text:
Q: How to put sorted array from perl back into shell I have been working on a shell program that asks for a name of a file you wish to work with; then with one of the selections, sort it using a perl program. I got the shell program to the file into perl, and sorted the file. But now I am stuck as to put the file back to shell and save it into a new file. This is what I tried:
Perl:
use strict;
use warnings;

my $filename = $ARGV[0];
open(MYINPUTFILE, $filename); # open for input
my (@lines) = <MYINPUTFILE>; # read file into list
@lines = sort(@lines); # sort the list
my ($line);
foreach $line (@lines) # loop thru list
 {
    print "$line"; # print in sort order
 }
close(MYINPUTFILE);

This prints the sorted list.
Just for reference this code is taking a file from the shell script and working with it. Here is that code
Shell:
#!/bin/bash
clear
printf "Hello. \nPlease input a filename for a file containing a list of words you would like to use.  Please allow for one word per line.\n -> "
read filename
printf "You have entered the filename: $filename.\n"

if [ -f "$filename" ] #check if the file even exists in the current directory to use
then
    printf "The file $filename exists.  What would you like to do with this file?\n\n"
else
    printf "The file: $filename, does not exist.  Rerun this shell script and please enter a valid file with it's proper file extension.  An example of this would be mywords.txt \n\nNow exiting.\n\n"
    exit
fi

printf "Main Menu\n"
printf "=========\n"
printf "Select 1 to sort file using Shell and output to a new file.\n"
printf "Select 2 to sort file using Perl and output to a new file.\n"
printf "Select 3 to search for a word using Perl.\n"
printf "Select 4 to exit.\n\n"

echo "Please enter your selection below"
read selection
printf "You have selected option $selection.\n"

if [ $selection -eq "1" ]
then
    read -p "What would you like to call the new file? "  newfile   #asks user what they want to call the new file that will have the sorted list outputted to it
    sort $filename > $newfile
    echo "Your file: $newfile, has been created."
fi

if [ $selection -eq "2" ]
then
    read -p "What would you like to call the new file? "  newfile2
    perl sort.pl $filename
    # > $newfile2   #put the sorted list into the new output file that the user specificed with newfile2
fi

if [ $selection -eq "3" ]
then
    perl search.pl $filename
fi

if [ $selection -eq "4" ]
then
    printf "Now exiting.\n\n"
    exit
fi

Any help is appreciated, Thanks!

A: As mentioned in the comments (but moved here to answer form):
Your Perl script outputs the results on STDOUT which means that the calling shell script can redirect it to an output file.  You'll use something similar to your option #1.
Change:
perl sort.pl $filename

To:
perl sort.pl $filename > $newfile2


Bar codes 1D All 1D bar codes according to industry standard for the PCL5 printer language.
Instead of using a hardware module, ELP provides the same functions and even more, but at a higher rate of scalability and flexibility.
The features are: Rotating, free scaling in X and/or Y dimension, automatic check sum calculation, positioning of readable text, check barcode information against the specification.
Bar codes 2D ELP also supports the most common 2D bar codes. These codes provide very reliable checksums and a much higher data density compared to 1D bar codes.
Bar code fonts In addition ELP does emulate all bitmapped and scalable bar code fonts, HP is direct selling in the US. The bar codes are embedded, the additional fonts, like OCR, Tax, Linedraw and Micr added as fonts.
Some Canon and Lexmark and all Kyocera bar code fonts are also embedded the intelligent way.
OMR mark The OMR (Optical Mark Recognition) functionality with ELP provides an easy to use, safe and fully automated way, for OMR bar code printing.
OMR bar codes are used for automatic insertion of documents into an envelope.
Additionally postal optimization, selective feeding of flyers / advertisement can be done.
A database in the background enables ELP to decide whether to print, fax or e-mail a job.
OCR A and B The ELP Server traces, like bar coding, the data stream for original HP Escape Sequences for OCR A1 (check-) and OCR-B (Address label printing). Once the correct sequence is found, the font is automatically loaded to the printer and activated.
Micr / CMC 7 ELP does come with several different MICR fonts.


text:
Q: Content on Top Of slidshow I have a slideshow that works great, but i want some text with links on top of the slideshow how do i go about doing this?

.slideshow{width:1440px;height:555px;overflow:hidden;margin:0px auto}
.slideshow img{width:1440px;height:555px;display:none}

 function slideshow(){
     $(".slideshow #1").show("fade",500);
     $(".slideshow #1").delay(5500).hide("slide",{direction:"left"},500);
     var sc=$(".slideshow img").size();
     var count=2;

     setInterval(function(){
         $(".slideshow #"+count).show("slide",{direction:"right"},500);
          $(".slideshow #"+count).delay(5500).hide("slide",{direction:"left"},500);
          if (count==sc){
              count=1;
          }else{
              count=count+1
          }
     },6500);
     }

A: Create a container before the slideshow like

store the links in your img data like

and in your javascript add this to your setInterval function:
img = $('#slideshow #'+count);
$('#slideshowLink').html(''+ img.data('linkname') +'');

redpajama_set_name: RedPajamaStackExchange


Great Danes Dog Bed 38"x55"x10" X Large Raised Bed, PVC Cot 11 CANVAS COLORS. If You Need The Dog Bed Be Another Height, I Can Make This Cot Sit At 8" Or 9" High. If Not Noted Will Come At 10" High.
Top Gun Marine Boat Canvas is a 4 ply acrylic-polyester canvas. The material is mildew, sunlight, stain resistant and highly water-repellant. My beds feature high tear strength, puncture and abrasion resistant. Shrinkage & stretch. Only 1 percent. It will not harden, crack or peel after outdoor exposure or when subjected to temperatures below 0. Weight: 12 oz per square yard. I use an industrial sewing machine sewed with Sunbrella thread which is: mildew, sunlight, stain resistant.
If you need more than 1 color: Please add to cart and then keep on shopping to pick a different color.
Caribbean Blue. Teal. Forest Green. Burgundy. Charcoal. Chocolate Brown. Medium Blue. Sunset Red. Sea Gull Gray. Buckskin Tan. Black.
#1) To get the right pet cot: Measure from the tip of the nose to the rear where the tail starts, when your pet is lying down. Add at least 4 inches to 6 inches to the measurements to get the right size pet cot. If not sure go to the next size.
#2) The edge is finished with marine binding at the corners of the pet cot. Also all other edges are finished.
#3) "Non skid-pads" for the feet. Will not move when your dog gets into it.
#4) The frame of the pet cot is made with schedule 40-pvc industrial grade pipe for frame of dog bed and legs with utility grade fittings. No parts on the pet cot will corrode.
#5) It's very easy to clean. Just hose off and air dry. I will also give you cleaning instructions for washing and drying cover.
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#7) My cots are perfect for: homeowners, animal shelters, doggie daycare centers, kennels, dog groomers, veterinarians and pet resorts. Makes an ideal gift for dogs and cats lovers.
#8) Please note: the pictures of the dogs on the dog beds are from my customers. All of my dog beds are brand new. My cot covers are made when ordered.
Marine Boat Canvas is a 4 ply acrylic-polyester canvas.
The material is mildew, sunlight, stain resistant and highly water-repellant.
My beds feature high tear strength, puncture and abrasion resistant.
Shrinkage & stretch. Only 1 percent.
It will not harden, crack or peel after outdoor exposure or when subjected to temperatures below 0.
Weight: 12 oz per square yard.
Sunbrella thread which is: mildew, sunlight, stain resistant.
Can be used for inside or outside.
This pet cot frame is made out of schedule 40-pvc industrial grade 1 1/4" pipe.
Please let me know what color or colors you would like.
The height of this pet cot is 10" off the ground. If you would like them shorter or higher please let me know.
Other pet cot sizes listed in Phifertex Pet Screen is an open weave polyester mesh or Top Gun Marine Boat Canvas.
The frame is made with schedule 40-pvc industrial grade pipe 1" pipe.
X small to medium dogs. Up to 80 pounds.
The frame is made with schedule 40-pvc industrial grade pipe 1 1/4" pipe.
Medium to large dogs. Up to 130 pounds.
38"x55"x10" high. Made with middle support.
Large to smaller x large dogs. Up to 160 pounds.
Attention: International customers and customers who live outside of the Continental U.S Please convo me for a quote for shipping charges. No P. O Boxes.
Thanks for looking at my shop. If you have any questions please ask. I also make custom size cots and cushion covers.
Custom dog beds & cat beds & crate mats. PVC dog cots in canvas or mesh. 100% waterproof dog pillow cushions covers. Handicapped, urination issues & dog incontinence products. Can make custom size dog beds, please ask. Quality fabrics. Custom made when ordered. Need a different size? Can do custom sizes.
My pet cot provides a comfortable place for your pet to rest. The elevation protects your dog from uncomfortable hot, cold damp floors and uneven grounds. My cots can be use indoors or outdoors. This is the ultimate in comfort for your pets. Your pet cot is only as good as the thread that is used. Why waste your money on a dog bed that will fall apart because of the wrong thread? There's thread that's not rated for outside use, and when constantly wet or in sunlight will end up falling apart. The thread that I use is ultra-violet, mildew and stain resistant.
Top of the line dog cots. Mesh and canvas dog bed cots.
SM Fleece Dog/Cat Bed, Navajo Print, Brown, 20x24"


text:
PowerOct 20, 2018
Brazilian researchers develop tool against fake news, but is it too late?
Researchers from the Federal University of São Carlos and the University of São Paulo have developed a tool to identify fake news which can be used on the web or WhatsApp. The project is called Fake News Detector and was financed by the National Council of Technological and Scientific Development (CNPq). It has a 90 percent accuracy in detecting false information, according to creators. Opinion articles, for instance, may be incorrectly flagged as fake news.
To create the tool, researchers used data from 3,600 fake articles and 3,600 genuine ones. A code learned to identify the main characteristics and patterns of each group. This analysis showed that fake news tends to have more spelling errors, shorter sentences, a more diverse vocabulary, and intense use of nouns, pronouns, and adverbs. And, of course, falsehoods rely heavily on adjectives.

