Vertigo is a 1958 American psychological thriller film directed and produced by Alfred Hitchcock. The story was based on the 1954 novel D'entre les morts (From Among the Dead) by Boileau-Narcejac. The screenplay was written by Alec Coppel and Samuel A. Taylor. The film stars James Stewart as former police detective John "Scottie" Ferguson, who has retired because an incident in the line of duty has caused him to develop acrophobia (an extreme fear of heights) and vertigo, a false sense of rotational movement. Scottie is hired by an acquaintance, Gavin Elster, as a private investigator to follow Gavin's wife, Madeleine (Kim Novak), who is behaving strangely.

The film was shot on location in the city of San Francisco, California, as well as in Mission San Juan Bautista, Big Basin Redwoods State Park, Cypress Point on 17-Mile Drive, and Paramount Studios in Hollywood. It is the first film to use the dolly zoom, an in-camera effect that distorts perspective to create disorientation, to convey Scottie's acrophobia. As a result of its use in this film, the effect is often referred to as "the Vertigo effect". In 1996, the film underwent a major restoration to create a new 70 mm print and DTS soundtrack.

Vertigo received tepid reviews in 1958 but is now cited not only as Hitchcock's best film but also as one of the greatest films ever made. In 1989, it was one of the first 25 films selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant". The film appears repeatedly in polls of the best films by the American Film Institute, including a 2007 ranking as the ninth-greatest American movie ever. Attracting significant scholarly attention, it replaced Citizen Kane (1941) as the greatest film ever made in The Sight & Sound Greatest Films of All Time 2012 poll, and came in 2nd in 2022.

Plot

After a rooftop chase in which a fellow policeman falls to his death, San Francisco detective John "Scottie" Ferguson retires out of fear of heights and vertigo. His ex-fiancée says that another severe emotional shock may be the only cure.

Gavin Elster, an acquaintance from college, asks Scottie to follow his wife, Madeleine, claiming that she has been behaving strangely. Scottie follows Madeleine to the Mission San Francisco de Asís and the grave of Carlotta Valdes (1831–1857), and to the Legion of Honor art museum, where she gazes at the Portrait of Carlotta.

A local historian explains that Carlotta Valdes committed suicide: she had been the mistress of a wealthy married man and borne his child; the otherwise childless man kept the child and cast Carlotta aside. Carlotta (who Gavin fears is possessing Madeleine) is Madeleine's great-grandmother, although Madeleine has no knowledge of this and does not remember the places she visited. Scottie rescues her when she leaps into the bay at Fort Point.

The next day, Madeleine stops to deliver a letter of gratitude to Scottie, and they spend the day together. They travel to Muir Woods and Cypress Point on 17-Mile Drive, where they embrace. The next day, Madeleine recounts a nightmare. Scottie identifies its setting as Mission San Juan Bautista, the childhood home of Carlotta. He drives her there and they express their love for each other. Madeleine suddenly runs into the church and up the bell tower. Scottie, halted by his fear of heights, sees Madeleine plunge to her death.

An inquest declares her death to be a suicide. Gavin does not fault Scottie, but Scottie becomes clinically depressed and is sent to a sanatorium, almost catatonic. Following his release, he frequents the places Madeleine visited, often imagining that he sees her. One day, he notices a woman on the street who, although superficially very different, reminds him of Madeleine. She identifies herself as Judy Barton, from Salina, Kansas.

A flashback reveals that Judy was the person Scottie knew as "Madeleine Elster". She was impersonating Gavin's wife in an elaborate murder scheme. Gavin took advantage of Scottie's fear of heights to substitute his wife's freshly-killed body in the apparent "suicide jump". Judy considers confessing to Scottie but continues the charade because she loves him.

They begin seeing each other, but Scottie remains obsessed with "Madeleine". He asks Judy to change her clothes and dye her hair to resemble her. After she complies, he notices her wearing the necklace portrayed in Carlotta's painting. He realizes the truth and drives Judy back to the Mission.

There, he tells her he must re-enact the event that led to his madness, and admits he now knows that "Madeleine" and Judy are the same person and Judy was Gavin's mistress before being cast aside. He forces her up the bell tower and makes her admit her deceit. He reaches the top, finally conquering his fear of heights. Judy confesses that Gavin paid her to impersonate a "possessed" Madeleine. She begs Scottie to forgive her. He embraces Judy, but a shadowy figure — a nun investigating the noise — rises from the tower's trapdoor, startling her. Judy lunges backward and accidentally falls to her death. Scottie, bereaved once again but cured of his fear of heights, stands on the ledge while the nun rings the mission bell.

Cast
 James Stewart as John "Scottie" Ferguson
 Kim Novak as Judy Barton / Madeleine Elster
 Tom Helmore as Gavin Elster
 Barbara Bel Geddes as Marjorie "Midge" Wood
 Henry Jones as the coroner
 Raymond Bailey as Scottie's doctor
 Ellen Corby as the manager of the McKittrick Hotel
 Konstantin Shayne as bookstore owner Pop Leibel
 Lee Patrick as the car owner mistaken for Madeleine

Alfred Hitchcock makes his customary cameo appearance walking in the street in a gray suit and carrying a trumpet case.

Themes and interpretations
Charles Barr in his monograph dedicated to the study of Vertigo has stated that the central theme of the film is psychological obsession, concentrating in particular on Scottie as obsessed with the women in his life. As Barr states in his book, "This story of a man who develops a romantic obsession with the image of an enigmatic woman has commonly been seen, by his colleagues as well as by critics and biographers, as one that engaged Hitchcock in an especially profound way; and it has exerted a comparable fascination on many of its viewers. After first seeing it as a teenager in 1958, Donald Spoto had gone back for 26 more viewings by the time he wrote The Art of Alfred Hitchcock in 1976. In a 1996 magazine article, Geoffrey O'Brien cites other cases of 'permanent fascination' with Vertigo, and then casually reveals that he himself, starting at age 15, has seen it 'at least thirty times'."

Critics have interpreted Vertigo variously as "a tale of male aggression and visual control; as a map of female Oedipal trajectory; as a deconstruction of the male construction of femininity and of masculinity itself; as a stripping bare of the mechanisms of directorial, Hollywood studio and colonial oppression; and as a place where textual meanings play out in an infinite regress of self-reflexivity." Critic James F. Maxfield has suggested that Vertigo can be interpreted as a variant on the Ambrose Bierce short story "An Occurrence at Owl Creek Bridge" (1890), and that the main narrative of the film is actually imagined by Scottie, whom we see dangling from a building at the end of the opening rooftop chase.

Production

Development

The screenplay of Vertigo is an adaptation of the 1954 French novel D'entre les morts (From Among the Dead) by Pierre Boileau and Thomas Narcejac. Hitchcock had attempted to buy the rights to the previous novel by the same authors, Celle qui n'était plus (She Who Was No More), but he failed, and it was made instead by Henri-Georges Clouzot as Les Diaboliques. Although François Truffaut once suggested that D'entre les morts was specifically written for Hitchcock by Boileau and Narcejac, Narcejac subsequently denied that this was their intention. However, Hitchcock's interest in their work meant that Paramount Pictures commissioned a synopsis of D'entre les morts in 1954, before it had even been translated into English (it appeared in translation as The Living and the Dead in 1956).

In the book, Judy's involvement in Madeleine's death was not revealed until the denouement. At the script stage, Hitchcock suggested revealing the secret two-thirds of the way through the film, so that the audience would understand Judy's mental dilemma. After the first preview, Hitchcock was unsure whether to keep the "letter writing scene" or not. He decided to remove it. Herbert Coleman, Vertigos associate producer and a frequent collaborator with Hitchcock, felt the removal was a mistake. However, Hitchcock said, "Release it just like that." James Stewart, acting as mediator, said to Coleman, "Herbie, you shouldn't get so upset with Hitch. The picture's not that important." Hitchcock's decision was supported by Joan Harrison, another member of his circle, who felt that the film had been improved. Coleman reluctantly made the necessary edits. When he received news of this, Paramount head Barney Balaban was very vocal about the edits and ordered Hitchcock to "Put the picture back the way it was." As a result, the "letter writing scene" remained in the final film.

Writing
There were three screenwriters involved in the writing of Vertigo. Hitchcock originally hired playwright Maxwell Anderson to write a screenplay, but rejected his work, which was titled Darkling, I Listen, a quotation from John Keats's 1819 poem "Ode to a Nightingale". According to Charles Barr in his monograph dedicated to Vertigo, "Anderson was the oldest (at 68) [of the three writers involved], the most celebrated for his stage work, and the least committed to cinema, though he had a joint script credit for Hitchcock's preceding film The Wrong Man. He worked on adapting the novel during Hitchcock's absence abroad, and submitted a treatment in September 1956."

A second version, written by Alec Coppel, again left the director dissatisfied. The final script was written by Samuel A. Taylor—who was recommended to Hitchcock due to his knowledge of San Francisco— from notes by Hitchcock. Among Taylor's creations was the character of Midge. Taylor attempted to take sole credit for the screenplay, but Coppel protested to the Screen Writers Guild, which determined that both writers were entitled to a credit, but to leave Anderson out of the film writing credits.

Casting
Vera Miles, who was under personal contract to Hitchcock and had appeared on both his television show and in his film The Wrong Man, was originally scheduled to play Madeleine. She modeled for an early version of the painting featured in the film. Following delays, including Hitchcock becoming ill with gallbladder problems, Miles became pregnant and had to withdraw from the role. The director declined to postpone shooting and cast Kim Novak as the female lead. By that time, Novak had delayed prior film commitments and a vacation promised by Columbia Pictures, the studio that held her contract, and Miles had given birth and was available for the film. Nevertheless, Hitchcock proceeded with Novak. Columbia head Harry Cohn agreed to lend Novak to Vertigo if Stewart would agree to co-star with Novak in Bell, Book and Candle, a Columbia production released in December 1958.

Filming

Initial on-site principal photography

Vertigo was filmed from September to December 1957. Principal photography began on location in San Francisco in September 1957 under the working title From Among the Dead (the literal translation of D'entre les morts). The film uses extensive location footage of the San Francisco Bay Area, with its steep hills and tall arching bridges. In the driving scenes shot in the city, the main characters' cars are almost always pictured heading down the city's steeply inclined streets. In October 1996, the restored print of Vertigo debuted at the Castro Theatre in San Francisco with a live on-stage introduction by Kim Novak, providing the city a chance to celebrate itself. Visiting the San Francisco film locations has something of a cult following as well as modest tourist appeal. Such a tour is featured in a subsection of Chris Marker's 1983 documentary montage Sans Soleil.

