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Tag Archives: Brittany Allen
BARE BONES: THE PRODIGY (2019)
May 7, 2019 by MonsterZero NJ	in Bare Bones, Horror You Might Have Missed and tagged Brittany Allen, Colm Feore, Jackson Robert Scott, Jeff Buhler, Nicholas McCarthy, Paul Fauteux, Peter Mooney, Supernatural horror, Taylor Schilling, The Prodigy	| Leave a comment
At the same moment that serial killer Edward Scarka (Paul Fauteux) is gunned down by police, Sarah Blume (Taylor Schilling) gives birth to her son Miles. As this is a horror movie, that kind of coincidence is never a good thing. Growing up, the boy starts to show a remarkable intelligence. As he reaches his eighth year, Miles (Jackson Robert Scott) also starts to show a propensity towards violent behavior. Soon Sarah and husband John (Peter Mooney) start to believe that there is something very wrong with their son…and they may not live to tell about it.
Very familiar tale is also very well directed by Nicholas McCarthy (The Pact) from a derivative script by Jeff Buhler. We've seen the bad seed/possessed kid story so many times that this movie has an uphill battle all the way trying to do something effective with this often used scenario. That being said, McCarthy succeeds in making this a very creepy and sometimes downright disturbing movie, despite having seen it all before. He is also helped by a truly chilling performance from young Jackson Robert Scott, as the serial killer in a little boy's body and Taylor Schilling does strong work as a woman terrified of her own child. While it's hard to give the flick any points for originality, it is easy to give Nicholas McCarthy big time kudos for making this well-worn scenario as effective as it is. A great example of a skilled filmmaker taking a lemon and making lemonade. Also stars Colm Feore as a reincarnation expert and Brittany Allen (What Keeps You Alive, Extraterrestrial) as the Scarka victim that got away.
BARE BONES: THE HEAD HUNTER (2018)
April 11, 2019 by MonsterZero NJ	in Bare Bones, Horror You Might Have Missed and tagged Brittany Allen, Colm Feore, Jackson Robert Scott, Jeff Buhler, Nicholas McCarthy, Paul Fauteux, Peter Mooney, Taylor Schilling, The Prodigy	| Leave a comment
THE HEAD HUNTER (2018)
Minimalist horror/fantasy tells the tale of a warrior (Christopher Rygh) who hunts monsters for a living and saves their heads as trophies. The head he is determined to add to his collection, is the one of the creature that killed his little girl (Cora Kaufman). As in all tales of revenge, be careful what you wish for.
Dark and somber tale is directed by Jordan Downey (Thankskilling and it's sequel) from his script with Kevin Stewart and is more about grief and the desire to sate it with revenge than action. Those expecting epic battles will be disappointed as the film focuses on the aftermath and effect on "Father", returning from battle with gory scars and wounds and in obvious pain, as he works his way towards his target. We do get a final confrontation, but it happens in a way you may not expect and concludes in an equally unexpected and unsettling finale. Downey's film is a far cry from his silly Thankskilling and ironically this film could have been silly in parts if not for Downey's deft handing of the subject. Instead the last act is quite intense and has some scary moments, as Father hunts and is hunted by the creature. The film reportedly only cost around $30,000 and the director creates a visually impressive film both in the detailed sets, costumes and creature heads and utilizing the Portuguese locations very effectively. The flick has atmosphere, portrays some intriguingly subtle uses of dark magic and features a good performance from Rygh as the grieving warrior. Not for everyone, but an interesting and very effective little movie from Jordan Downey.
Flick is available on Amazon Prime and iTunes.
10 PERFORMANCES THAT PROVE WOMEN RULED HORROR IN 2018!
December 31, 2018 by MonsterZero NJ	in Views and tagged Brittany Allen, Cam, Dana Christina, Extremity, Feral, Halloween 2018, Hanna Emily Anderson, Hereditary, Jamie Lee Curtis, Kate Siegel, Laurie Holden, Madeline Brewer, Nicole Muñoz, Pyewacket, Scout Taylor-Compton, Suspiria 2018, The Haunting of Hill House, Tilda Swinton, Toni Collette, What Keeps You Alive	| Leave a comment
Horror was one of the first genres to provide strong roles for women. From Gloria Holden as Dracula's Daughter to Jamie Lee Curtis as quintessential final girl Laurie Strode, women have always played a very important part. 2018 was no different, as there were a number of strong performances from the ladies in a variety of leading roles. Thusly, here are ten equally awesome performances by women in horror that proved that the ladies ruled the genre in 2018!…
(Just click on the highlighted titles to go to our reviews of these films for a more detailed description of the performances listed!)
#1 BRITTANY ALLEN as Jules in What Keeps You Alive
#2 HANNAH EMILY ANDERSON as Jackie in What Keeps You Alive
#3 NICOLE MUÑOZ as Leah in Pyewacket
#4 LAURIE HOLDEN as Mrs. Reyes in Pyewacket
#5 SCOUT TAYLOR-COMPTON as Alice in Feral
#6 TONI COLLETTE as Annie in Hereditary
#7 JAMIE LEE CURTIS as Laurie Strode in Halloween 2018
#8 TILDA SWINTON as Madame Blanc, Helena Markos and Dr. Josef Klemperer in SUSPIRIA 2018
#9 KATE SIEGEL as Theo Crain in The Haunting of Hill House
#10 DANA CHRISTINA as Allison in Extremity
MADELINE BREWER as Lola/Alice in Cam
Hit the link HERE for a similar listing from 2014. Another banner year for female performances! While you're there, find out which of these amazing ladies here also made that list in 2014!
5 DIRECTORS BRINGING NEW BLOOD TO HORROR!
October 24, 2018 by MonsterZero NJ	in Views and tagged Adam MacDonald, Ami Tomite, Amy LoCicero, Anja Savcic, Anthony DiBlasi, Ashleigh Gryzko, Ashley Smith, Backcountry, Blitz//Berlin, Brittany Allen, Canadian Horror, Cassadaga, Cassadaga movie, Chad Rook, Chloe Rose, Colin Minihan, Dana Christina, David Schuurman, Dylan Sloane, Elana Krausz, Elvis Perkins, Emily Perkins, Emma Roberts, Eric Balfour, Eric Osbourne, Erin Boyles, Extraterrestrial, Extremity, Found footage, Freddie Stroma, Gil Bellows, Grave Encounters, Hanna Emily Anderson, Heather Morris, Heather Tod Mitchell, horror, I Am the Pretty Thing That Lives in the House, IFC Midnight, Jake Busey, James Remar, Jeff Roop, Jesse Moss, Joey Klein, Kelen Coleman, Kevin Alejandro, Kiernan Shipka, Laura Brennan, Lauren Holly, Laurie Holden, Louise Fletcher, Lucas Beck, Lucy Boynton, Martha MacIsaac, Matt White, Melanie Papalia, Merwin Mondesir, Michael Ironside, Missy Peregrym, Most Likely TO Die, Nicholas Campbell, Nicole Muñoz, occult thriller, Osgood Perkins, Oz Perkins, Paula Prentiss, Perez Hilton, Pyewacket, Ruth Wilson, Samy Inayeh, Sean Rogerson, Slasher film, slasher flick, Stuart Ortiz, Supernatural horror, supernatural thriller, suspense thriller, Tess Christiansen, The Vicious Brother, What Keeps You Alive	| Leave a comment
At Halloween 🎃 time it is when we most think about scary movies, even those of us who watch them all year round. So why not take a look at five individuals who are bringing their own distinct vision to the genre and whom horror fans should be talking more about!…and no, I didn't forget the ladies, they deserve their own installment, forthcoming!
(To get to the full reviews of the films mentioned, just hit the highlighted titles that link to the corresponding page!)
Adam MacDonald
Adam MacDonald is a Canadian actor and filmmaker who has written and directed two features, thus far, that have made quite an impression. His first film Backcountry is a survival thriller that followed a couple (Jeff Roop and Missy Peregrym) who go camping in the woods. Jealous of his girlfriend's success, her beau chooses a lesser traveled route to prove himself to her. This puts them within the feeding ground of a massive and very hungry grizzly bear and thus sets up an intense and sometimes brutal last act. His second film Pyewacket is a supernatural thriller which finds a mother and daughter (Laurie Holden and Nicole Muñoz) in conflict over their methods of mourning the death of their husband/father. This propels the occult fascinated teen Leah (Muñoz) to evoke the dark entity Pyewacket to kill her mother. Leah soon learns to be careful what you wish for. Both films use troubled relationships as a catalyst for their stories and Pyewacket especially has some good old fashion scares and chills supported by a strong emotional center. MacDonald is showing a versatility and a depth to his filmmaking. Adam currently wrapped filming on Slasher season 3, so look out for more from this talented new voice in horror!
Nicole Muñoz conjures the wrong spirit in Adam MacDonald's Pyewacket
Stevan Mena
Stevan Mena is a New York born filmmaker who is a one man production company, writing ,editing, directing, producing and even scoring his own films. He made a splash in 2003 with his low budget slasher Malevolence, which was an old-fashioned horror throwback that echoed both Halloween and The Texas Chainsaw Massacre. Set in and around an abandoned slaughterhouse, it told the chilling story of some bank robbers and their hostages meeting up with serial killer Martin Bristol (Jay Cohen). He followed that up with a horror icon filled horror/comedy called Brutal Massacre, before returning to the saga of Bristol in 2010 with the brutal and intense Bereavement. The second Malevolence film was a prequel telling the story of how serial killer Graham Sutter (Brett Rickaby) kidnapped Martin (Spencer List ) as a child and trained him to be his successor. It's one of the best horrors of the decade IMO. Recently Mena overcame some tragic events to complete his Malevolence trilogy with the independently financed Malevolence 3: Killer. Sequel has an adult Martin (a returning Jay Cohen) leaving a blood soaked trail on the way back to his home town. Mena's work evokes that of John Carpenter himself and one hopes he returns to the director's chair sooner than later.
A killer (Jay Cohen) returns home in Stevan Mena's Malevolence 3: Killer
Colin Minihan
Colin Minihan started out as part of the writing/directing duo known as The Vicious Brothers along with collaborator Stuart Ortiz. Their first film was the fun and spooky found footage paranormal show send up Grave Encounters in 2011. They followed that up with the entertaining and chilling cabin in the woods/alien invasion hybrid Extraterrestrial in 2014. Though co-written with Ortiz, Minihan took the director's chair solo for the next film It Stains The Sands Red. This was an amusing, bloody and offbeat tale of a lone woman (Brittany Allen) being followed across the desert by a lone zombie. An interesting relationship forms as she fights brutal heat, dehydration and her relentless undead pursuer. Minihan wrote and directed his fourth film on his own with the brutal and intense What Keeps You Alive. One of the years best, it finds a married lesbian couple (Brittany Allen and Hanna Emily Anderson) celebrating their anniversary in a remote cabin in the woods. Soon romantic bliss becomes a battle for survival as one of the women is not who she seems. This flick proves Minihan is a force to be reckoned with, armed with a great script, taunt direction and brilliant work by his lead actresses. Minihan is a filmmaker fans need to be talking more about.
Lover vs lover in Colin Minihan's brutal and intense What Keeps You Alive
Anthony Diblasi
Boston born Anthony Diblasi is another filmmaker showing great versatility and a mastery of horror while also providing some emotional depth to his films. His first film Dread was a chilling tale of a college documentary project about fear, spinning horribly out of control. His next film Cassadaga, found deaf art teacher Lily (Kelen Coleman) being haunted by the spirit of a murdered young woman whose killer may have his sights set next on the pretty teacher. Diblasi worked on some non-genre projects and the horror anthology The Profane Exhibit before co-writing and directing The Last Shift in 2014. One of his scariest flicks, the story found a young policewoman being given the final shift in a haunted police precinct closing it's doors in the morning…but can she survive the night? Diblasi returned to horror again in 2015 with Most Likely To Die, an old fashioned slasher about a high school reunion turned deadly, and again in 2018 with Extremity. His latest finds an emotionally troubled woman turning to an extreme haunt to make her face her fears…bad idea. The film was not only disturbing and scary, but had a strong emotional lining with multi-dimensional characters and commentary about abuse and the lives it effects. Another filmmaker that is bringing a distinct voice to the horror genre.
Emotionally troubled Allison (Dana Christina) turns to an extreme haunt to face her fears in Anthony Diblasi's Extremity
Just because one is the son of legendary actor Anthony (Psycho) Perkins, one should not assume actor/director Oz Perkins knows horror…but he does! One of the most interesting filmmakers out there, Perkins has a unique vision and a strong ability to chill to the bone. His first film The Blackcoat's Daughter finds Rose (Lucy Boynton), a student at a Catholic girls school, given charge of new student Kat (Kiernan Shipka) at break. With almost everyone else gone, Rose starts to realize there is something very wrong with Kat and that she may be in danger. Perkins followed that up with a very atmospheric ghost story I Am The Pretty Thing That Lives In The House. Perkins writes and directs a subtle, yet chilling tale of care nurse Lily (Ruth Wilson) coming to live with ailing horror novelist Iris Blum (Paula Prentiss). Soon timid Lily starts to find out that Iris Blum's inspirations may be far more real than she'd like. It's a creepy and very effective film. Word has it his next film may be entitled A Head Full Of Ghosts and as he is bringing a very unique style to the genre, he sounds like the right man for the job!
Care nurse Lily (Ruth Wilson) finds her charge may have had all too real inspiration for her horror novels in Oz Perkins' I Am The Pretty Thing That Lives In The House
So these are five creative forces bringing new blood to horror. Each one is worth screaming about and their films are certainly worth checking out!
…and stay tuned for our second installment taking a look at the creative ladies bringing their unique voices to the genre!
2018: THE YEAR HORROR REGAINED SUBSTANCE and RESONANCE!
August 31, 2018 by MonsterZero NJ	in Views and tagged Adam MacDonald, Alex Wolff, Ann Dowd, Ari Aster, Brittany Allen, Brock Kelly, Chloe Rose, Colin Minihan, David Schuurman, Eric Osbourne, Feral, Gabriel Byrne, George Finn, Hanna Emily Anderson, Hereditary, IFC Midnight, Joey Klein, Landry Allbright, Laurie Holden, Lew Temple, Martha MacIsaac, Milly Shapiro, Nicole Muñoz, Olivia Luccardi, Pyewacket, Renee Olstead, Scout Taylor-Compton, Supernatural horror, supernatural thriller, suspense thriller, Toni Collette, What Keeps You Alive	| Leave a comment
SPOILER WARNING! In order to properly discuss these films in context with this article, some important details that may be considered SPOILERS had to be included. If you haven't seen one or any of these films, you may want to watch them first before reading this discussion. You have been warned!- MZNJ
Those who think horror movies are just an excuse for blood, boobs and boogie men are sadly mistaken and there is no more proof that horror flicks are capable of substance and emotional resonance than some of this year's genre offerings. To prove these aren't just the words of an overprotective horror fan, here are a few recent examples of how horror has returned to telling stories with strong emotional centers…
(Clicking the highlighted links brings you to the full reviews for the movies discussed below)
Pyewacket's story is triggered by the fractured relationship between a mother (Laurie Holden) and daughter (Nicole Muñoz) who are both mourning the death of their husband/father in completely different ways. Teen Leah has turned to an interest in death and the occult and her mother wants to start a new life in a new house, taking Leah away from her friends and school. The resulting turmoil has Leah evoking a dark entity, Pyewacket, to kill her mother and learning the harsh lesson…be careful what you wish for. The dysfunctional relationship between mother and daughter is strongly presented by writer/director Adam MacDonald and wonderfully acted by the lead actresses. The conflict between Leah and her mom is the catalyst for the horror that results and gives this spooky chiller a resonance that enhances it's supernatural element, by giving it subjects to prey upon that are already emotionally vulnerable.
What Keeps You Alive tells the story of Jules (Brittany Allen) and Jackie (Hanna Emily Anderson), a married, lesbian couple going to Jackie's family cabin deep in the woods to celebrate their first anniversary. There, Jules finds out Jackie is not who she thought she was and that she may have married a psychopath. Jules is forced to fight for her life against the one person in the world she loves the most. Colin Minihan's thriller works so well because it skillfully presents a loving relationship between two women and then tears the relationship apart in the most painful way as one woman finds the love of her life is a vicious and cruel person. Both actresses give fantastic performances as the cold and cunning Jackie and the heartbroken and terrified Jules. The film may be intense and brutal, but even more so because Jules' betrayal and the torment she endures as a result, are portrayed so well and give the story impact beyond the violence we witness.
Feral is another film this year to present a lesbian couple as the character focus for it's story. Here Alice (Scout Taylor-Compton) comes out to her friends on a camping trip by bringing her girlfriend Jules (Olivia Luccardi) along. It's met with mixed emotions from her friends and adds conflict before our infected even appear. Once our creatures are introduced and the bloodshed and carnage begin, we watch a strong-willed young woman fight to save the ones she loves and even finding conflict with her new partner over how to handled those of the group who become infected themselves. Director and co-writer Mark Young elevates this cabin in the woods/zombie horror by having a strong and topical human interest story at it's center with three dimensional characters well played by the cast, especially Taylor-Compton's strong-willed but compassionate Alice.
Our House is a haunted house story that tugs at our hearts as well as chills us to the bone. Here, college student Ethan (Thomas Mann) is forced to leave school and abandon his dreams as the accidental death of his parents takes him from sibling to parent to his younger brother Matt (Percy Hynes-White) and his little sister Becca (Kate Moyer). Director Anthony Scott Burns gives us time to become endeared to this young, emotionally wounded family before introducing the supernatural elements brought into the house by Ethan's experiments. Even if the basic haunting story is routine, it becomes very effective as the audience has a strong emotional investment in the characters from early on. We like them and fear for them. This could have been just a routine ghost story had Burns not given it such a very human heart and elevated it in a crowded sub-genre.
Hereditary may have split fans with it's slow pace and extremely eccentric characters, but it was a story of mental illness as much as the supernatural. It had a very strong performance by Toni Collette as Annie, a woman dealing with her own mental health issues, as well as, those of her very offbeat family. Filmmaker Ari Aster could have left out the demonic portion of the story and still had a disturbing portrait of an unbalanced family created by some sadly damaged DNA. By giving us a strong picture of possibly mentally unstable characters, it kept us guessing till the final moments if it was the demonic or the psychotic that was to blame for this family's woes. Again, basing the story in a strong human element that we can identify with and invest in, makes the supernatural elements plaguing our subjects all the more effective and believable…and thus more frightening.
These are just some examples, but one could site a few more illustrating how horror has refocused from blood, gore and things that go bump in the night to the matters of the mind and heart of some very human characters. It gives the films in question resonance and when we identify and care about characters, it makes their respective predicaments all the more effective. This year's horrors also had something to say about some very topical human issues, while telling their stories of ghosts, ghouls and malevolent specters…and the genre is all the better for it.
…And obviously, I recommend you catch up with all these flicks if you haven't already!
HORROR YOU MIGHT HAVE MISSED: WHAT KEEPS YOU ALIVE (2018)
August 26, 2018 by MonsterZero NJ	in Horror You Might Have Missed and tagged Brittany Allen, Colin Minihan, David Schuurman, Hanna Emily Anderson, IFC Midnight, Joey Klein, Martha MacIsaac, suspense thriller, What Keeps You Alive	| 3 Comments
WHAT KEEPS YOU ALIVE (2018)
Jules (Brittany Allen) and Jackie (Hanna Emily Anderson) are a married couple going up to Jackie's lakeside family cabin in the woods to celebrate their one year anniversary. Once there, Jules starts to find out that Jackie is not the person she thought she married. In fact, Jules has married a monster and will soon be fighting for her life against the person she loves most.
Intense and brutal flick is written and directed by Colin Minihan, who from Grave Encounters to Extraterrestrial to It Stains The Sands Red to this, is getting better and better as a filmmaker and it's a mystery why more people aren't talking about him. Minihan weaves a disturbing tale of lies, betrayal and murder as a young woman finds out her wife is a dangerous psychopath who delights in killing her lovers…among others. What makes this work so well is that Minihan builds a nice and believable relationship between Jules and Jackie in a short time and then has it painfully unravel and turn into a fight for survival between the two wives. The script is clever and Minihan gives it some nice artistic touches which elevate it from a simple horror flick to a movie with substance, style and some shocking moments, too. There is brutal violence and as it's used sparingly and at the right moments, we feel it when it comes and it's effective throughout. The cat and mouse game between Jackie and Jules is tense and suspenseful and we are riveted when Jules is forced to watch her lover engage in some horrible acts against innocents. It's a rough ride for the audience, yet never exploitative…which makes it all the more effective. Minihan knows how to build suspense and how to use his camera and shots to create atmosphere and tension. That camera work is captured excellently by David Schuurman's cinematography and there's a really great score by star Brittany Allen. Having seen all of Minihan's films, this is his most confident and daring movie yet. It's the film where a filmmaker moves out from under his influences and finds his own voice.
What also makes it work so well is borderline brilliant performances by it's leading ladies. Brittany Allen, in her third film for Minihan, gives a powerful portrayal of a woman who is torn apart by betrayal and finding that her wife is a psychotic monster. We watch a gentle woman shattered by the pain and torment of these horrific revelations and then slowly finding the strength to fight back against someone she loved more than anything. Hanna Emily Anderson at first fools us into believing, as does Jules, that this is a sweet and caring woman in love with her soulmate. We then watch her slowly turn into the calculated and cunning psychopath she really is and one with disturbing depth, making her unnervingly real. She's not a stereotype and the fact that Anderson avoids over-the-top and stays chillingly calm, makes her even more frightening. Wonderful work by both actresses. Martha MacIsaac and Joey Klein also appear as a couple that live across the lake, but we know their purpose from the start and they serve it well.
Simply one of the best horror films of the year, so far and the best film yet from a writer/director who gets better and better with each film. It's clever, intelligent and brutal and intense. It's a disturbing portrayal of love and betrayal. It's two former lovers in a battle of wills and survival that is as provocative as it is unnerving. The leading ladies give really powerful performances and Colin Minihan proves he is a filmmaker that genre fans should be talking far more about.
Rated 4 hunting knives.
HORROR YOU MIGHT HAVE MISSED: IT STAINS THE SANDS RED (2017)
July 31, 2017 by MonsterZero NJ	in Horror You Might Have Missed and tagged Andrew Supanz, Blitz//Berlin, Brittany Allen, Clayton Moore, Colin Minihan, It Stains The Sands Red, Juan Riedinger, Merwin Mondesir, Michael Filipowich, Stuart Ortiz, The Vicious Brothers, zombie film	| 2 Comments
IT STAINS THE SANDS RED (2017)
Offbeat zombie flick has erotic dancer and coke-head Molly (Brittany Allen) driving across the desert outside Las Vegas at the start of a zombie outbreak. She and her boyfriend Nick (Merwin Mondesir) are heading to a small airport to make a getaway with some of Nick's friends. A mishap strands them in the middle of nowhere and an encounter with a lone zombie (Juan Riedinger) leaves Nick dead. Now Molly heads across the desert alone with the relentless walking corpse in pursuit and the desert heat taking it's toll.
This is a very unusual zombie flick written by "The Vicious Brothers" Colin Minihan and Stuart Ortiz and directed by Minihan. It plays it's tale out in a slightly twisted way as, at first, it's a thriller with Molly struggling in her high heeled boots to keep ahead of the slow moving but ever persistent corpse and then turns into something else. As the desert sun beats down on her and she starts to get a bit delirious, Molly begins to form a weird relationship with her hungry pursuer, taunting and talking to it and even naming him "Small Balls." The film shifts to an almost twisted buddy movie as Molly develops an attachment to the flesh eater while she also tries to keeps him at a safe distance. There is some clever stuff here and the film is effective enough to work as both horror and buddy/road movie despite that the initial intriguing premise of a lone woman pursued tenaciously by a lone zombie was interesting enough. Perhaps Minihan and Ortiz felt the story wasn't enough to fill a whole film and thus it changers gears to the unusual bond between girl and ghoul and then to a last act deviation when Molly decides it's more important to find the young son she gave up than to escape with Nick's crazy friends. The narrative shifts are a bit jarring, but as individual parts do work well enough. There are also some Romero-esque messages about the evil men do, as when Molly meets two ex-cons, who are far worse a threat than the lumbering "Smalls" and some funny bits, such as Molly using a tampon to distract the hungry zombie from his pursuit and her dialogue in general aimed at her un-dead pursuer. There is plenty of gore despite the minimal cast and Minihan makes good use of the desert local. There is also an effective score by Blitz//Berlin, who scored Extraterrestrial and some nice cinematography by Clayton Moore to add atmosphere.
The minimal cast are all solid, especially the feisty Brittany Allen (Extraterrestrial). Allen's Molly is spirited and tougher than her manicured nails and designer handbag would let on. She's a survivor and while currently living an indulgent lifestyle, she does seem to learn from her experiences. It's practically a one woman show and Allen carries the movie on her shoulders very well and can be very funny with her rambling dialogue bits with the silent Smalls. As zombie "Smalls", Juan Riedinger does really good work emoting under all the make-up. Much like Day of The Dead's Bub, Smalls seems to have some sort of primal emotions under his relentless hunger and some trace elements of thought left, despite being a walking corpse. While he generally has simple animistic reactions, the actor conveys the tinges of thinking and emotion very well using just facial expressions, body language and his eyes. In support, Merwin Mondesir plays Molly's "gangstsa" boyfriend Nick with the appropriate swagger, yet with a bit of a wink and Andrew Supanz and Michael Filipowich are suitably despicable a a pair of ex-cons who cross paths with Molly and Smalls.
Despite an eccentric narrative and deviating from a simple and effective horror premise that was basically a zombie version of Fredric Brown's Arena, the film was entertaining and did work. Brittany Allen was sassy enough to pull off the bizarre relationship between Molly and Smalls and was effective in her more terror filled scenes early on and then at the point where she becomes a survivor and takes charge of her situation. Juan Riedinger made a fearsome and yet oddly sympathetic zombie and for fans of these flicks there was enough gore to meet requirements. There are some intense moments and some funny ones, too. Not a perfect flick and one might have wanted to see it simply play out as woman vs zombie, but it takes a less expected route and it's offbeat enough to keep it from getting stale in an overplayed sub-genre. The "Vicious Brothers"…if they're still called that…have yet to disappoint.
3 tampons.
HORROR YOU MIGHT HAVE MISSED: EXTRATERRESTRIAL (2014)
May 13, 2015 by MonsterZero NJ	in Horror You Might Have Missed and tagged alien abduction, Anja Savcic, Blitz//Berlin, Brittany Allen, Emily Perkins, Extraterrestrial, Freddie Stroma, Gil Bellows, Grave Encounters, Jesse Moss, Melanie Papalia, Michael Ironside, Samy Inayeh, Vicious Brothers	| 10 Comments
EXTRATERRESTRIAL (2014)
Written and directed by the Vicious Brothers (Grave Encounters), this flick is a fun homage to cabin in the woods horrors, alien abduction flicks and has a delightfully 80s horror movie feel to it.
Story opens with a woman (Ginger Snaps' Emily Perkins) running hysterically to a closing gas station and begging for help. Turned away by an obnoxious clerk, she runs to the phone booth where both she and the booth are snatched up into the sky before she can complete her 911 call. We then cut to pretty April (Brittany Allen) who is going with friends to her family's soon-to-be-sold remote cabin for a weekend stay to take pictures for the realtor…and do a bit of partying. Once there, they witness an object crash into the woods and upon investigating, discover a disc-like craft and some very inhuman footprints. Back at the cabin, they have a terrifying encounter with the occupant and the creature is shot and falls into the pool, presumed dead. Now they are being hunted by otherworldly beings and according to local pot grower/conspiracy theorist Travis (a fun Michael Ironside), they have broken a treaty between the extraterrestrials and the U.S. Government and the aliens will find them and make them pay. Is there any escape for them?
I had a very good time with this flick and found it a really fun homage to a number of favorite types of horror. The Vicious Brothers script pays tribute to not only alien abduction themed chillers, but to the old remote cabin scenario, and maybe even a touch of Friday The 13th, too. Under their direction, the film has a distinctly 80s vibe and is quite colorful and loaded with spooky action and impressive FX sequences. The filmmakers also proudly incorporate far too many clichés to be anything, but an intentional homage…and as such, it's a lot of fun. The film has some intense scenes…especially in the last act…but is more of an outright sci-fi/monster flick and is a very entertaining one at that. There are some top notch visual and make-up FX to portray our creatures, as well as, their ships and abilities, and a fun and surprising amount of gore to illustrate their carnage. The movie has an 80s look as filmed by Samy Inayeh and a really effective score by the Canadian band Blitz//Berlin. Maybe not an altogether original movie, but it used the traditional elements wisely and mixed the homages very well.
The cast are all fine and play their roles effectively. Brittany Allen makes a good heroine with her resilient and strong April. Freddie Stroma is likable as April's loving boyfriend, Kyle. Melanie Papalia plays cute, loyal friend Melanie. Jesse Moss is appropriately grating as party animal Seth…the "Hudson" of the group. Anja Savcic is pretty, but doesn't get to do much, as Seth's girlfriend Lex and Gil Bellows is solid as the local sheriff with a personal interest in what is going on. As for the genre familiar guest stars, Perkins is good as the hysterical mom who's lost her husband and child to the visitors and Ironside is a hoot in a lighter role than we are used to seeing him, as the stoner/conspiracy theorist Travis. A solid cast.
I think this is a very fun movie. Some may criticize the film for using far too many familiar elements, but in my opinion, they are paraded out proudly and far too often to be anything but an intentional homage. It has some intense action, top notch SPFX, a great 80s horror vibe and a last scene that is not only disturbing, but a deviously amusing nod to a classic TV show that I won't spoil. It's not anything we haven't seen before, but it uses the clichés well and in a very entertaining manner and every now and then splashes the screen with some fun gore. The Vicious Brothers…like with Grave Encounters…know we are familiar with a lot of the tropes and just have a good time with them without the pretension of pretending they are showing us something new. It's a really fun and possibly underrated sci-fi/horror.
3 and 1/2… well…you know.


