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Three COVID-19 outbreaks in health-care facilities on Vancouver Island are now over, but five new ones have been declared, Island Health says.
The District of Tofino closed all of its beaches and officials up and down Vancouver Island's west coast warned people to stay away from the water amid a tsunami advisory on Saturday.
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Deathless Prose
Author site of Lisa Lieberman
Category: Foreign
A Tribute to Ennio Morricone
July 6, 2020 July 6, 2020 DeathlessProse12 Comments
We lost a brilliant composer today. Of course I'm thinking of the scores Morricone wrote for Spaghetti Westerns such as The Good, the Bad, and The Ugly and Once Upon a Time in the West. But today it seems most fitting to listen to the haunting soundtrack to Fateless, Lajos Koltai's 2005 adaptation of Imre Kertész's account of his experiences in Auschwitz and Buchenwald, Fatelessness. I reviewed the film on 3 Quarks Daily in 2014. Much has changed in the world since then, but the basic message seems all the more urgent in these troubled times. I'm reposting it here.
I could not swallow that idiotic bitterness that I should merely be innocent.
—Imre Kertész, Fatelessness
Something akin to survivor's guilt is at the core of Imre Kertész's novel, Fatelessness (1975), a fictionalized account of the year he spent while still a teenager interned in Auschwitz and Buchenwald. Published during the so-called "soft dictatorship" of the communist leader János Kádár, the book did not sell many copies in Hungary, and no wonder: György Köves, its young narrator, does not want us to feel sorry for him. "I was aware that I was about to start writing a novel that might easily turn into a tearjerker, not least because the novel's protagonist is a boy," Kertész said in a recent interview.
He needn't have worried. György insists that he was complicit in his fate. "Everyone took steps as long as he was able to take a step; I too took my own steps, and not just in the queue at Birkenau, but even before that, here, at home." This comes perilously close to admitting the charge that Jews went like sheep to the slaughter, that through their passivity, they colluded in their own destruction. As if anticipating the objection, Kertész voices it through one of his minor characters. Old Fleischmann, György's former neighbor, was not deported, escaped being murdered by the fascist Arrow Cross, and endured the siege of Budapest. He lived while others (including György's father) died, and yet he cannot hold himself to blame for his survival. "So it's us who're the guilty ones, is it? Us, the victims!" But György refuses to back down. Even though he recognizes the futility of explaining his views to those like old Fleischmann, who urge him to put the horrors of Auschwitz behind him in order to live, "it was not quite true," he maintains stubbornly, "that the thing 'came about'; we had gone along with it too."
The most famous—or perhaps I should say notorious—articulation of this argument is Hannah Arendt's criticism of the Judenräte. Jewish councils set up by the Nazis in the ghettos of cities in occupied countries containing large Jewish populations (and in smaller Jewish communities throughout eastern Europe) helped implement the Final Solution, surrendering their members for deportation in the misguided hope that by cooperating with the Germans they might save at least some from extermination. In fact, the Nazis counted on this cooperation. Without it, Arendt claimed in Eichmann in Jerusalem (1961), "there would have been chaos and plenty of misery but the total number of victims would hardly have been between four and a half and six million people." The Nazi functionary who was "just following orders" was no more and no less a monster than the Jewish leader who distributed Yellow Star badges, organized the relocation of Jews to the ghettos, put together transport lists and raised money from the deportees themselves to defray the expenses of their travel to the death camps. Each refused to accept moral responsibility for his actions, yet each could have chosen otherwise.
Arendt further blurred the distinction between Nazi perpetrators and victims in the essay "Personal Responsibility and Dictatorship" (1964), her response to those critics of the Eichmann book, including her friend Gershom Scholem, who said that we should not judge the Judenräte because we were not there. Not only the Jewish leadership, but even ordinary Jewish citizens in Hitler's Europe enabled genocide to take place, she contended:
The extermination of the Jews was preceded by a very gradual sequence of anti-Jewish measures, each of which was accepted with the argument that refusal to cooperate would make things worse—until a stage was reached when nothing worse could possibly have happened.
György's response to old Fleischmann is very much along these lines, and decades later, Kertész continues to assert that he brought his fate upon himself. "I behaved in a way that made me a member of the tacit, looming conspiracy against my life." But he allows his protagonist a measure of peace at the book's end. "I am here," György thinks, looking around his old neighborhood, "weather-beaten yet full of a thousand promises." He will accept any rationale as the price for being able to live; it is only human, after all, to want to live.
Such generosity comes as a surprise after the bleak and bitter chronicle leading up to it, especially since it follows the heated exchange with old Fleischmann, the only time György loses his cool. In the space of a page, Kertész abandons his detachment, the accusatory tone of his narrative voice, forgiving himself as well as his audience. Reading Fatelessness as a work of Holocaust testimony, this redemptive turn feels forced, unearned. And yet the 2005 film version, Fateless, for which Kertész wrote the screenplay, ends in exactly the same way. Further complicating matters, the author resists the label of "Holocaust writer." Kertész used the ordeal of the death camps to talk about something more universal, and more timely: daily life under under a totalitarian dictatorship. He wrote about Auschwitz in the extended present, he said in a speech he delivered in Berlin in 2000.
The Tastes of Auschwitz
Kertész gained a perspective on the brutality he accommodated himself to as a boy in the Lagers by recognizing the degradation he continued to tolerate as a man during the Kádár era. The Stalinist regime under which he came of age, with its torturers, its secret prisons and work camps, its network of informers and the pervasive atmosphere of fear, mirrored the world into which he was thrust at age fourteen. In Dossier K (2006), the memoir he published after receiving the Nobel Prize, he claimed that he would never have understood his ordeals had he grown up in a democracy. The regime "revived the tastes of Auschwitz," he said, in much the same way that Proust's memories were awakened by dipping a madeleine in a cup of tea.
Here too, I find parallels with Arendt. The key feature that united both Nazism and Stalinism, she noted in The Origins of Totalitarianism (1951), was how both systems reduced people to the condition of children in order to manipulate them, persuading them to sacrifice their principles and beliefs, to degrade themselves, in return for not having to take responsibility for their immoral acts. Kertész chose to make his narrator a boy not simply because he himself was a child at the time he was deported. "I invented the boy precisely because anyone in a dictatorship is kept in a childlike state of ignorance and helplessness." But ultimately he refuses to condemn his protagonist or himself. Looking back on his younger self after he returned from Auschwitz and Buchenwald, Kertész sees only "a fundamentally cheerful young man, who is greedy for life and will not allow anyone or anything to put him off." Naturally he collaborated with the regime, naturally he took steps; "there is nothing impossible that we do not live through naturally," György says at the end of the novel.
What Kertész cannot accept are the artistic renderings of the destruction of Europe's Jews that employ euphemisms—including the word "Holocaust"—that obscure the reality of the death camps. Or voyeurs like Steven Spielberg "who integrate the Holocaust into the aeons of suffering in the history of the Jewish people and, ignoring the mountains of corpses, the rubble heap of Europe, the breakdown of all values," as Kertész sees it, "celebrate the eternal story of survival to the accompaniment of triumphal music and color photography." Equally offensive are accounts that focus on the gruesome details, the "ugly literature of horrors."