The scene in which Madeleine fell from the tower was filmed at Mission San Juan Bautista, a Spanish mission in San Juan Bautista, California. Associate producer Herbert Coleman's daughter Judy Lanini suggested the mission to Hitchcock as a filming location. A steeple, added sometime after the mission's original construction and secularization, had been demolished following a fire, so Hitchcock added a bell tower using scale models, matte paintings, and trick photography at the Paramount studio in Los Angeles. The original tower was much smaller and less dramatic than the film's version. The tower's staircase was later assembled inside a studio.

List of shooting locations
Scottie's apartment (900 Lombard Street) is one block downhill from the "crookedest street in the world". The facade of the building remained mostly intact until 2012, when the owner of the property erected a wall enclosing the entrance area on the Lombard side of the building.
The rooftop chase took place on Taylor Street between 1302 and 1360. 1308 Taylor Street went up for sale in 2016 for $2.2 million.
The Mission San Juan Bautista, where Madeleine falls from the tower, is a real place, but the tower had to be matted in with a painting using studio effects; Hitchcock had first visited the mission before the tower was torn down due to dry rot, and was reportedly displeased to find it missing when he returned to film his scenes. The original tower was much smaller and less dramatic than the film's version.
The Carlotta Valdes headstone featured in the film (created by the props department) was left at Mission Dolores. Eventually, the headstone was removed as the mission considered it disrespectful to the dead to house a tourist attraction grave for a fictional person. All other cemeteries in San Francisco were evicted from city limits in 1912, so the screenwriters had no other option but to locate the grave at Mission Dolores.
Madeleine jumps into the sea at Fort Point, underneath the Golden Gate Bridge.
The gallery where Carlotta's painting appears is the California Palace of the Legion of Honor in San Francisco. The Carlotta Valdes portrait was lost after being removed from the gallery, but many of the other paintings in the background of the portrait scenes are still on view.
What purports to be Muir Woods National Monument in the film is in fact Big Basin Redwoods State Park; however, the cutaway of the redwood tree showing its age was copied from one that can still be found at Muir Woods.
The coastal region where Scottie and Madeleine first kiss is Cypress Point, along the 17 Mile Drive near Pebble Beach. However, the lone tree they kiss next to was a prop brought specially to the location.
The domed building Scottie and Judy walk past is the Palace of Fine Arts.
Coit Tower appears in many background shots. Hitchcock once said that he included it as a phallic symbol. Also prominent in the background is the tower of the San Francisco Ferry Building.
The exterior of the sanatorium where Scottie is treated was St. Joseph's Hospital, located at 355 Buena Vista East, across from Buena Vista Park. The hospital, which was not a sanatorium, was closed in 1979  and then converted into condominiums. The building, built in 1928, is on the National Register of Historic Places.
Gavin and Madeleine's apartment building "The Brocklebank" at 1000 Mason Street on Nob Hill, still looks essentially the same. It is across the street from the Fairmont Hotel, where Hitchcock usually stayed when he visited and where many of the cast and crew stayed during filming. Shots of the surrounding neighborhood feature the Flood Mansion and Grace Cathedral. Barely visible is the Mark Hopkins Hotel, mentioned in an early scene in the movie.
The "McKittrick Hotel" was a privately owned Victorian mansion from the 1880s at Gough and Eddy Streets. It was torn down in 1959 and is now an athletic practice field for Sacred Heart Cathedral Preparatory School. The St. Paulus Lutheran Church, seen across from the mansion, was destroyed in a fire in 1995.
Podesta Baldocchi is the flower shop Madeleine visits as she is being followed by Scottie. The shop's location at the time of filming was 224 Grant Avenue. The Podesta Baldocchi flower shop now does business from a location at 410 Harriet Street.
The Empire Hotel is a real place, called the York Hotel, and now (as of January 2009) the Hotel Vertigo at 940 Sutter Street. Judy's room was created, but the green neon of the "Hotel Empire" sign outside is based on the actual hotel's sign (it was replaced when the hotel was renamed).
Ernie's (847 Montgomery St.) was a real restaurant in Jackson Square, one mile from Scottie's apartment. It is no longer operating.
One short scene shows Union Square at dawn.  Pop Leibel's bookstore, the Argosy, was not a real location, but one recreated on the Paramount lot in imitation of the real-life Argonaut Book Store, which still exists near Sutter and Jones.
Elster's fictitious Dogpatch shipyard office was filmed at the real (or simulated with mattes) Union Iron Works shipyard, by then the post-WW2 Bethlehem Steel shipyard. Elster's office has a MIssion telephone exchange (MI or 64) prefix, regarding which Midge says "Why, that's Skid Row", probably because the city's southern MIssion exchange served all of the south-of-slot (SoMa today) and southern (Mission District) phones, and this shipyard area of course met the description of a Skid Row.

Subsequent studio shooting
Following 16 days of location shooting, the production moved to Paramount's studios in Hollywood for two months of filming. Hitchcock preferred to film in studios as he was able to control the environment. Once sufficient location footage had been obtained, interior sets were designed and constructed in the studio.

Hitchcock popularized the dolly zoom in this film, leading to the technique's sobriquet, amongst several others, "the Vertigo effect". This "dolly-out/zoom-in" method involves the camera physically moving away from a subject whilst simultaneously zooming in (a similar effect can be achieved in reverse), so that the subject retains its size in the frame, but the background's perspective changes. Hitchcock used the effect to look down the tower shaft to emphasise its height and Scottie's disorientation. Following difficulties filming the shot on a full-sized set, a model of the tower shaft was constructed, and the dolly zoom was filmed horizontally. The "special sequence" (Scottie's nightmare sequence) was designed by artist John Ferren, who also created the painting of Carlotta used in the film.

The rotating patterns in the title sequence were done by John Whitney, who used a mechanical computer called the M5 gun director, AKA the Kerrison Predictor, which was used during World War II to aim anti-aircraft cannons at moving targets. This made it possible to produce an animated version of shapes (known as Lissajous curves) based on graphs of parametric equations by mathematician Jules Lissajous.

Costume design
Hitchcock and costume designer Edith Head used color to heighten emotion. Grey was chosen for Madeleine's suit in an attempt to be psychologically jarring, as it is not usually a blonde's color. In contrast, Novak's character wore a white coat when she visited Scottie's apartment, which Head and Hitchcock considered more natural for a blonde to wear.

Alternative ending
A coda to the film was shot that showed Midge at her apartment, listening to a radio report (voiced by San Francisco TV reporter Dave McElhatton) describing the pursuit of Gavin Elster across Europe. Midge switches the radio off when Scottie enters the room. They then share a drink and look out of the window in silence. Contrary to reports that this scene was filmed to meet foreign censorship needs, this tag ending had originally been demanded by Geoffrey Shurlock of the U.S. Production Code Administration, who had noted: "It will, of course, be most important that the indication that Elster will be brought back for trial is sufficiently emphasized."

Hitchcock finally succeeded in fending off most of Shurlock's demands (which included toning down erotic allusions) and had the alternative ending dropped. The footage was discovered in Los Angeles in May 1993, and was added as an alternative ending on the LaserDisc release, and later on DVD and Blu-ray releases.

Music

The score was written by Bernard Herrmann. It was conducted by Muir Mathieson and recorded in Europe because there was a musicians' strike in the U.S.

In a 2004 special issue of the British Film Institute's (BFI) magazine Sight & Sound, director Martin Scorsese described the qualities of Herrmann's famous score:

Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again ... And the music is also built around spirals and circles, fulfillment and despair. Herrmann really understood what Hitchcock was going for — he wanted to penetrate to the heart of obsession.

Graphic design
Graphic designer Saul Bass used spiral motifs in both the title sequence and the movie poster, emphasizing what the documentary Obsessed with Vertigo calls, "Vertigos psychological vortex". Bass's unconventional framing of actress Audrey Lowell's facial features in the first images of the titles was indebted to Bauhaus photography. According to her 1997 Guardian interview Kim Novak wanted to do the opening title sequence but Harry Cohn insisted Hitchcock pay full rate for the single day's shooting and so another face was chosen.

Release
Vertigo premiered in San Francisco on May 9, 1958, at the Stage Door Theater at Mason and Geary (now the August Hall nightclub). While Vertigo did break even upon its original release, earning $3.2 million in North American distributor rentals against its $2,479,000 cost, it earned significantly less than other Hitchcock productions.

Restoration and re-release

In October 1983, Rear Window and Vertigo were the first two films reissued by Universal Pictures after the studio acquired the rights from Hitchcock's estate. These two films and three others – The Man Who Knew Too Much (1956), The Trouble with Harry (1955), and Rope (1948) – had been kept out of distribution by Hitchcock since 1968. Cleaning and restoration were performed on each film when new 35 mm prints were struck.

In 1996, the film was given a lengthy and controversial restoration by Robert A. Harris and James C. Katz and re-released to theaters. The new print featured restored color and newly created audio, using modern sound effects mixed in DTS digital surround sound. In October 1996, the restored Vertigo premiered at the Castro Theatre in San Francisco, with Kim Novak and Patricia Hitchcock in person. At this screening, the film was exhibited for the first time in DTS and 70mm, a format with a similar frame size to the VistaVision system in which it was originally shot.

Significant color correction was necessary because of the fading of original negatives. In some cases a new negative was created from the silver separation masters, but in many instances this was impossible because of differential separation shrinkage, and because the 1958 separations were poorly made. Separations used three individual films: one for each of the primary colors. In the case of Vertigo, these had shrunk in different and erratic proportions, making re-alignment impossible.

As such, significant amounts of computer assisted coloration were necessary. Although the results are not noticeable on viewing the film, some elements were as many as eight generations away from the original negative, in particular the entire "Judy's Apartment" sequence, perhaps the most pivotal sequence in the entire film. When such large portions of re-creation become necessary, then the danger of artistic license by the restorers becomes an issue, and the restorers received some criticism for their re-creation of colors that allegedly did not honor the director's and cinematographer's intentions. The restoration team argued that they did research on the colors used in the original locations, cars, wardrobe, and skin tones. One breakthrough moment came when the Ford Motor Company supplied a well-preserved green paint sample for a car used in the film. As the use of the color green in the film has artistic importance, matching a shade of green was a stroke of luck for restoration and provided a reference shade.