From that information, the detector makes its diagnosis over whether the news can be trusted, or if it is fraudulent. Among the preferred subjects of fake news are politics (58 percent), TV and celebrities (21.4 percent) and society and everyday life (17.7 percent).

The Fake News Detector is still a prototype, and researchers will increase the database used to make diagnoses more precise. They also intend to make it automatic, capable of analyzing a piece of text and comparing it to reliable sources of information.

Unfortunately, this might be a case of too little, too late. Propaganda spread by way of social media has heavily influenced the 2018 elections in Brazil – and, in many cases, these messages constitute fake news. Estimates say 120 million Brazilians can be reached on their cellphones, a data that explains the revelations made by newspaper Folha de S.Paulo that businesspeople are illegally spending millions to send pro-Bolsonaro messages en masse via WhatsApp.

Pieces of fake news that influenced the 2018 election

Fake news was, indubitably, one of the main political forces in 2018. According to Tai Nalon, director of the fact-checking agency Aos Fatos, five falsehoods were among the most important messages spread on social media in influencing the outcome of the electoral race so far.

In first place is the so-called “Gay Kit.” For several years, anti-Workers’ Party groups have been spreading that Fernando Haddad, during his time as Minister of Education, had authorized the distribution of a series of materials to public schools that encouraged children to be gay.

The truth is that Mr. Haddad had created a project to combat homophobia in public schools, but it was never implemented. That didn’t stop fake news factories from spreading false images of supposed books, pamphlets and other materials related to the false “Gay Kit.” The Superior Electoral Court ordered that Mr. Bolsonaro and his allies take down any material accusing Mr. Haddad of having implemented the fake kit.

Next comes a doctored image of the man that stabbed Mr. Bolsonaro in September, placing him alongside former president Luiz Inácio Lula da Silva. Right after the attack, the fake news network commanded by Bolsonaro said that Adélio Bispo de Oliveira was affiliated with the Workers’ Party. Of course, another lie.

Another falsehood used images to mislead voters. This time, though, a photo of actress Beatriz Segall with a swollen face was posted saying that Worker’s Party militants had badly beaten a female Bolsonaro supporter. The picture actually showed Mrs. Segall after she fell on the street in an unrelated incident – which had nothing to do with politics.

Olavo de Carvalho, a far-right internet personality and self-proclaimed philosophy teacher, claimed that a book written by Fernando Haddad defended incest. Another lie. The book indeed exists, but it is an essay about Karl Marx’s “Communist Manifesto”. Carvalho later erased the Facebook post, but the damage was already done.

Lastly, another controversial idea attributed to Fernando Haddad has been the subject of fake news. The post claims that the center-left candidate is the author of a bill that legalizes pedophilia. Such a bill did actually exist, but it has nothing to do with Mr. Haddad. Its author is José Sarney Filho, a senator from the Brazilian Democratic Movement party; the proposal lowers the age of sexual consent from 14 to 12 years old and has never been put to a vote in either house of Congress.
Tags: Democracy - Social Media - 2018 election
Rodriguez is a social scientist and journalist based in São Paulo.
Power Oct 16, 2018
The power of fake news in Brazil's elections
BY Tai Nalon and Ana Rita Cunha
The Superior Electoral Court had three presiding justices this year – and each stressed the need to counter the (...) READ MORE
Power Jun 21, 2018
Brazil's Electoral Justice: Fake news could lead to election annulment
Since Donald Trump was elected to the White House in late 2016, and the United Kingdom voted to leave (...) READ MORE
Power Feb 02, 2018
Breaking down Brazil's plans to combat fake news
BY Ciara Long
Elections throughout the world have historically been a stage for rumors and misleading information to destabilize leading political personalities. (...) READ MORE
Facebook shuts down right-wing fake news network in Brazil
BY Maria Martha Bruno
Earlier this year, the Political Debate Monitor on Digital Media – an initiative by academics at the University of (...) READ MORE