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Albert Lorey Groll
Born in New York City, Albert Groll became a much admired, successful Western desert landscape and skyscape painter, although he remained a resident of New York City where he associated with the cultural elite. Many of his landscape paintings are rich in color with elements of both realism and a sense of abstraction. Groll spent most of his student years in Munich, Germany, at the Royal Academy, where he studied with Ludwig von Löfftz, but he also studied in London, England, and at the Royal Academy in Antwerp, Belgium.
After he returned to the United States, Groll painted along the Atlantic Coast. He then traveled West with ethnologist Stewart Culin of the Brooklyn Museum, who was writing a treatise on Native American games. Groll painted many Arizona and New Mexico scenes, and his skyscapes, depicting towering cloud formations, are particularly striking. In time, he became a friend and guest of Lorenzo Hubbell at his well-known Ganado trading post.
Groll is also credited with introducing William Robinson Leigh to the Southwest. They had studied together in Munich and, at Groll's suggestion, Leigh first visited New Mexico in 1906. Throughout his career Groll consistently won favor at competitions and exhibitions. His awards include the Salmagundi Club's Shaw Prize in 1903 and 1904, a silver medal at the Louisiana Purchase Exposition of 1904 in St. Louis, the George Inness gold medal from the National Academy in 1912, and a silver medal at the San Francisco Panama-Pacific International Exposition of 1915. In 1910, he was elected to the National Academy of Design.