When he wrote the screenplay for Fateless, Kertész struggled to translate the stark, matter-of-fact language of his book into scenes and images that would not betray its essence. The film has a terrible beauty, a power to unsettle even as it draws viewers in through a combination of stunning cinematography (the director, Lajos Koltai, is first and foremost a cinematographer) and Ennio Morricone's moving score. The fact that the film was made after the fall of communism makes it less universal, perhaps, more of a witness testimony, but one that continues to speak to the point Kertész made in Dossier K, that even after Auschwitz, the world order has not changed. The mass movements of the twentieth century, the nationalism and fundamentalisms of today: how is is that the lessons of the death camps have not been absorbed? In the end, I believe he would say, it still comes down to simple decency, or the lack thereof, among leaders and those who, through their action or inaction, enable them to stay in power.
Cronaca di un Amore (1950)
March 26, 2020 March 26, 2020 DeathlessProse1
Today I learned of the death of the Italian actress Lucia Bosè from complications of Coronavirus. She was 89 years old. The winner of the 1947 Miss Italia beauty pageant, she was discovered by the neorealist director Guiseppe De Santis and then became the "muse" of Michelangelo Antonioni, who directed her in Cronaca di un Amore [Story of a Love Affair] a remake of his friend Luchino Visconti's Ossessione — an adaptation of James Cain's Depression-era novel, The Postman Always Rings Twice that came out several years before Tay Gannett's bowdlerized American version.
With regard to Lucia Bosè, I had to direct her almost with a sense of violence. Before every scene, I had to put her in a state of mind appropriate to that particular scene. If it was a sad scene, I had to make her cry; if it was a happy scene, I had to make her laugh. — From a 1962 interview with Antonioni in Film Culture
Cronaca di un Amore mercilessly exposes the moral rot that accompanied the economic miracle of Northern Italy's rebirth in the postwar era. Massimo Girotti again plays a luckless drifter, Guido, although he is middle-class in this film. Seven years earlier, during the war, he'd had an affair with Paola (Lucia Bosè), the best friend of his fiancée, who died under mysterious circumstances. Now Paola is married and her husband, Enrico, a wealthy Milan industrialist, hires a private detective to uncover the truth about his wife's past, bringing Guido back into Paola's life. The two attempt to rekindle their romance, but the passion is gone, replaced by a soul-killing materialism. "Money is everything in love," Paola tells Guido, who reluctantly agrees to murder Enrico, but it's hard to see what difference getting him out of the way would make in their listless romance. Cain's one-sentence characterization of The Postman Always Rings Twice certainly applies here: "A couple of jerks discover that murder, though dreadful enough morally, can be a love story, too, but then wake up to discover that once they've pulled the thing off, no two people can share this terrible secret."
The alienation that would become the hallmark of Antonioni's films in the sixties is already in evidence in Cronaca di un Amore. Antonioni plays with the conventions of Italian cinema, showing Paola in her boudoir, toying with the telephone, awaiting her lover's call. The actress is ravishing, but she is cold. Empty. Her "interior landscape," in the director's words, as arid as the Po Valley, where Visconti shot Ossessione. Nothing remained of the intense, serious events that Italy had come through, he said in a lecture he delivered at the film school attached to Cinecittà in 1961, following a retrospective screening of his films. The hope of building a new and more just Italy that came through at the end of Rossellini's Rome, Open City was gone. And yet we cannot turn away from this bleak portrait of bourgeois society. The vulnerability of the young Lucia Bosè in this film is what stays with me. May her memory be a blessing.
Ossessione (1943)
March 22, 2020 March 22, 2020 DeathlessProse12 Comments
Lucino Visconti's 1943 adaptation of James Cain's Depression-era novel, The Postman Always Rings Twice, is truer to the novelist's vision than the 1946 Hollywood film of the same name. For one thing, the Frank character, Gino (Massimo Girotti), is more convincing as a drifter. Wearing a threadbare undershirt beneath his tattered jacket, he is drawn by hunger to the kitchen of the roadside tavern, where Giovanna (Clara Calamai) sits on a table, dangling her legs while unselfconsciously singing and polishing her nails, oblivious to the newcomer who has come to stand in the doorway. Visconti places the camera behind Gino, obscuring our view of the woman. We observe them falling into sin, but from a safe distance.
Gino and Giovanna are victims weighed down by social and economic forces beyond their control, and it is these forces that corrupt and ultimately destroy them. Only one character in Ossessione appears to have any choice, a Spanish gypsy who takes Gino under his wing and tries to show him how to live as a free man, beholden to nobody. Generous, carefree, with soulful brown eyes, there is nobody remotely like the Spaniard in the book. Every scene in which he appears brims with life and hope, but when he shows up at the tavern after the murder of Giovanna's husband and urges Gino to leave, to take to the open road, Gino drives him away. The next thing we know, the Spaniard is being questioned by the police, setting into motion the film's tragic denouement.
Ossessione opened to popular acclaim but was quickly banned by the Mussolini regime, all copies ordered destroyed. The movie was considered subversive, not only on account of its immorality but because of the political statement it made, a statement at odds with fascist values. "The film is just imitating the French kind of realism that must not be imported to Italy," complained a critic in the Bologna newspaper, Avenire d'Italia, who then proceeded to disparage it as "a concoction of repulsive passions, humiliation, and decay, [and] an offense to the Italian people." In fact, Visconti and the circle of young filmmakers who assisted him in bringing Cain's story to the screen sought to liberate the Italian people by showing them the truth, for once.
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Ossessione cast light on poverty and despair, exposing the lies of nationalism. In place of the regime's insistence on family, church, and country, the film showed women turning to prostitution because they had no other means of supporting themselves. Men defeated by their inability to find dignified work. Dirty streets, abandoned children, domestic squalor. This was life as the majority of Italians experienced it under fascism, and as was the case in life, the story of Gino and Giovanna did not resolve cleanly. As screenwriter Cesare Zagattini wrote in "Some Ideas on the Cinema," his famous essay on neorealism, "It is not the concern of an artist to propound solutions. It is enough, and quite a lot, I should say, to make an audience feel the need, the urgency, for them."
Bitter Rice (1949)
January 26, 2020 January 26, 2020 DeathlessProse1
Bitter Rice is a hopeful film, as rousing a myth of national unity as Roberto Rossellini's Rome, Open City (1945). Its young director, Guiseppe De Santis, was a member of the Italian Communist Party who had fought with the Roman Resistance, putting him in a strong position at the liberation. His first feature film, The Tragic Hunt (1947), received funding from the National Association of Italian Partisans and won the award for Best Italian Film at the 1947 Venice Film Festival.
A story of crime and passion set in the rice fields west of Milan, Bitter Rice owes much to James Cain, as far as its story is concerned, and to Dorothea Lange's images of sharecroppers in the American South for its cinematography. Indeed, De Santis was an assistant director on Obsession (1943), Luchino Visconti's adaptation of The Postman Always Rings Twice, but as a doctrinaire Marxist, his ultimate objective was to glorify the working people of Italy while revealing the evils of capitalism.
In a famous sequence in Bitter Rice, the corrupting influence of American culture is juxtaposed against the class solidarity of the women rice workers: Silvana (Silvana Magnano), the bad girl who will betray her fellow laborers, is shown dancing the boogie-woogie, watched by a gum-chewing low-life, Frank (Vittorio Gassman), who abandons his lover Francesca (Doris Dowling) to join her.
Silvana is portrayed like a Hollywood pin-up girl, and no small part of Frank's allure is his promise to take her to America, where "everything is electric." The sexual attraction between these two is tangled up in a their shared passion for material things; where Francesca finds fulfillment in honest work, Silvana is a willing accessory to the crime, conceived by Frank, to flood the rice fields and steal the harvest, realizing only belatedly the error of her ways when she learns that the necklace he gave her is paste. Guilt-ridden, she kills her lover and jumps from a wooden tower to her death, but she is forgiven by the other workers, who file past her body at the end of the film, each scattering handful of rice over the fallen woman.