When restoring the sound, Harris and Katz wanted to stay as close as possible to the original, and had access to the original music recordings that had been stored in the vaults at Paramount. However, as the project demanded a new 6-channel DTS stereo soundtrack, it was necessary to re-record some sound effects using the Foley process. The soundtrack was remixed at the Alfred Hitchcock Theatre at Universal Studios. Aware that the film had a considerable following, the restoration team knew that they were under particular pressure to restore the film as accurately as possible. To achieve this, they used Hitchcock's original dubbing notes for guidance of how the director wanted the film to sound in 1958. Harris and Katz sometimes added extra sound effects to camouflage defects in the old soundtrack; i.e., "hisses, pops, and bangs". In particular, they added extra seagull cries and a foghorn to the scene at Cypress Point. The new mix has also been accused of putting too much emphasis on the score at the expense of the sound effects.

Home media
In 1996, director Harrison Engle produced a documentary about the making of Hitchcock's classic, Obsessed with Vertigo. Narrated by Roddy McDowall, the film played on American Movie Classics, and has since been included with DVD versions of Vertigo. Surviving members of the cast and crew participated, along with Martin Scorsese and Patricia Hitchcock. Engle first visited the Vertigo shooting locations in the summer of 1958, just months after completion of the film.

Vertigo was first released on DVD in March 1998. On October 4, 2011, the film was re-issued on DVD by Universal Pictures Home Entertainment as part of the Alfred Hitchcock: The Essentials Collection. Subsequently, the film was released on Blu-ray on September 25, 2012, as part of the Alfred Hitchcock: The Masterpiece Collection. In May 2014, the film was re-released as a stand-alone Blu-ray edition. Some home video releases, such as the 2005 Hitchcock Masterpiece Collection DVD set, contain the original mono track as an option.

In October 2014, a new 4K restoration was presented at the Castro Theatre in San Francisco. This version gives credit to Harris and Katz at the end of the film, and thanks them for providing some previously unknown stereo soundtracks. This version, however, removes some of the "excessive" Foley sound that was added in the 1996 restoration.

Reception

Contemporaneous reception
The initial reception expressed in film reviews for Vertigo was mixed. Variety wrote the film showed Hitchcock's "mastery", but felt the film was "too long and slow" for "what is basically only a psychological murder mystery". Similarly, Philip K. Scheuer of the Los Angeles Times admired the scenery, but found the plot took "too long to unfold" and felt it "bogs down in a maze of detail". Scholar Dan Auiler says that this review "sounded the tone that most popular critics would take with the film". However, the Los Angeles Examiner loved it, admiring the "excitement, action, romance, glamor and [the] crazy, off-beat love story". The New York Times film critic Bosley Crowther also gave Vertigo a positive review by explaining that "[the] secret [of the film] is so clever, even though it is devilishly far-fetched." Richard L. Coe of The Washington Post praised the film as a "wonderful weirdie," writing that "Hitchcock has even more fun than usual with trick angles, floor shots and striking use of color. More than once he gives us critical scenes in long shots establishing how he's going to get away with a couple of story tricks." John McCarten of The New Yorker wrote Hitchcock "has never before indulged in such farfetched nonsense."

The New York Post review echoed many critics': "Let's admit it right now. Hitchcock's surfaces are so smooth he thinks he can get away with murder in the logic and realism departments. If you want to tear 'Vertigo' apart, it rips easily. On the other hand, there's no denying that James Stewart's unactorish acting carries a heavy air of reality into the picture, and Kim Novak's somnambulistic behavior, called for by the script, is something she can do to perfection....It's doubtful that 'Vertigo' can take equal rank with the best of the Hitchcock studies—it has too many holes—but it assays high in visual confectionary of place, person, and celluloid wiles."

Contemporaneous response in England was summarized by Charles Barr in his monograph on Vertigo stating: "In England, the reception was if anything rather less friendly. Of the 28 newspaper and magazine reviews that I have looked at, six are, with reservations, favourable, nine are very mixed, and 13 almost wholly negative. Common to all of these reviews is a lack of sympathy with the basic structure and drive of the picture. Even the friendlier ones single out for praise elements that seem, from today's perspective, to be marginal virtues and incidental pleasures – the 'vitality' of the supporting performances (Dilys Powell in The Sunday Times), the slickness with which the car sequences are put together (Isobel Quibley in The Spectator)".

In France, Éric Rohmer noted in Cahiers du Cinéma that "Vertigo, so they say, repelled Americans. French critics, on the contrary, seem to be giving it a warm welcome." Praising the film's formal technique, he wrote that "ideas and forms follow the same road, and it is because the form is pure, beautiful, rigorous, astonishingly rich, and free that we can say that Hitchcock's films, with Vertigo at their head, are about ideas, in the noble, platonic sense of the word."

Additional reasons for the mixed response initially were that Hitchcock fans were not pleased with his departure from the romantic-thriller territory of earlier films, and that the mystery was solved with one-third of the film left to go. Orson Welles disliked the film, telling his friend, director Henry Jaglom, that the movie was "worse" than Rear Window, another film that Welles disliked. In an interview with François Truffaut, Hitchcock stated that Vertigo was one of his favourite films, with some reservations. Hitchcock blamed the film's failure on the 49-year-old Stewart looking too old to play a convincing love interest for the 24-year-old Kim Novak.

A young Martin Scorsese viewed the film with his friends during its original run in New York City, and later recalled that "even though the film was not well received at the time... we responded to the film very strongly. [We] didn't know why... but we really went with the picture."

Hitchcock and Stewart received awards at the San Sebastián International Film Festival, including a Silver Seashell for Best Director (tied with Mario Monicelli for Big Deal on Madonna Street (aka Persons Unknown)) and Best Actor (also tied, with Kirk Douglas in The Vikings). The film was nominated for two Academy Awards, in the technical categories Best Art Direction – Black-and-White or Color (Hal Pereira, Henry Bumstead, Samuel M. Comer, Frank McKelvy) and Best Sound (George Dutton).

Re-evaluation
Over time the film has been re-evaluated by film critics and has moved higher in esteem in most critics' opinions. Every ten years since 1952, the British Film Institute's film magazine, Sight & Sound, has asked the world's leading film critics to compile a list of the 10 greatest films of all time. In the 1962 and 1972 polls, Vertigo was not among the top 10 films in voting. Only in 1982 did Vertigo enter the list, and then in 7th place. By 1992 it had advanced to 4th place, by 2002 to 2nd, and in 2012 to 1st place in both the crime genre, and overall, ahead of Citizen Kane in 2nd place; in 2022, the Sight & Sound poll ranked Vertigo 2nd place. In the 2012 Sight & Sound director's poll of the greatest films ever made Vertigo was ranked 7th. In the earlier 2002 version of the list the film ranked 6th among directors. In 2022 edition of the list the film ranked 6th in the director's poll. In 1998 Time Out conducted a poll and Vertigo was voted the 5th greatest film of all time. The Village Voice ranked Vertigo at No. 3 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. Entertainment Weekly voted it the 19th Greatest film of all time in 1999. In January 2002, the film was voted at No. 96 on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics. In 2009, the film was ranked at No. 10 on Japanese film magazine Kinema Junpos Top 10 Non-Japanese Films of All Time list. In 2022, Time Out magazine ranked the film at No.15 on their list of "The 100 best thriller films of all time".

Commenting upon the 2012 results, the magazine's editor Nick James said that Vertigo was "the ultimate critics' film. It is a dream-like film about people who are not sure who they are but who are busy reconstructing themselves and each other to fit a kind of cinema ideal of the ideal soul-mate." In recent years, critics have noted that the casting of James Stewart as a character who becomes disturbed and obsessive ultimately enhances the film's unconventionality and effectiveness as suspense, since Stewart had previously been known as an actor of warmhearted roles.

Already in the 1960s, the French Cahiers du Cinéma critics began re-evaluating Hitchcock as a serious artist, rather than just a populist showman. The film ranked 8th on Cahiers du Cinémas Top 10 Films of the Year List in 1959. However, even François Truffaut's important 1962 book of interviews with Hitchcock (not published in English until 1967) devotes only a few pages to Vertigo. Dan Auiler has suggested that the real beginning of Vertigos rise in adulation was the British-Canadian scholar Robin Wood's Hitchcock's Films (1968), which calls the film "Hitchcock's masterpiece to date and one of the four or five most profound and beautiful films the cinema has yet given us".

Adding to its mystique was the fact that Vertigo was one of five Hitchcock-owned films removed from circulation in 1973. When Vertigo was re-released in theaters in October 1983, and then on home video in October 1984, it achieved an impressive commercial success and laudatory reviews. Similarly adulatory reviews were written for the October 1996 showing of a restored print in 70mm and DTS sound at the Castro Theater in San Francisco. In his 1996 review of the film, film critic Roger Ebert gave the film four stars out of four and included it in his Great Movies list.

A small minority of critics have expressed dissenting opinions. In his 2004 book Blockbuster, British film critic Tom Shone suggested that Vertigos critical re-evaluation has led to excessive praise, and argued for a more measured response. Faulting Sight & Sound for "perennially" putting the film on the list of best-ever films, he wrote, "Hitchcock is a director who delights in getting his plot mechanisms buffed up to a nice humming shine, and so the Sight and Sound team praise the one film of his in which this is not the case – it's all loose ends and lopsided angles, its plumbing out on display for the critic to pick over at his leisure."

In 1989, Vertigo was recognized as a "culturally, historically and aesthetically significant" film by the United States Library of Congress and selected for preservation in the National Film Registry in the first year of the registry's voting.

In 2005, Vertigo came in second (to Goodfellas) in British magazine Total Film book 100 Greatest Movies of All Time. In 2008, an Empire poll of readers, actors, and critics named it the 40th greatest movie ever made. The film was Voted at No. 8 on the list of "100 Greatest Films" by the prominent French magazine Cahiers du cinéma in 2008. In 2010, The Guardian  ranked it as the 3rd-best crime film of all time. Vertigo ranked 3rd in BBC's 2015 list of the 100 greatest American films.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 93% based on 87 reviews, with an average rating of 8.90/10. The website's critics consensus reads,"An unpredictable scary thriller that doubles as a mournful meditation on love, loss, and human comfort". As of January 2021, Vertigo is one of only eight films with a 100 (perfect) score on the movie critic aggregator website, Metacritic (two other Hitchcock films, Notorious and Rear Window, are also on the list).

The most recent edition of the American Film Institute's top 100 films of all time, released in 2007, placed Vertigo at #9 up 52 positions from its placement at #61 in the original 1998 listing.