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Management School
Home > Management School > Our staff > Prof Jeremy Dawson
arrowManagement School
Professor Jeremy Dawson
Professor of Health Management
Room: B023
Email: J.F.Dawson@Sheffield.ac.uk
Personal web page: http://www.jeremydawson.com/slopes.htm
Jeremy Dawson is Professor of Health Management, working jointly between the Institute of Work Psychology (within the Management School) and the School of Health and Related Research (ScHARR). He is a statistician by background, but has worked in the fields of work psychology, management and healthcare since 1998.
Jeremy's research focusses mainly on team working, human resource management, climate and culture in the NHS, with current funded projects including topics such as measurement of general practice productivity, evaluation of interventions to improve staff well-being, and diversity and discrimination in the workplace. He has also worked on other topics, particularly work group diversity, work engagement and safety. He has a particular interest in areas of statistical methodology, including the testing and interpretation of interaction effects (www.jeremydawson.com/slopes.htm).
He was previously a Senior Research Fellow at Aston Business School, Aston University, where he was also director of the Institute for Health Services Effectiveness (IHSE), leading several large-scale projects including running the NHS national staff survey for its first eight years between 2003 and 2010. He gained his PhD from Aston University in 2011.
Jeremy is a statistician by background, and teaches a wide variety of subjects in the fields of statistics and research methods. Within the Management School he contributes to modules on research methods for management and psychology students, as well as supervising postgraduate students. Within ScHARR Jeremy leads the HAR6045 Further Statistics for Health Science Researchers module, and a corresponding distance learning module (HAR6061), which is also available to PhD students across the University as well as for continuous professional development (CPD). He also contributes to three other statistical modules for medical or health students. Jeremy currently supervises six PhD students, and provides additional statistical workshops for staff and PhD students within the Management School.
Some of this has the aim of preparing students for using statistics in the wider world (e.g. statistics for work psychologists; critical numbers for medical students), whilst other areas are focussed on enabling students (particularly postgraduates) to do quantitative research. This includes everything from basic principles of research through to detailed workshops about topics such as questionnaire design and psychometrics, multilevel analysis and structural equation modelling. He has also supervised students at all levels, including undergraduates, MSc, MBA, and PhD.
Jeremy's research falls broadly into three areas, with plenty of crossover between them – management of health care organisations, team working, and statistics. Recent projects in health care include a study of the effects of NHS staff engagement and experience on patient outcomes; various studies of team working in health care, particularly in mental health services; an examination of the effects of organisational restructuring in the NHS; and a project looking at the diversity of hospital staff and their representativeness of the local community. In 2014 he began an NIHR-funded study evaluating Schwartz Center Rounds® in the NHS, and between 2015 and 2017 he is leading an NIHR-funded study to develop and test a measurement of productivity in general practices.
As well as teams in health care, he has a more general interest in team diversity, and in particular how it should be measured. As a statistician he has also undertaken a wide range of methodological research, particularly regarding interpretation of interaction effects, measurement of diversity, analysis of incomplete team data, and the effects of aggregation on relationships. He has published over 40 papers in refereed academic journals in the fields of psychology, management, health care and research methods, as well as numerous project reports and articles in practitioner publications. He is an editorial board member of six journals, and an Associate Editor of the Journal of Occupational and Organizational Psychology.
Jeremy is currently involved in the RoMHS project with School of Health and Related Research, Health Sciences School (Division of Nursing and Midwifery) and the Management School within the University of Sheffield.
PHD Supervision
Jeremy currently supervises six PhD students:
Mustafa Doruk Mutlu (Management) - Composition of knowledge intensive teams and creativity
Leanne Ingram (Management) - Mindfulness at work
Manoj Patankar (Management) - Safety culture in hospitals
Ameerah Qattan (ScHARR) - Stress amongst nurses in Saudi Arabia
Katharine Whittingham (ScHARR) - Quality of life amongst carers of heart disease patients
Katharine Roberts (ScHARR) - Development of a nutrition measurement tool