The message feels heavy-handed today, but Silvana Magnano's mesmerizing performance and the brilliant camerawork make Bitter Rice well worth watching. American censors may have agreed with the Italian Marxist critic who complained, "The workers cannot be educated with the bare legs of Silvana," but you can't tell me that Kim Novak's climb up the wooden steps of the bell tower in Vertigo (1958) wasn't influenced by Silvana's suicide.
Paisà (1946)
October 28, 2019 August 17, 2020 DeathlessProse1
Paisà has stayed in my mind not because of the stories it tells, but because of the sheer power of its images: bombed cities, the familiar landmarks in ruins, as in this scene from the "Florence" segment of the film. In the stark afternoon light, the damage is laid bare. What does it matter, that an American nurse has fallen in love with a painter, now a partisan, Lupo, who is most likely dead? The destruction of the city with its precious art is the true subject. With every scene, I was peering past the actors, trying to catch another glimpse of the crumbling Duomo. Germans bombed the bridges and destroyed more than a third of Florence's medieval monuments.
The Florence that we and successive generations of men since the days of the Medici knew and loved is no more," wrote one of the American art historians sent to survey the damage. "Of all the world's artistic losses in the war, this one is the saddest.
The backgrounds stun, while the main action gets in the way. Caves in Naples where impoverished families lived among the rubble: Rossellini happened upon them and reworked the story to show the incredible squalor, after the Allied bombing and the booby-traps set by the retreating Germans. I've read accounts of these sites by soldiers of the liberating armies, but I couldn't have imagined the reality until he showed it to me.
The haunting landscape of the Po Delta in Italy's north, where the final sequence of Paisà takes place, did not incorporate any documentary footage. A handful of American OSS operatives are working behind-the-lines with Italian partisans. The odds are against them, bleak weather complicating their efforts to get weapons and ammunition. Rossellini brought me there, paddling with them in long, flat boats through the reeds under overcast skies.
The Lavender Hill Mob (1951)
September 28, 2019 DeathlessProse1
What a sweet comedy.
Alec Guinness plays a self-effacing clerk, Henry Holland, who oversees the manufacturing of gold ingots for a London bank. Fastidious to a fault, unambitious, he seems destined to remain in his underpaid position. We see him coming home at night to the boardinghouse where he rents a room, reading crime stories to an elderly spinster in the drawing room while she knits. But then a new lodger arrives, a rather flamboyant character, Alfred Pendlebury (Stanley Holloway): an artist who manufactures cheap souvenirs for the tourist trade.
Jot it down as a picture that you will find it best to see when your mood is mellow and your sense of righteousness is slightly askew. For here again is a frolic that, like "Kind Hearts and Coronets," indulges a serene and casual tolerance for undisguised lawlessness in man.
Bosley Crowther in his New York Times review.
The chumminess between Holloway and Guinness as they plot to steal a truckload of gold from Holland's employer and melt it down at Pendlebury's foundry to produce miniature Eiffel Towers for export to Paris brought to mind the affectionate scheming of Zero Mostel and Gene Wilder in The Producers. The humor is gentler here, but there's a similar zaniness to the plot, and the caper ends in much the same way.
The Lavender Hill Mob was shot on location in postwar London, and you can still see the damage. Rationing was still in effect in 1951, and the smog hung heavy over the city. Escapist romps like this one were a specialty of Ealing Studios. The humor is not as black as Kind Hearts and Coronets (1949), but the charm is impossible to resist.
Two Women (1960)
September 5, 2019 September 5, 2019 DeathlessProse1
Two Women is not quite as dark as the Alberto Moravia novel, La Ciociara (1957), on which Vittorio De Sica and Cesare Zavattini based this film. Part of the problem, I think, is Belmondo. He's miscast in the role of Michele, the coddled intellectual with vaguely left-wing politics who mouths Communist slogans, rhapsodizes about "the peasants," how the future belongs to them, and complains about privilege—this despite the fact that his family members are fascists who hoard food and consort with the German occupiers. Michele falls for Sophia Loren's character, the widowed Cesira. She's aware of his feelings, but she's too full of life for him, too earthy. A true woman of the people, although much more beautiful than most people.
"With my own memories to draw upon, you would think I would have had an easy time of it [making the film]. But it was very hard for me to relive my girlhood terror and at the same time to transform the reality of my feelings into the role I was acting. In memory, I still looked at my experiences with the eyes and emotions of a girl, but the role demanded that I see them with the eyes of a tortured woman." – Sophia Loren
Morally speaking, nobody comes off well in this picture. But that's what makes it so powerful. Cesira's human weakness is apparent from the very beginning. War destroys the vulnerable, while pointing up the hollowness of ideals such as Michele's. Death is random and undeserved; violence and brutality triumph, and who has sympathy to spare for his neighbor? Only grief unites those who have survived atrocities, and even so, the comfort of shared suffering is fleeting.
Moravia set his story in the countryside around Rome in the last months of World War II. He and his wife had fled there after the Germans occupied Rome, arriving in an impoverished village filled with widows (all the men had been drafted and sent to Russia, where they died). For nine months they lived among the peasant women, scavenging for food, watching dogfights in the sky and trying to avoid being strafed, while they waited for the Allies to liberate their country. But liberation arrived in the form of the Moroccan Goumiers, irregular colonial troops who were fighting with the Free French. In the aftermath of the Allied victory at Monte Cassino, thousands of Italian women and girls in the region were raped by the Goumiers. This is Moravia's story, the central crisis of the novel, and De Sica shows it in brutal detail.
"Isn't there some safe place in the world?" Cesira asked Michele at one point. Apparently not.
The Crime of Monsieur Lange
May 16, 2019 DeathlessProse12 Comments
The Crime of Monsieur Lange (1935) was like the holy grail, one of those films I'd heard about but never managed to see. Before its recent restoration, this Renoir gem was impossible to find. But I lucked out: they were screening it at Holyoke Community College for free as part of their annual French film series. There's always one near-forgotten classic in the bunch, and this year it was Monsieur Lange. What a delightful surprise it turned out to be.
In the 1930s, before noir was noir (the term "film noir" was only coined—by the French—in 1946), Europeans were making gritty, downbeat films with adult subject matter, storylines involving adultery and crime that usually culminated in death. American gangster movies covered some of this territory, and there was a fair amount of cross-fertilization between this genre, the German Expressionism of the 1920s, and what the French were calling poetic realism. Renoir hung out with the poetic realist crowd and some of his early pictures were gritty, with the deep shadows we associate with the German Expressionist style, but even when they end in murder, Renoir's films don't leave you in despair. You come out of them smiling, your faith in humanity restored.
I don't believe there are such things as absolute truth, but I do believe in absolute human qualities — generosity, for instance, which is one of the basic ones.
– Jean Renoir
Renoir feels tenderly toward his characters, every last one of them.The villain of The Crime of Monsieur Lange is a rogue, no doubt about it. He impregnates one of his employees, cheats on his mistress, borrows money from the janitor, never intending to pay it back, exploits the film's hero, bilks his creditors and then fakes his death when the police catch onto his schemes. When he reappears toward the end of the picture disguised as a priest, a twinkle in his eye, prepared to resume his malign activities, you can't hate him.
As in his better known ensemble pictures, Grand Illusion (1937) and Rules of the Game (1939), the printing company where Monsieur Lange is set is a world unto itself, "where all types of humanity mingle and clash: bosses and workers, misers and dreamers, innocents and scoundrels, the impassioned and the foolish." Renoir directs all of these characters with such a light touch that their interactions appear fresh and spontaneous. Work, in this world, as in the best Marxist fantasy, is a source of joy and fulfillment, once the workers own the means of production and the evil boss gets his due.
Renoir claimed that he was not a director, he was a storyteller. This one is something of a fairytale, but I'm not complaining.