American Film Institute recognition
AFI's 100 Years...100 Movies (1998) #61
AFI's 100 Years...100 Thrills (2001) #18
AFI's 100 Years...100 Passions (2002) #18
AFI's 100 Years of Film Scores (2005) #12
AFI's 100 Years...100 Movies (10th Anniversary Edition) (2007)  #9
AFI's 10 Top 10  (2008) #1 Mystery

The San Francisco locations have become celebrated amongst the film's fans, with organised tours across the area. In March 1997, the cultural French magazine Les Inrockuptibles published a special issue about Vertigo's locations in San Francisco, Dans le décor, which lists and describes all actual locations.

Director Martin Scorsese has listed Vertigo as one of his favorite films of all time.

Along with the renewed public appreciation of the movie, it is receiving increased academic attention; The Annual International Vertigo conference, for example, showcases recent scholarship, as in its 2018 conference at Trinity College Dublin.

Critical works on Vertigo
Variety review from 1958
Robin Wood's chapter on "Vertigo" in Hitchcock's Films
Molly Haskell's essay, "With Paintbrush and Mirror: 'Vertigo' & 'As You Desire Me'" in The Village Voice
Laura Mulvey's Visual Pleasure and Narrative Cinema, popularizing the concept of the male gaze
Roger Ebert's 1996 Review

Classification as film noir
Critical opinion is divided on whether Vertigo should be considered a film noir. Some consider it a film noir on the basis of plot and tone and various motifs, despite its having a modernist graphic design typical of the 1950s and a more modern set design, which would otherwise remove it from the category of film noir. Others say the combination of color and the specificity of Hitchcock's vision exclude it from the category. On the general issue of noir and visual style, see Ballinger and Graydon (2007), p. 31. Christopher (1998) and Silver and Ward (1992),  for instance, do not include Vertigo in their filmographies. Ottoson (1981) does not include Vertigo in his canon. By contrast, Hirsch (2001) describes Vertigo as among those Hitchcock films that are "richly, demonstrably noir" (p. 139).

Derivative works
Kalangarai Vilakkam, a 1965 Tamil film adaptation of Vertigo.
One on Top of the Other, a 1969 giallo film directed by Lucio Fulci, is heavily influenced by Vertigo.
Obsession, a 1976 film by Brian De Palma, is heavily influenced by Vertigo, while his 1984 thriller Body Double combines the plot elements of both Vertigo and Rear Window.
High Anxiety, a 1977 film by Mel Brooks, is a parody of suspense films directed by Alfred Hitchcock, but leans on Vertigo in particular.
Chris Marker's 1983 video-essay Sans Soleil makes reference to the movie, declaring it the only film "capable of portraying impossible memory" over footage of Vertigo'''s shooting locations and stills from the film.
Harvey Danger's song "Carlotta Valdez," opens their debut album, 1997's Where Have All the Merrymakers Gone? The song, recorded in February of 1997, represents the effect the 1996 restoration and October 25, 1996 re-release had on audiences for whom Vertigo had all but disappeared from public consciousness. The song largely summarizes the plot of the film.
Joseph Kahn's 1997 music video for Faith No More's "Last Cup of Sorrow" is a parody of Vertigo with singer Mike Patton in the Scottie Ferguson role and Jennifer Jason Leigh in the Madeleine/Judy role.Suzhou River, a 2000 Chinese film by Lou Ye which critics saw as an homage to Vertigo.Mulholland Drive, a 2001 film written and directed by David Lynch (who cited Vertigo as an influence), uses a similar double-identity theme involving a blonde woman in a grey suit skirt in grave danger, and the film noir premise of tragic love, betrayal and murder that drove Hitchcock's film.The Testament of Judith Barton, a 2012 novel by Wendy Powers and Robin McLeod, tells the back-story of Kim Novak's character.Alfred Hitchcock – Vertigo, an adventure game by developer Pendulo Studios and publisher Microids.Francesco Ferrari Mines the Mission: A Homage to Vertigo, an original 2018 novel by Joseph Covino Jr., third in the San Francisco-set Francesco Ferrari private detective series, takes its template from both the Vertigo novel and film.

Potential remake
In March 2023, it was reported that Paramount Pictures acquired the remake rights to the film with Steven Knight set to write the script, and Robert Downey Jr. set to star for Davis Entertainment and Team Downey.

See also

 Alfred Hitchcock filmography
 Cinema of the United States
 List of American films of 1958
 List of films considered the best

Notes

References

Bibliography

External links

 Vertigo at Universal Pictures Home Entertainment
 Essay by Thomas Leitch at National Film Registry
 A Very Different "Slice of Cake:" Restoring Alfred Hitchcock's Vertigo Essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry'', A&C Black, 2010 , pages 546-547

1958 films
1950s mystery thriller films
1950s psychological thriller films
1950s romantic thriller films
American detective films
American mystery thriller films
American psychological thriller films
American romantic thriller films
Color film noir
Films about suicide
Films based on French novels
Films based on mystery novels
Films based on works by Boileau-Narcejac
Films directed by Alfred Hitchcock
Films produced by Alfred Hitchcock
Films scored by Bernard Herrmann
Films set in art museums and galleries
Films set in San Francisco
Films shot in San Francisco
Films with screenplays by Samuel A. Taylor
Paramount Pictures films
United States National Film Registry films
Uxoricide in fiction
1950s English-language films
1950s American films
Films based on screenplays by Alec Coppel

Vertigo (film)


Bekir Vaap oğlu Çoban-zade (pronounced , Russian: Беки́р Ваа́пович Чоба́н-заде́;  – 13 October 1937) was a Crimean Tatar poet and professor of Turkic languages who was one of the victims of the Great Purge.

In the midst of a successful academic career, at the age of 44, Çoban-zade was arrested by Soviet authorities for alleged subversive activities against the state and was sentenced to death. His writings have outlived him; his poetry, in particular, continues to enjoy popularity among Crimean Tatars.

Biography
Çoban-zade was born in a family of humble origins in the village near Qarasubazar, Crimea. He was born with one red eye. His father was a shepherd ("çoban" in Crimean Tatar), and his last name means 'son of shepherd'. As a young boy, he helped his father herd the sheep, and these early experiences in the countryside left a lasting impression on the sensitive boy. Many of his poems are replete with descriptions of Crimean pastoral scenes. He received his early education in Crimea and Istanbul. In 1916, he went to Budapest to enroll at the Pázmány Péter Catholic University and received his Ph.D. in 1919. After he returned to Crimea, he taught Crimean Tatar language and literature at the Crimean Tatar Pedagogical Institute in Simferopol (Aqmescit) and later accepted the chair of Turkology at the Crimean University (now known as Taurida National University) in 1922. Early in 1925, he moved to Azerbaijan to become professor of Turkology at the Baku State University. He had a remarkable facility with languages.

In January 1937, Çoban-zade was placed on leave without pay by an order of the Soviet Academy of Sciences and subsequently arrested. During a 20-minute trial, he was found guilty and condemned to death. He was executed on October 13, 1937.  Twenty years after his death, in response to an appeal from Çobanzade's wife, a military court of the USSR reversed the decision against him. The court declared that the charges against Çoban-zade were baseless.

See also

Crimean Tatars
Crimean Tatar language
List of Crimean Tatars

Further reading
For more information about Çoban-zade and samples of his poetry, see the Web site of the International Committee for Crimea.

External links

Fond Bekir Çoban-zade
International Committee for Crimea
 A Crimean Tatar Poet and Turkic Scholar

1893 births
1937 deaths
People from Bilohirsk Raion
People from Taurida Governorate
Crimean Tatar writers
Linguists from Ukraine
Great Purge victims from Ukraine
Academic staff of Baku State University
Crimean Tatar people executed by the Soviet Union
Executed writers
Soviet rehabilitations
20th-century linguists

Bekir Çoban-zade


Izaly Iosifovich Zemtsovsky (; born February 22, 1936) is a Russian-born American ethnomusicologist. He is a visiting professor at Stanford University. Zemtsovsky is known in ethnomusicology for his wide range of subjects of study, including the theory of melodic formulas, rhythmic formulas, comparative research of various regions of the world, study of musical universals and the importance of musical data in ethno-genetic reconstructions.

Biography
Zemtsovsky proposed the notions of "melosphere", "Homo musicus", and proposed a new scholarly discipline, ethnogeomusicology, and a new research approach, known as "historical morphology of the folk song". Zemtsovsky has been a lifelong advocate of Russian Soviet musicologist Boris Asafiev's "intonation theory" and contributed to its use at European and American universities. He has lived in the US since 1994, teaching first at UCLA, then at the University of Wisconsin at Madison, Wisconsin, Berkeley, and now at Stanford University. Zemtsovsky graduated from Leningrad Conservatory with degrees in ethnomusicology and composition, and graduated Leningrad University as a folklorist and linguist.

In the 1970s-1990s, Zemtsovsky was widely regarded as a key figure of Russian (and Soviet) ethnomusicology. As a prolific teacher (for several decades he was a professor at the Leningrad State Institute of Theatre, Music and Cinema), he affected the formation of Russian and other ethnic schools of musicologists in former Soviet Union (including Baltic, Caucasian, and Central Asian republics, from the 1990s – independent states) and countries of the Eastern Europe. He maintains professional contacts with Russia.

Zemtsovsky is married to Alma Kunanbaeva, a Kazakh ethnomusicologist.

Zemtsovsky is the author of over 20 books and over 500 articles on numerous European and Asian languages.

From 2006, Zemtsovsky is the director (and founder) of Silk Road House, a non-profit organization focused on the culture of the Silk Road, in Berkeley, California.

In 2011 in recognition of his research activity and prolific teaching Zemtsovsky was awarded the Fumio Koizumi Prize for ethnomusicology.

See also
Russian Music

References

1936 births
Living people
American musicologists
Russian emigrants to the United States
Stanford University faculty
Academics from Saint Petersburg

Izaly Zemtsovsky


Andrew Grant Dalton (born 16 November 1951) is a former New Zealand rugby union player. He captained the national team, the All Blacks, 17 times in tests. He is a second-generation All Black; his father Ray Dalton played in two All Blacks tests in the late 1940s.

Early years
Although born in Dunedin, he was schooled at Selwyn College in Auckland (not to be confused with Selwyn College at the University of Otago), playing for the school's first team in 1968 and 1969 as a prop. He then returned to the South Island, enrolling at Lincoln College (then a part of the University of Canterbury) to study for a Bachelor of Agricultural Science. While there, he converted to hooker, and represented Canterbury at under-20 and senior reserve level.

After graduating, he returned to Auckland, playing for the senior B side at the Eastern club. In 1975, he moved to Bombay to start a career as a farm adviser, and won representative selection for the first time at Counties. The following year, which was the first of the National Provincial Championship (the predecessor to today's Air New Zealand Cup), he was named captain at Counties.