redpajama_set_name: RedPajamaCommonCrawl


text:
Kinoeye
All 3 entries tagged Free Cinema
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British Cinema Hub Page
Orson Welles as Harry Lime in Carol Reed's Third Man currently top of the British favourite 100 films
A Chronology of British Cinema & Society
British Cinema and Society: Chronology 1939-1951
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Handmade Films: Production Company
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What is a British Film?
British Directors
British Contemporary Directors: Hub Page
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Heritage Cinema Part 1
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Contemporary British Cinema: Representing the World Locally
Representing Changing Britain: Ethnicity and Hybridity
Historical Aspects of British Cinema
Non-Contemporary British Cinema (Not currently open)
British Cinema of the Second World War: Key Films
Free Cinema the Precursor to the British New Wave
The British New Wave: Social Realist Film of the 1960s
British Cinema and Social Realism: A Webliography
: 10 Feb 2008 11:38 | Tags: BBC Films British Cinema British Cinema History British Cinema Hub British New Wave British Social Realist Film Contemporary British Cinema Free Cinema Handmade Films Ocr Media Studies Working Title | Comments (0) | Close comments | Report a problem
The British New Wave
Julie Christie in John Schlesinger's Billy Liar
The beginning of the 1960s was marked by the appearance of a range of feature films which took up serious social issues and were placed within the contemporary cultural context. The films are described as social realist and described as a British 'New Wave'. The description of these films as a 'New Wave' should not be confused with the contemporary French films that were coming out of France from the Cahiers du Cinema milieu of directors. Some commentators regard the British New Wave as being influenced by the French New Wave. This seems inappropriate as the period usually defined as the French New Wave was happening more or less simultaneously. Arguably there was at least a two way influence as the acceptance of Chabrol and Truffaut in the British Free Cinema series makes clear. What is more likely is that any French influences that were the precursors to the Nouvelle Vague proper such as Louis Malle's Les Amants were being seen in Britain particularly as future British 'New Wave' directors Lindsay Anderson, Karel Reisz and Tony Richardson were organising the Free Cinema events at the National Film Theatre from 1956 - 1959 as well as developing film criticism on the magazine Sequence earlier on. Cinematically it was Italian neo-realism which had made a strong influence on both British and French directors although both groupings went in different directions. It is the 'Left Bank' documentarists not always seen as the heart of the French nouvelle vague such as Resnais, Duras and Marker who are seemingly more influential. To this must be added the legacy of Humphrey Jennings who was enormously important to Anderson, Reisz and Richardson.
Seeming Western Cultural and Economic Synergies
At the meta-level directors in Western Europe were part of the cultural moves towards creating fully modern societies in Western Europe. By the 1950s this process was generally gathering pace at this time. Both France and Britain were overcoming post-war shortages and whilst there was a new optimism being generated in Britain after the 1950 Festival of Britain and its espousal of new technologies the mid-1950s saw the post-Suez recognition within both Britain and France that the political world had shifted entirely to a mainspring centred upon the USA in tension with the USSR. The older empires were finally having to readjust to a new world order.
The growing postwar mood was not just restricted to the countries of Western Europe. Polish cinema was making its own mark as the Free Cinema programme which featured several Polish directors makes clear.
What is Social Realism?
Cinematically the British New Wave is part of a tradition of social realism within British film which has seen many shifts since the growth of the British documentary movement in the 1930s. Realism is a difficult concept because encapsulated within it there are a range of changing aesthetic conventions all of which have as a central concern the intention of representing 'the world as it really is' or 'life as it is really lived'. Lay (2002) points out:
There is no universal, all-encompassing definition of realism, nor is there agreement amongst academics and film-makers as to its purpose and use. But what we can say is that there are many 'realisms' and these realisms all share an interest in presenting some aspect of life as it is lived'. Carroll (1996) suggests that the term should only be used with a prefix attached. This is because another important feature of all realisms is how they are produced at specific historical points. The addition of a prefix, such as social-, neo-, documentary-, specifies the' what' and crucially, 'when' of that movement or moment. What is regarded as 'real', by whom, and how it is represented is unstable dynamic, and ever-changing, precisely because realism is irrevocably tied to the specifics of time and place. 'Moment'" (Lay, Samantha, 2002: p 8)
As Andre Bazin also noted, each era looks to the technique and aesthetic which can best capture aspects of reality, thus realism is in itself an aesthetic construct dependent upon a set of artistic conventions and forms. The British New Wave is a part of this process. It has been noted that for a film to be realist rather than just realistic there are 2 necessary fundamentals. There must have been the intention to capture the experience of the event depicted and secondly the film-maker must have a specific argument or message to make about the social world employing realist conventions to express this.
Raymond Williams has argued that the four main criteria of social realism incorporate the following features:
Firstly that the texts are secular, released from mysticism and religion
Secondly that they are grounded in the contemporary scene in terms of setting, characters and social issues
Thirdly that they contain an element of social extension by which previously under-represented groupings in society become represented
Fourthly there is the intent of the artist which is mostly a political one although some artists have used the genre as route into a mainstream film-making career.
Social Realism and Representation
Social realist texts usually focus on the type of characters not generally found in mainstream films. Social realist texts draw in characters who inhabit the social margins of society in terms of status and power. This 'social extension' has usually involved the representation of the working class at moments of social and economic change. Hill has noted that this is not just a matter of representing the previously under-represented but that these subjects are represented from different specific social perspectives.
For example there was a shift in modes of representation of the working class from the Grierson documentaries of the 1930s to British Free Cinema documentaries and the British New Wave features which followed on from the Free Cinema Movement. Free Cinema and New Wave chose to represent the working class neither in victim mode, nor in heroic worker mode as had been done previously. The working class were to be seen as more energetic and vibrant.
Critics generally accept that women have faired badly in the representations of the British New Wave, although Loach's Poor Cow (1967) and TV docudramas Up the Junction and Cathy Come Home helped redress the balance. By the 1980s social realist films such as Letter to Brehznev (1985), Sammy and Rosie Get Laid (1987) reflected the changing nature of society and the growing importance of women in the workforce, not only women but humour too was more apparent. This approach continued into the 1990s with films such as Mike Leigh's Career Girls (1997). Some have argued that the portrayal of women took a retrograde step in the mid to late 1990s as they became adept consumers unsupportive of husbands as in Brassed Off (1996) and The Full Monty (1997). Alternatively women became victims of domestic violence or sexual abuse Stella Does Tricks (1996), Nil By Mouth.
It has been argued that in general the representation of the working class has shifted from being producers to consumers reflected in a move which has seen members of the working class in more privatised domestic environments and leisure-time settings instead of as members of geographical communities or in workplace environments where collective bargaining procedures are in place. Hill sees this as starting with British social realist films of the 1960s and continuing into the 1980s and 1990s.
Whilst social realist representation has tended to focus upon white working class males there has been some breakthrough in terms of race in films such as My Beautiful Laundrette (1985) and Bahji on the Beach (1994). The changing sense of Britishness has been represented through cultural hybridity and multiculturalism from the mid 1980s through until Chada's Bend it Like Beckham moving from social real to a more fantasy mode in the process. Recently social extension has begun to be granted to the position of asylum seekers and refugees and those effected by the diasporic forces relating to globalisation and the collapse of the psot-capitalist states (Soviet Union / Communist China). Last Resort (Pawlikowski 2000) and Frears' Dirty Pretty Things (2002) which keeps in the frame wider issues of the structures of globalised inequality from a social realist perspective.
Another facet of social realist representation has been a tendency towards autobiography suggest Lay (2002). Starting with the work of Bill Douglas and Terence Davie, Lay suggests that this was present in films such as Wish You Were Here (A retro-social realist film), Stella Does Tricks, East is East and Ratcatcher (Lynne Ramsey, 1999). It is arguable that these films contain within them a nostalgic look backwards from a working class perspective which in some sense echoes the growth and success of the 'heritage film' in British cinema.
The 'New Wave emerged in Britain at a time when Macmillan's concept that the British as 'a people' had 'never had it so good' was a dominant feature. The long economic boom which had gathered pace during the 1950s alongside the developments in the welfare state and the growth in power of social democratic discourses of meritocracy had led to the emergence of a new social formation of better educated, assertive and frustrated, smart grammar school educated younger people who wanted to see the fustiness and stuffiness of a system based upon status and respect shift into a meritocratic environment. It is difficult to gauge exactly how important the effect of the liberated meritocratic consciousness of United States culture and the British experience of this during the war impacted upon the general level of consciousness but indicators from the work of Jacky Stacey on British working class women audiences who preferred the more meritocratic sentiments of Hollywood to the RADA driven accentuation of much British post-war cinema points to deeper underlying societal shifts.
The description of cultural phenomena as 'New Waves' is an important metaphor which if it is extended fully leads one to note that there were deep up-swellings and currents from which the wave developed. That theatre and cinema and book publishing were challenging the old mores driven by a combination of liberal and social-democratic sentiments can, ironically, be seen as a part of the success of the long economic boom which allowed the youth of the time the relative economic security to dream about other futures. Certainly it would be unwise to split cinema from this rapidly changing socio-cultural milieu. Perhaps this is best illustrated by the positioning and fantasy of Billy Liar (1963) which came at the end of the social realist phase of the 'New Wave' and has a more ambiguous nature both in its style and in a recognition that there is social change happening fast. Julie Christie and Schlesinger represent this dramatic shift in Darling.
