowager Hu was incensed, and without verifying the information, she ordered Empress Hu be expelled from the palace, and then had Gao Wei depose her. However, at times, Gao Wei missed her, and he often sent gifts to her.  When rival Northern Zhou launched a major attack in 577 and threatened the capital Yecheng in the spring of 578, she, along with his other deposed empress Empress Hulü, was summoned to the main palace, probably for her protection. Yecheng fell a few days later, and Gao Wei was captured in flight. Northern Zhou took over Northern Qi's territory. She subsequently remarried, although her new husband's name, unlike Empress Hulü's, was not recorded in history. It is not known when she died.

References

Northern Qi empresses
Northern Zhou people
6th-century Chinese women
6th-century Chinese people

Empress Hu (Gao Wei's wife)


Jean-Baptiste Moreau (c.1656 – 24 August 1733) was a French composer of the baroque period. He served as the master of music at the court of Louis XIV. His compositional output includes several motets and music for the theatre.

Life and career
Born in Angers, Moreau was a choirboy at the Cathédrale Saint-Maurice d'Angers, and it was there that he received his musical education. He worked in Langres and Dijon for short periods, before moving to Paris to become a court musician. He eventually was appointed master of music at the court and was awarded a pension from the king upon his retirement.  Moreau contributed original music to the premieres of the final two plays of Racine, Esther and Athalie. Moreau also composed musical interludes for Duche's Jonathas, Boyer's Jephte, Absalon, Debora and various divertissements.  He was also active as a teacher and counts among his pupils Louis-Nicolas Clérambault, Jean-François Dandrieu, and Michel Pignolet de Montéclair. He died in Paris.

References

External links

1650s births
1733 deaths
18th-century classical composers
18th-century French composers
18th-century French male musicians
French Baroque composers
French male classical composers
Musicians from Angers
17th-century male musicians

Jean-Baptiste Moreau


The Happy Ending is a 1969 drama film written and directed by Richard Brooks, which tells the story of a repressed housewife who longs for liberation from her husband and daughter. It stars Jean Simmons (who received an Oscar nomination), John Forsythe, Shirley Jones, Lloyd Bridges and Teresa Wright.

Plot
1953: Through the course of a Colorado autumn and winter, Mary Spencer (Jean Simmons) and Fred Wilson (John Forsythe) lead an idyllic existence. Mary drops out of college (with 6 months to go) to marry Fred. Their perfect wedding mirrors the happy endings of the films Mary loves.

1969: It is the Wilson's 16th wedding anniversary. On his way to work, Fred, a successful tax consultant, tells their maid Agnes (Nanette Fabray) that he has found vodka hidden in Mary's wardrobe and asks Agnes to keep an eye on his wife. Mary sets out for the beauty parlour. At an airline office, however, Mary buys a one-way ticket to Nassau, Bahamas, looking for an escape from her dull and unhappy suburban life.

On the flight she recalls the horrors of last year's anniversary party, when Fred drunkenly flirted with a blonde divorcee, and she took refuge in the bottle and a rerun of Casablanca. At a stop-over, she calls home and learns this year's anniversary party has been a different sort of disaster. Her teenage daughter Marge (Kathy Fields) is scared by Mary's call, as it reminds her of the time she had found her mother unconscious after an overdose.

En route to Nassau, Mary meets Flo (Shirley Jones), an old college friend she has not seen since 1953. While Mary settled down to married life, Flo has been the mistress of a series of married men, lives a carefree and hedonistic lifestyle, and has fully embraced the sexual revolution. She is on her way to Nassau to meet her latest beau, Sam (Lloyd Bridges). Mary tells her she has had to get away from Fred, so Flo promises to look after her.

In the Bahamas, Mary enjoys the sun and long, empty stretches of beach. At a casino, she meets Franco (Bobby Darin), a hustler from Los Angeles who is down on his luck. Franco mistakenly assumes that Mary is wealthy. He affects an Italian accent and tells Mary he is a journalist who writes about film stars. She agrees to go to "his" boat, but when he learns Mary is not wealthy, Franco quickly loses interest, confessing his scam.

Walking by the ocean, Mary recalls the occasion of her suicide attempt — she had returned from having a face lift to learn that Fred was in Reno with a girl. Marge had found her in danger of death and rushed her to hospital. After that, Mary resumed drinking, recklessly spent a lot of money, and crashed her car while driving drunk.