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After 6 months of racing, 25 different races, and 23 different historic racing venues, the playoff field of 16 for the MPI Cup series is set. Lawson Peel and Mario Merenda are atop the field which includes eight different winners throughout the 2022 season.
In total 49 different drivers attempted to make the MPI playoffs in 2022, yet only 16 were able to accomplish that goal. The top 8 qualifiers were able to secure a spot in the playoffs by winning at least 1 race, while the bottom eight made it in on points.
First let's take a look at the eight drivers who secured a win to lock a playoff position:
Lawson Peel
Mario Merenda
Steven Stempien
Joe Sanchez
Austin Reedy
Wyatt Brackett
Warren Kyle Keith
Zach A Wilson
These eight drivers were able to fee some form of calm and relief heading into the season finale at Daytona, as they were guaranteed a playoff berth. While their position in the playoffs could have changed due to the number of wins, knowing that you don't have to hope for the best at a chaotic Superspeedway race surely must be a relief.
The next eight drivers made it in on points, meaning they had strong consistent runs all season. Here are those eight drivers:
Alex Muscarella
Daniel Michel
Curtis Kelly
Dakotah Curtis
Brandon T Banks
Austin Shoemaker3
Chris Shoemaker
Kipp A Easley
As you can see per the points listed, while some of these drivers did not lock a playoff berth via a win, they were so far ahead of the cut line, that they were guaranteed a spot. Alex Muscarella for example, had a very strong season, scoring 9 Top-10 finishes putting him above the cut line by over one hundred points going into Daytona, and did not need a win to secure his playoff berth.
The feelings of tension and stress were a little higher for the drivers in 14th – 16th though as the regular season finale race winded down, as their spots were not guaranteed. Mere points separated them, and the possibility of a new winner at a track known for an anything can happen mantra, was looming over them.
When the green flag flew for the final restart at Daytona, Kipp Easley was not 16th in points, instead that spot belonged to Garrett Brown, as Brown would be ahead by three points. Meaning every position on track would matter, making a pass on the last lap, in the last corner, could be the difference maker in determining playoff contention. The unknown they both faced though, the driver who was going to restart right behind Mario merenda, the winless Jessie Whittington. A new winner in the series would lock in a spot in the playoffs, meaning there would be one less position available for a driver trying to lock in a position based on points. This meant that not only was there a point battle between Easley and Brown but that also in a few moments' time, possibly neither would make the playoffs.
Whittington had a great start, as he stuck to the bumper of the leader Merenda and jumped out to 2nd place quickly going into turn one, but his hopes of a playoff berth would not last long. About halfway down the backstretch, Whittington found himself the victim of aggressive traffic, and turned around facing the wrong way, thus ending his chances of winning.
At this moment, the caution flew as the wreck ensued and the race was over. A victorious Mario Merenda led the field around under yellow to the checked flag, and drivers eagerly awaited the results fo the race, and the point standings.
When all was said and done, Kipp Easley locked in the 16th and final playoff position by 1 point, meaning one pass attempt gone wrong, or avoiding or not avoiding the final wreck was ultimately the difference in deciding the final playoff position.
Now the field of 16 looks ahead to the next ten weeks. Knowing that wins now mean more than ever as eliminations will come fast, and a single mistake can cost you everything. The first track, Darlignton, the lady in Black.
You can watch the entire MPI Cup Series playoffs on Podium eSports on our Twitch Channel and interact live with fellow viewers every Sunday night.
August 26, 2022 Podium eSports to broadcast the MPI Cup series playoffs
September 6, 2022 Joe Sanchez wins MPI Cup Series playoffs opener at Darlington


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William Hill crisis talks with Playtech
William Hill and their software provider, Playtech, have been having some difficulties in their relationship recently, and now open talks are being held between the two companies to attempt to rescue their joint online venture, according to a leading financial source.
William Hill, who as well as providing high street betting facilities also provide online gambling in the form of casino games, bingo and sports betting, have arranged to meet with Playtech, the Tel Aviv based gaming software development company, to discuss their working relationship in depth.
Playtech who actually own 29% of William Hill Online, need to discuss whether it's time to end the venture they started together or if they can find a final and 'third way' to rectify the situation.
Speaking to the Financial Times, Playtech's chief executive, Mor Weizer, said they were hoping to have discussions 'as soon as possible' and that both companies were looking to explore all possible options, including significant structural changes if necessary to keep the partnership alive.
From William Hill's point of view, they're looking to take strategic control over their fast growing online business by putting an end to Playtech's ability to veto acquisitions and they also want Playtech to commit to not working with their closest high street rivals, Ladbrokes.
Back in February 2011, the William Hill bingo parent went as far as taking out an interim injunction so Playtech couldn't sell its shares in the online arm of William Hill. It was also forced to pull out of a deal to purchase a mobile betting company due to Playtech's veto.
William Hill has until November to make a decision; until then they can't activate an option to end the Playtech partnership which would result in them needing to buy out Playtech's 29% share in the business. The price of the sale would be discussed and decided by three independent banks.
Three such banks, JPMorgan, UBS and Deutsche Bank put together a 2012 valuation report which showed Playtech's shares to be worth around £354 million which has caused concern as to whether William Hill have instant access to these kind of funds or whether they'd have to raise them through other means.
Playtech and William Hill Online have been in partnership since 2008, when Playtech bought its share in William Hill Online for €250 million. This share was bought in exchange for the design and software for the online casino and poker games offered by William Hill Online and also the personnel provided to drive customers to the company. This deal has led to William Hill Online sitting amongst the largest European gambling operations.
The partnership has worked wonders for William Hill and it would be sad to see it end but it's clear that there are plenty of reasons for their disagreements. By November, a decision will have to be reached.
www.williamhillbingo.com


The police in Germany Sunday arrested Catalonia's former president, Carles Puigdemont as he crossed over by car from Denmark.
Puigdemont "was arrested today at 11:19 am by Schleswig-Holstein's highway patrol force," a German police spokesman told AFP, adding that the detention was based on an European warrant.
"He is now in police custody", the spokesman added.
Puigdemont's party spokeswoman Anna Grabalosa also separately confirmed that he was detained on arrival in Germany from Denmark.
"It happened as he crossed the Danish-German border. He was treated well and all his lawyers are there. That is all I can say," she said.
Puigdemont is wanted by Spain on charges of "rebellion" and "sedition", over his independence bid for Catalan.
He had been visiting Finland since Thursday but slipped out of the Nordic country before Finnish police could detain him.
Puigdemont's lawyer Jaume Alonso-Cuevillas, said on Twitter that Puigdemont was picked up by German police as he was travelling back to Belgium where he had been living in self-imposed exile.