How to be a French Gangster
January 2, 2019 January 5, 2019 DeathlessProse14 Comments
First off, you need the fedora. The gangster accessory de rigueur, it was already iconic by the time Paul Muni popularized the look in Scarface (1932). Al Capone, Clyde Barrow, John Dillinger, Machine Gun Kelly were all photographed wearing one. Baby Face Nelson was astute enough to recognize the souvenir value of his trademark fedora, bartering it for food and a place to hide after a botched bank job.
By the time Bogey donned one to play'Bugs' Fenner alongside Edward G. Robinson in Bullets or Ballots (1936), it was a bit passé. Robinson, you will note, sports a derby, signaling his authority over his fedora-wearing lackeys. (That's Bogey on the right, with the gun.)
Leave it to the French to reinvent the gangster look and give it panache. In Pépé le Moko (1937), Jean Gabin wears the hat, but he adds a gallic touch: a silk scarf. Gabin's character has style—something his American counterparts lacked—but more importantly, he's got heart. Love will be his undoing, and we're not talking about a fling with some cheap, two-timing dame. We're talking epic love, the kind of love that inspires poetry and songs. Ah, l'amour.
Director Julien Duvivier gives us a tragic hero in the classical tradition who is the victim of fate. Pépé is wanted in France for various crimes. He's been hiding out in the Casbah of Algiers for two years, sheltered by the local inhabitants who will take any opportunity to defy the colonial authorities. He may be king of the Algerian underworld, but exile has turned bitter for Pépé, whose longing for Paris recalls Ovid's lament in the Tristia: "Say that I died when I lost my native land."
After Pépé, Gabin would go on to play his greatest role, the working-class Lieutenant Maréchal, in Renoir's Grand Illusion (1937). He got to wear a fedora in that picture too, alongside Marcel Dalio. In much the same way that John Wayne seemed to embody the fiercely independent American spirit, Gabin "epitomized the values French people like to think of as their own: cool intelligence, open-hearted love of life, courage, moral rectitude," as one critic put it after the actor's death.
The martyred Resistance leader Jean Moulin (below, right) favored the scarf-and-fedora style of the French gangster. Perhaps he was fashioning himself as a romantic outlaw. Over time, Moulin's image became even more Pépé-like. Here (below, left) is how Claude Berri imagined him in Lucie Aubrac, his 1997 picture about the Lyon Resistance heroine.
Alas, something happened to the French gangster after World War II. You notice it right away in Bob le flambeur (1956). The gambler played by Roger Duchesne is a natty dresser. He's got the fedora and a trench coat, opting for the full American look (i.e., no scarf) in keeping with his American nickname. He's got a classy apartment too, complete with his own personal slot machine in the closet, drives a big American convertible, and lives by a code of honor that sets him apart from the riffraff he consorts with in Montmartre. So why the jaded expression?
Bob's on a losing streak. It's more than bad luck; the malaise seems existential, maybe not full-blown angst, but Bob is listless, out of sorts. We watch him wandering the city streets, proceeding aimlessly from one back-room card game to another, catching a few hours of sleep before heading off to the races where he actually wins, only to gamble it away in a matter of hours. He doesn't care, either way, and nor do we.
Don't get me wrong. Bob le flambeur is a delightful movie. You've got Paris, enchantingly shot with a hand-held camera in the rough-edged, documentary manner that would become the hallmark of New Wave cinema. You've got your low-life criminals, a heist, and a couple of double-crossing dames. Then there's the pleasure in hearing the French pronounce the name Bob, which comes out sounding more like "Bub" than "Bahb," which is how we Americans say it. Try it: purse your lips first, so the word forms in the front of your mouth, then say "Bob" very fast, allowing the syllable to resonate inside your nose.
Jean-Pierre Melville, who directed Bob le flambeur, loved all things American. "Melville" was his nom de guerre in the French Resistance, which he continued to use professionally for the rest of his life. He drove a convertible like Bob's, although sartorially speaking, he went for the Western look—cowboy boots and a Stetson—and liked cruising around Paris late at night with the top down.
The tough-guy persona was more than a pose. Melville was a man of few words. He didn't speak of his time in the Resistance, for example, but his film of Joseph Kessel's wartime novel, Army of Shadows (1943), punctured the myths that the French still cherished in 1969, when the film was released. Not many people resisted the nazis, and those who joined the underground did so out of a variety of motives, not all of them admirable. Yes, there was courage, and sacrifice for the sake of others, but the small, quiet acts of decency were no less stunning than the grandiose gestures. Melville's heroes were complicated people, as befits a time when choices were not black and white, but gray.
Which brings us back to Bob. There's no place for him in postwar France, and he knows it. The style, the conventions, are all that's left of a vanished world, and yet Bob takes perverse satisfaction in playing by the old rules, keeping up appearances. Coolness has its consolations. He can't pull off the heist, but he can pull off the look.
By the time we get to Breathless (1959), even the look is degraded. Here's Belmondo practicing his cool in the mirror, posing with a gun, trying to convince everybody he's a gangster, starting with himself. We see him imitating Bogey. He's got the gesture down, has trained himself to talk with a cigarette dangling from his lips. And check out that fedora!
Jean-Luc Godard layers on the clichés. Soon the cops are on Belmondo's tail. He's a wanted man, forced to go underground. He even gets himself tangled up with a double-crossing dame, an American, no less.
Pépé gave the American gangster a dash of French flair. Bob (Bub) wore his American name, along with his fedora, like a true Frenchman. Belmondo's character is just a punk, but he's a French punk and, wouldn't you know it, the guy's style has endured.
August 6, 2014 January 26, 2016 DeathlessProse13 Comments
Ordinarily I steer clear of films that were intended as allegories. They go down like medicine and, let's face it, most directors take themselves way too seriously when they embark on a mission. Once Upon a Time in the West (1968) is an allegory in the form of a Western, too, a genre freighted with moral purpose. I confess, I was a little nervous going in, but I saddled up anyhow, put on my spurs, and set off for Sweetwater.
Henry Fonda disarmed me, right off the bat. Those baby blue eyes on the face of a cold-blooded killer. It took awhile to regain my bearings, after he blew away the McBain family, but when the dust settled, I saw that I needn't have worried. There's a message here, to be sure, but Sergio Leone has a light touch, an approach to lesson-giving that I can only describe as fatherly.
Affectionately, he drapes an arm around our shoulders. Us, the Americans: he loves us, we must understand that he is speaking as a friend. More than a friend, an admirer. As a boy growing up under fascism, watching Westerns (this was before World War II, when they would be banned), he believed all the clichés. Epic heroes, taming the frontier, armed not only with rifles but with integrity. Such a contrast, those virtuous cowboys and their G.I. brothers, the ones who liberated Italians from the Nazis, versus his defeated countrymen, who had embraced Mussolini's nationalism and stood by while their leader formed a shameful alliance with Hitler.
Ah, but in the decades since the war ended, we lost our way. It pains him to say this, but he must be honest. First came the witch hunts of the McCarthy era (Mickey Knox, a blacklisted actor living in Italy, worked with Leone on the English dialogue for the picture), followed by the violence of the civil rights battle and capped off by the Vietnam war. No longer proud, our values tarnished, we turned away from our own epic myths. Sure, Bonanza was still running on TV, but the motion picture Western was languishing in America.
Once Upon the Time in the West revived the industry, which was already flourishing in Italy. Like Leone's Man With No Name trilogy (A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly), this picture features characters of dubious integrity and marvelous Western vistas (mostly shot in Spain), a score by Ennio Morricone. In addition to Fonda, there are fine performances by Charles Bronson and Jason Robards.
But here's the big difference: Once Upon a Time in the West has a woman at its center, a prostitute, Jill (played by the lovely Claudia Cardinale). She brings hope at the end of the picture. Redemption, even. John Boorman saw this film as "Leone's gift to America of its lost fairy stories." I think he's right.