All Blacks
Dalton earned his first All Blacks cap during their 1977 tour of France. He also played all four tests on their successful Grand Slam tour of Great Britain and Ireland in 1978, scoring the only try in their encounter with .

By 1981, he had become the regular All Blacks hooker, and captained the side for the first time when Graham Mourie was unavailable for the series against . Dalton became the full-time captain upon Mourie's 1982 retirement, most notably leading the All Blacks against the Lions during their 1983 tour. He was chosen as captain for their aborted 1985 tour of South Africa, and went on to captain the unofficial Cavaliers tour of South Africa in 1986. He suffered a broken jaw In the second match of the tour and played no more rugby that season. Dalton was one of the most successful All Blacks captains in history, victorious in 15 of his 17 tests as captain.

He was named captain of the side that would go on to win the inaugural 1987 Rugby World Cup, but suffered an injury in a practice session that ruled him out of the tournament, leaving the honour of lifting the Webb Ellis Cup to David Kirk.

After rugby
After his retirement from rugby immediately after the 1987 World Cup, he continued his career in agriculture for a time, but later became a corporate manager. He coached Counties from 1989 to 1991, and was president of the New Zealand Rugby Union from 1999 to 2000. He is now the CEO of the Auckland Rugby Football Union, having also been CEO of the Auckland Blues until those roles were separated in 2014, and operates a farm in the Bombay Hills south of Auckland.

References

External links

ESPN Profile

1951 births
Living people
New Zealand international rugby union players
Lincoln University (New Zealand) alumni
New Zealand rugby union coaches
New Zealand rugby union players
Rugby union players from Dunedin
Rugby union hookers
Counties Manukau rugby union players

Andy Dalton (rugby union)


One More Saturday Night is a 1986 American comedy film written by Al Franken and Tom Davis and directed by Dennis Klein.

Plot
The film is about life on a Saturday night in St. Cloud, Minnesota. Russ Cadwell is ready to have sex with his girlfriend, Diane Lundahl. Doug, a petty thief, decides to become a burglar, and his friend Traci suggests they burglarize a nearby house. Mr. Lundahl, father of Diane, Karen, and Kevin, goes on a date with a woman named Peggy. They have sex in a car at the park.

Karen is babysitting for Bill and Lynn Neal as they go out to eat. Karen's boyfriend comes over to the house and talks her into having a party there. Russ gets into an argument with Diane. She and her friend, Tobi, go to the local bar, drink, and watch Bad Mouth, the band playing there. The lead band members, Larry Hays and Paul Flum, are both hoping to score. Things get crazier but also better as time goes by.

Cast
 Al Franken as Paul Flum
 Tom Davis as Larry Hays
 Moira Harris as Peggy
 Frank Howard as Eddie
 Bess Meyer as Tobi
 David Reynolds as Russ Cadwell
 Chelcie Ross as Mr. Lundahl
 Nan Woods as Diane Lundahl
 Nina Siemaszko as Karen Lundahl
 Jonathan Singer as Kevin Lundahl
 Eric Saiet as Doug
 Meshach Taylor as Bill Neal
 Dianne B. Shaw as Lynn Neal
 Jessica Schwartz as Traci
 Rondi Reed as Mrs. Becker
 Ann Coyle as Night desk clerk
 Steve Pink as Dogman
 John Cameron Mitchell as Drunk Teen

Critical reception
TV Guide says the film "suffers from trying to explore a variety of situations, and ultimately gets nothing said at all. The situations are routine, lacking wit or originality. Director Dennis Klein's pacing is slack and reveals no flare [sic] for comedy."

Trivia
Franken appeared on the 1985-86 season finale of Saturday Night Live during Weekend Update and announced that Columbia Pictures was test-marketing the film in Sacramento, California in June 1986; he also displayed a map depicting the locations of movie theaters showing the film, and provided directions to the nearest theater for viewers in the San Francisco Bay Area.

The movie's title is taken from the Grateful Dead song of the same name. Franken and Davis were big Grateful Dead fans.

Production
Portions of the movie were filmed in Glenview, Illinois and at the Chateau Louise Resort in West Dundee, Illinois.

See also
 List of American films of 1986

References

External links

American teen comedy films
American coming-of-age comedy films
1986 films
Columbia Pictures films
1980s teen comedy films
Films set in Minnesota
Films shot in Minnesota
Films with screenplays by Al Franken
Films with screenplays by Tom Davis (comedian)
1986 comedy films
1980s English-language films
1980s American films

One More Saturday Night (film)


The UCR Insectary and Quarantine Facilities are where foreign insect and mite predators and parasites are confined and screened before propagation and release in California and the United States. This complex of facilities was first established in 1923 as part of the UC Citrus Experiment Station, and is currently managed by the University of California, Riverside Department of Entomology. The complex supports integrated pest management and biological pest control, research, and includes the Insectary, Quarantine Facility, Insect Preparation Facility, eight specialized greenhouses, a lathhouse, and storage.

The Quarantine Facility is one of 14 approved biological control quarantine facilities in the U.S. and the oldest non-federal facility in the nation.

References

I
Nature conservation in the United States
Pest control
Biological pest control
Quarantine facilities in the United States
I
1923 establishments in California

University of California, Riverside Insectary and Quarantine Facilities


Magnus Wilhelm Alexander (February 1870 – September 10, 1932) was a German-born American electrical engineer and a technical designer for the General Electric Company and the Westinghouse Electric Company. He also became a social reformer in the United States of America by working on state boards and commissions in such areas as workmen's compensation and retirement benefits.

Alexander was the son of Alexander M. and M. (Jelenkiewicz) A. Alexander. He studied mechanics, metallurgy, and electrical engineering at the Austrian universities of  Vienna, 1889, the Leoben, 1891, and the University of Gratz, 1892.

Following the completion of his engineering education, Alexander was employed by Austria's largest steel-making company. In 1893, he joined Weston Electrical Instrument Company as an engineer and a technical designer. In the following year, he was recruited by Westinghouse Electric and Manufacturing Co., and he emigrated to the United States.  After five years with the Westinghouse Corp., he joined the Siemens and Halske Electric Co., a German corporation with operations in North America.  In the year 1900, the General Electric Company hired him as its chief engineer in charge of design, which was a position that he held until 1918. Thereafter, he served as GE's consulting engineer on economic issues until 1922.

While with General Electric, Alexander began turning his attention to industrial education. He created and directed the General Electric Education and Personnel Department in Lynn, Massachusetts. In 1907, he set up a partnership between G.E. and the Massachusetts Institute of Technology in which G.E. provided both apprenticeships and in-house technical courses for newly graduated M.I.T. engineers.

Alexander also served on the Old Age Pension Commission of Massachusetts and on the Massachusetts Workman's Compensation Commission. He became a charter member of the National Association of Corporate schools, the American Management Association, the National Society for the Promotion of Industrial Education, and of the American Institute of Electrical Engineers (AIEE).

Alexander was an early participant, along with Wesley Mitchell and Malcolm Rorty, in the National Bureau of Economic Research. He also created the National Industrial Conference Board (now known as The Conference Board) along with Frederick P. Fish, Frank A. Vanderlip, and Loyall Osborne.

References
 Noble, David F.  America by Design: Science, Technology, and the Rise of Corporate Capitalism.  New York: Alfred A. Knopf, 1977.
 Who's Who on the Web, s.v. "Magnus W. Alexander" (n.p.: Marquis Who's Who, 2005)

1870 births
1932 deaths
German electrical engineers
General Electric people
Emigrants from the German Empire to the United States
American electrical engineers
19th-century German engineers
19th-century American engineers
20th-century American engineers
University of Vienna alumni
University of Leoben alumni
University of Graz alumni

Magnus W. Alexander


In incidence geometry, the De Bruijn–Erdős theorem, originally published by , states a lower bound on the number of lines determined by n points in a projective plane. By duality, this is also a bound on the number of intersection points determined by a configuration of lines.

Although the proof given by De Bruijn and Erdős is combinatorial, De Bruijn and Erdős noted in their paper that the analogous (Euclidean) result is a consequence of the  Sylvester–Gallai theorem, by an induction on the number of points.

Statement of the theorem

Let P be a configuration of n points in a projective plane, not all on a line. Let t be the number of lines determined by P. Then,
 t ≥ n, and
 if t = n, any two lines have exactly one point of P in common. In this case, P is either a projective plane or P is a near pencil, meaning that exactly n - 1 of the points are collinear.

Euclidean proof
The theorem is clearly true for three non-collinear points. We proceed by induction.

Assume n > 3 and the theorem is true for n − 1.
Let P be a set of n points not all collinear.
The Sylvester–Gallai theorem states that there is a line containing exactly two points of P. Such two point lines are called ordinary lines.
Let a and b be the two points of P on an ordinary line.

If the removal of point a produces a set of collinear points then P generates a near pencil of n lines (the n - 1 ordinary lines through a plus the one line containing the other n - 1 points).

Otherwise, the removal of a produces a set, P' , of n − 1 points that are not all collinear.
By the induction hypothesis, P'  determines at least n − 1 lines. The ordinary line determined by a and b is not among these, so P determines at least n lines.

J. H. Conway's proof
John Horton Conway has a purely combinatorial proof which consequently also holds for points and lines over the complex numbers, quaternions and octonions.

References

Sources
.

Theorems in projective geometry
Euclidean plane geometry
Theorems in discrete geometry
Incidence geometry
Paul Erdős

De Bruijn–Erdős theorem (incidence geometry)


Infer, sometimes referred to as "Facebook Infer",  is a static code analysis  tool developed by an engineering team at Facebook along with open-source contributors. It provides support for Java, C, C++, and Objective-C, and
is deployed at Facebook in the analysis of its Android and iOS apps (including those for WhatsApp, Instagram, Messenger and the main Facebook app).

History
Infer has its roots in academic research on Separation Logic, a theory for the formal verification of software. Work on automatic program verification based on Separation Logic led to a succession of academic tools, including Smallfoot and SpaceInvader. Building on the academic work, Cristiano Calcagno, Dino Distefano and Peter O'Hearn, three researchers at University College London and Queen Mary University of London, co-founded the verification startup Monoidics in 2009, and Monoidics developed the first version of Infer. Monoidics was acquired by Facebook in 2013, and in 2015 the code of Infer was open-sourced.

As of 2013 when Infer was open-sourced it was claimed that hundreds of bugs per month identified by Infer were fixed by Facebook's developers before reaching production. By 2015 this had increased to over 1000 bugs per month.

Spotify, Uber, Mozilla, Sky, and Marks and Spencer are among the reported users of Infer.