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Berlin Review: Anton Corbijn's 'Life' Starring Robert Pattinson & Dane DeHaan
Berlin Review: Anton Corbijn's 'Life' Starring Robert Pattinson & Dane DeHaan
Jessica Kiang
Anton Corbin knows cool. He can even create it, and has done so time and again in his pictures of musicians and rock stars — he is the photographer of whom Bono reportedly said, "I wish I were as cool as Anton's photos make me look" (from your lips to God's ears, Bono). So who better than Corbijn to investigate the myth-making potential of photography and to bring us the story behind one of the most iconically cool photos of the 20th Century? But proving that sometimes we lose sight of the things that are closest to us, Corbijn's "Life," which details the relationship between Life Magazine photographer Dennis Stock and definingly cool movie star James Dean (which yielded the most famous photo of Dean, just months before his early death) is a weightless thing, skittering across the surface of the legend and only briefly ever daring to take a peek beneath. It looks pretty, and is visually often a creditable recreation of times past, but it gives no substance to Stock and Dean's relationship, just circumstances. It lacks life.
The problem may be that those circumstances, as set out in Luke Davies' undoubtedly well-researched, but flat screenplay, just aren't that interesting. Stock (Robert Pattinson) is a struggling photographer who has left his ex and his young son in New York to pursue a career in LA, but who's been stuck doing grunt work, such as on-set photos, rather than juicier assignments he hopes to get from his manager (Joel Edgerton). He meets Dean (Dane DeHaan) at a party given by Nicolas Ray (the film is set just after Dean auditioned for "Rebel Without a Cause," but at the outset he still has not heard if he has the part) and Dean more or less picks him up and brings him home. But there, actress Pier Angeli (Allessandra Mastronardi) is waiting, and she and Dean make out kittenishly on the sofa much to Stock's discomfort. It's the only strong hint we get at Dean's suspected homosexuality (or maybe bisexuality), which is a shame as in that moment it gives the Stock/Dean dynamic some depth and intrigue other than, "I really really wanna photograph you."
But Stock does really really want to photograph Dean, recognizing his incipient star power and is hopeful of a career-making ride on his coattails. And so he gets a tentative okay from Life, provided he can deliver his photos before the "East of Eden" premiere, and the rest of the film is basically Stock pursuing Dean around New York and then Indiana, on the farm where he grew up.
Perhaps in the past Corbijn's casts, populated with more experienced older actors like George Clooney ("The American") and Philip Seymour Hoffman ("A Most Wanted Man"), have supplied whatever may have been lacking in the director's lexicon as it regards performance. But [kisses rosary, commends soul to Jesus] neither Pattinson nor DeHaan, promising as they may be, have that many miles on the clock yet, and there's a hesitance in the work of both actors. DeHaan actually benefits from the ostensibly thankless task of playing Dean (and from certain angles at certain times he looks uncannily like him), who at least has a fully-fledged persona he can play into or try to subvert (seldom the latter). Sadly, Pattinson's Stock is given much less to do or be, bar a few fleeting moments when his jealousy or resentment of Dean is suggested. Written as a blank slate, he remains so throughout much of the film — though there is a scene in which he vomits on his son, which is awesomely bizarre amid so much muted, frictionless interaction.
Elsewhere, Ben Kingsley gets to have a little fun as mercurial power broker Jack Warner, who alternates between assurances of his studio's absolute investment in Dean's success and threats to "fuck" him if he fails to toe the party line. And the film's episodic narrative allows for some cameos (among them Corbijn's own), which are good for their, "Huh, James Dean knew Eartha Kitt?" value at least. In fact there's the peculiar sense throughout "Life" that we're biding our time, until we get to the next recreation of a famous image — Dean at the barber, Dean clowning around on the farm, Dean (of course) in Times Square, an image so famous as to have become a cliche.
To be fair, Corbijn does an impressive job of restaging those moments, so much so that one might suspect that he's not really interested in the people these guys were as much as he is interested in the images — in the interplay of light and dark, the composition, the clothing, the locations. That's where he seems to come to life, and suddenly I wondered if the whole rest of the film was really just a smokescreen for an experiment in imitation. If so, it may have been successful, but at the cost of the film around it. Corbijn is great at taking real-life flesh and blood people and alchemically rendering them in striking 2-dimensional images that transcend and mythologize the reality, but "Life" shows him fall some way short of achieving the reverse. [C+/B-]
Browse through all our coverage of the 2015 Berlin International Film Festival by clicking here.
This Article is related to: Reviews and tagged Anton Corbijn, Ben Kingsley, Berlin International Film Festival, Dane DeHaan, Life, Review, Reviews, Robert Pattinson


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Sir Robin of Locksley Distilled Artisan Gin is one of the few, if not the only, true English sipping Gins. In a nod to our Geographical location, it is named in honour of a favourite Yorkshire lad and local Sheffield legend, Robin Hood. This Gin boasting a radiant flavour profile thanks to the botanical selection, which includes elderflower, dandelion and pink grapefruit.
House of Macduff's Fifty/50/Gin is, unsurprisingly, all about the number 50. The first batch was bottled at 50% ABV in these 50cl charming barrel-style bottles. It was created by maturing half of its London dry style gin that's in the barrel bottle you see before you in virgin oak casks for 10 years(!), before finishing the spirit for a further 10 years(!!) in ex-whisky barrels. Keeping the whole Fifty/50 thing going, they then blended this with an equal volume of unaged London dry gin. The result is a gin with a golden, whisky-style colouring and a profile that shares a lot of classic characteristics with whiskey, but ultimately is still a cask-aged gin. The first batch was produced with a limited run of 1994 bottles.
Hoxton gin is made from naturally sourced ingredients including coconut, grapefruit, iris, tarragon, ginger and the all important Juniper berry.
Italian Juniper, Sicilian Pink Grapefruit, Italian Rhubarb and 5 other Botanicals. This Bright Delicious gin is like No other. The Sun-Ripened Sicilian Pink Grapefruits are grown in citrus groves on the Mediterranean coast where the mountains meet the sea.
Strawberries and Mint are a perfect combination and have been put together since even Roman Times!!
A Fruity Firework with well-coordinated botanicals. The most important ingredient, the Sicilian Blood Orange peel, is macerated in distilled alcohol for 36 hours together with Italian Juniper Berries.