In the present, Sam proposes to Flo, who accepts. Mary flies back home. Agnes helps her move into rooms she has rented away from Fred and Marge. She takes a job and enrolls in night classes at the university. It is at the college where Fred finds Mary one evening. He asks, "What went wrong? All our friends are married, and they're happy...or seem to be. Alright, they put up with it. But without marriage, life would be disorganized, crazy." Her reply: "People in love are crazy." They tell one another they still love each other, but "it's not enough," she says. After some more conversation as he walks her toward the university entrance, she asks "If we were not married, would you marry me again?" The look on his face and lack of an affirmative answer says it all.

Cast

 Jean Simmons as Mary Wilson
 John Forsythe as Fred Wilson
 Shirley Jones as Flo Harrigan
 Lloyd Bridges as Sam
 Teresa Wright as Mrs. Spencer
 Dick Shawn as Harry Bricker
 Nanette Fabray as Agnes
 Bobby Darin as Franco (credited as Robert Darin)
 Tina Louise as Helen Bricker
 Kathy Fields as Marge Wilson
 Karen Steele as Divorcee
 Gail Hensley as Betty
 Eve Brent as Ethel
 William O'Connell as Minister
 Barry Cahill as Handsome Man
 Miriam Blake as Cindy
 John Gallaudet as Airplane Passenger (uncredited)
 Erin Moran as Marge Wilson as a Child (uncredited)
 Nanci Roberts as Model (uncredited)

Production
The film was rated 'M' certificate, and has a running time of 112 minutes.

Music for the film was composed and conducted by Michel Legrand, the song lyrics by Alan Bergman and Marilyn Bergman. The soundtrack performance of "What Are You Doing the Rest of Your Life?" was sung by Michael Dees and the soundtrack songs "Hurry Up 'N Hurry Down" and "Something for Everybody" were performed by William Eaton. The film was nominated for Academy Awards for Best Actress in a Leading Role (Jean Simmons) and Best Music, Song (Michel Legrand, Alan Bergman, and Marilyn Bergman for "What Are You Doing the Rest of Your Life?"). The song was one of the eight pieces of music chosen by Jean Simmons when she appeared on the BBC radio program Desert Island Discs on  11 August 1975.

Awards and nominations

See also
 List of American films of 1969

References

External links

1969 films
Adultery in films
American psychological drama films
1960s English-language films
1960s feminist films
Films about suicide
Films directed by Richard Brooks
Films scored by Michel Legrand
Films set in 1953
Films set in 1969
Films set in Colorado
Films set in the Bahamas
Films with screenplays by Richard Brooks
United Artists films
1960s psychological drama films
1969 drama films
1960s American films

The Happy Ending


Caroline Louise Dudley (June 10, 1857 – November 13, 1937) was an American silent film and stage actress who found fame on Broadway through collaborations with impresario David Belasco. She was a strikingly beautiful and vivacious performer, known as "The American Sarah Bernhardt". She acted under her married name, Mrs. Leslie Carter, which she continued to use even after her divorce.

Early life
Caroline Dudley was born in Lexington, Kentucky. The exact date is not known but research points to the year 1857. Her father, Orson Dudley, was a wholesale dry goods merchant of means, who gave his daughter every advantage that money could bestow. Her mother was the former Catherine Dudley. Most of Dudley's childhood was spent in Dayton, Ohio. She aspired to the stage from the time she was a girl, but did not get to do so before her marriage.

In 1880, Caroline married lawyer Leslie Carter. They had one child, a son, Dudley Carter. In 1887, she filed for divorce on the grounds of physical assault and abandonment. But in 1889, Mr. Carter obtained the divorce, naming actor H. Kyrle Bellew as co-respondent. Her son, Dudley, chose to live with his mother and was cut from his father's will as a result. The filing and results of the divorce became a scandal and was covered by contemporary press.

Career
Her subsequent career on stage became a success. Her association with Broadway impresario David Belasco propelled her to great theatrical fame. Her first hit was as the lead character in The Heart of Maryland (1895), set during the American Civil War. It was a huge hit. In this play, she wore a wig with six-foot tresses. Her great scene came as the heroine swinging in a belfry tower, her hands gripping the clapper to prevent the ringing of a huge curfew bell. The swinging of Mrs. Carter 35 feet above the stage, with off-stage fans used to blow her long tresses streaming, set New York audiences cheering.

This was followed by her even more sensational successes in Zaza (1898) and Madame Du Barry (1901).