Technology
Infer performs checks for null pointer exceptions, resource leaks, annotation reachability, missing lock guards, and concurrency race conditions in Android and Java code. It checks for null pointer problems, memory leaks, coding conventions and unavailable API's in C, C++ and Objective C.

Infer uses a technique called bi-abduction to perform a compositional program analysis that interprets program procedures independently of their callers. It is claimed that this enables Infer to scale to large codebases and to run quickly on code-changes in an incremental fashion, while still performing an inter-procedural analysis that reasons across procedure boundaries.

Infer is wired up to the code review system at Facebook. Its deployment model is to comment automatically on code modifications as they are submitted for review, where it reports potential regressions. It does this by incrementally analyzing code changes via a job on Facebook's continuous integration system which runs in its data centers.

Infer also has a domain specific language for abstract syntax tree linting, based on ideas from Model Checking for Computation Tree Logic.

Infer is mostly written in the OCaml programming language.

Awards
 received the Royal Academy of Engineering silver medal in 2014 in recognition of the acquisition of Monoidics.

Four Infer team members, Josh Berdine, Cristiano Calcagno, Dino Distafano and Peter O'Hearn, received the 2016 Computer Aided Verification Award, an award they shared with John C. Reynolds, Samin Ishtiaq and Hongseok Yang.

Peter O'Hearn was elected Fellow of the Royal Academy of Engineering in 2016, for his work on Separation Logic and Infer.

References

External links

Facebook software
Static program analysis
Software review
Quality assurance

Infer Static Analyzer


John Marcellus Huston (August 5, 1906 – August 28, 1987) was an American movie director, producer, screenwriter and actor.

He wrote the screenplays for 37 movies he directed, many of which are today known as classics such as; The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), Key Largo (1948), The Asphalt Jungle (1950), The African Queen (1951), Moulin Rouge (1952), The Misfits (1961), and The Man Who Would Be King (1975).

During his 46-year career, Huston was nominated for 15 Academy Awards, for which he won only two. He was the father of actress Anjelica Huston and actor Danny Huston and was the son of actor Walter Huston.

He was born in Nevada, Missouri on August 5, 1906. His father was Academy Award-winning actor Walter Huston.

He was married to Dorothy Harvey from 1925 until they divorced in 1926. Then he married Lesley Black from 1937 until they divorced in 1945. Thirdly he married Enrica Soma from 1950 until her death in 1969. Lastly he married Celeste Shane from 1972 until they divorced in 1977. He was partners with Zoe Sallis. Huston had 5 children (one is adopted), including Anjelica Huston.

Huston died August 28, 1987 in Middletown, Rhode Island from pneumonia caused by his emphysema; he was 81 years old.

References

Other websites

1906 births
1987 deaths
Academy Award winning directors
Actors who played M
American movie actors
Deaths from emphysema
Deaths from pneumonia
Golden Globe Award winning directors
Disease-related deaths in Rhode Island
James Bond movie directors
Movie directors from Missouri
Movie producers from Missouri
Screenwriters from Missouri

John Huston


Tenant-right is a term in the common law system expressing the right to compensation which a tenant has, either by custom or by law, against his landlord for improvements at the termination of his tenancy.

In England, it was governed for the most part by the Agricultural Holdings Acts and the Allotments and Small Holdings Acts. The preceding were reformed by the Agricultural Tenancies Act 1995. In Ireland, tenant-right was a custom, prevailing particularly in Ulster, known as the Custom of Ulster, by which the tenant acquired a right not to have his rent raised arbitrarily at the expiration of his term. This resulted in Ulster in considerable fixity of tenure and, in case of a desire on the part of the tenant to sell his farm, made the tenant-right of considerable capital value, amounting often to many years' rent.

The Evesham Custom is one example of a tenant-right custom still in 21st century operation, having been given a specific exemption from the Agricultural Tenancies Act 1995.

References

Property law
Landlord–tenant law

Tenant-right


Hal Harry Magee Sparks III (born September 25, 1969) is an American stand-up comedian, actor, musician, political commentator, television and radio host and television personality. He is known for his contributions to VH1, hosting E!'s Talk Soup, and the role of Michael Novotny on the American television series Queer as Folk, Donald Davenport in Lab Rats and as the voice of Tak in the Tak and the Power of Juju television series and video games.

Other websites

1969 births
Living people
Actors from Cincinnati
American stand-up comedians
Musicians from Cincinnati
Comedians from Ohio

Hal Sparks


Fort Fisher State Recreation Area is a  North Carolina state park in New Hanover County, North Carolina in the United States. Located near Kure Beach, North Carolina, it includes Fort Fisher, site of a major naval engagement during the American Civil War. The recreation area also served as a home for the Fort Fisher Hermit, Robert Harrill. Harrill lived in a bunker and shared his beliefs about "common sense" with thousands of visitors every year while surviving on what he could gather from the surrounding salt marsh and oyster beds.

Today, the recreation area consists of the remains of the earthen Fort Fisher and a museum at Fort Fisher State Historic Site, an oceanfront beach pavilion, a large lagoon popular with windsurfers, and a long stretch of beach that is accessible only by four-wheel drive vehicles. The beach is an important nesting ground for sea turtles, and state park rangers regularly patrol the beach to identify recently built turtle nests. Once they are identified, they are clearly marked and surrounded with a mesh fence to prevent vehicles from driving over the eggs. The openings in the mesh are large enough to allow newly hatched turtles to pass through and return to the sea.

History

The city of Wilmington on the Cape Fear River was an important port of entry for the Confederacy during the Civil War. And, by late 1864, it was the last southern port open to trade. Fort Fisher, built in 1861, served to protect this valuable port from Union ships. In 1864, the first of two Union attacks on Fort Fisher took place. The fort held strong during the first battle and Union forces withdrew, but the Confederacy was not so fortunate the next time.  The First Battle of Fort Fisher, during the American Civil War, was the largest naval bombardment and land-sea battle fought in any war up to that time.

In early 1865, a fleet of 56 ships bombarded the fort prior to a land assault by a force of more than 3,300 infantry. Fort Fisher was captured and the Confederate supply line was broken. Approximately three months after the fall of Fort Fisher, the Civil War came to an end.

In the late 19th century, a long rock jetty called "The Rocks" was built west of Fort Fisher to aid navigation by stopping shoaling in the Cape Fear River. Completed in 1881, The Rocks closed the former New Inlet, once used by Confederate blockade-runners to avoid the U.S. Navy, and created a lagoon, now called "The Basin". Today, The Rocks and The Basin are part of the Zeke's Island component of the North Carolina National Estuarine Research Reserve, an  area of outstanding estuarine and ocean resources with extensive marshes and tidal flats.

During World War II a series of concrete fortifications was built along the coast of North Carolina. A grass landing strip was built through the earthworks of the fort, and it was used to resupply aircraft that patrolled the coast. The Fort Fisher visitor center was built in the middle of the landing strip, and the north end of the landing strip was paved for the visitor center parking lot. The outline of the original landing strip is still clearly visible, especially when viewed from aerial photos.

Throughout the 1980s and 1990s, beach erosion continued to wear away at the coastline near the fort. Much of the civil war era fort was lost to the sea. In 1999, construction began on a large seawall to prevent the fort from further erosion. The seawall was controversial because they tend to shift erosion to other parts of the beach, however it was completed in 2000 and it effectively stopped erosion in the area of the fort.

References

External links

Protected areas of New Hanover County, North Carolina
State parks of North Carolina
Protected areas established in 1986
1986 establishments in North Carolina

Fort Fisher State Recreation Area


Strontium is a chemical element. It has the chemical symbol Sr. It has the atomic number 38. It is a metal. The color of the metal is silver-white or yellow-silver. The metal is soft, and highly reactive chemically.

In chemistry it is placed in a group of metal elements named the alkaline earth metals. Strontium has a high chemical reactivity. The metal turns yellow when exposed to air. Strontium has properties similar to those of its two vertical neighbors in the periodic table, calcium and barium.

It is found naturally in the minerals celestite and strontianite. The 90Sr isotope is present in radioactive fallout and has a half-life of 28.9 years.

Strontium forms salts which make a red flame when they burn. They are used in flares for signalling the position of survivors or shipwrecks and to make the red color in fireworks.
It is named after the village of Strontian, Scotland.

Alkaline earth metals

Strontium


Damnatio memoriae is a Latin practice or phrase that means "condemnation of memory". It means that a person's existence should be cut out of history. In practice it meant removing the name from official records and monuments. However, because information about the person was usually also found in other places, like letters and scrolls, historians today can usually still learn about the person.

Latin phrases

Damnatio memoriae


A bar or measure is used in writing music.  It is a way of organizing the written music in small sections. Each bar is a small amount of time.  Most music has a regular beat (or pulse) which can be felt.  Each bar usually has the same number of beats in it.  Music that feels like 1-2-3-4-1-2-3-4 will be divided into bars with four beats worth of music in each bar.

The bar line (or barline) is a vertical line written in the music which separates the bars.

At the beginning of a piece of music there will be a time signature. The top number shows how many beats there are in each bar. The time signature tells you how long each measure is.

A double bar does not mean "two bars".  It is two single bar lines drawn close together. These are simply ways of visually dividing the music into sections. A double bar line can be written with one being thicker than the other. This double bar line shows the end of a piece of music.

If there are two dots on the left of the double bar line, this is a repeat sign. The player should go back to the beginning and start again. If the composer only wants the performer to repeat a section of the music, and not go back to the beginning, they can put in a "start repeat" sign. This is a double bar line with two dots on the right.

The first beat of a bar feels stronger than the others.  When a conductor beats time, his hand (or baton) always goes DOWN for the first beat of the bar.  This feels strong.  The last beat of a bar is an "upbeat" because the conductor's hand always goes up.

Barlines have been used since around 1600.

Musical terminology
Musical notation

Bar (music)


Collective effervescence (CE) is a sociological concept coined by Émile Durkheim. According to Durkheim, a community or society may at times come together and simultaneously communicate the same thought and participate in the same action. Such an event then causes collective effervescence which excites individuals and serves to unify the group.

In religion
Collective effervescence is the basis for Émile Durkheim's theory of religion as laid out in his 1912 volume Elementary Forms of Religious Life. Durkheim argues that the universal religious dichotomy of profane and sacred results from the lives of these tribe members: most of their life is spent performing menial tasks such as hunting and gathering. These tasks are profane. The rare occasions on which the entire tribe gathers together become sacred, and the high energy level associated with these events gets directed onto physical objects or people which also become sacred.