redpajama_set_name: RedPajamaCommonCrawl


>>Err, I don't think so. Default for maxOccurs was 1 last time I looked.
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text:
Access to case files
Administrative action
Administrative court
Alien Tort Claims Act (ATCA)
Amicus curiae brief
Civil action
Command responsibility
Communication (ICC)
Complementarity principle
Constitutional complaint
Corporate criminal law
Criminal complaint (Germany)
Customary international law
European Asylum Support Office (EASO)
European Convention on Human Rights
European Court of Human Rights (ECtHR)
European Ombudsperson
Freedom of Information Acts
Geneva Conventions
German Federal Public Prosecutor
Hard law/soft law
Individual complaints
International Labour Organization (ILO)
Intertemporal principle
Investor-state dispute settlement
Monitoring process
National action plan on business and human rights
OECD complaint
OECD Guidelines for Multinational Enterprises
Pinochet Effect
Postcolonial legal criticism
Preliminary examination
Regional court (Germany)
Special tribunal
Structural investigation
UN Committee on the Rights of the Child
UN Convention against Torture
UN Convention on the Rights of the Child
UN Guiding Principles on Business and Human Rights
UN Special Rapporteur
The Office of the German Federal Public Prosecutor (Generalbundesanwaltschaft, GBA) is Germany's highest prosecutory authority. The GBA is responsible for prosecutions in serious cases relating to crimes against international law and crimes concerning state security.
ECtHR Grand Chamber heard Kunduz airstrike case
On 4 September 2009, two US fighter jets, acting on the orders of German Army Colonel Georg Klein, bombed a large group of people and two tanker trucks on a sandbar in the Kunduz River in Afghanistan. More than 100 people were killed or injured. ECCHR is assisting Abdul Hanan, a father who lost his two sons, aged eight and twelve, in the attack.
Israeli airstrikes in Gaza: Justice in the Kilani case
In the course of a military action in Gaza in 2014, Israel's armed forces killed, among others, members of the German-Palestinian Kilani family. Israeli legal authorities have refused to investigate. ECCHR, on behalf of Ramsis Kilani from Germany, demands that Germany investigate the case.
Saydnaya military prison – Objective is to physically and psychologically break detainees
In Syria, the word Saydnaya has become a synonym for unimaginable torture, systematic degradation and mass executions. Together with four individuals who survived the torture in Saydnaya ECCHR has filed in Germany a criminal complaint against seven high-ranking Syrian military officials.
German authorities issue arrest warrant against Jamil Hassan, head of the Syrian Air Force Intelligence
In November 2017, ECCHR and nine Syrian women and men filed a criminal complaint concerning crimes against humanity and war crimes with the German Federal Public Prosecutor. The complaint is directed against ten high-ranking officials of the National Security Office and Air Force Intelligence, among them Jamil Hassan, its former head.
The path to justice leads through Europe – e.g. Austria
The path to justice for war crimes and torture in Syria also leads through Europe. After Germany, Sweden and France, Austrian authorities have initiated investigations into the Syrian intelligence services' role in systematic torture. This followed a criminal complaint submitted by 16 Syrians, ECCHR, and its partners to the public prosecutor in Vienna in May 2018.
Torture under the Assad regime
The Syrian government led by president Bashar al-Assad is responsible for systematic and widespread torture. This is why in March 2017, ECCHR, seven Syrian torture survivors and lawyers Anwar al-Bunni and Mazen Darwish submitted the first criminal complaint against high-level officials of the Syrian military intelligence service to the German Federal Prosecutor.
"Caesar" photos document systematic torture
The group around the former Syrian military police employee "Caesar" took for the first legal action by filing together with ECCHR a criminal complaint against senior officials from the Syrian intelligence services and the military police concerning crimes against humanity and war crimes.
Surveillance in Syria: European firms may be aiding and abetting crimes against humanity
Surveillance technology
The Syrian intelligence services have been collecting without cause information about political opponents, members of the opposition and human rights activists. Spying often goes hand in hand with torture. Software from Western corporations may have played a role in the surveillance. In order to address this, transnational investigations have to be initiated.
Trial updates: First trial worldwide on torture in Syria
On 23 April 2020, the first criminal trial worldwide on state torture in Syria started in Germany. The main defendant in front of the Higher Regional Court in Koblenz is Anwar R, a former General Intelligence Directorate official in Bashar al-Assad's government. ECCHR supports 17 Syrian women and men in the al-Khatib proceedings, seven of whom are joint plaintiffs. Here you will find regular updates on the proceedings.
Survivors: Sexual violence by Syrian intelligence services are crimes against humanity
German authorities must finally prosecute sexual and gender-based violence (SGBV) in Syrian detention centers for what it is: a crime against humanity. This is the aim of a criminal complaint that seven survivors of Bashar al-Assad's torture system submitted in June 2020 to the German Federal Public Prosecutor in Karlsruhe.
Germany: Criminal Complaint against CIA Director Gina Haspel
ECCHR has filed a criminal complaint with the German Federal Public Prosecutor calling for investigations into Gina Haspel's role in the torture of detainees at a CIA secret prison in Thailand in 2002. Haspel was appointed director of the CIA by President Donald Trump in May 2018.
Criminal complaint against Zakir Almatov
In December 2005, Wolfgang Kaleck, founder and general secretary of ECCHR, filed a criminal complaint against former Uzbek minister of interior Zakir Almatov, the Uzbek head of secret service Rustan Inojatov, and others to the Federal Public Prosecutor on behalf of eight Uzbek citizens because of torture and crimes against humanity.


Come take a walk through this beautiful West Side Binghamton home and see all of the charm and character it has to offer. 3 bedrooms and 1 1/2 baths w/ a fireplace in the living area will be sure to accommodate all of your living needs. There is plenty of storage space in the lower level where there is on-site laundry w/ utility sink. Walking distance to parks and schools.


OAKLAND, Calif. — Here we go again. A California religious radio impresario who predicted — wrongly — that the end of the world would begin on May 21 revised his prophecy on Monday, saying now that the end is due in October.
But his shifting soothsaying led to a barrage of questions from reporters, something Mr. Camping seemed to wave off with a wan smile and occasional flashes of emotion.
"The world has been warned," said Mr. Camping, who said this would be his last interview. He added that his company — which had bought billboard space nationwide to promote the May 21 date — would not promote his new prediction, Oct. 21.
"We don't have to talk about this anymore," he said.
Mr. Camping's campaign — his second prophetic failure, coming on the heels of another doomsday prediction in 1994 — had been widely derided by the mainstream Christian groups and openly mocked in the other quarters.
At the same time, it raised concerns that some believers might do themselves harm rather than face Mr. Camping's promised apocalypse, something he refused to take responsibility for on Monday. "I am not the authority," he said.
Mr. Camping also said he had no plans to fold his company in advance his new doomsday date. "If it's the end of the world, God will dissolve it," he said.