In July 1906, she married actor (William) Louis Payne (1875 – August 17, 1955). He was often her leading man on stage and later managed her business affairs. They adopted a daughter, Mary Carter Payne. She broke with Belasco after her second marriage and abandoned Broadway in favor of vaudeville.

In 1915, pioneer producer George Kleine hired her to recreate Madame Du Barry for the movies. She followed it with a screen version of her first success, the American Civil War melodrama The Heart of Maryland. Neither film was a success. Carter's last stage hit was in Somerset Maugham's drawing-room comedy The Circle (1921), co-starring John Drew.

Carter returned to vaudeville. In 1926, she was fired during a tryout of The Shanghai Gesture in which she had been cast as Mother Goddam. As she owned a half-interest in the show, which went on to be a Broadway success, she received half the royalties. She appeared in the road version of the show after its New York run.

Later years
Carter retired to California but returned to the screen twice in 1935, first as George F. Marion's wife in the Zane Grey western Rocky Mountain Mystery (aka The Fighting Westerner) starring Randolph Scott. She next had a small role in Becky Sharp, starring Miriam Hopkins.

She died in 1937 in Santa Monica, California of heart disease. She is buried in Woodland Cemetery, Dayton, Ohio in the family plot with her second husband, her son Dudley, and several other Dudley and Payne family members.

Legacy
The ascendancy of Carter in the theatrical world was fictionalized in the film Lady with Red Hair (1940), in which she was portrayed by Miriam Hopkins. Claude Rains portrayed David Belasco. Her second husband Louis Payne was a technical adviser on the film. Louis Payne died in 1955 at the Motion Picture Country Home.

Ghost
Her ghost reportedly haunts the Theater Republic, where she got her start. If something goes wrong backstage, staff and visiting companies at The New Victory Theater say that they are being visited by the ghost of Mrs. Leslie Carter.

Filmography
 The Scales of Justice (1914)
 DuBarry (1915)
 The Heart of Maryland (1915)
 The Lifeguardsman (1916)
 Rocky Mountain Mystery (1935)
 Becky Sharp (1935) (uncredited)

References

Bibliography
 "Sued for Divorce; Wealthy Lawyer Carter's Wife Makes Serious Allegations." The New York Times,  November 19, 1887. page 2
 "A Revolting Case Disposed of." New York Times, May 23, 1889. page 1
 "Mrs. Leslie Carter Dies in California", The New York Times, November 14, 1937, page 53.

External links

Mrs Carter photo gallery NYP Library

1857 births
1937 deaths
19th-century American actresses
American stage actresses
20th-century American actresses
American silent film actresses
Actors from Lexington, Kentucky
Actresses from Dayton, Ohio
Vaudeville performers
Actresses from Kentucky
Burials at Woodland Cemetery and Arboretum

Mrs. Leslie Carter


The 1940 Sugar Bowl featured the top-ranked Texas A&M Aggies, and the fifth-ranked Tulane Green Wave. The game was played at Tulane's home field, Tulane Stadium.

Background
Texas A&M entered the game with an undefeated record and a ranking of #1 in the AP Poll, having six shutouts while allowing just 18 points the whole year. They entered the polls at #9 prior to their game against TCU on October 21, slowly rising up the ranks to #1 before their match-up against Texas on November 30, whom they shut out 20-0. They finished as champion of the Southwest Conference for the first time in 12 years. Tulane began the years with three wins before a tie to North Carolina that made them go from #4 in the polls to #9. However, they rose back up to #9 with five straight wins, including victories over #14 Ole Miss and #20 Alabama, finishing as co-champion of the Southeastern Conference with Tennessee and Georgia Tech, their first title in five years.

Game summary
Texas A&M took lead in the a first quarter with a 1-yard touchdown run from running back John Kimbrough. He finished the game with 159 yards rushing on 25 carries.  In the third quarter, Tulane's Kellogg returned a punt 75 yards for touchdown, tying the game at 7–7. In the third quarter, Tulane's Monnett Butler, former Oak Grove High School star, scored on a 2-yard touchdown run. The extra point attempt was blocked, giving Tulane a 13–7. Kimbrough's second rushing touchdown of the game rallied the Aggies to a 14–13 win.