The force is thus associated with the totem which is the symbol of the clan, mentioned by Durkheim in his study of "elementary forms" of religion in Aboriginal societies. Because it provides the tribe's name, the symbol is present during the gathering of the clan. Through its presence in these gatherings, the totem comes to represent both the scene and the strongly felt emotion, and thus becomes a collective representation of the group.

For Durkheim, religion is a fundamentally social phenomenon. The beliefs and practices of the sacred are a method of social organization. This explanation is detailed in Elementary Forms "Book 2/The Elementary Beliefs", chapter 7, "Origins of These Beliefs: Origin of the Idea of the Totemic Principle or Mana". According to Durkheim, "god and society are one of the same…the god of the clan…can be none other than the clan itself, but the clan transfigured and imagined in the physical form of a plant or animal that serves as a totem."

The group members experience a feeling of a loss of individuality and unity with the gods and according to Durkheim, thus with the group.

See also

Bandwagon effect
Crowd psychology
Collective action
Collective behavior
Collective consciousness
Collective hysteria
Collective intelligence
Echo chamber (media)
Herd behavior
Herd instinct
Hooliganism
Football hooliganism
Group action (sociology)
Group behaviour
Group cohesiveness
Groupthink
Limbic resonance
Mass action (sociology)
Ochlocracy
Peer pressure
Psychology of religion
Social comparison theory
Spiral of silence
Superorganism

References

Sources
Durkheim, Émile. The Elementary Forms of the Religious Life, (1912, English translation by Joseph Swain: 1915) The Free Press, 1965: ; HarperCollins, 1976: ;  new translation by Karen E. Fields, Free Press 1995:
Griswold, Wendy, Cultures and Societies in a Changing World, Pine Forge Press, 2008; 51-56.
Kunin, Seth D. Religion; the modern theories, University of Edinburgh, 2003:

Crowd psychology
Émile Durkheim
Sociological terminology
Violence

Collective effervescence


The International Dialects of English Archive (IDEA) is a free, online archive of primary-source dialect and accent recordings of the English language. The archive was founded by Paul Meier in 1997 at the University of Kansas and includes hundreds of recordings of English speakers throughout the world.

IDEA is divided into 10 major sections: Africa, Asia, Australia-Oceania, Caribbean, Central America, Europe, Middle East, North America, South America and Special Collections, with further divisions by country. Most speakers read a passage of scripted text and also speak some unscripted text, usually containing biographical information about themselves, such as their age, where they were born and where they have lived. This allows the listeners to evaluate the subject's accent or dialect based upon where that subject has spent most of his or her life.

The Special Collections section contains unique information related to accent and dialect studies. For instance, one subsection is devoted to Holocaust survivors while another features readings of "Comma Gets a Cure" (the standard scripted text for most IDEA subjects) by trained speech teachers in the General American dialect. Another part of the Special Collections section is devoted to oral histories and allows subjects to discuss the places in which they grew up and reflect on their heritage. Still another subsection of the Special Collections contains native speakers pronouncing place names, people names and idioms from well-known plays often produced in the theatre. The speakers sometimes add interesting commentary on these words and terms.

The geographical locations of all the subjects featured on the site can be viewed on IDEA's Global Map.

The Archive is used primarily by students of accents and dialects, researchers, linguists, actors and those wishing to either study English pronunciation or learn a new dialect or accent. Anyone can submit a sample recording by visiting the "Submit A Sample" page of the Website.

University of Kansas professor and dialect coach Paul Meier, author of Accents & Dialects for Stage and Screen, created IDEA. Since its founding in 1997, the Archive has added approximately 70 associate editors, who are responsible for gathering new primary-source recordings. Senior editors are Eric Armstrong, Geraldine Cook, John Fleming, Bill McCann, and David Nevell. Cameron Meier is executive editor, and Dylan Paul is webmaster and special consultant.

References

Entsminger, Brandy (November 10, 2008). "KU Theatre Members Sing and Act in the Raunchy Play, Street Scene." University Daily Kansan.

Global English Editors. Global English . Retrieved 2011-07-22.

Gooch, William (March 20, 2009). "Everything Old is New Again." Stage and Cinema.

Meier, Paul (2001). Accents & Dialects for Stage and Screen. Lawrence, Kansas: Paul Meier Dialect Services. .

Meier, Paul (Spring/Summer 1999). "IDEA: An Online Database of Accent and Dialect Resources." VASTA, p. 6.

Parkin, Lin (June 17, 2008). "Got an IDEA of How English Dialects Sound?" Voice Over Times.

Roberts, Sam (January 16, 2006). "Mayor's Accent Deserts Boston for New York." The New York Times.

Singh, Anita (January 12, 2009). "Unknown British Actress Set for Holywood Stardom After Becoming New Ally McBeal." The Telegraph.

External links
 The International Dialects of English Archive
 Vox Daily, International Dialects of English
 Website of Paul Meier, The Research of Paul Meier (IDEA founder/director)

Sound archives in the United States
English language
Dialects of English
English phonology
Online archives of the United States


In trust law, a settlor is a person who settles (i.e. gives into trust) their property for the benefit of the beneficiary. In some legal systems, a settlor is also referred to as a trustor, or occasionally, a grantor or donor. Where the trust is a testamentary trust, the settlor is usually referred to as the testator. The settlor may also be the trustee of the trust (where he declares that he holds his own property on trusts) or a third party may be the trustee (where he transfers the property to the trustee on trusts). In the common law of England and Wales, it has been held, controversially, that where a trustee declares an intention to transfer trust property to a trust of which he is one of several trustees, that is a valid settlement notwithstanding the property is not vested in the other trustees.

Capacity to be a trustee is generally co-extensive with the ability to hold and dispose of a legal or beneficial interest in property. In practice, special considerations arise only with respect to minors and mentally incapacitated persons.

A settlor may create a trust by manifesting an intention to create it. In most countries no formalities are required to create an  trust over personal property, but there are often formalities associated with trusts over real property, or testamentary trusts. The words or acts of the settlor must be sufficient to establish an intention that either another person or the settlor himself shall be trustee of the property on behalf of the beneficiary; a general intention to benefit another person on its own is sufficient. These formalities apply to express trusts only, and not to resulting, implied or constructive trusts.

For a settlor to validly create a trust, in most common law legal systems they must satisfy the three certainties, established in Knight v Knight:

certainty of intention – whether the settlor (or testator) has manifested an intention to create a trust.
certainty of subject matter – whether the property identified as being settled is sufficiently accurately identified.
certainty of objects – the beneficiaries must be clearly ascertainable within the perpetuity period.

Where a settlement of property on a third party trustee by a settlor fails, the property is usually said to be held on resulting trusts for the settlor. However, if a settlor validly transfers property to a third party, and the words used are held not to create a trust, the usual rule is that the donee takes the property absolutely.

See also
Knight v Knight
Express trust
Offshore trust
Taxation of trusts (United Kingdom)
Trust law

Footnotes

References

Equity (law)
Legal terminology
Property law
Wills and trusts

Settlor


San Secondo is a small deserted island located in the Venetian Lagoon, northern Italy.

History
In 1034 the Baffo family built a church and a convent for Benedictine nuns, with the task to keep a holy image of St. Erasmus. The current name dates to 1237, when the relics of St. Secundus were brought here from Asti. In 1533 the Benedictines were replaced by Dominicans and in 1566 it became a lazzaretto. Starting from 1569, after a fire in the Venetian arsenal, the Republic of Venice moved a powder store here.

In 1806 the Dominicans were expelled in the wake of the Napoleonic conquest of Venice. In 1824, all the buildings on the island were demolished and it was occupied by a military garrison. Today the island is completely deserted, and only the small ruins of a redoubt may still be seen.

References

Geography of Venice
Islands of the Venetian Lagoon

Isola di San Secondo


Diorhabda elongata is a species of leaf beetle known as the Mediterranean tamarisk beetle (MTB) which feeds on tamarisk trees from Portugal and Algeria east to southern Russia. The MTB is used in North America as a biological pest control agent against saltcedar or tamarisk (Tamarix spp.), an invasive species in arid and semi-arid ecosystems (where the MTB and its closely related sibling species are also less accurately referred to as the 'saltcedar beetle', 'saltcedar leaf beetle', 'salt cedar leaf beetle', or 'tamarisk leaf beetle') (Tracy and Robbins 2009).

Taxonomy
The MTB was first described from the Pelopónnisos peninsula of Greece as Galeruca elongata Brullé (1832). Mulsant (Mulsant and Wachanru 1852) found the MTB in southwestern Turkey and described it as Galeruca costalis Mulsant. Reiche and Saulcy (1858) properly synonymized G. costalis under G. elongata, but erroneously placed two sibling species of tamarisk beetles, G. carinata Faldermann (1837) (the larger tamarisk beetle, Diorhabda carinata) and G. sublineata Lucas (1849) (the subtropical tamarisk beetle, Diorhabda sublineata) as junior synonyms of G. elongata. Weise (1893) created the genus Diorhabda and erroneously placed the sibling species G. carinulata Desbrochers (1870) (the northern tamarisk beetle, Diorhabda carinulata) as a junior synonym of Diorhabda elongata. Berti and Rapilly (1973) recognized D. carinata and D. carinulata as separate species from one another, and, by implication, as separate species from D. elongata, based on detailed morphology of the endophallus of the male genitalia. Tracy and Robbins (2009) confirmed the findings of Berti and Rapilly (1973), characterized the male and female genitalia of D. elongata, recognized D. sublineata as a separate species from D. elongata, and provided illustrated taxonomic keys separating the MTB from the four other sibling species of the D. elongata (Brullé) species group: Diorhabda carinata, Diorhabda sublineata, Diorhabda carinulata, and Diorhabda meridionalis Berti and Rapilly. In literature prior to 2009, D. carinata, D. sublineata, and D. carinulata were usually also referred to as D. elongata, or subspecies of D. elongata.

Host plants
Field collections in Eurasia reveal that the MTB feeds on at least four species of tamarisks, including Tamarix parviflora, invasive in California, and T. smyrnensis, a close relative of T. ramosissima which is widely invasive in western North America. The MTB will defoliate entire tamarisk trees in southern Bulgaria (Tracy and Robbins 2009). Extensive laboratory host range studies verified that MTB is a specialist feeder on tamarisks, feeding only on plants of the tamarisk family, Tamaricaceae. In laboratory and field cage studies, the MTB will also feed and complete development on Frankenia shrubs, distant relatives of tamarisks in the same plant order Caryophyllales, but the MTB greatly prefer to lay eggs upon tamarisk (Milbrath and DeLoach 2006). Field studies in Texas confirm that the MTB will not significantly attack Frankenia (Moran et al. 2009).