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The Culture Toolbox
War And Peace Of Mind
Follow/Fav War and Peace of Mind. By: EdgeColumbus. When a criminal enters the IS academy to carry out his plan, will he succeed and betray those he becomes acquainted with? Or will he change his mind and become a normal student?
Critic Reviews for War and Peace of Mind. There are no critic reviews yet for War and Peace of Mind. Keep checking Rotten Tomatoes for updates! Audience Reviews for War and Peace of Mind.
The Palos Park resident recently celebrated her 104th birthday, and although she has physically slowed down a little with age her mind is still as sharp as ever. because the father had suffered an.
Right now, hiring a lawyer and financial planner may sound expensive, but after winning a fortune of almost half a billion dollars, consulting fees are a small price to pay for security and peace of.
Sell Old Reading Books You'll also find the latest hacks for selling textbooks online. BookScouter helps you sell textbooks and used books for the most money by comparing offers from over 35. In addition to helping you get rid of your old textbooks we also offer:. Rumi Poetry In Arabic Poetry plays a special role in Palestinian culture. Among
"But I can promise you peace of mind. And I can promise you that you will never be alone. the only town in America building a new Civil War memorial How a pot grower taught me about unconditional.
War and Peace: War and Peace is a historical novel by Leo Tolstoy first published serially in 1865–69. It depicts relationships between the Rostov, Bolkonsky, Bezukhov, and Kuragin families and follows their members as they fight in a war against Napoleon, marry, make and lose fortunes, and die over the course of about a decade.
Feb 16, 2018 · War and Peace of Mind. The identity and personality SOF men have develops in the crucible of war. You experience an "awakening," understand a difference purpose in life, and discover who you really are as it relates to ethics, morality, spirituality, and existence. This mutual experience among you and your unit of men births a sense of pride,
Jan 16, 2013. War and Peace of Mind for Ulysses S. Grant. With the help of his friend Mark Twain, Grant finished his memoirs—and saved his wife from an.
Jul 11, 2016. The effect of WWII on the countries of Western Europe is widely reported. But what of Finland, a small Nordic nation trapped between the.
Nov 29, 2006. Warren Peace had a hard road to get where he was, and dealing with the future is bound to be no easier. With friends at his side, can he learn.
Leo Tolstoy insisted that War and Peace was not a novel, all appearances to. relationship between the life of the mind and everyday experience, the value of.
Announcer: The Open Mind, free to examine, to question, to disagree. Our subject today, "War, Peace, and Mankind." Your host on The Open Mind is Richard D. Heffner; Historian, Author and Lecturer at.
The trade war with China, visa restrictions and the anti-immigrant. But the insurance gives him peace of mind. The school continues to invest in China, he says, but now "with the confidence that we.
War and Peace In Mind is a fanfic about the Sky High (2005) movie, written by Jeune Chat. Summary on FF.net: Warren Peace had a hard road to get where he was,
When most of the world's super-powered people lose their powers, it's up to Warren Peace and his friends to figure out how it happened and how to stop it. But learning why this happened and what they need to do could take them into legend – and legends don't always end well. Series. Part 12 of War and Peace In Mind; Language: English Words.
Jan 16, 2013 · War and Peace of Mind for Ulysses S. Grant With the help of his friend Mark Twain, Grant finished his memoirs—and saved his wife from an.
Poem About Moving Forward Mar 29, 2019 · How to Memorize a Poem Quickly. Poem memorization is a standard assignment in many schools. However, reciting Shakespeare is no walk in the park for many. Though it may seem like there's a lot to learn before you can memorize a poem, by. intersection is where the spine meets each rib cage
In other votes on war and peace, Sanders voted as requested by Peace Action 84%. nation-building in Afghanistan but when he saw it wasn't working, he changed his mind, arguing that the US military.
War and Peace is a 1965–67 Soviet war drama film co-written and directed by Sergei. before the commencing of principal photography, Strizhenov changed his mind after being accepted into the ensemble of the Moscow Art Theatre.
In Mexico's drug war, it is not enough for murderers to kill. When I buried him, I had a little peace of mind," she said. Visualization by David Eads. Translation by Ashley Hermosillo Bawell. Juan.
Poet Ilya Kaminsky's second collection attends to the barbarism of war, but also speaks of the love—romantic, familial, and communal—that resists such violence.
Remarks by a former political prisoner, Vladimir Bukovsky, relate the mind's. Tolstoy's War and Peace follows the lives of various Russian noblemen from the.
At the height of the Cold War, the Soviet film industry set out to prove it could outdo Hollywood with a production that would dazzle the world: a titanic, awe-inspiring adaptation of Leo Tolstoy's classic tome in which the fates of three souls—the blundering, good-hearted Pierre; the heroically tragic Prince Andrei; and the radiant, tempestuous Natasha—collide amid the tumult of the.
The key message here is that women add value and bring in positive perspectives to building peace keeping in mind the best interests of their. to our common effort to move away from the cult of war.
Here China, which has had a hollow military alliance with North Korea for decades, could offer the Pyongyang peace of mind by providing various assurance. The parties could also apply Open Skies, a.
"It gives you peace of mind when it all comes back as normal but now they are. but the paper says Mary continued to wake her neighbours until the outbreak of World War Two. Ten years after being.
The military for now mostly relies on Cold War-era equipment, though plans to modernize the. the longer timeline should provide some peace of mind. It's impossible to say what the exact Pentagon.
Rumi Poetry In Arabic Poetry plays a special role in Palestinian culture. Among other Arabic speakers and Farsi-speaking Iranians as well, poetry is a passion. The 13th-century Kurdish Sufi mystic Rumi is the best-selling. Arabic and Persian. A student in the classroom asked him, "Dr Said, is mankind doomed?" The ever-placid Said said, "Son, we still have hope. Read
War and peace are contrasting states, one being defined by conflict involving the. improving the mind and morals of society, to lessen the dispos[i]tion to war;.
Mar 5, 2016. Sota ja Mielenrauha (War and Peace of Mind), directed by Ari Matikainen (who also wrote the screenplay), and produced by Liisa Juntunen,
Gwyneth Paltrow Jane Austen Anya Taylor-Joy is avoiding watching Gwyneth Paltrow's portrayal of Emma before she plays the character in a new movie adaptation. The Oscar winner played socialite Emma Woodhouse in the 1996. Twig Books Guided Reading Levels Hats Twig Books The Wright Group 03 Hats Little Readers for Guided. My Pen Pal Twig Books Level I The
May 16, 2014. War and Peace (of Mind). Meditation training may help reduce stress disorders among U.S. military personnel. Researchers from the University.
war and peace of mind: the jewish expulsion and the election of president ulysses s. grant honors thesis for department of history rutgers, the state university of new jersey
Jan 29, 2007. An Archive of Our Own, a project of the Organization for Transformative Works.
Jul 11, 2016 · The effect of WWII on the countries of Western Europe is widely reported. But what of Finland, a small Nordic nation trapped between the Soviets and the Germans? Known locally as the Continuation War, the tragic events.
read the notification, "We hope that this gives you the peace of mind to get to a safe location, and will notify you before returning your car to its original configuration in mid-October. Badging on.
Mindfulness training, traditionally practiced through sitting meditation, attempts to cultivate this mental state by quieting the mind of extraneous thoughts.
The Project Gutenberg EBook of War and Peace, by Leo Tolstoy This eBook is for. Set your friend's mind at rest," said he without altering his tone, beneath the.
Directed by Ari Matikainen. With Markku Jokisipilä, Jenni Kirves, Ville Kivimäki, Juha Mälkki. War and Peace of Mind explores what war does to the human mind.
Putin said he believed the agreement on Idlib could hasten final resolution of Syria's long and devastating civil war. "We agreed that practical. "In order to give people in Idlib peace of mind.
That should give greater peace of mind to actively managed funds that have a mandate to. not least the unresolved US-China trade war , but investors also have to consider whether alternatives to.
Feb 15, 2019. One of film's greatest epics is a 7-hour adaptation of War and Peace. heaven and Earth to realize a staggering vision, boggles the mind to.
Billed as "Snapchat from the operating room," a new app created by three doctors at OrlandoHealth's Arnold Palmer Hospital for Children allows doctors and nurses to communicate with the families of.
We want your help. We want peace of mind. A Christian once wrote to the famed evangelist Billy Graham: "Every year, our church celebrates Palm Sunday, the day when the crowds cheered Jesus as He.
These changes can also come from transitions like a new marriage, moving to a new city, weight loss, returning from war, (re-entry into family life. I love providing a living for my family. That.
Supporters of the peace process in Congress celebrated joyfully after. Reported attempts by US ambassador Kevin Whitaker and presidential aides to change representatives' mind about the war crimes.
PEACE OF MIND AND HEALING AND PROCESSING. WE'RE NOT TRYING TO HAVE NO WAR WITH THE POLICE OR NOTHING. SO IF THAT'S WHAT YOU CHOOSE TO DO, I THINK YOU SHOULD STAY HOME. CHANDI: THE TRIAL IS EXPECTED.
Jan 22, 2016. James Norton Natasha Rostov BBC War and Peace. 3 The novel has a particular technical feature; it passes from mind to mind, showing us.
Whatever we are waiting for – peace of mind, contentment, grace, the inner. for it is the soldier who must suffer and bear the deepest wounds and scars of war.
Gary Messinger, an expert on war propaganda, asks readers to imagine a time not far in the future when the power of nations to use mass communication to.
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Home » News and Trends » Swedish Startup close to the North Pole signs 100 million deal with AstraZeneca
Swedish Startup close to the North Pole signs 100 million deal with AstraZeneca
By Denise Neves Gameiro
Lipigon Pharmaceuticals will now count with AstraZeneca to push the development of its Lipoprotein Lipase strategies. This could produce novel drugs to tackle metabolic and cardiovascular disease, still the leading cause of death worldwide.
Lipigon is a spinout of Umeå University, developing new drugs based on research of lipid metabolism. Umeå may have one of the most remote universities in Europe (way up in the North of Sweden), but its research is far from frozen – it was one of the birthplaces of CRISPR.
Lipigon has now entered a collaboration with AstraZeneca to identify drug candidates that promote the stabilization of a particular enzyme, Lipoprotein Lipase (LPL), which is key in lipid metabolism.
AstraZeneca will be responsible for clinical development, as well as have worldwide commercialization rights to any of the drugs. Lipigon could receive up to €96M ($110M) in future milestone payments.
Cardiovascular disease can be described as an interconnected spectrum of risk factors and disease states that begins with subclinical atherosclerosis and culminates in heart failure and death. (Source: Foundation for Improving Patient Outcomes)
The drugs will target lipid disorders and cardiovascular diseases – which are the leading global cause of death, accounting for 31% of all deaths in the world. It is also a problem linked to modern lifestyle, such as unhealthy diets and sedentary habits.
This new partnership is the second between the two companies, which have already been working together since 2014 in the same area (high-throughput assay for identification of LPL stabilizers), but not in clinical development.
It also aligns with the current strategy of AstraZeneca (after a rough 2015), which aims to be close to scientific innovation in universities and research hubs.
ANGPTL4 is an inhibitor of lipoprotein lipase (LPL), and is regulated by the amount of fatty acids. Inhibition of LPL leads to accumulation of triglycerides (TG). (Source: Sander Kersten)
Lipigon may be a good bet, as it has a promising strategy to leverage one of the most well-validated targets for cardiovascular disease, the LPL enzyme, which breaks down triglycerides and transports lipids. In certain diseases, LPL inhibitors will block this function – so triglycerides accumalate, leading to cardiovascular complications.
The startup is based on this new scientific insight about inhibitors, focusing on identifying small molecules than can stabilize and protect LPL from inhibition, rather than delivering enzyme activators (like APOC2) or targeting each of the inhibitors.
Will Lipigon play an important role in solving the epidemic of heart disease – and help AstraZeneca tap into a very desirable market? The next years will tell.
Featured image credit: Blood Heart Circulation © digitalista (BigStock ID66364177)
Explore Related Topics:
AstraZeneca Cardiovascular disease Sweden United Kingdom
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text:
Romantic Comedies Produce Stalkers? That's Laughable
By Cathy Young • 04/20/16 9:03am
Could John Cusack's character inspire real life stalkers? YouTube
Amid our recent feminist revival, art and entertainment have frequently come under fire for promoting male violence toward women. From Robin Thicke's hit song "Blurred Lines" to romantic comedies like Say Anything and Love, Actually, we are told popular culture, drenched in patriarchy, normalizes abuse against women. While cultural messages about men and women, sex and romance are legitimate fodder for critique, this particular crusade is based on overhyped evidence and skewed, paranoid interpretations—and on a simplistic, rigid view of relationships.
Take the latest alarm about the perils of pop culture: a flurry of reports announcing a link between romantic comedies and women's acceptance of "stalker-like behavior" by men. The headlines were ominous: "Romantic Comedies Teach Women That Stalking Is a Compliment" (The Huffington Post), "Study Finds That Romantic Comedies Normalize Stalking" (The New York Times). The reports even suggested that women's conditioning by romantic comedies could make it harder to prosecute stalkers.
The study that prompted the outcry, by University of Michigan postdoctoral researcher Julia R. Lippman, was based on a sample of more than 400 female undergrads who watched an excerpt from a longer film: a romantic comedy in which a man pursues a woman (There's Something About Mary or Management), a scary thriller in which a woman is stalked by an abusive ex (Sleeping with the Enemy or Enough), or a wildlife documentary (March of the Penguins or Winged Migration) viewed by the control group. The viewers then filled out a survey measuring their agreement with "stalking myths"—such as the belief that victims are often responsible for sending mixed messages.
What the study actually found was that women who had just watched the scary movie were less likely to accept stalking myths than the others, but there was no significant difference between the rom-com watchers and the viewers of the wildlife docs. In other words, women who had watched Sleeping with the Enemy were unsurprisingly more sensitized to the dangers of stalking (at least immediately after the screening), but those who had watched There's Something About Mary were no more inclined to romanticize stalking than those who saw March of the Penguins. The headlines were wrong.
But even these results have caveats.
First, those scoring highest on stalking myth acceptance still disagreed with those myths, just less strongly than others. Second, some statements classified as "stalking myths"—for instance, that most stalkers are mentally ill—hardly normalize stalking. The belief that pursuing someone who does not seem to return your feelings is natural human behavior also tags you as a stalking-myth endorser. But surely such pursuit does not always amount to stalking—and most people understand the difference.
Actually, it is the acceptance of romantic pursuit that seems to be the ultimate target of critique. In a report on Ms. Lippman's study at Atlantic, Julie Beck asserts that in romantic comedies and "potentially" in real life, "the continuum of behavior from stalking to unwanted attention to assertive courtship can be hard to read." Is that true? The only evidence cited to support this claim is another study, from the University of Pittsburgh, in which students who had been in unrequited love (especially males) had an apparent tendency to overestimate the level of reciprocation and encouragement they received. The study gave no indication that such overestimation led to stalking; while some students in the sample were classified as having engaged in or experienced "stalking-related behavior," the vast majority of it was normal but unwanted courtship, which sometimes made its recipients annoyed or uncomfortable but virtually never fearful—regardless of gender.
Romantic movies, whether comedies or dramas, don't necessarily offer healthy views of relationships. Taken at face value, they often do condone or even glamorize manipulative, deceptive and obsessive behavior that would be clearly unacceptable in real life. But, first of all, any sane adult recognizes them as escapist fantasies.
But never mind stalking: Some feminists go so far as to assert that positive depictions of male pursuit of women promote rape by teaching men not to take no for an answer. And these are not just a few fringe crazies but mainstream pundits like political analyst Zerlina Maxwell, now on Hillary Clinton's campaign team. A 2014 piece Ms. Maxwell wrote for Mic, the millennial-oriented news and culture site, was headlined, "Rape Culture Is Everywhere Our Children Can See—Watch Your Favorite Movies Prove It." Examples include the 1989 classic teen romance Say Anything because the hero sets out to win his girlfriend back after she dumps him (under pressure from her father), as well as Seth Rogen's comedy Neighbors because the schlubby guy gets the beautiful girl—supposedly sending men the message that they can win an unattainable woman if they're persistent enough.
Really? Granted, the famous Say Anything scene in which Jon Cusack's character woos his ex by showing up under her windows in the middle of the night with a boombox playing her favorite song would probably not go over well in real life. But fiction tends to dramatize and exaggerate—that's part of its appeal. And Ms. Maxwell's own argument may not be all that reality-based, given her apparent view that that anyone who tries to talk a partner out of ending a relationship is a likely stalker if not a potential rapist.
Of course romantic movies, whether comedies or dramas, don't necessarily offer healthy views of relationships. Taken at face value, they often do condone or even glamorize manipulative, deceptive and/or obsessive behavior that would be clearly unacceptable in real life. But, first of all, any sane adult recognizes them as escapist fantasies rather than guides to life and love. And second, it's not just male behavior toward women that gets such treatment.
A common feminist claim, repeated by Ms. Beck and Ms. Lippman, is that movies usually portray stalkerish actions by men as appealing while condemning female pursuers as pathetic, crazy, or dangerous. But there are plenty of examples to the contrary, from the 1938 Katharine Hepburn/Cary Grant screwball classic Bringing Up Baby onward. Sandra Bullock's mousy character in While You Were Sleeping (1995) passes herself off as the fiancée of the comatose handsome man she's been fantasizing about and eventually "wins" his brother. In the 1992 Steve Martin/Goldie Hawn comedy The House Sitter, a con artist moves into a man's unoccupied house after a one-night stand and poses as his wife; of course, true love blooms. In My Best Friend's Wedding (1997), Julia Roberts's heroine tries to sabotage her friend's impending marriage after realizing she is in love with him; she fails but is still rewarded with the realization that she can do just fine without him and is last seen enjoying the company of her dashing gay friend.
The grain of truth in romantic fiction, and perhaps the reason it strikes a chord for all its unrealism, is that relationships can travel rocky roads to happy endings. Rejection can be followed by a change of heart and breakups can be followed by reunions—not because a woman's "no" means "yes" or "maybe," but because people's feelings can change, regardless of sex or sexuality. The idea of winning someone's love does not lead to stalking or rape anymore than the idea of sexual fidelity leads to murder in a jealous rage.
Onscreen love stories, which often abound in stale clichés and contrived plots, are not for everyone. But if you are a fan of the genre, you are not enabling stalkers or contributing to tacit acceptance of women's oppression. We don't need to be protected from "wrong" ideas in entertainment—and we certainly don't need romantic pursuit purged from entertainment or life.
Filed Under: Politics, Movies, Feminism, Pop Culture, Romantic Comedies, Bringing Up Baby, March of the Penguins, My Best Friend's Wedding, Rom-coms
SEE ALSO: Barack Obama's Sixth Cousin: I Love the President But Not Genealogy