References

Sugar Bowl
Sugar Bowl
Texas A&M Aggies football bowl games
Tulane Green Wave football bowl games
Sugar Bowl
Sugar Bowl

1940 Sugar Bowl


Medium format has traditionally referred to a film format in photography and the related cameras and equipment that use film. Nowadays, the term applies to film and digital cameras that record images on media larger than the  used in 35 mm photography (though not including 127 sizes), but smaller than  (which is considered large format photography).

In digital photography, medium format refers either to cameras adapted from medium-format film photography uses or to cameras making use of sensors larger than that of a 35 mm film frame. Some of the benefits of using medium-format digital cameras include higher resolution sensors, better low-light capabilities compared to a traditional 35mm DSLR, and a wider dynamic range.

Characteristics
Medium-format cameras made since the 1950s are generally less automated than smaller cameras made at the same time. For example, autofocus became available in consumer 35 mm cameras in 1977, but did not reach medium format until the late 1990s, and has never been available in a consumer large format camera.

The main benefit of medium-format photography is that, because of the larger size of the film or digital sensor (two to six times larger than 35 mm), images of much higher resolution can be produced. This allows for bigger enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. The larger size of the film also allows for better control of the depth of field and therefore more photographic creativity.

Cameras with a bellows typically support 'tilt and shift' of the lens. This permits landscape photography with the appearance of an extremely large depth of field – from closest foreground to the far horizon – to be achieved, by aligning the plane of focus with the subject plane of interest, using the Scheimpflug principle.

Compared with 35 mm, the main drawbacks are accessibility and price. While 35 mm cameras, film, and photo finishing services are generally widely available and cheap, medium format is usually limited to professional photography shops and can be prohibitively expensive. Also, medium-format cameras tend to be bulkier than their 35 mm counterpart.

Film handling
The medium-format film is usually roll film, typically allowing 8 to 32 exposures on one roll of film before reloading is needed. This is fewer than 35 mm cartridges, which typically take 12 to 36 pictures on one roll. This is somewhat offset by the fact that most medium-format systems used interchangeable film magazines, thereby allowing photographers to switch rolls quickly, allowing them larger numbers of exposures before needing to load new film or to change the film type. Some companies had bulk film backs that used 70 mm double-perforated film that allowed up to 75 feet of film to be loaded at one time. While rolls of large format film were produced at one time, their use was specialized, typically for aerial cameras installed in military aircraft or printing industry equipment.

Most large format film is sheet film, that is, film where each picture is on a separate piece of film, requiring that the camera be frequently reloaded, usually after every picture, sometimes using magazines of up to five pictures or reduction backs that allow multiple pictures on a single sheet of film. Medium-format sheet film was produced for some cameras, but these cameras tend to be smaller, lighter, and easier to use than large format gear. Sheet film was never commonly used in cameras smaller than medium format.

Film cost per exposure is directly related to the amount of film used, thus, the larger the film size, the more expensive each picture will be. An 8 by 10 in large-format negative is far more expensive than a 6 by 6 cm medium-format picture, which is substantially more expensive than a frame of 35 mm film.

35 mm cartridges are generally easier to load and unload from a camera than medium-format rolls. A 35 mm cartridge is placed inside a camera, and in most motorized cameras this is all that is needed; the camera loads the film and rewinds it into the cartridge for removal. Far fewer medium-format cameras are motorized, and medium-format roll film does not have sprocket holes, so loading often requires that marking on the backing paper of the film be lined up with markings on the camera, and on unloading, the backing paper must be carefully secured to protect the film from light.

120, 220 and 620 film

All medium-format cameras mass-produced today (as of 2022) use the 120 film format. Additionally, many are capable of using the 220 film format, effectively doubling the number of frames available with 120 film.  Medium-format roll film is still available from specialty shops and photographic laboratories, yet it is not as ubiquitous as 135 (35 mm) film.

The 620 format was introduced by Kodak in 1931 as an alternative to 120. It was discontinued in 1995. The 620 format is essentially the same film on a thinner and narrower all-metal spool. While 620 film is required on a number of old Kodak Brownie cameras, many of these cameras can accommodate the slightly larger 120 rolls/spools. In other situations where the camera cannot accommodate a 120 spool, the 120 film can be rolled onto a 620 spool in a darkroom or changing bag.