The Major British New Wave Films
Room at the Top (1959): Dir Jack Clayton
Look Back in Anger (1959): Dir Tony Richardson
Saturday Night Sunday Morning (1960) : Dir Karel Reisz
Taste of Honey (1961): Dir Tony Richardson
The L Shaped Room (1962):Dir Bryan Forbes
A Kind of Loving (1962): Dir John Schlesinger
Lonliness of the Long Distance Runner (1962): Dir Tony Richardson
This Sporting Life (1963): Dir Lindsay Anderson
Billy Liar (1963): Dir John Schlesinger
Directors and Actors
The major New Wave directors were Anderson, Reisz and Richardson coming from a background of the Free Cinema. The films dealt with working class subjects and focused on a range of concerns particularly in relation to young people. The films dealt with abortion, prostitution, homosexuality, alienation due to lack of communication and relationship breakdown. The films were intent upon representing a non-London working class environment and were shot in towns such as Nottingham and Mamchester. Black and White fast film stock gave a grainy feel to the film. This was also necessary to cope with the shooting conditions which tended to go for natural lighting and outdoor sets.
Conventional stars were not used rather ,young, usually more working class actors predominated such as Alan Bates, Albert Finney, Richard Burton, Michael Caine and Tom Courtenay. Two of the women most associated with the movement Rita Tushingham and Rachel Roberts interestingly didn't 'make it big' although Julie Christie who came in on the tail-end of the movement in Billy Liar did. The New Wave didn't actually contribute to the growing pool of regional actors rather it was the way society was changing. Local authority grants for attending drama colleges meant larger numbers were attending and the growth of social realist theatre as well as the rapid growth of TV was creating the demand for more actors. The overall expansion of media was creating pressure for more representation of a wider number of subjects and the sentiments created around the 'People's war' had contributed to a widespread recognition of the need to represent the working classes. As Lindsay Anderson had written
'The number of British films that have ever made a genuine try at a story in the popular milieu, with working class characters all through, can be counted on the fingers of one hand... This virtual rejection of three quarters of the population of this country represents a more than a ridiculous impoverishment of the cinema. It is characteristic of a flight from contemporary reality.'[1]
The films were based upon books and plays who had direct experience of working class life such as Alan Sillitoe, John Braine, David Storey, Shelagh Delaney.
Tom Courtenay in The Lonliness of the Long Distance Runner
Frequently Jack Clayton's Room at the Top (1959) is considered as the first of the British 'New Wave' films however Hayward considers that his film is best seen as one of the precursors to the movement with Richardson's Look Back in Anger (1959) being the real beginning of the movement. The film starred Richard Burton. Following this came Karel Reisz's Saturday Night and Sunday Morning (1960) starring Albert Finney then A Taste of Honey (Richardson 1962), with Rita Tushingham. A Kind of Loving (Schlesinger, 1962), Loneliness of a Long Distance Runner (Richardson, 1962), This Sporting Life (Anderson, 1963) with Rachel Roberts and Richard Harris. By 1963 over one third of film production was broadly New Wave showing that British cinema could resist Hollywood - at least for a short time.
Rita Tushinham in Taste of Honey
Losey / Pinter's The Servant also came out in 1963 and their depiction of upper class decadence can be seen as exploring the same socio-cultural phenomenon that Visconti had begun to depict. Visconti was to explore this in depth through firstly The Leopard and later The Damned, Death in Venice and Ludwig. Pinter and Losey were to explore the impact of the growth of the New Universities and the changing media scene on the encrusted cloisters of academia and the upper classes in Accident a few years later. The sentiments in these films by Losey and Visconti are a serious exploration of the writing on the wall for the European aristocracy. Here it is possible to draw comparison with Louis Malle's The Lovers in which Europe's other well known upper class film-maker explores the decadence and isolated world of the French and international Haute-Bourgeois, the provincial bourgeois and the newly emergent class of the independent thinker and doer. That it is the representative of this class who 'gets the woman' who is herself marked by a break with a break in conventions about the role and position of woman is indicative of a changing consciousness at a European level, in the light of post-war disillusion with a class system which led Europe to disaster and was twice rescued by the USA.
This Sporting Life
The social realist films of this 'new wave' period were based upon a range of novels and stories which had already made significant inroads into the British psyche. They were adaptations which involved the original authors themselves. The crossovers with theatre were seemingly much stronger than in France. The point is also important as some critics such as Armes have in a rather small minded way pointed out that the directors associated with these films such as Richardson, Anderson and Reisz, were from an upper middle-class public school and Oxbridge background. Linking these directors with Visconti and Malle shows that the European aristocratic hegemony was clearly crumbling and that a new hegemonising process based around a meritocratic process was emerging. Over the longer-term Visconti in Italy and Anderson in Britain might be said to the most consistently left-wing of these directors. John Hill's later review of the criticism of the British 'New Wave' directors attempted to undermine the reductionist sour grapes of Armes and Durgnat by taking a textual approach which noted that although the directors were outside of the class they were representing which can be discerned through the 'marks of ennunciation' articulating a critical distance between observer and observed. As Aldgate and Richards point out this analysis still left the contextual aspects of criticism largely unexplored.
Hill's Marxist inflected criticism led to a critique of these films which saw them as misogynistic and many commentators return to this point, however, Murphy has since commented that for the first time women were playing in roles that were far carrying a far more serious emotional weight than the '...pathetically trivial roles women had to play in most 1950s British Films.' [1] In many ways this gender issue needs a careful film by film analysis. By the time of Billy Liar (1962) for example Julie Christie is playing an extremely dynamic role. She feels able to hitch-hike anywhere and comes and goes as she pleases, she is able to transcend the petty provincialism of Nottingham and move to London where she knows that lots of things are happening. By comparison Billy Liar (Tom Courtenay) despite his fantasy life is unable to summon the courage to make the break and move to London and make his dreams come true. In that sense the criticism of the New Wave that it focuses on individuals rather than the possibilities of class solidarity is relevant. The underlying message of Billy Liar is that the newly emergent youth of the 1960s have the possibilities they must have the courage to take these opportunities. That is was a young woman who does this is encouraging from a gender equality perspective. In this the film can be read as a precursor of the 'Swinging Sixties'.
Lindsay Anderson's This Sporting Life also 1963 is perhaps more ambiguous. It can be argued that the representation of the Rachel Roberts character is negative, to the point that she commits suicide however this representation of a woman who is left on a small widow's pension and is struggling to survive financially yet resists the pressure to be made dependent upon a man is an underlying theme. That she finds suicide the only way out can be read as a comment upon a society that does not make the necessary social space for women. The pressure to succeed at any cost is one which Machin, played by Richard Harris, finds hard to bear. His working life is brutalising and he has come out of the mines into Rugby League a sort of modern gladiator he is unable to provide Mrs. Hammond with what she wants.
Unlike the cover which describes Mrs. Hammond as 'frigid' it is perhaps better to examine the character of Machin whose machismo soon expires when faced with advances from the wife of his boss. Machin likes to control and runs away when he can't. In this sense it is not unreasonable to argue that there is a crisis of masculinity being represented in which power, sexuality and control allied to class position are all in the process of being renegotiated. The film is also a representation about the possibilities of escaping a drab and dangerous working class life. The professionalisation of sport is just beginning and the film strongly relates to the changing media environment. Stardom is counterpoised to living in a run down terraced house. The incongruity of the Mark IX Jaguar owned by Machin underscores the point.
In their brief review of the critical literature on the British New Wave Aldgate and Richards note that 'probably the most trenchant critique' of the British 'New Wave' came from Peter Wollen. Wollen's criticism largely hinges on a textualist based comparative analysis which judges the British 'new wave' with the Cahiers group of French directors who for Wollen's appear to encapsulate the whole ethos of the French Nouvelle Vague. The SPECT construction of the French New Wave is considered in depth in the section on France, here it can suffice to ask whether the methods and methodological approach were appropriate or rich enough to justify the scathing tone of the attack on the British directors. Drawing on Michael Balcon's wartime pamphlet Realism or Tinsel Wollen notes that within the British cinema there has been a strong element of a preference for 'realism' over 'tinsel' an aesthetic structuring which Wollen associates with nationalism:
This system of value, though most strongly entrenched on the left, ran all the way across the political spectrum. For the right, as with the Left, the aesthetic preference was bound up with nationalism. 'Tinsel' was of course bound up with Hollywood escapism and, in contrast, realism evoked local pride and sense of community... British critics praised films they liked in terms of their realism and damned those they did not as escapist trash. The French New Wave, however, aimed to transcend this shallow antinomy.'[2]
This mode of rhetoric has become a self supporting argument rather than a more fully coherent one based upon differing nuances and circumstances. In the same piece Wollen has conflated the 'Left Bank' artists such as Duras and Resnais, more renowned for making documentaries in the earlier 1950s. It is intersting how wollen attacks the crucial diffrence between representations of nation between British and French New Waves. French New Wave was very much a Parisien affair whiclst British New Wave had the guts to represent different parts ogf the country effectively. This could be read as two different nationalisms at work in different ways.
Wollen has seemingly eschewed linkages between how the Italian neorealists might have had an effect upon the British shift to realism, there is no linkage with the surrealist impulse which underpinned the work of Humphrey Jennings and which significantly influenced the Free Cinema movement. An appreciation of the non-realist approaches of Powell and Pressburger is also absent. If, for Pressburger especially, 'Art' was to function as a form of transcendence then Billy Liar can be seen as playing out the possibilities of transcending one's social reality either through the growing media through comedy which reverts to fantasy as the limitations of the possibilities overwhelm. Fantasy is carried through the Julie Christie character which emerges in Darling. Both can be read as a critique of 'false aspirations' carried by the nouveau professional classes as well as a deliberate sidelining of the 'Art for Art's sake' argument.