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If you'd like to learn more about the top-ten most valuable Ferrari models sold at auction, visit http://magazine.ferrari.com/en/cars/2018/03/28/news/most_valuable_ferraris_sold_at_auction-38507/.
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You asked for information regarding Brexit contingency costs including amounts transferred to the Scottish Government from the UK Government, when this was transferred, which departments received the money and a detailed breakdown of what the money has been spent on.
1. The Scottish Government does not receive funds from the UK Government for a specific purpose. The UK Government have allocated £3.75billion in Brexit funding over 2017 to 2020; the Scottish Government have been allocated funds as a consequence of this. The Scottish Government then chooses how to allocate those funds.
2. Since 2017-18, the Scottish Government has been allocated £98.6 million in consequentials from the UK government related to Brexit as per the table below.
The Scottish Government is notified by HM Treasury when consequentials will be added to the Scottish Block Grant.
In 2017-18, the Scottish Government received around £6.6 million of consequentials very late in the financial year as part of the UK Government Spring Supplementary Estimates. This arose from £250 million of additional UK Departmental spending allocations for EU Exit preparation.
For 2018-19 and 2019-20, the Scottish Government will receive £92 million from the UK Government as a consequence of EU Exit preparation funding.
After the 2018 UK Government Spring Statement, it was announced that the Scottish Government would receive a proportionate share of £1.5 billion Brexit preparation funding allocated to UK Departments in each of the years 2018-19 and 2019-20. In 2018-19, the Scottish Government received £37.3 million in consequentials from this - £35.7 million resource, £1.6 million capital.
At the 2018 UK Budget, a further £500m of EU exit preparation funding was announced for 2019-20 in addition to the £1.5 billion already announced by the Chancellor. This means that in 2019-20 the Scottish Government will receive £54.7 million consequentials from the £2 billion allocated to EU exit preparation funding - £48.8 million resource, £5.9 million capital.
The 2018-19 consequentials were announced after the UK Budget. The announcement at the 2018 UK Budget of £54.7 million in consequentials for 2019-20 allowed for the amount to be included within the 2019-20 Scottish Budget and is fully absorbed in supporting work already underway, including EU exit preparation.
3. Given the range and diversity of work ongoing across Government and its interaction with day-to-day responsibilities, it is simply not possible to provide a full breakdown of costs.
The £6.6m consequentials received in 2017-18 were used to support the 2018-19 Government priorities, including expenditure on EU exit-related work – this money is not separately identifiable.
The remaining £10 million being spent by portfolios as part of the 2018-19 Scottish Budget.
All £54.7 million in EU Exit Consequentials for 2019-20 have been allocated to portfolios, which are responsible for managing their preparations within their total budget.
4,-7. The Scottish Government does not receive funds from the UK Government for a specific purpose. All consequentials from EU Exit funding received to date have been allocated via the Scottish Budget. As per the table above, £27 million in consequentials from 2018-19 was allocated to portfolios for specific Brexit related activity. The remaining £10 million from 2018-19 and consequentials received in 2017-18 and 2019-20 are not separately identifiable.


Cutting bus routes, raising hot lunch prices, or suspending field trips? Schools are facing tough choices when it comes to balancing their budgets this year. Bill Talbott is the Acting Commissioner and Chief Financial Officer of the Department of Education. Greg Burdick is Business Manager for the Addison Northeast Supervisory Union. Judith DeNova is Assistant Superintendent for the Chittenden Central Supervisory Union. They speak with VPR's Jane Lindholm about the impact of rising fuel and food costs on districts across the state.


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ITF Wales
On behalf of Imperial Taekwon-Do Wales I would like to congratulate all members from England and Scotland that have been chosen to represent their regions at the forthcoming World Championships in Korea.
Dear Fellow Taekwon-Do Practitioners,
On behalf of Imperial Taekwon-Do Wales I would like to congratulate all members from England and Scotland that have been chosen to represent their regions at the forthcoming World Championships in Korea, and the many students that have supported the Squad Training and the efforts of their Coaches.
I look foreword to the time that Wales also will have representation at these events.
I see Wales as just starting out, in its infancy, but with the continued support from our Welsh Instructors I feel that we have a bright future ahead of us.
Master Ian Lawes
Added: 11th March 2010


UK Food Group Press Release "GM Crops and Developing Countries" (11 July 2003).
Eradicating poverty and hunger are core aspects of the work of many of the UK Food Group's (UKFG) 32 member organisations, which work jointly in these areas with local partners in developing countries and with subsistence farmers. Our direct experience shows that in most developing countries, whose small-scale, labour-intensive agriculture is dramatically different from the UK, GM crops are at best irrelevant and at worst can threaten local food production. We believe that there is no scientific, economic or ethical justification for asserting that GM crops are necessary for eradicating hunger in the developing world.
Our concerns relate principally to developing countries and to the implications that GM crops present in relation to the livelihoods and household food security of the world's poorest people -- the 1.2 billion who live mostly in rural areas on less than a dollar a day.
1. The solutions to hunger and food security lie mainly in overcoming social and economic barriers that limit poor people's ability to buy or produce and sell food. New and costly technologies, such as GM crops, risk increasing existing inequalities and the poverty and food insecurity that result.
corporations, current trends raise serious questions about the influence large transnational corporations may wield over every aspect of the global food supply.
3. Too little is yet known about the potential effects of GM crops - particularly in developing country situations - in relation to the environment, health, agricultural systems and local livelihoods.
4. Too little time, opportunity and assistance is being given to developing countries to debate and decide for themselves and build the capacity to test and control GM crops. There is a danger that commercial interests will override democratic decision-making and local control. Recent experience demonstrates that the introduction and dissemination of GM technologies is already proceeding in advance of developing country capacity to assess the risks and benefits for themselves. Commercial application in the UK/EU must not result in effectively precluding developing countries from exercising their own right to examine the risks and benefits and choose accordingly.
It is too early to make an assessment of the effects of GM crops in most developing countries, let alone to take critical decisions that would encourage the rapid spread of GM crops in these countries. It is essential to take a precautionary approach in relation to the introduction of GM crops into developing countries, as required by the Biosafety Protocol, a new legally-binding treaty that will come into force on 11 Sept 2003 and allow countries to refuse GM crop imports. The US, which has not signed the Biosafety Protocol, is challenging the way European and developing countries are implementing biosafety regulations.
While the potential benefits that are claimed for GM technology appear to be almost unlimited, it is not clear how they could be delivered and what risks will arise in terms of the technology itself or in terms of how it is controlled. We believe, on the basis of our experience of how previous technology packages impacted on the poor, that balance of benefits and costs is very unlikely to favour poor communities in developing countries.
Overemphasis on GM crops and GM technology is drawing support away from more sustainable farming methods. These have proved effective in feeding the poor and improving their livelihoods and are based on local knowledge, control and ownership of livelihood assets. These are available now. The pattern of investment in agricultural research has skewed research funding and focus towards high technology approaches that are most suited for large-scale industrial agriculture and away from support for sustainable agriculture approaches that meet the needs of the poor and hungry in developing countries.
Considering the history of globalisation, the potential knock-on effects of policy choices in the UK should be part of global public policy decisions. We believe the implications of GM crop policy choices in the UK/EU will be significant for many developing countries since they could impact on the basic human right to food. These rights, realised through local solutions, should be given preference over commercial gains by the corporate sector.
In relation to food, production must increase where there is hunger i.e. in rural areas in developing countries, because of failures in markets and other livelihood opportunities. Encouraging local sustainable food production by poor farmers in developing countries is central to eradicating hunger.
All people have a right to food. This means ensuring that people have control over and access to the resources that enable them to get the food they need.
Experience shows that appropriate solutions to development problems are those that can be controlled and managed through local and national governance structures and which strengthen local markets and production systems. Ensuring poor peoples' right to participate in decisions that affect them, and to make informed choices, is vital.
It is vital to anticipate and take steps to avoid or mitigate the potential risks of new technologies for poor households and communities.
For a technology to benefit the livelihoods and food security of poor people it should build on their existing capabilities, it should enhance and strengthen them and must be affordable and accessible. Poor communities should be actively involved in the development of technologies intended to meet their needs and not treated as passive recipients.
Sustaining GM-free seeds. Elizabeth Michek, Seed Guardian, Kenya.
The livelihoods of poor people can be blighted by environmental damage and pollution. Environmental protection contributes to their well-being and helps to conserve the natural resources and biodiversity on which many communities depend.
The GM crop debate in the UK is being overshadowed by global politics. The trade war between the USA and Europe over GM foods, the dumping of GM food aid by the USA on unwilling but hungry recipients and the headlong rush into biotechnology by rich countries threatens the livelihoods of the poor, the eradication of hunger and the sustainability of the environment. For the sake of the hungry, now is the time for precaution and the seeking of solutions through sustainable agriculture, not GM crops.
1 From letter sent to the Prime Minister's GM Crops Team in the Strategy Unit on 25 October 2002 as part of the continuing BOAG response to the government's GM Crops dialogue. BOAG agencies are five of the 32 member organisations of the UK Food Group - the UK platform on food security and food sovereignty issues.