This film is shot in a variety of aspect ratios, which differ depending on the camera or frame insert used. The most common aspect ratios are 6×6 cm (square/1:1) and 6×4.5 cm (rectangular/4:3). Other frequently used aspect ratios are 6×7 cm, 6×9 cm, and 6×17 cm panoramic. The 6×4.5 cm format is usually referred to as "645", with many cameras that use this ratio bearing "645" in their product name. Cameras that can switch to different aspect ratios do so by either switching camera backs, by using a frame insert, or by use of special multi-format backs. All of these dimensions are nominal; actual dimensions are a bit different. For example, 6×7 cm might give an image on film that is actually 56×70 mm; this enlarges exactly to fill an 8×10 sheet of paper. Another feature of many medium-format models is the ability to use Polaroid instant film in an interchangeable back. Studio, commercial and architectural photographers value this system for its ability to verify the focus and exposure.

70 mm film – still versus cine
For some professional medium-format cameras, those used in school portraiture for example, long-roll film magazines were available. Most of these accommodated rolls of film that were 100 ft (30.5 m) long and 70 mm wide, sometimes with perforations, sometimes without. Some cameras, such as the Hasselblad, could be equipped with film magazines holding 15 foot rolls of double perforated 70 mm film passed between two cassettes. 70 mm was a standard roll film width for many decades, last used as late as the 1960s for 116 and 616 size roll films. It was also used for aerial photo-mapping, and it is still used by large format cinema systems such as IMAX.

70 mm film used in still cameras, like Mamiya and Hasselblad, and 70 mm print film used in IMAX projectors have the same gauge or height as 120 film. With 70 mm cine projector film, the perforations are inset by 2.5 mm to make room for the old-style optical sound tracks; a standard established by Todd-AO in the 1950s. IMAX cameras use 65 mm film, which have perforations and pitch that match-up to the 70 mm film used in IMAX projectors.

System cameras

Many professional medium-format cameras are system cameras, which means that they have various interchangeable parts. Like most 35 mm SLRs, these cameras usually support different lenses, but in addition it is also standard for medium-format system cameras to support different winding mechanisms, viewfinders, and camera backs. This flexibility is one of the primary advantages of medium-format photography.

Digital medium format
Digital photography came to the medium-format world with the development of digital camera backs, which can be fitted to many system cameras. Digital backs are a type of camera back that have electronic sensors in them, effectively converting a camera into a digital camera. These backs are used predominantly by professional photographers. As with film, due to the increased size of the imaging chip (up to twice that of a 35 mm film frame, and thus as much as 40 times the size of the chip in a typical pocket point-and-shoot camera) they deliver more pixels than consumer-grade cameras, and have lower noise. Features like fan cooling also improve the image quality of studio models.

This market began in 1992 when Leaf Systems Inc. released their first digital camera back (4 Megapixels), named the "DCB" (often described as 'a brick'). Initially mounted on Sinar Studio cameras, the camera backs were later moved to medium-format units. By the late 1990s, a number of companies produced digital camera backs of various types.

In the 2000s, the number of vendors of both high-end medium-format camera systems and digital backs began to decrease. The performance of digital SLRs cut into the sale of film-based medium-format systems, while the tremendous development expenses for medium-format digital systems meant that not all vendors could profitably compete. Contax and Bronica ceased production of cameras, Kodak stopped making their DCS series of backs, and camera and back manufacturers began to integrate.

Camera maker Hasselblad merged with digital imaging firm Imacon and partnered with Fuji to design and produce a new line of digital-friendly medium-format cameras, the H-Series. Since the manufacturer plans to sell digital backs integrated with the camera, other makers of digital backs are far less likely to be able to sell backs for this camera.

Camera maker Mamiya developed the 22MP Mamiya ZD in 2004, the first ever medium format DSLR. It also developed a ZD digital back but announced a partnership with back maker Phase One. Camera maker Sinar was taken over in stages by the digital camera back manufacturer and developer Jenoptik, and partnered with Rollei for the development of the Hy6 medium-format camera systems. DHW Fototechnik presented at photokina 2012 an updated version of the Hy6, called the Hy6 Mod2.

The Leaf Aptus 75S digital back offers 33MP resolution, with a shooting speed of 50 frames a minute. In early 2006 Hasselblad (H2D and H3D) and Phase One (P45) released a 39 megapixel back. In 2008, Phase One announced the P65+, a 60 megapixel back, the highest resolution single-shot digital back at that time (2008). Phase One continues to dominate high end non-interpolated imaging with the largest market share.  Sinar continues to provide its primary Digital View Camera system while still supporting the HY6 medium format with a new platform independent eSprit 65 LV digital camera back. On 20 September 2010, Leaf released a 80MP digital back, the Aptus-II 12. The Leaf Aptus-II 12's sensor size of 53.7 mm × 40.3 mm is 92% of the area of a 56 mm × 41.5 mm standard-sized 6 × 4.5 frame, 69% of a 56 mm × 56 mm square-sized 6 × 6 frame, and 45% of the area of a 56 mm × 84 mm 6 × 9 frame.