The British cultural milieu was certainly very different to that of the French in which certain overlaps such as their relations to empire could be noted. If there is a trenchant critique to be made of British 'New Wave' then it resides more in its failure to properly represent the diasporic influxes that were changing the cultural and social composition of the industrial cities that they were representing. In this the British were probably no worse than, nor better than, the French. Very few films of the period dealt directly with issues of diaspora and decolonisation. In that sense British New Wave was not realist enough!. In terms of the aesthetics of the British New Wave the use of locations such as back allies, cobbles, seaside towns in winter and empty railway stations works to create a feel which has been described as an aesthetics of urban squalor. Some commentators have considered that this acts to 'romanticise' the 'decaying infrastructure of industrial Britain' [3] However given that many of the films are dealing with the changes in society the representation of urban and industrialised spaces needs to be considered alongside the representation of newer factories,
Another critique of British New Wave espoused by Wollen was in its lack of 'modernism'. In fact the modernism classed as an aesthetic was apparent in the sound tracks, which incorporated British popular music in working class leisure venues, from the skiffle group in Saturday Night Sunday Morning to the dance hall scenes in Billy Liar and This Sporting Life. Interestingly the main music was written and performed by Johnny Dankworth in several of these films including Saturday Night and Sunday Morning and the non New Wave The Servant and Darling. This reflected a strong rise in modernist aesthetics strongly influenced by the culture of the USA. While no sound track is likely to ever compete with the Miles Davis extraordinary and entirely improvised one for Malle's Lift to the Scaffold, the incorporation of Britain's most influential jazz musicians of the time is indicative of an approach that belies Wollen's seeming Francophilia and as pointed out above dates from the 1956 Momma don't Allow . Arguably the British new wave films were tackling a more interesting range of discourses and were coming from a different place to the French processes of modernisation. The task of analysis is to be searching for a greater depth of understanding of these social processes not indulging in a ranking exercise.
Compare Wollen's tone with that of John Orr for example; Orr takes a more measured synoptic view of the cinematic processes of modernity, noting in Resnais Nuit et Brouillard (1955), that he moves from the documentary to the imaginary, a shift managed by Schlesinger's 'Billy Liar' in 1963 for example but one set against the changing cityscapes of postwar Britain. Orr refers to Deleuze's argument that neorealism opened up cinematic space in the new open spaces of Europe's damaged cities. Whilst Deleuze argues that these were 'anywhere spaces' in which the exterior location did not have to define itself the cinematic space of Nottingham which served as location shooting for Saturday Night , Sunday Morning as well as Billy Liar was symbolic of class representation, and the rise of the working classes, it was symbolic of 'creative destruction' that great economic engine described so effectively by Schumpeter, with war acting as the great catalyst to this enduring process at the heart of capitalism. It was also symbolic of social, economic and cultural progress. Rather than being associated with the deeply alienated cinematic/ geographical spaces of mainland Europe, British cinema largely avoided the apocalyptic mood of continental Europe.
Saturday Night and Sunday Morning
The story telling of the British new wave was outside of the frenetic and frantic pace of Hollywood and also outside of the cinematic time of the emerging mainstream European modernists like Fellini or Antonioni. British cinema had the intensity of the theatre underpinning it and much of British New Wave was like a kammerspiel on location. It was a variant on mainstream modernism and modernity which was perhaps informed by British pragmatism as much as aesthetic theorising but it also owed something to Rossellini and Visconti.
It is Rocco and His Brothers (1960) which charts the changing world of the Italian peasant classes as they come to industrial cities such as Milan to create new lives which is arguably one of the more influential films. The role of boxing for example as a sport drawing its workforce from people trying to escape working class drudgery is explored by Visconti. The treatment of the girlfriend of the Rocco by his brother who finally murders her has resonances with This Sporting Life. Where Visconti does score over the British New Wave in terms of class representation is his specific use of recognising that class solidarity is the way forward for the new working classes in that sense Visconti is more of a political film maker than the British New Wave directors.
In summary the British New Wave worked upon an emergent element of realism which sought to represent elements of the working class and its changing environment. Criticisms have been levelled that the films concentrated on characterisations at the expense of the possibilities of class solidarity as a way forward. This marks a break from the brief associations which were made between the Free Cinema movement and the New Left centered around issues of art, representration and didacticism. In that sense the underlying discourses can be seen as ones which promote a meritocratic society in which opportunities are available but it is down to the individual actor themselves about whether they make a success of these opportunities.
There have been many criticisms from feminist critics that these films are generally misogynistic as on the whole they don't have positive representations of women playing roles as key protagonists within the films. It is possible to take Wollen's critique seriously in one way for if the lack of 'tinsel' which he criticises within the realist mode of the British New Wave is extended to humour then many of the films fall into this category, Look Back in Anger never rated as a side-splitter neither did This Sporting Life. On the whole Billy Liar manages to transcend this tendency which helped to give the impression of British New Wave social realism its grim and gritty reputation. By comparison Truffaut' 400 Blows, Tirez sur le pianiste and Godard's A Bout de Souffle were welcome breaths of fresh air displaying a lightness of touch with parodies of gangster movies. In the content of location shooting in the latter two films and even in the more prosaic autobiography Truffaut finds a lightness of touch even in the grim institutions.
1 [1]Anderson in Hill, 1983 : p 1271
[1]Murphy cited Aldgate and Richards 2002 p 189.
2 [2]Wollen, Peter cited in Algate and Richards 2002, p190.
3 [3]Samantha Lay (2002: p 64) notes this commonly made point.
British New Wave: A Webliography
Jazz in 1960s British New Wave Cinema: An Interview with Sir John Dankworth http://bura.brunel.ac.uk/bitstream/2438/743/1/DankwortharticleJP.pdf
Open University History and the Arts on British New Wave
http://www.open2.net/historyandthearts/arts/newwave_p.html
The Importance of Humphrey Jennings as an influence on the British New Wave directors should not be underestimated, several of these directors like Reisz, Anderson and Richardson were also deeply involved in thte Free Cinema Movement
Lindsay Anderson on Humphrey Jennings: Sight & Sound, Spring 1954
British Cinema: Social Realism – Webliography
: 21 Oct 2007 17:44 | Tags: European Cinema Alan Bates Alan Sillitoe Albert Finney British Cinema British Cultural History British New Wave British Social History Bryan Forbes European Cinema European Film Studies Film Genres Film Movements Free Cinema History Of John Osborne John Schlesinger Julie Christie Karel Reisz Lindsay Anderson Raymond Williams Rita Tushingham Shelagh Delaney Social Realism Taste Of Honey Tom Courtenay Tony Richardson Woodfall Films | Comments (0) | Close comments | Report a problem
Free Cinema the Precursor to the British 'New Wave'
with a 16mm camera, and minimal resources, and no payment for your technicians, you cannot achieve very much - in commercial terms. You cannot make a feature film and your possibilities of experiment are severely limited. But you can use your eyes and your ears. you can give indications. you can make poetry. (Programme notes to Free Cinema 3)
The Free cinema movement in Britain is rightly described on the cover of the BFI three disc set called Free Cinema as a "highly influential but critically neglected" movement in cinema history. This article sets out to help publicise and establish a wider critical discourse around this body of films. Free Cinema itself started out as a cultural event at the National Film Theatre (NFT) in 1956. This proved to be extraordinarily popular and allowed Karel Reisz who was programme planner at the NFT at the time as well as an active film-maker to hold another five programmes which went on until March 1959. The films themselves were documentaries which were made in the spirit of the quirky at times quasi-surrealist fashion tradition of Humphrey Jennings rather than in the more seemingly "objective observer" tradition of Grierson. The full six programmes afforded enthusistic audiences to see a range of films that would have been almost impossible to see otherwise and all the screenings were a sell out. Critical and audience success are the two benchmarks by which we can judge the success of the movement.
An International Dimension
Karel Reisz
Lindsay Anderson, Karel Reisz, Tony Richardson were responsible for putting together the six programmes and their own films were screened in Free Cinema, Free Cinema 3: Look at Britain and Free Cinema 6: The Last Free Cinema. Importantly the other three Free Cinema programmes screened the work of Foreign Directors including Lionel Rogosin, Georges Franju and Norman McLaren in Free Cinema 2. Free Cinema 4: Polish Voices screened work by Roman Polanski, Walerian Borowcyzk and others. Free Cinema 5: French Renewal screened work by Claude Chabrol and Francois Truffaut. When one looks at the directors who made their films in Britain as a part of this series of programmes one can see that there was a strong committment to opening up the cinema to a wide range of international mainly European influences including some from behind the Iron Curtain which must have taken some organising only a couple of years after the infamous Hungarian uprising.
Movement or Tendency?
Lorenza Mazzetti
According to Lindsay Anderson this film movement or tendency coincided with the seminal theatrical work of the period John Osborne's Look Back in Anger (1956). Anderson was responsible for assembling the programme of shorts and documentaries which were to be shown at the National Film Theatre. The concept of being 'free' cinema meant that the films were made outside of the framework of the industry and because the films were personal statements about contemporary society. Hayward (1996) suggests that tendency is a better term than a movement in so far as the Free Cinema programme was eclectic and international rather than being comprised of directors who had a common style and common ideals. There were three directors who did form the basis of a movement, Karel Reisz, Tony Richardson and Lindsay Anderson. According to Tony Richardson the term free cinema was originally invented to describe the documentary films made by these directors during the 1950s. Later Anderson was to deny that Free Cinema could be described as a movement.