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Overseas Research Fellowship, Japan Society for the Promotion of Science, 2018-2020.
Research Fellowship for Young Scientists (DC1 → PD from 2017), Japan Society for the Promotion of Science, 2016-2018.
Repayment Exemption for Students with Excellent Grades –FY2016–, Japan Student Services Organization (JASSO) Type I (interest-free) loan.
Master 21 Scholarship, Yoshida Scholarship Foundation, Japan, 2014-2016.
Scholarship, Scholarship Foundation of Nittetsu Mining Co., Ltd., 2012-2014.
Excellent Lectureship Award, Annual Meeting on Photochemistry 2015, Osaka, Japan, September 2015.
Excellent Student Award (The award for the top of class), Tokyo Institute of Technology, March 2014.
Best Lectureship Award, 66th Symposium of Society of Synthetic Organic Chemistry of Japan, Tokyo, Japan, November 2013.
Best Poster Award, Pacific Polymer Conference PPC-2013, Kaoshung, Taiwan, October 2013.
Kinki Branch Director Prize of Chemical Society of Japan, 14th Meeting for Chemical Research on College of Technology, Osaka, Japan, March 2012.


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Limited edition Championship-winning prints on sale!
Stags' fans can now commemorate the finest moment in the club's history by purchasing a limited edition print of the famous squad which won the Division Three title in 1976/77.
Then-manager Peter Morris' side won Division Three - elevating the Stags to the second tier of English football for the only time in the club's history.
Local artist Antonio Bosano has now produced 500 limited edition prints of the team photograph from that memorable season, which can be purchased for just £20 from our club shop on Quarry Lane.
Mr Bosano, who has a portfolio of exceptional artwork including portraits of celebrities, sportspeople and historical figures, has detailed the intricate process which was involved as he recreated the photograph.
"My approach to a project like this is somewhat different to my normal line of artwork which involves individual portraits, encompassing head and shoulders shots," Bosano said.
"For this particular photograph, I had to use a grid system which involves horizontal and vertical lines to ensure that all the initial head and shoulder shots are in exact proportion once I enlarged the photograph.
"One will appreciate that the actual faces themselves are specifically much, much smaller than I'm accustomed to drawing, so therefore I utilised the grid system to do the initial layout of the team members.
"I then cross-referenced with a magnifying glass to make sure I was continuing to catch the appropriate likenesses.
"Acquired skills in any form of work invariably come with repetition but in this particular instance, I found the thought of this prospect particularly challenging."
The 1976/77 title-winning campaign is widely-regarded as the best in the club's history and Bosano, who has created 500 individually numbered prints, believes this is the perfect keepsake for any Stags' fan.
"This print will commemorate the finest moment in the history of the club when they won the third division title and were then promoted to what would now be the second tier of English football.
"The prints are available in limited edition form. There will be 500 individually numbered prints and it's a wonderful keepsake for Stags' fans to remember a glorious moment in the club's history."
The limited edition prints can be purchased for just £20 from the club shop on Quarry Lane or online from www.stagsclubshop.com.
View Antonio Bosano's portfolio of work here > https://antoniobosano.com/
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Join us for our Morning Networking Club
Come and join us for our next Morning Networking Club - kindly sponsored by Landmarks Specialist College - taking place at Sandy's Bar & Kitchen on Wednesday 05 February.
If you're celebrating a special occasion with family and friends, or hoping to impress valued clients, our matchday hospitality packages cater for all and are perfectly suited for creating that unique...
Stags to host Autumn Business Fair (Wednesday 23 September)
We'll be hosting an Autumn Business Fair in the club's 1861 and Kevin Bird Suites from 11am to 3pm on Wednesday 23 September.


text:
Q: Is there a standard way to do pixel manipulation faster than with a loop? It makes sense that something like this:
  for (let y = 0; y < window.innerHeight; y++) {
    for (let x = 0; x < window.innerWidth; x++) {
      for (let i = 0; i < 4; i++) {
        outputBuffer[(x * y * 4) + i] = frameBuffer[(x * y * 4) + i];
      }
    }
  }

Is going to be slow on a 1920x1080 full screen canvas of pixels, right? I mean that's the purpose of GPU operations. I'm new to the rendering space in development but I think I'm correct in thinking I shouldn't be surprised that doing full screen pixel manipulation in real time with a loop is slow.
So I'm thinking of using a third party lib like GPU.js to perform the matrix operations with WebGL. Is this the right kind of solution, or are there other simpler, standard ways of performing matrix operations in JS on the GPU?

redpajama_set_name: RedPajamaStackExchange


text:
The Rock Star's Wife
The Unmarriable Kind
Rose's Assignment
Journey of Hope
The WWI Trilogy
Join the Review Team
Claire's World
Hettie's World
Lucretia's World
Rose's World
Canada, Hettie's World, History, Medicine, World War One
The Tale of HMHS Llandovery Castle
Melina Druga / June 27, 2016
Noncombatant servicemen and women are not free from danger. Such was the case of the medical corps during World War I. Medical units were located close enough to the front to see and hear…
Canada, Edwardian era, Hettie's World, History, United States, World War One
The Sinking of the Lusitania
Melina Druga / May 6, 2016
The Lusitania is perhaps the most famous ocean liner to be sunk during World War I. At the start of the war, the liner was less than a decade old. Built by Cunard,…
Canada, Edwardian era, Hettie's World, History
Titanic: The Halifax Connection
Melina Druga / April 15, 2016
Everyone knows the story of RMS Titanic: The largest ship ever built, on its maiden voyage, hits an iceberg and sinks. There weren't enough lifeboats on board, resulting in more than 1,500 passengers…
Edwardian era, Hettie's World, History, Lucretia's World, Rose's World, Victorian era, World War One
Hail the Magnificent Ocean Liners
Melina Druga / November 19, 2015
Unlike their poor cousins today, the cruise ship, early 20th century ocean liners were grand in scale, luxury and architecture. In the days before air travel, these liners escorted thousands of passengers around…
Author Melina Druga
Melina Druga
Melina Druga is a multi-genre author with a lifelong love of history, books and the English language. She pens historical fiction and nonfiction. Druga writes about the past because although school history classes may have been boring, the past was not. Her era of expertise, and obsession, is 1890-1920 with a particular focus on the Great War and how it affected the lives of ordinary people. Druga's other interests and hobbies include listening to music, yoga, photography, astronomy, travel and healthy eating.
You can follow Melina on the following:
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Paperbacks, hardcovers and eBooks are available on Amazon.
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© Melina Druga 2022