text:
Mr. Steve Snyder
Title: Professor of Humanities
Dept.: Liberal Arts
Email: ssnyder @ grandview.edu
Professor of Humanities, Steve Snyder, has taught at Grand View University since 1991. In addition to courses in the Western Humanities, he teaches in the Liberal Arts Core and the Logos Honors Core. He has chaired the Department of Liberal Arts and served as a Faculty Senator. He has also been the recipient of the Outstanding Faculty Teaching Award and the Outstanding Faculty Service Award.
Ph.D. course work - University of Northern Illinois
M.A. English - Iowa State University
B.A. English - Grand View College
B.A. Journalism - Grand View College
My most recent scholarship has focused on the Scholarship of Teaching and Learning, with a special interest in the helping students pose better in-class questions using elaborate interrogation strategies.
"A Practical Approach for Increasing Students' In-Class Questions." Faculty Focus. Magna.
"Contested Grades and the 'You Earned It' Retort." Faculty Focus. Magna Publications. Dec 14, 2015.
Putting Questions Forward. The Teaching Professor Conference. June 2, 2017. St. Louis, MO.
A Practical Approach for Increasing Student's In-class Questions. June 5, 2016. The Teaching Professor Conference. Washington D.C.
What makes Grand View unique among other universities?
At Grand View you will hear the word "vocation" more than once. It has a particular meaning here that it may not at other institutions. This focus on vocation reflects our commitment to helping students discover their passions. Just as importantly, though, we help them figure out how those passions meet real needs in the world. That's not just a marketing slogan. You might say it's our DNA.
What is your favorite part about working at Grand View?
Grand View is an incredibly student-focused institution. It's the students that make this job worthwhile.


text:
Q: Why does React routes doesn't work on server properly? i am creating an react application and have some problems. My routes work well in the client side (dev-server) , but when i serve static files through express, it only works '/' route . '/dashboard' doesn't work.But when i add this line

app.get('*', (req, res) => res.sendFile(path.join(__dirname,
  '../../dist/index.html')));

routing starts to work well , but i am getting another error trying to SIGN IN

Uncaught SyntaxError: Unexpected token <

This is my express server code `
const express = require('express');
const session = require('express-session');
const passport = require('passport');
const EventbriteStrategy = require('passport-eventbrite-oauth').OAuth2Strategy;
const path = require('path');
const bodyParser = require('body-parser');
const keys = require('./config/keys');

const port = process.env.PORT || 5000;

const app = express();

app.use(express.static(path.join(__dirname, '../../dist')));
app.get('*', (req, res) => res.sendFile(path.join(__dirname, '../../dist/index.html')));

app.use(passport.initialize());
app.use(bodyParser.json());
app.use(bodyParser.urlencoded({ extended: true }));
app.use(session({
  secret: 'login',
  resave: false,
  saveUninitialized: true
}));

const strategy = new EventbriteStrategy({
  clientID: keys.eventbriteClientID,
  clientSecret: keys.eventbriteClientSecret,
  callbackURL: 'http://localhost:5000/auth/eventbrite/callback'
},
((accessToken, refreshToken, extraParams, profile) => {
  console.log(profile, 'profile');
  console.log(accessToken, 'accessToken');
  console.log(accessToken, 'accessToken');
  console.log(extraParams, 'extraParams');
}
));

passport.use(strategy);

app.get('/auth/eventbrite',
  passport.authenticate('eventbrite', {}), (req, res) => {
    console.log(res, 'rees');
  });

app.get('/auth/eventbrite/callback',
  passport.authenticate('eventbrite', { failureRedirect: '/' }),
  (req, res) => {
    if (!req.user) {
      throw new Error('user null');
    }
    res.redirect('/dashboard');
  });

app.listen(port, () => {
  console.log(`Server is up on port ${port}`);
});

And this is my routers `
import React from 'react';
import { BrowserRouter, Route, Switch } from 'react-router-dom';
import DashboardPage from '../components/pages/DashboardPage';
import LoginPage from '../components/pages/LoginPage';
import NotFoundPage from '../components/pages/NotFoundPage';

const AppRouter = () => (
  <BrowserRouter>
    <React.Fragment>
      <Switch>
        <Route path="/" component={LoginPage} exact />
        <Route path="/dashboard" component={DashboardPage} />
        <Route component={NotFoundPage} />
      </Switch>
    </React.Fragment>
  </BrowserRouter>
);

export default AppRouter;

And here is the login page `
import React from 'react';
import { NavLink } from 'react-router-dom';

const logo = require('../../../../public/images/react.png');

const config = {
  logo,
  authUrl: ''
};

const LoginPage = props => (
  <React.Fragment>

            <NavLink to="/" role="link"></NavLink>

Welcome to Events

Events

Here you can search your favourite events and get the location on map

Sign in with facebook

                Sign in

What should i do to make all the routes work properly ?