Regarding the documentaries they considered that these should be made free of all commercial pressures and based upon a humanistic and poetic approach. In espousing these sentiments their work owed more to the poetic realism of Humphrey Jennings than to the more positivist sociological inflections of John Grierson. The intellectual backdrop for this approach came from the magazine Sequence which Anderson had founded in 1946. Many articles had focused upon the conformity and apathy engendered by the documentaries of the time whilst others targeted at the feature film had criticised the lack of aesthetic experimentation.
In Sequence Anderson and Reisz concentrated upon issues of style and criticised the conformity in feature films in terms of the narrative structure which was largely based upon the Hollywoodised 'classic narrative cinema'. They also attacked the bourgeois nature of this cinema and accused it of lacking reality because of its very weak representation of the working class. They also criticised the industrial giants Rank and ABC (part of Warner Bros) which were the only two feature film companies in distribution and exhibition at this time.
Overall I tend to come down on the side of the argument that argues it was a movement, for the notion of tendency seems to imply a much looser milieu whilst this one was relatively compact and just like Neorealism and much of the French New Wave the leading members had been working on the same critical magazine. If it wasn't bound by a tight manifesto it was more than just a bunch of people drifting along as the following quotation from Anderson taken from the Free Cienam 1 programme indicates:
Talking with Karel, Tony and Lorenza about the miserable difficulty of getting our work shown I came up with the idea (at least I think it was me) that we should form ourselves into a movement, should formulate some kind of manifesto and thereby grab the attention of the press and try to get a few days showing at the National Film Theatre. (Booklet accompanying the BFI Free Cinema DVD).
Anderson notes later that even though they got an interview on Panorama the manifesto was a ploy to get Momma Don't Allow, Oh Dreamland and Together all screened. It is clear that they were overtaken by thier success and that there was an audience out there wanting more and different content. The problem with manifestos is that they can act as poles of attraction and create their own impetus.
These films were not made together; nor with the idea of showing them together. But when they came together, we felt they had an attitude in common. Implicit in this attitude is a belief in freedom, in the importance of people and in the significance of the everyday.
Filmmaking Methods
Despite Hayward's doubts there were a number of features in common between the British made films. They were all made in black and white using hand-held Bolex cameras that were only capable of 22 second shots at the maximum. They were documentaries and they largely avoided the use of didactic style voice-over commentaries.There tended to be a lack of narrative continuity and sound and editing was fairly impressionistic. There was also a conscious decision to go out of the studio and film the reality of contemporary Britain. The possibilities for this were improved as the revolutionary HPS (hypersensitive) film stock from Ilford came onto the market. Although the use of this has become associated with the French New Wave in an interview with Walter Lassally the main cinematographer of the British Free Cinema he points out that he drew the attention of the French directors to the use of the high speed Ilford film allowing for nighttime shooting. Another distinguishing feature which makes the work of these three directors a movement is the use made of Walter Lassally as the camera-person on four out of the six films which belong to this oeuvre. Because of the low funding available all were very low to low budget films.
The Financing
When it came to making their own films unsurprisingly Rank was not forthcoming with finance for these trenchant critics of the British film making institutions. The British Film Institute (BFI) Experimental Film Fund and more surprisingly Ford's of Dagenham which commissioned a series of documentaries called Look at Britain two of which were made by the Free Cinema directors: Anderson, Every Day Except Christmas (1957) and Reisz's We Are the Lambeth Boys (1959). The BFI provided funding for Momma Don't Allow (Richardson and Reisz, 1956).
Momma Don't Allow
Momma Don't Allow explored the leisure particularly looking at jazz and dance and noting a mixing of the classes on the dance floor. The editing reflected the jazz syncopation and the importance of jazz and dance and emerging popular music was an important facet of the later New Wave features with Johnny Dankworth providing the music for Reisz's Saturday Night, Sunday Morning as well as for Losey's The Servant (1963) -a film not usually classed as British New Wave but one which can be seen as part of the whole changing culture of Britain none the less. Dankworth also did the soundtrack for Schlesinger's Oscar winning Darling (1965), which takes both his and Julie Christie's career post-British New Wave and into London's 'Swinging Sixties' with representations of a new media and show biz glitteratti and people trying to make it.
In Britain the cinematic 'New Wave' was born out of the conjunction of two tendencies with Richardson playing an important part in both. Firstly there was the growth of new sentiments emerging through the theatre and its responses to the growth of social consensus developed in Britain in the 1950s. Secondly there was the influence of British Free Cinema. In this sense it is perhaps better to talk of a rapidly changing cultural milieu especially in London which both senses and participated in changing British society and was made up from a range of generally younger artists operating in various branches of the arts.
The Free Cinema Films
Free Cinema Programme 1
Cinematographer Walter Lassally
O Dreamland, (1953): Directed Lindsay Anderson
Momma don't Allow (1956) Karel Reisz and Tony Richardson
Together (1956) Lorenza Mazzetti
Wakefield Express (1952): Lindsay Anderson
Nice Time (1957) Claude Goretta & Alain Tanner
Picadilly Circus from Nice Time
Everyday Except Christmas (1957) Lindsay Anderson (winner of the documentary prize at the Venice film festival)
Everyday Except Christmas
The Singing Street (1952): McIsaac, Ritchie, Townsend
We are the Lambeth Boys (1959) Karel Reisz
We are the Lambeth Boys
Refuge England (1959) Robert Vas
Enginemen (1959) Michael Grigsby
Food for a Blush (1959) Elizabeth Russell
Unlike many artistic movements the Free Cinema movement was very clear about the sixth programme being the last one. It is extremly hard work being underfunded and on the edge. Prizes had been won and recognition had been won. Anderson, Reisz and Richardson were in a position to move on to making proper feature films. As the Times of 1959 noted they had made documentaries for thier generation in a style which marked the changing times for it was very different to the Griersonian method of 30 years ago.
It is important to recognise just how much they were part of a wider socio-cultural movement in the country as the Times notes. Richardson had co-founded the English Stage Production Company with George Devine. He had directed Osborne's very successful and groundbreaking Look Back in Anger in 1956 and this led to Osborne ad Richardson establishing Woodfall Films in 1959.
The new opportunities and the shift in culture allowed the full length features of the British Social Realist movement to emerge. This would probably not have happened had the Free Cinema not emerged in the first place.
http://www.bfi.org.uk/features/freecinema/archive/ellis-freecinema.html
This BFI page is a route into some excellent resources which are unlikely to be bettered.
Lindsay Anderson writing in Sight and Sound on Humphrey Jennings who was a core inspirational force for the Free Cinema directors.
Geocities on Free Cinema. This is an example of a website which only partially knows its facts. It asserts that it was founded on the precepts of Italian neorealism. In fact Humphrey Jennings had far more influence and he was a neorealist before neorealism! Second point is the argument that it was heavily influenced by the French New Wave. As it was Walter Lassally who passed over ideas to the French cinematographers about shooting on Ilford 400 ASA this doesn't quite add up, neither do the dates. The reality is that the most imaginative young film makers in both countries were developing different approaches to film making. The issue of how far there was an inter-relationship and cross-fertilisation of ideas is what needs to be explored.
Senses of Cinema Review of the BFI Triple DVD release of Free Cinema
Guardian review feature on the Free Cinema movement.
Vertigo Magazine 2004 on: Documentary is Dead – Long Live Documentaries! This makes important reference to Free Cinema as well as considring the state of documnetary now in relation to TV. Julian Petley's comments about regulation are of particular interest.
: 21 Oct 2007 12:24 | Tags: British Cinema Documentary Film Documentary Realism European Cinema European Directors European Film Studies Free Cinema Humphrey Jennings Karel Reisz Kinoeye Lindsay Anderson Lorenza Mazzetti Momma Dont Allow Neorealism O Dreamland Social Realism Tony Richardson We Are The Lambeth Boys | Comments (2) | Close comments | Report a problem
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text:
76ers Drop 11th Straight at HOme
The 76ers hosted the Orlando Magic on Wednesday and their struggles would continue. The Magic came in with a 16 game road losing streak but the Sixers had a 10 home losing streak of their own. Despite leading at halftime, the 76ers would fall behind by double-digits in the 4th thanks to Orlando's three-point shooting. The Sixers (15-43) lost to the equally bad Magic, 101-90.
Brett Brown decided on moving Henry Sims and Hollis Thompson into the starting lineup. There were 13 first half lead changes in a highly competitive 1st and 2nd quarter. Unlike their last game against the Bucks, neither team shot the ball well as both teams struggled to score. Thad Young led Philly with 10 points as his team went into halftime with a 44-40 lead. The 76ers had 20 fast break points in the opening half alone.
The Magic retook the lead briefly less than 4 minutes into the 2nd half. Orlando expanded their lead to as many as 7, but two made free throws from Tony Wroten tied it up at 67 for the start of the 4th. Only 3 minutes into the final quarter, the Sixers allowed the Magic to rebuild their 7 point lead. A three-pointer from Jameer Nelson pushed Orlando's lead to double-digits. Orlando caught fire from beyond the arc, hitting 5 of 7 from long range in the 4th, helping them maintain their hold on the game. The Sixers' struggling offense was unable to get them back in it. The Sixers would lose their 11th straight at home, falling 101-90 to the Magic.
Thad Young finished with 19 points, 2 steals, and a block. Carter-Williams recorded 6 rebounds, 4 assists, and 3 steals but only scored 8 points (3-11 FG). Henry Sims scored 10 points and collected 6 rebounds in his first start since being traded from Cleveland. Wroten scored 15 points while Maynor added 13 off the bench. The Sixers shot only 37% from the floor but only committed 8 turnovers.
Former Sixer, Nikola Vucevic scored 21 points, secured 13 rebounds, and blocked 3 shots for the Magic. Oladipo added 17 points, 11 boards, and 2 steals. Nelson scored 16 points while dishing out 12 assists without committing a turnover. The Magic hit 9 of 18 from downtown as a team. The Magic won the rebounding battle 55-42.
Before the game it was announced that the Sixers have agreed to buyout Danny Granger. The former Indiana all-star had no stepped foot on the court for Philadelphia after being traded for Evan Turner and Lavoy Allen.
The Sixers continue their homestand against the Wizards on Saturday as they will retire Allen Iverson's jersey.
By: Matt Ryan