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Iceland gets Man Vs. Wild with Jake Gyllenhaal and Bear Grylls
Retail & Services Travel & Leisure
July 22, 2011 2 min read jbaker
The series premier of the Discovery Channel UK survival television programme Man Vs. Wild started with a special episode focusing on the harsh wilderness of Iceland. The show's host, Bear Grylls was joined by American actor Jake Gyllenhaal as a one-off co-host to take on the challenges of the Eyjafjallajokull glacier, Katla and Fimmvorduhals mountain range.
The trip, spanning two days, saw the pair crossing ice-cold rivers, climbing across the magma formations that lie on top of the Eyjafjallajokull glacier and scaling slippery ice-sheets.
During the show, Gyllenhaal took part in whatever the experienced explorer Grylls undertook, this included eating worms and crawling on a rope across a deep ravine. "For me, it's all about discovery," said Gyllenhaal.
The Jarhead star ended his journey in Iceland saying, "It was just so exciting, I can't describe what it feels like to be out there."
To explore the marvels of Iceland for yourself, various tour providers offer exciting adventure tours all year round. Whether it being ATV trips across black sand beaches, glacial hiking or volcano tours, Iceland has it all.
If adventure tours aren't your thing, there are also wide range of city breaks to enjoy in the comforts of Iceland's capital, Reykjavik. The world famous Blue Lagoon spa, only a forty-minute coach journey away from Reykjavik, is a great way to relax after a long day hiking or a fun day shopping.
To get to Iceland, Iceland's leading airline Icelandair offers reasonably priced flights from UK gateways London Heathrow, Glasgow and Manchester. The airline also offers in-flight entertainment and generous legroom on all of its flights.
For further information, visit www.icelandair.co.uk.
Image courtesy of dsc.discovery.com
Adventure Tours Iceland, Bear Grylls, Discovery Channel UK, flights to iceland, Icelandair, Jake Gyllenhaal, Man Vs. Wild, Man Vs. Wild in Iceland
Car rental in Iceland: an ideal way to see the country
Two extra dates added for Bjork Biophilia live shows in Iceland
Update: TEST & GO, Travel to Thailand quarantine-free


I hope you're in the mood for something sweet this morning. I made these Nutella Marshmallow Croissants for dessert last night, but realized they would be great with a hot cup of coffee in the morning too. That seems to happen to me a lot- make something for one purpose, but find it fits just as well for another. Then again, that really can be said for almost any foods. Even pizza for breakfast or, my favorite, pancakes for dinner. Do you like pizza for breakfast? Some people love it, but I know Greg thinks it's just crazy. I'm kind of indifferent on the subject. I love a bowl of cereal or oatmeal for breakfast, but am not completely opposed to a cold slice of pizza either. Although, it's been years and years since I have done such a thing.
A pastry like this blows pizza for breakfast out of the water. The croissants are soft and chewy. The Nutella is chocolatey and melty. The marshmallows are…well, I don't actually know what the marshmallows are, but they are definitely necessary.
And then there's the simple white chocolate glaze for a touch of added sweetness.
I don't know about you, but the weather here has taken us back to fall! Yesterday felt like October. I almost pulled out my furry boots again and wore three layers of tops on my evening bike ride with Greg. I'm a wimp, I know. I'm sure it will be hot again before I know it, but for now I'm enjoying a comforting breakfast like this in the cool weather.
And I can't think of a better way to start this Tuesday.
1. Preheat oven to 375 degrees. Spray cookie sheet with non-stick spray. Roll out croissants onto cookie sheet.
2. Spread about 1 tablespoon of Nutella onto each croissant triangle. Add about 6-8 marshmallows. Roll up croissant from wide end to narrow end.
3. Bake for 10-12 minutes. Remove from oven and allow to cool.
4. Meanwhile, prepare glaze by melting white chocolate chips in a small, microwave-safe bowl for 15 second increments until completely melted. Stir throughly between each increment. Add milk and powdered sugar. Stir until completely combined and glaze is runny.
5. Scoop glaze with spoon and drizzle over each croissant.
Wakey, Wakey, Time to Bakey!
Chocolate-y, hazelnut-y, creamy-y, yummy-y. Ok, you get the point. Nutella is delicious. The end.
Jusssttt kidding. There's more. Like bananas! Now, mix the Nutella with the bananas and you have yourself the most scrumptious breakfast bread.
When I found this recipe, I first thought of Brooke. I think she was the first one who told me about Nutella and I had never actually tried it before. Since she was coming in town, I wanted to save this new baking adventure to make with her.
As soon as I woke up, I went and jumped on my Sleeping Beauty in the other room and said, "Wakey, wakey, time to bakey!" She knew what was awaiting us and instantly opened her eyes….well, almost instantly.
Although she might tell you she didn't get to contribute much, she did 🙂 Like the egg-cracking, for example. Even though the recipe calls for two eggs, I almost freaked out when I opened the carton to find we only had one left! Ah! So, Brooke took good care of that valuable last remaining egg and I looked up substitutions for the other.
It was fun to swirl the batter to make the marble look. I took Brooke's help for this too.
Brooke was in Nutella heaven.
I was a little worried about how the bread was going to turn out since I only had that one egg. For the second egg I used 1 TBS corn starch plus 3 TBS water (I found this recommended substitution on some random website and just hoped it worked!). We all thought the bread turned out great. One thing I would like to try next time would be to add some walnuts to the mix!
6. Pour half of the batter into a separate bowl. Add the Nutella to half and mix well.
7. Pour batter into the loaf pan one spoonful at a time, alternating between the original mix and the Nutella mix.


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Bosnia-Herzegovina jumped a point ahead of Greece with a 4 win Gibraltar, Edin Dzeko scoring twice, while Cyprus ' 1 defeat to Estonia means they are now four points adrift.


Good corporate goverance will contribute to the greatest possible value creation over time for all interest groups.
Hexagon Composites follows the Norwegian Code of Practice for Corporate Governance. We aim to secure a clear division of roles and responsibilities between shareholders, the Board of Directors and executive management to ensure good corporate management. We believe that this contributes to the greatest possible value creation for all interest groups and strengthens the trust in the Company among shareholders, in the capital markets and with other key stakeholders.
The Group's principles for corporate governance were last revised at the Board meeting of 13 February 2018 and complies with the Norwegian Code of Practice for Corporate Governance, most recently revised on 30 October 2014.


The study aims at exploring the phenomenon of regional production network in ASEAN (Association of Southeast Asian Nations) automotive sector/industry by employing a firm as well as macro-level analysis of data gathered through combining techniques between desk study and a series of fieldwork. It examines patterns of production and manufacturing activities of leading Japanese automotive firms and their upgrading strategies as showcased by Toyota in an endeavor to cast the much-aspired ASEAN Regional Value Chains (RVCs). Production shifts have been apparent as indicated in the trade patterns and trends in value added of key automotive products traded between Japan and its ASEAN partners during the past 25 years. The shifts have resulted in deepened localization of production and manufacturing activities of Japanese automotive lead firms in ASEAN countries. Such dynamic shifts, as shown especially in passenger cars and automotive parts and accessories, have further prompted upgrading efforts by the lead firms (along with their suppliers, subsidiaries, and local partners) which suggest the functioning RVCs. The upgrading embraces areas of upstream (on research, development, and design or RD&D), midstream (on production, manufacturing, and assembly) as well as downstream (on sales, marketing, and after-market) activities. Future policy outlook lays on the ability of firms and other related stakeholders in the region's automotive sector/industry to team up in the upgrading activities and hence capture the value-added. ASEAN-Japan long and strong historical relations facilitate the enhanced collaborative automotive industrial development, particularly in the areas of technical capacity formation and supporting industries.