A: The wildcard route, *, is required for react with React Router so that the server doesn't go looking for a get with a route that matches /dashboard when React Router changes the location and instead React Router can continue to handle the routes. So you're on the right track there.
However the issue is that your wildcard route is checked first so it's catching every single route—including your /auth routes. To fix this, you can simply put the controller for the wildcard route after all other routes have been defined in the server. This works because Express will check routes moving from the top to bottom of the app.js (or whatever you've named it) file and stops as soon as it finds one that matches the requested route.
So just move this:
app.get('*', (req, res) => res.sendFile(path.join(__dirname, '../../dist/index.html')));

so that it's below any other app.get or app.post, etc. Basically it should go right above:
app.listen(port, () => {
  console.log(`Server is up on port ${port}`);
});

redpajama_set_name: RedPajamaStackExchange


text:
Canadian man found not guilty on Algerian terror charges he says were based on intelligence from Canada
By Michelle ShephardNational Security Reporter
Tue., June 13, 2017timer2 min. read
A Canadian man facing 20 years in an Algerian prison based on intelligence he alleges was provided by Canada's security services, was found not guilty of terrorism offences Tuesday.
According to Gary Caroline, the Canadian lawyer for Abderrahmane Ghanem, the Algerian court rejected evidence provided from "outside sources" in releasing the 30-year-old.
"I'm tremendously happy he's going to be released," Caroline said Tuesday morning in a telephone interview from Vancouver.
"But on one hand, it's a celebratory moment, and on the other hand, it makes one ask deep questions about the role our national security service played in this affair," said Caroline.
Ghanem's family spoke with the Star from their home in Muscat, Oman earlier this year, breaking their silence to implore Ottawa to fight for the release of their son and brother.
"He has done nothing wrong. He hasn't hurt anyone, but if Canada has information on him they should try him in Canada, not Algeria," his 62-year-old father, Mohamed, told the Star.
The family's allegations were damning at a time when Ottawa is spending millions of dollars to settle cases where other Canadians who were detained and tortured based in part on information provided by the RCMP or Canada's spy service, CSIS.
While not speaking specifically about Ghanem's case, CSIS has maintained that information-sharing is tightly controlled. "If we do so, it is after careful consideration of all legal obligations and associated risks," spokesperson Tahera Mufti said, adding that the agency has a "duty and a responsibility to share threat-related information with its foreign partners."
Caroline said Ghanem's defence lawyers argued in court that the only evidence in the case was a confession — which Ghanem said he was forced to sign — and information from Canada based on Ghanem's life in Calgary. The prosecution did not dispute that claim, according to Caroline.
On Tuesday, the judge specifically asked Ghanem about the five Calgary men mentioned in the indictment, all of whom left for Syria.
Ghanem has never denied being friends with what became known as the "Calgary group," and include Damian Clairmont, a troubled convert to Islam who died in Syria fighting for Daesh, also known as ISIS and ISIL, Clairmont's roommate, Wassem Al Haj Youcef, a mechanical engineer who left Canada in late 2012 and whose whereabouts are unknown, brothers Collin and Gregory, also converts and also killed, and Salman Ashrafi, who became a suicide bomber and killed 46 people in Iraq in 2013.
But the Algerian-born Canadian says he never travelled to a conflict zone and left Calgary, where he grew up, to leave that past behind and try to find work in Oman or Algeria, where he had relatives.


To be stabbed in a dream indicates our ability to be hurt.
To stab someone is, conversely, to be prepared to hurt but also with the faculty of being able to get straight to the point.
Lookup dream dictionary, dream symbols, dream meanings. The Online Guide To Dream Interpretation interpret your dreams, Stab dream dictionary analysis, Stab symbols, Stab meanings, dream encyclopedia, islamic dream interpretation, dream views Stab spiritual meanings of dreams.


text:
app.controller('PageNotFoundCtrl', function($scope) {

});


text:
package javax.xml.stream;

import java.io.BufferedReader;
import java.io.File;
import java.io.FileInputStream;
import java.io.InputStream;
import java.io.InputStreamReader;
import java.io.IOException;
import java.io.OutputStream;
import java.io.Writer;
import java.util.Properties;
import javax.xml.transform.Result;

/**
 * Factory for obtaining XML stream and event writers for various kinds of
 * output sink.
 *
Configuration

 *

 *

 * Name
 * Description
 * Type
 * Default
 * Required
 *

 *

 * javax.xml.stream.isRepairingNamespaces
 * default namespace prefixes
 * Boolean
 * Boolean.FALSE
 * yes
 *

 *

 */
public abstract class XMLOutputFactory
{

  /**
   * Property used to control whether to default namespace prefixes.
   * If true, the writer will create a namespace declaration for any
   * attribute that doesn't have a namespace declaration in scope.
   */
  public static final java.lang.String IS_REPAIRING_NAMESPACES =
    "javax.xml.stream.isRepairingNamespaces";

  protected XMLOutputFactory()
  {
  }

  /**
   * Creates a new output factory.
   * The implementation class to load is the first found in the following
   * locations:
   *

   *
the javax.xml.stream.XMLOutputFactory system
   * property

   *
the above named property value in the
   * $JAVA_HOME/lib/stax.properties file

   *
the class name specified in the
   * META-INF/services/javax.xml.stream.XMLOutputFactory
   * system resource

   *
the default factory class

   *

   */
  public static XMLOutputFactory newInstance()
    throws FactoryConfigurationError
  {
    ClassLoader loader = Thread.currentThread().getContextClassLoader();
    if (loader == null)
      {
        loader = XMLOutputFactory.class.getClassLoader();
      }
    String className = null;
    int count = 0;
    do
      {
        className = getFactoryClassName(loader, count++);
        if (className != null)
          {
            try
              {
                Class t = (loader != null) ? loader.loadClass(className) :
                  Class.forName(className);
                return (XMLOutputFactory) t.newInstance();
              }
            catch (ClassNotFoundException e)
              {
                className = null;
              }
            catch (Exception e)
              {
                throw new FactoryConfigurationError(e,
                     "error instantiating class " + className);
              }
          }
      }
    while (className == null && count < 3);
    return new gnu.xml.stream.XMLOutputFactoryImpl();
  }

  private static String getFactoryClassName(ClassLoader loader, int attempt)
  {
    final String propertyName = "javax.xml.stream.XMLOutputFactory";
    switch (attempt)
      {
        case 0:
          return System.getProperty(propertyName);
        case 1:
          try
            {
              File file = new File(System.getProperty("java.home"));
              file = new File(file, "lib");
              file = new File(file, "stax.properties");
              InputStream in = new FileInputStream(file);
              Properties props = new Properties();
              props.load(in);
              in.close();
              return props.getProperty(propertyName);
            }
          catch (IOException e)
            {
              return null;
            }
        case 2:
          try
            {
              String serviceKey = "/META-INF/services/" + propertyName;
              InputStream in = (loader != null) ?
                 loader.getResourceAsStream(serviceKey) :
                XMLOutputFactory.class.getResourceAsStream(serviceKey);
              if (in != null)
                {
                  BufferedReader r =
                     new BufferedReader(new InputStreamReader(in));
                  String ret = r.readLine();
                  r.close();
                  return ret;
                }
            }
          catch (IOException e)
            {
            }
          return null;
        default:
          return null;
      }
  }

  /**
   * Creates a new input factory.
   * This appears to be an API design bug.
   * @see javax.xml.stream.XMLInputFactory.newInstance(String,ClassLoader)
   */
  public static XMLInputFactory newInstance(String factoryId,
                                            ClassLoader classLoader)
    throws FactoryConfigurationError
  {
    return XMLInputFactory.newInstance(factoryId, classLoader);
  }

  /**
   * Creates a new stream writer.
   */
  public abstract XMLStreamWriter createXMLStreamWriter(Writer stream)
    throws XMLStreamException;

  /**
   * Creates a new stream writer.
   */
  public abstract XMLStreamWriter createXMLStreamWriter(OutputStream stream)
    throws XMLStreamException;

  /**
   * Creates a new stream writer.
   */
  public abstract XMLStreamWriter createXMLStreamWriter(OutputStream stream,
                                                        String encoding)
    throws XMLStreamException;

  /**
   * Creates a new stream writer.
   * @exception UnsupportedOperationException if this method is not
   * supported
   */
  public abstract XMLStreamWriter createXMLStreamWriter(Result result)
    throws XMLStreamException;

  /**
   * Creates a new event writer.
   * @exception UnsupportedOperationException if this method is not
   * supported
   */
  public abstract XMLEventWriter createXMLEventWriter(Result result)
    throws XMLStreamException;

  /**
   * Creates a new event writer.
   */
  public abstract XMLEventWriter createXMLEventWriter(OutputStream stream)
    throws XMLStreamException;

  /**
   * Creates a new event writer.
   */
  public abstract XMLEventWriter createXMLEventWriter(OutputStream stream,
                                                      String encoding)
    throws XMLStreamException;

  /**
   * Creates a new event writer.
   */
  public abstract XMLEventWriter createXMLEventWriter(Writer stream)
    throws XMLStreamException;

  /**
   * Sets the implementation-specific property of the given name.
   * @exception IllegalArgumentException if the property is not supported
   */
  public abstract void setProperty(String name, Object value)
    throws IllegalArgumentException;

  /**
   * Returns the implementation-specific property of the given name.
   * @exception IllegalArgumentException if the property is not supported
   */
  public abstract Object getProperty(String name)
    throws IllegalArgumentException;

  /**
   * Indicates whether the specified property is supported.
   */
  public abstract boolean isPropertySupported(String name);

}