I pressed a button on the answering machine, and an imperious voice demanded: "Sally, this is Amanda. Call me right away. It's important." Hoping to delete the child, I pressed another button. But the machine lacked the power for the job.


text:
Q: Facebook Graph OAuthException - #2500 Unknown path components error when fetching page posts {
"error": {
"message": "Unknown path components: /$PAGE_ID,
"type": "OAuthException",
"code": 2500
}

I got the error above after trying to fetch a page posts using C# Facebook SDK 7.0.6
Here is my Request.
var downloadPostsTask = fb.GetTaskAsync(@"/" + PageId + @"?fields=posts{type,description,name,full_picture,source,caption,link,status_type,message}", ctsToken);

and
var downloadPostsTask = fb.GetTaskAsync(PageId + @"?fields=posts{type,description,name,full_picture,source,caption,link,status_type,message}", ctsToken);

both are resulting same error
How to solve this problem? I tried to search but it doesn't work at all.

A: I solved the problem by explicitly specifying Graph API Version in the Facebook object
var fb = new FacebookClient
                {
                    AccessToken = token,
                    IsSecureConnection = true,
                    Version = "v2.6"
                };


text:
Home Politics
Prisoner X: Israel's Selective Secrecy and Media's Selective Outrage
TOPICS:IsraelJohn Galt
Clearly it is not only the United States who can 'disappear' people at will. Deep within the bowels of intelligence services the world over, especially those cloaked under the banner of democracy, things get vastly more Kafkaesque.
Israel's Mossad, quite like its CIA counterpart, is virtually immune from criminal actions such as assassinations, kidnapping, torture, secret arrests and convictions without due process, ad infinitum. Democracy was no protection for an Australian citizen who has become one of the most publicized cases of the extreme secrecy and media intimidation surrounding a prisoner that Israel would have preferred to deny ever existed. Ben Zygier was recruited by Mossad and eventually became "Prisoner X."
As the video below highlights, his identity only became known after Zygier committed suicide in 2010 within an ultra-secret prison in Tel-Aviv under a program so confidential that even his guards didn't know who he was or why he was there.
His total lockdown within a "suicide proof cell" apparently didn't afford that protection. Now his lawyer is suggesting that if he did in fact commit suicide, he was driven to it by the interrogation process at Ayalon Prison's Unit 15.
Unit 15 is a "prison within a prison" and although Zygier's lawyer, Avigdor Feldman, says that Zygier appeared stable before his death:
Avigdor Feldman, told Israel's Channel 10 on Thursday that he had seen him the day before his death in 2010 and that he had appeared rational. He had, however, been put under intense emotional pressure by those interrogating him, which Feldman speculated could have contributed to his suicide.
"His interrogators told him he could expect lengthy jail time and be ostracised from his family and the Jewish community. There was no heartstring they did not pull, and I suppose that ultimately brought about the tragic end," he said. (Source)
Mossad is certainly not known for wearing kid gloves when dealing with anyone who crosses its path. It is speculated that Zygier intended to double-cross the intelligence service and sell his secrets to another country. Mossad has tortured and killed people for far less.
While the exposure of "Prisoner X" could theoretically have been a legitimate slip-up, it is hard to fathom that one of the world's leading intelligence agencies should make a mistake that reveals a supposedly top-secret unit within a top-secret prison. And why is it being permitted such ongoing attention?
Israel's military censors have made it clear to all news agencies, after total censorship of the story, that a limited investigation will be entertained.
Members of the Israeli parliament in Jerusalem asked justice minister Yaakov Neeman to confirm if the report was true, and demanded to know if other prisoners were being held in secret.
"This matter is not within the jurisdiction of the justice ministry," Mr Neeman responded.
"There is no doubt that if this information is accurate, this is something that ought to be checked."
The state censors allowed news outlets in Israel to report the parliamentary debate, but nothing else. (Source)
This story appears to have all of the hallmarks of a whitewash, where Israel and the Mossad can admit to a certain level of wrongdoing, feign embarrassment at being exposed for such a "rare case" of coverup, but ultimately justify disappearing a man due to state security. And the Israeli and foreign mainstream media have the chance to show their "outrage" over such abusive and secretive state power.
Meanwhile, Israel's horrific human rights violations seem to have no bounds as it continues leveling Gaza with no condemnation from courts, torturing and imprisoning activists who deign to oppose the brutality, and using Mossad to conduct assassinations wherever it pleases.
Many more are sure to die inside and outside Israeli prisons whether they are named or nameless.
Read other articles by John Galt Here
Be the first to comment on "Prisoner X: Israel's Selective Secrecy and Media's Selective Outrage"


Joe Bonamassa Forum → Other Artists → What song are you listening to right now?
Topic: What song are you listening to right now?
I know I know, the obligatory thread, but I'm bored. Right now, it's The Fire Down Below by Bob Seger. What are you cranking out right now?
Re: What song are you listening to right now?
The last thing I listened to before I turned in last night was Rory Gallagher live at the Bottom Line NYC 11/11/78 off of wolfgangsvault.com. Took a little while to get to sleep after listening to Rory shred.
FM broasdcast from Ultrasonic Stuios Oct 17,1972. Amazing quality for this peroid and it's classic Bonnie and Lowell.
Up next is Jon Amor (The Hoax) cuts from his first two CDs after the Hoax disbanded.
"Reconsider Baby" from Joe's live show at Ram's Head 10/27/04 courtesy of Nancy. Too bad I'm at work so I can't crank it like I normally do at home or in the car. "So please reconsider baby, and give yourself a little more time........." Does it get any better than that?
no it doesn't! That's one of my favorite all time shows I think Joe did. I have that on cd too. It's almost like my sovenier because he played in Appleton WI on 10/17 i think and the setlist was the same. Every track on that show was just amazing.
Since 2010, Bonamassa fans have taken advantage of my JB friend discount = my cost + shipping.
From: N. Little Rock, AR.
I've got "Cripple Creek" (The Band) playing, right now. Great song, greater band!
Carmen Ghia Head- Marshall 112 Cab W/G12H 30 or Custom 4 X 6v6 Head or Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats.
Steel Pulse - live recording from 1984 in paradiso, it was broadcasted again a few weeks ago, put it on CD. Already recorded it on cassette in 1985.
www.fabchannel.com is a very interesting new site. It has I think 700 live recordings all from Paradiso Amsterdam.
I heard about it 2 days ago and very good!!!
Isn't that show just the sh*ts?? I have got to listen to it at least once a week, sometimes for days on end. I just LUV "Reconsider Baby".
Since seeing Frank Marino last Saturday, I've been rolling the Frank Playlist on the IPOD.
Pink Floyd "Wish You Were Here" one of their best. I am at work but I still listen to music when I can.
I was just jamming along with SRV's "Dirty Pool", or trying too at least ;...now it's "32-20 Blues" from Gov't Mule's Live With A Little Help From Our Friends.
JB Shank Hall 06, thanks Roy. Also working on slave song off Larry Carltons Fingerprints.
Ain't Nothing Wrong With That by Robert Randolph & The Family Band. That whole cd is killer.
Been jammin "Live and Dangerous" by Bryan Lee ! Never heard of him until KWS's "10 Days Out", but I just love his style of playin" !
Brett - Glad to hear you're listening to the Braile Blues Daddy - he's from my hometown.
In fact he used to tune our piano many years ago.
Brett, I was listening to that exact CD in the car. Bryan is one of my favorites. If you ever have a chance, make sure to go see him. Bring your dancing shoes. I don't know if you can make this or if this is even close to you, but he is going to be at The Bowl Full of Blues Festival in Newton Iowa on 7/28(tomorrow). You'll love his music but you'll love the man more. I know I do. If you don't have it, make sure to get Bryan's "Live at the Old Absinthe Bar" There is a Friday one and a Saturday one. There is guest appearances by Kenny Wayne, Frank Marino, and James Cotton.


text:
import pyaudio, numpy

class Interface:
    def __init__(self, samplerate=44100):
        self.pa = pyaudio.PyAudio()
        self.playback_device  = 2
        self.recording_device = 2
        self.samplerate = samplerate
    def get_devices(self):
        for i in range(self.pa.get_device_count()):
            yield self.pa.get_device_info_by_index(i)
    def set_playback_device(self, index):
        self.playback_device = index
    def set_recording_device(self, index):
        self.recording_device = index
    def play(self, signal_string):
        stream = self.pa.open(format=pyaudio.paFloat32, channels=1, rate=self.samplerate, output=True, output_device_index=self.playback_device)
        stream.write(signal_string)
        stream.close()
    def record(self, seconds=12):
        stream = self.pa.open(format=pyaudio.paFloat32, channels=1, rate=self.samplerate, input=True, output=False, input_device_index=self.recording_device)
        data = stream.read(seconds*self.samplerate)
        stream.close()
        signal = numpy.fromstring(data, dtype=numpy.float32)
        return signal

if __name__ == '__main__':
    import json
    audio = Interface()
    for device in audio.get_devices():
        print json.dumps(device, indent=2)
# vim: ai ts=4 sts=4 et sw=4 ft=python
# vim: autoindent tabstop=4 shiftwidth=4 expandtab softtabstop=4 filetype=python

redpajama_set_name: RedPajamaGithub


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fwasii asked Is there any industrial device available that can measure the tank/container volume through air pressure?
We are looking to have a industrial grade device that can measure the volume of a container (in our case fuel transportation tanker truck) by filling in the air. That way we will be able to check for any leak in the container and calculate the volume in real time.
I am not expert on tankers, but have some experience with level sensors. The volume of liquid can be measured by a pressure sensor at the bottom, if the tank is continuously vented to the air. An absolute or gauge sensor can be used in this case, but the fuel vapour pressure needs to be accounted for if the tank is sealed - either two absolute sensors, one in the bottom and one in the vapour space, or a differential gauge (2 pressure ports). As these can be obtained with about 0.1% accuracy, that is the accuracy of the depth measurement. A variation is to bubble air in through a tube at the bottom of the tank, with the sensor "teed" into the air line. This helps keeps the sensor parts out of the liquid, as the sensor can be above and outside the tank. Such a sensor still needs all the parts like diaphragm and body to be able to work in the fuel because fuel and vapour may come back up the tube sometimes. There are various other level sensors, chose one that has the accuracy to suit. These include types that sense the level at the surface (includes non contact). One such is an ultrasonic sensor as in the link below. The ultrasonic sensor looks down to measure the surface level through the vapour above the tank. To detect leaks it may be possible to pressurise the tank slightly with air, say one or two KPa above the atmosphere, and measure the flow rate of the (constant) pressure source to the existing leaks/vents. If the flow changes there is a leak. This might work to some extent with a vented tank. Venting may be 16KPa, -2KPa and 30KPa. This is the equivalent of charging a capacitor from a voltage source through a resistor with a resistor bleeding the capacitor. The "normal leaks" need to be consistent. It may be necessary to install some sensors in a larger vertical tube in the tank, to provide damping through small holes near the bottom so they are always covered. This averages out the variation due to liquid moving around in the tank. This is a filtering method, and equivalent to electrical filters, it can be made higher order. With fuel it is necessary to use sensors designed to be intrinsically safe. The energy (electrical excitation) that is allowed to enter the sensor is less than that needed to ignite the fuel vapour. That way even if a short develops in the wires or during an accident (think of a sensor or wire being crushed) there is no issue from the sensor. I think it best to keep all that part external, using air as the pressure transfer medium. Most sensors measure height/depth. This translates to volume in the tank through the shape of the tank, which has to be modelled in the calculation. A look-up table may suit, as there is only going to be 1000 points resolution or less. The fuel density (gm/l etc) may come into it if fuel is sold by weight. That needs a measure of temperature for corrections and a densitomer (specific gravity) reading. The volume changes about 0.1% per degree C for most liquid fuels. That may need temperature correction for greater accuracy, considering the sensor is able to show that change. The level varies as it sloshes around. Some sensors have averaging built in, or use a filter tube. I included a link to a tanker access cover which shows the various relief pressures all combined in one fitting. Sensors are sometimes called transmitters, as they transmit information (by wire mostly).
Tagged amazon web service, digital temperature sensor, humidity sensor, infrared thermometer, led readout, list price, oven temperature, room temperature, sale price, temp sensor, temperature gauge, temperature humidity, temperature sensor, temperature sensors. Bookmark the permalink.