Life cycle
The MTB overwinters as adults on the ground. Adults become active and begin feeding and mating in the early spring when tamarisk leaves are budding. Eggs are laid on tamarisk leaves and hatch in about a week in warm weather. Three larval stages feed on tamarisk leaves for about two and a half weeks when they crawl to the ground and spend about 5 days as a "C"-shaped inactive prepupa before pupating about one week. Adults emerge from pupae to complete the life cycle in about 4–5 weeks in the summer. (For images of various life stages of a related species, see Diorhabda carinulata at commons) Five generations of MTB occur through spring and fall in central Texas (Milbrath et al. 2007, Tracy and Robbins 2009). Similar to the northern tamarisk beetle, adults begin to enter diapause in the late summer and early fall, ceasing reproduction and feeding to build fat bodies before seeking a protected place to overwinter (Lewis et al. 2003). Larvae and adults are sensitive to shorter daylengths as the summer progresses that signal the coming of winter and induce diapause (Bean et al. in prep.). Robert Bartelt and Allard Cossé (USDA-ARS, Peoria, Illinois) found that male MTB emit a putative aggregation pheromone, similar to that found in Diorhabda carinulata (Cossé et al. 2005), that could serve to attract both males and females to certain tamarisk trees.

Biological control agent
The MTB is currently the most successful biological control agent for tamarisk in west Texas. Populations of MTB from around 35°N latitude near Sfakaki, Crete, Greece were initially released by the USDA Agricultural Research Service in west Texas and northern California in 2003. By 2008, the MTB had defoliated over 140 hectares in Texas and 250 hectares in California. However, the MTB may not be as well adapted to interior desert and grassland habitats of south and west Texas as three other species of Old World tamarisk beetles that are being introduced, the larger tamarisk beetle (Diorhabda carinata), in north Texas, the subtropical tamarisk beetle (Diorhabda sublineata) in south Texas, and the northern tamarisk beetle (Diorhabda carinulata) in extreme northern Texas. The southern tamarisk beetle, (Diorhabda meridionalis) has not been introduced into North America, but may be best adapted to subtropical maritime desert habitats (Tracy and Robbins 2009).

Tamarisk does not usually die from a single defoliation from tamarisk beetles, and it can resprout within several weeks of defoliation. Repeated defoliation of individual tamarisk trees can lead to severe dieback the next season and death of the tree within several years (DeLoach and Carruthers 2004). Tamarisk beetle defoliation over the course of at least one to several years can severely reduce the nonstructural carbohydrate reserves in the root crowns of tamarisk (Hudgeons et al. 2007). Biological control of tamarisk by the MTB will not eradicate tamarisk but it has the potential to suppress tamarisk populations by 75–85%, after which both MTB and tamarisk populations should reach equilibrium at lower levels (DeLoach and Carruthers 2004, Tracy and DeLoach 1999).

A primary objective of tamarisk biological control with the MTB is to reduce competition by exotic tamarisk with a variety of native riparian flora, including trees (willows, cottonwoods, and honey mesquite), shrubs (wolfberry, saltbush, and baccharis), and grasses (alkali sacaton, saltgrass, and vinemesquite). Unlike expensive chemical and mechanical controls of tamarisk that often must be repeated, tamarisk biological control does not harm native flora and is self-sustaining in the environment. Recovery of native riparian grasses can be quite rapid under the once closed canopy of repeatedly defoliated tamarisk. However, tamarisk beetle defoliation can locally reduce nesting habitat for riparian woodland birds until native woodland flora are able to return. In some areas, tamarisk may be replaced by grasslands or shrublands, resulting in losses of riparian forest habitats for birds (Tracy and DeLoach 1999). Releases of tamarisk beetles in southern California, Arizona, and along the Rio Grande in western New Mexico, are currently delayed until concerns can be resolved regarding safety of tamarisk biological control to nesting habitats of the federally endangered southwestern willow flycatcher, Empidonax traillii Audubon subspecies extimus Phillips, which will nest in tamarisk (see DeLoach et al. 2000, Dudley and DeLoach 2004).

References
 ;  in prep.: Characteristics of diapause induction in populations of Diorhabda elongata collected from sites in Europe, Africa and Asia: Implications for tamarisk (Tamarix spp) biocontrol in North America.  For publication in Biological Control.
 ;  1973: Contribution a la faune de l'Iran; Voyages de MM. R. Naviaux et M. Rapilly (Col. Chrysomelidae). Annales de la Société Entomologique de France, 9(4): 861–894. (In French)
  1832: Expedition scientifique de Morée (Paris), Volume 3, Pt. 2. (Zool.): 266, 271. (In French)
 ; ; ; ;  2005: The aggregation pheromone of Diorhabda elongata, a biological control agent of saltcedar (Tamarix sp.): Identification of two behaviorally active components. Journal of Chemical Ecology, 31(3): 657–670. PDF
 ;  2004: Biological control programs for integrated invasive plant management. In: Proceedings of Weed Science Society of America Meeting, Kansas City, MO. Weed Science Society of America (CD-ROM). 17 pp. PDF
 ; ; ; ;  2000: Ecological interactions in the biological control of saltcedar (Tamarix spp.) in the United States: toward a new understanding. In N. R. Spencer (ed.), Proceedings of the X International Symposium on Biological Control of Weeds, 4–14 July 1999, Montana State University. Bozeman, Montana, pp. 819–873. PDF
  1870: Descriptions de Coléoptères nouveaux d'Europe et confins. L'Abeille, Volume 7, Part 1: 10–135. (In French)
   2004: Saltcedar (Tamarix spp.), endangered species, and biological weed control-can they mix? Weed Technology, 18(5): 1542–1551.PDF
  1837: Fauna entomologica Trans-Caucasica, II: Coleoptera. Nouveaux Mémoires de la Société Impériale des Naturalistes de Moscou, 5: 1–433. (In Latin)
 ; ; ; ; ; ;  2007: Defoliation by introduced Diorhabda elongata leaf beetles (Coleoptera: Chrysomelidae) reduces carbohydrate reserves and regrowth of Tamarix (Tamaricaceae). Biological Control, 43: 213–221. PDF
 ; ; ; ;  2003: Biology of Diorhabda elongata deserticola (Coleoptera: Chrysomelidae), an Asian leaf beetle for biological control of saltcedars (Tamarix spp.) in the United States. Biological Control, 27: 101–116. PDF
 ; 1849: Exploration scientifique de l'Algeria. Zoologie (Paris), 2: 542–546. (In French)
 ;  2006: Host specificity of different populations of the leaf beetle Diorhabda elongata (Coleoptera: Chrysomelidae), a biological control agent of saltcedar (Tamarix spp.). Biological Control, 36: 32–48. PDF
 ; ; ; 2007: Overwintering survival, phenology, voltinism, and reproduction among different populations of the leaf beetle Diorhabda elongata (Coleoptera: Chrysomelidae). Environmental Entomology, 36(6): 1356–1364.PDF
 ; ; ;  2009: Open field host selection and behavior by tamarisk beetles (Diorhabda spp.) (Coleoptera: Chrysomelidae) in biological control of exotic saltcedars (Tamarix spp.) and risks to non-target athel (T. aphylla) and native Frankenia spp. Biological Control, 50: 243-261. PDF
 ;  1852: Première série de coléopteres nouveaux. Opuscules Entomologiques, 1: 161–177. (In French)
 ;  1858: Espèces nouvelles ou peu connues de Colèoptères, recueillies par M.F. de Saulcy, member de l'Institute, dans son voyage en Orient, et dècrites par M.M. L. Reiche et Fèlicien de Saulcy. Annales de la Société Entomologique de France, Sér., 3, 6: 5–60. (In French)
 ;  1999: Biological control of saltcedar in the United States: Progress and projected ecological effects. In: Bell, C.E. (Ed.), Arundo and Saltcedar: The Deadly Duo, Proceedings of the Arundo and Saltcedar Workshop, 17 June 1998. Ontario, California, 111–154. PDF
 ;  2009: Taxonomic revision and biogeography of the Tamarix-feeding Diorhabda elongata (Brullé, 1832) species group (Coleoptera: Chrysomelidae: Galerucinae: Galerucini) and analysis of their potential in biological control of Tamarisk. Zootaxa, 2101: 1-152. PDF
  1893: Chrysomelidae. In: Erichson, W. (ED.), Naturgeschichte der Insecten Deutschlands, 61(73): 961–1161. (In German)

Notes

External links

 Texas Agri-Life Extension Leaflet; Biological Control of Saltcedar (photos of Mediterranean source population D. elongata). PDF
 Texas Agri-Life Extension Newsletter; Beetle-Mania; Biological Control of Saltcedar in Texas, Volume 1, No. 2, Summer 2009 PDF
 Texas Agri-Life Research and Extension Program; Biological Control of Saltcedar: Using Natural Enemies to Combat an Invasive Weed Competing with Texas' Water Resources (Mediterranean source population is D. elongata).  PDF
 USDA Agricultural Research Service and Texas Agri-Life Research and Extension Service Report of Information to the Public; Progress on Biological Control of Saltcedar in the Western U.S.: Emphasis -- Texas 2004-2009. PDF

Galerucinae
Biological pest control beetles
Insects used for control of invasive plants
Beetles of North Africa
Taxa named by Gaspard Auguste Brullé
Beetles described in 1832

Diorhabda elongata


Fontes Christiani is a widely cited German bilingual collection of patristic and medieval Latin works with modern German translations. Published initially by Herder, a long-established German theological publisher beginning in 1988, it has been published by the Belgian company Brepols, a major specialized academic publisher in the humanities but now appears to have reverted to Herder. 100 texts have so far been published (with in 2009 the appearance of a volume of mainly fourth century selected texts devoted to issues of monotheism and tolerance), of which 36 were edited by Herder.

The texts which have appeared cover a wide range of authors including on a random selection Irenaeus of Lyons, Tertullian, Origen of Alexandria, Aphrahat, Gregory of Nazianzus, Ambrose, Gregory of Nyssa, Theodore of Mopsuestia, Cassiodorus, John Philopon, Abelard, Rupert of Deutz. These are intended to be appropriate for individual purchasers as well as research libraries.

The editorial responsibility is taken by the "Verein zur Förderung der "Fontes Christiani" e. V.", the Fontes Christiani Institute in Bochum.

Reviews
 G Gould - The Journal of Theological Studies, 2004
 CTR Hayward - The Journal of Theological Studies, 2005
 LR Wickham - The Journal of Theological Studies, 2005

External links
publisher's site

Dual-language series of texts
German books
Publications of patristic texts

Fontes Christiani