Available since December 2010, Pentax 645D is 40 megapixel medium-format DSLR. The camera has 44×33 mm image sensor and the raw file is in DNG format. It is the first digital version of the company's 645 medium-format camera system and it is compatible with the existing 645 system lenses.

In early 2014, for the first time Medium format uses CMOS sensor instead of CCD sensor for better image quality mainly in High ISO with a dynamic range of up to 14 f-stops. Phase One and Hasselblad use the same 50MP CMOS sensors made by Sony. Similarly, the Pentax 645Z uses a 51.4 MP CMOS sensor.

Fujifilm started its GFX series of medium format digital cameras with the introduction of 50MP GFX 50S model released in January 2017, and as of 2022 has six cameras in the GFX lineup, including three 102MP models with the maximum resolution of 11,648 x 8,736 pixels.

Low-budget medium-format cameras

While most professional medium-format cameras are expensive, some cheaper plastic imports, such as the Diana and Holga cameras, are gaining in popularity for their creative potential. In the past, these kinds of cameras have been referred to as toy cameras, but now they are considered a real creative alternative to professional medium-format cameras and are sought after for the unique experimental results they can create.

Lower cost medium-format cameras like the Diana F+ and Belair X 6-12 are sold through various outlets, including the Austrian Lomography company. In 2007, Lomography brought the 1960s Diana camera back to the market with the Diana F+ camera, a system camera that allows photographers to experiment with interchangeable lenses, flashes, and film backs. These cameras are characterized by their plastic lenses, light leaks that oddly colorize an image, extreme vignetting, and color saturation. While these elements can be considered as flaws to photographers seeking perfect images, many people enjoy the "artistic" results. Because of the popularity of the Lomography photographic style, medium-format photography has seen a resurgence with amateur photographers.

Twin-lens reflex cameras (TLRs) and folders without the distortion and light leaks can be purchased on the used market in the same price range. The Chinese Seagull TLR and medium-format cameras from the former Soviet Union such as the Russian Lubitel and somewhat better made Ukrainian Kiev-Arsenal 60 and 88 are also available at moderate prices. These cameras can deliver quality images, although the lenses and camera bodies are not at the level of those from Swedish, German, and Japanese manufacturers. Depending on the condition of the camera, they can produce images ranging from the Lomographic style to images closer to their European and Japanese counterparts. In 2008 Lomography also reintroduced the previously discontinued Lubitel with the Lubitel 166+, a recreation of the original 1946 Lubitel camera with some new features including dual-format capability.

Since 2014, Lomography has been producing its medium format version of the Soviet-original Lomo LC-A camera, the Lomo LC-A 120, as compact option for medium format photographers.

Used folding cameras, TLRs, and box cameras are also an inexpensive option to shoot medium format. Many U.S.-made folders, including most of the mass-produced Kodak folders, use the discontinued 620 film requiring the user to respool 120 films or modify the film spool to fit.

Open source 3D printed cameras
There have been several projects to produce open source 3D printed cameras including K-Pan and Dora Goodman Cameras which produces medium format cameras as well as 35mm and large format compatible cameras. Goodman cameras are compatible with Mamiya press lenses and some Mamiya medium format film backs.

See also
 Asahi Pentax
 Alpa
 Fujifilm
 Hasselblad
 Leica
 Linhof
 Mamiya
 Minolta
 Pentax
 Phase One
 Press camera
 Rolleiflex

References

External links
 DW Photo Manufacturer of the Rolleiflex Hy6 camera
 DHW Fototechnik (Old factory site of the digital and analog Rolleiflex medium-format cameras) English and German
 Medium-format camera and film Film Photography Guide
 Choosing a medium-format camera on Photo.net
 Buying classical cameras - medium format by David Silver
 The Medium Formats Overview by Roger W. Hicks
 Configurations of various cameras - Camera backs - Lens
 Is a medium format camera right for you? British journal of photography
 Rolleiflex Repair Shops worldwide by Ferdi Stutterheim
 Why Medium Format Film Photography is Still Better than Digital Blog of Michael Elliott, London film photographer and heavy medium format film user.