Profile: Sales Executive Responsibilities: 1. Must have any Sales Experience. 2. Attending customer calls. 3. Handling direct sales. 4. Give information regarding the property. 5. Pride them property details. 6.
Star Realty Consulting Company Hiring For Ascent Infra Pvt. Ltd.
25 Openings For Sales Manager In MNC.


text:
/ Cory Doctorow / 7:27 am Mon Dec 22, 2003
Four CDs I'm damned glad I bought this weekend
I took a stack of used CDs to my corner record store this weekend and traded them in for a bunch of new music. Here are the picks of the litter:
Deep Note: Music of 1970s Adult Cinema: The title says it all, doesn't it? This is a CD that was made for MP3 players. It's amusing to listen to the "tone poems" of ecstatic chanting layered over wah-wah pedals -- once. But the actual funk tracks on this are really nice, the kind of thing you want to put in a high-rotation playlist for urban walking; think of the fat-bass instrumentals from the Fat Albert theme with a George Clinton's slitheriest, perviest licks.
Five Red Caps: 1943-1945. Steve Gibson and the Five Red Caps were a comic, vocal-oriented boogie-woogie act that released a ton of music in the 30s, 40s and 50s, almost none of which is available today. This disc of wartime tracks contains some of my favorite music of all time: Grand Central Station ("Got a yearning to be/down in Tennessee/got a sweetheart that waits for me/got the biggest brown eyes/that can hypnotize/makes you wanna leave New York"), Mama Put Your Britches On ("Put away your fancy hose/and your dainty dese and dose/what you need now is Victory Clothes/so Mama put your britches on"), and Gabriel's Band ("Better be prepared if you want a part in that heavenly show/or on judgement day they'll find a place for you below/make your trumpet call ring out/hallelujah sing and shout/gotta know what rhythm's 'bout, if you wanna play in Gabriel's Band")
The Beau Hunks Play the Original Little Rascals Music. Roy Shield, the composer of the incidental and theme music for the Little Rascals shorts, was a freaking genius, an unsung hero on the order of Raymond Scott and Carl Stalling. His orchestral music -- faithfully recreated by the Beau Hunks here -- manages to evoke the sepia-toned comedy of the Our Gang serials, especially in some of the really short tracks, like the ten seconds of the woodwind-section laughing; close your eyes when it plays and you can see Spanky holding his gut and rocking back and forth.
Doob Doob O' Rama: Filmsongs of Bollywood: One of my plane-trip books for tomorrow is the bound manuscript for Bruce Sterling's new technothriller (Me: "What's a technothriller?" Bruce: "It's like a science fiction novel, only it's got the President in it"), The Zenith Angle, which apparently revolves around Bollywood (I haven't cracked the cover yet, I'm just going off of the stuff he's been blogging). I really enjoyed the Bollywood tracks on the Ghost World soundtrack and the occassional Bollywood licks in Fat Boy Slim and at my local curry hut, but I had no idea of where to begin. This disc turns out to be just the right place for me to have started. I'm enjoying the hell out of it, and I suspect that Asha Bosle has stolen away Tiny Weymouth's place in my heart as my obligatory rock-star crush.


text:
The 2018 European Weightlifting Championships was held at the Complexul Olimpic Izvorani in Bucharest, Romania from 26 March to 1 April 2018.

Some countries were banned from competing at the championships due to their history of doping at previous Olympic Games. International Weightlifting Federation rules state that any country that had three positive tests uncovered by the International Olympic Committee during re-testing of stored urine samples for banned substances from the 2008 Olympic Games and 2012 Olympic Games would be banned. The banned countries are: Russia, Armenia, Turkey, Moldova, Ukraine, Belarus and Azerbaijan.

Medal overview

Men

Women

Men's results

Men's 56 kg

Men's 62 kg

Men's 69 kg

Men's 77 kg

Men's 85 kg

Men's 94 kg

Men's 105 kg

Men's +105 kg

Women's results

Women's 48 kg

Women's 53 kg

Women's 58 kg

Women's 63 kg

Women's 69 kg

Women's 75 kg

Women's 90 kg

Women's +90 kg

Medals tables

Results including snatch and clean & jerk medals

Total results

Participating nations
A total of 208 competitors from 30 nations participated.

References

External links
IWF Results
Results book

European Weightlifting Championships
2018 in weightlifting
2018 in Romanian sport
Sports competitions in Bucharest
International weightlifting competitions hosted by Romania
European Weightlifting Championships
European Weightlifting Championships

redpajama_set_name: RedPajamaWikipedia


Vivid TR90 256AF/UF Grey Matte | Vivid Eyewear | TR90 Frames at Reading Glasses Etc.
Vivid TR90 256AF/UF Grey Matte: A light and durable TR90 frame in a classic shape for men. This style has a thin profile with AF/UF nose pads that extend back further and accommodate people with flatter noses for better support.


It is becoming increasingly more difficult to keep your financial accounts secure. Debit cards, in particular, have become targets for con artists, because they lack security features you get with a credit card, such as investigating a purchase and being able to decline the charges. Once you make a purchase with a debit card, the amount is immediately deducted from your bank account. Consequently, this may not leave sufficient funds in your account to cover your legitimate expenses, and it may cause overdraft situations or bank fees.
Always be aware of your surroundings. Don't use an ATM if there are suspicious-looking people around.
Whenever possible, use a bank ATM, and go during business hours.
When you enter your PIN, cover the keyboard so that the person next to you or behind you cannot see it. They may pretend to be on the phone while recording your transaction.
Avoid ATMs which seem broken or altered. These machines may have a skimming device attached (meaning that thieves set up a device to capture the magnetic stripe and PIN number used in ATMs).
Don't keep large amounts of money in your checking account. Track what you spend and transfer money as you need it.
Keep a list of bank customer service numbers and account numbers in a secure place. In case of suspicious activity, contact the bank right away. Make sure that you store the account information and PIN separately from your ATM card.
Within two days: $50 liability limit.
Within 60 days: $500 liability limit.
After 60 days, there is no protection.
If you are still in possession of your debit card, but someone fraudulently obtained your card number, you have 60 days to report the incident with no liability.
Don't use a debit card for online purchases, at a restaurant, gas pump, or online. Consider a credit card for these purchases.
Overall, it pays to be cautious and to keep a close eye on your finances. Check your monthly statements carefully, and get in the habit of spot checking your latest purchases regularly, either over the phone or online.


text:
Relentlessly Creative: Israeli Scholars, Med-Tech and Hi-Tech Take on COVID-19
By Zusha Cohen Israel has more high-tech start-ups and a larger venture capital industry per capita than any other country in the world. In 2020, Israeli hi-tech and the nation's eight outstanding research universities have teamed up, in effect, to meet the new...
DNA Testing and Implications for Jewish Identity
DNA Testing and Implications for Jewish Identity Nineteenth century Augustinian scientist from St. Thomas' Abbey of for Aliyah and Moravia, by the name of Gregor Mendel, became the first person to study character traits in simple garden peas. He conducted his exper-...
From Darkness to Light Ever have one of those days—you know, the type of day in which nothing seems to go right? A day which Murphy as in Murphy's Law is going wild? The day you wished never happened? In Jewish life, this day is Tisha B'av (the 9th of the month of...
Loving People into the Kingdom of G-d
Loving People into the Kingdom of G-d How can you betray your Jewish people and join the Christians, who throughout the centuries have persecuted our ancestors in Europe? You need a psychiatrist!" declared Rabbi Stewart Winograd's mom, not an uncommon reaction from a...
Creatively Done: The Art of Life in Media and Ministry
Creatively Done: The Art of Life in Media and Ministry Wise, artistically talented, kind-hearted, spiritual, articulate, beautiful, and a Jewish Believer are just a few words that describe the 22 year- old Israeli, Ronit Joy Holtz. Born in the United States, Ronit's...
The Art of the Messiah
The Art of the Messiah Jerzy Kosinski, the American-Polish novelist once said, "The Principals of true art is not to portray, but to evoke." The work of three Messianic Jews, Richard Danielpour, Michael Wolf, and Jonathan Cahn exemplify this quote in their creative...