Film formats

Medium format


Southern is the adjective form of south. It may refer to:

Education
 Southern University, a university in the U.S. state of Louisiana
 Southern Adventist University, Collegedale, Tennessee, United States
 Southern Connecticut State University, New Haven, Connecticut, United States
 Southern High School, various schools

Organisations
 Southern Railway (disambiguation), various railways
 Southern Airways, a defunct airline
 Southern Air, an airline based in Norwalk, Connecticut, U.S.
 Southern Company, a U.S. electricity corporation
 Southern Records, an independent record label
 Southern Television, a now defunct UK television company
 Southern (train operating company), current train operator for some services in Southern England.

Surname
 Caleb Southern, American music producer
 Edwin Southern, molecular biologist
 Eileen Southern, American musicologist
 Jeri Southern, American jazz pianist and singer
 Keith Southern, English association football player for Blackpool F.C.
 Richard Southern (1903–1989), British theatre designer
 R. W. Southern (1912–2001), British medieval historian
 Sarah Southern, British businesswoman and former Conservative Party official
 Steve Southern, Australian professional rugby player
 Terry Southern, American writer

Sports
 Southern 500, a NASCAR car race
 Southern 500 (1950-2004), a former NASCAR race
 Southern Conference, a Division I college athletic conference affiliated with the National Collegiate Athletic Association (NCAA)
 Southern Jaguars, the athletic program of the main campus of Southern University
 Southern League, various sports leagues

Geographic locations
 Southern Hemisphere
 Southern Ocean, the waters surrounding Antarctica
 Southern United States
 Southern (country subdivision)

Surnames

Southern


TuRU Düsseldorf is a German sports club (football and handball) from the city of Düsseldorf, North Rhine-Westphalia.

History
Turn- und Rasensport Union Düsseldorf claims a number of early Düsseldorf clubs in its heritage. Düsseldorf Fußball Klub Union was created on 10 May 1905 as Düsselsdorfer Fußball Klub Union through the merger of Vorwärts Düsseldorf and Borussia Düsseldorf with onetime members of Fußball Club Britannia Düsseldorf. The club was renamed Düsseldorfer Sport Club Union in 1911 and in 1913 advanced to the final of the Westdeutcher Fußball Verband where they lost to Duisburger Spielverein, which then went on to the national final against VfB Leipzig. SC joined Verein für Rasensport Düsseldorf and Friedrichstädter Turnverein 1880 to form TuRU in 1919. Until July 1916 VfR had played as Sport Club Athen Düsseldorf.

TuRU in its turn advanced to the final of the Westdeutcher Fußball Verband in 1923 where they dropped a 3:4 decision to Arminia Bielefeld. Two years later they avenged themselves on both Duisburger SV and Bielefeld, defeating these sides on their way to a national quarterfinal match up versus Hertha BSC Berlin where they were eliminated.

From 1935 to 1942 Düsseldorf played in the Gauliga Niederrhein, one of sixteen top flight divisions formed in the 1933 reorganization of German football under the Third Reich. TuRU made its only DFB-Pokal (German Cup) appearance in 1937 in play for the Tschammerpokal, predecessor to the modern day cup competition, and also sent two representatives to the national side in the late 1930s.

Following World War II TuRU played briefly (1949–52) in the 2. Oberliga West (II), and then in the Landesliga Niederrhein (III) until late in the decade, before slipping into lower level amateur football. The club returned to the Landesliga in 1965 and established itself in fourth- and fifth-tier play over the next several decades. They captured Landesliga Niederrhein titles in 1994 (V tier) and 2003 (VI tier). Düsseldorf was promoted to the Oberliga Nordrhein on the strength of their 2004 Verbandsliga Niederrhein (V) title and have played at that level until 2008, earning lower-table results.

The club currently plays in the tier five Oberliga Niederrhein.

Honours
The club's honours:
 Landesliga Niederrhein (V–VI)
 Champions: 1994, 2003
 Verbandsliga Niederrhein (V)
Champions: 2004

Stadium
TuRU Düsseldorf plays its home fixtures in the Stadion an der Feuerbachstraße (capacity ~7,500).

Current football squad

External links

 Abseits Guide to German Soccer

Football clubs in Germany
Football clubs in North Rhine-Westphalia
Sport in Düsseldorf
Association football clubs established in 1919
1919 establishments in Germany

TuRU Düsseldorf