text:
Q: How to connect to a Blob Container using a SAS Token? Using this SDK; https://github.com/Azure/azure-storage-cpp, I able to use SAS Tokens connecting to storage accounts, but not blob containers.
No matter what I try, I cannot get it to work. The token works fine in Storage Explorer.
My guess is that I have to specify the container name somewhere, but I cannot find anything in documentation or any examples.
Test code where Account Name is 'cp' and Container is 'spool';
Obfuscated SAS Token; https://cp.blob.core.windows.net/spool?sp=racwdl&st=2022-06-20T08%3A49%3A39Z&se=2022-06-27T16%3A49%3A39Z&spr=https&sv=2021-06-08&sr=c&sig=....
azure::storage::cloud_storage_account storage_account;
auto storage_credentials = azure::storage::storage_credentials(L"cp", azure::storage::storage_credentials::sas_credential(L"?sp=racwdl&st=2022-06-20T08%3A49%3A39Z&se=2022-06-27T16%3A49%3A39Z&spr=https&sv=2021-06-08&sr=c&sig=...."));
if (storage_credentials.is_sas() == true)
{
    azure::storage::storage_uri blob_endpoint(web::http::uri(U("https://cp.blob.core.windows.net/spool"))); // here I change endpoint to add the container name
    storage_account = azure::storage::cloud_storage_account(storage_credentials, blob_endpoint, azure::storage::storage_uri(), azure::storage::storage_uri(), azure::storage::storage_uri());
}

if (storage_account.is_initialized() == true)
{
    azure::storage::cloud_blob_client blob_client = storage_account.create_cloud_blob_client();
    blob_client.get_root_container_reference(); // <- exception
}

Probably something silly, but I cannot seem to find the right parameters for a valid connection, so any pointers would be appreciated. Equivalent to 'Attach to an individual Blob container' and 'SAS URL'.
Depending on what I try, I'm getting exceptions like;

*

*The requested URI does not represent any resource on the server.

*This request is not authorized to perform this operation.

*Server failed to authenticate the request. Make sure the value of Authorization header is formed correctly including the signature.

PS. I know there is a newer SDK, but this is just another connection type I'm adding to existing code, so rewrite is not on the table for now.

A: Turns out that you can access the container and list blobs+dirs, but you cannot check if the container exists without getting exception. I never thought to just try this since my existing code was using exists to be sure user had selected a proper container


After years of development, we finally launched Graaab JaGaApp in December 2015.
Since then, we have an amazing journey, with loads of ups and downs.
In 1H of 2016, we started off with less than 10 neighbourhoods. We have 6 people in total and we gave all our heart and soul to make sure our system helps neighbourhoods to be safer and better.
Fast forward to June 2018. Our portfolio now has over 200 neighbourhoods. Along the way, we got listed on Bursa Leap Board in November 2017, and our team has grown to over 30 people.
and Yes, the 1st 10 customers are still with us. We do not take this for granted and we want to continue our effort to grow and be better. We will not compromise on our service quality and will continue to help everyone to Graaab…the better life.
In conjunction with hitting the 200 neighbourhoods mark, we will be sharing 200 stories of Graaab JaGaApp users and partners with you. Hope you will like these stories that helps us to be who we are today.
Let's Graaab…the Better Life together!


I am a gold member and I want to buy a route in the trainz store, but its not giving me the 25% discount. How?
I am a Gold Member and I'm supposed to get a 25% discount on purchases in the Trainz Store. I placed a route in my basket and I am not getting the discount. How do you get the discount?


text:
The Thickening Centre: Fahrenheit 9/11
Stayci Taylor
Interview: Sergei Loznitsa on his new film The Trial
A Cinema In-Flux: German Films at the 57th Berlin International Film Festival
Two Books on Alfred Hitchcock: Alfred Hitchcock by Peter Ackroyd and Hitchcock on Hitchcock: Selected Writings and Interviews, Volume 2 by Sidney Gottlieb (ed.)
Screening Melbourne
Screenwriting Melbourne/s: The Challenges of Re-presenting and Re-creating Melbourne Within a Screenplay's Flipped-Reality Narrative
Abstract >>
This article argues that establishing the screen city begins with the script, and the author makes a case study of her own screenplay, set in an alternative Melbourne where gender hierarchies are reversed. Drawing on scholarship, focusing "attention upon worlds as they are created in films" (Walters, p. 215) this article considers cities as they are created in screenplays. Writing into a gap in screenwriting scholarship, where screen cities are rarely explored, this article seeks to position the work of the screenwriter in creating cities for cinema. Acknowledging screen cities are an illusion, even when shot on location, the discussion suggests they nonetheless begin on the page, skewed by narrative and cast design, as explored through the practice of screenwriting Melbourne.
Cities are not merely replicated in cinema, but constructed anew; reimagined or repurposed according to directorial and photographic point-of-view and the role of the city within that vision. As Richard Koeck and François Penz suggest, the practice of urban planning intersects with filmmaking, in that "filmmakers have had to construct a 'filmic space' and render on the screen a 'city image' which would be 'legible' to a viewer".1 Little attention, however, is paid to the role of the screenplay in representing – re-presenting – the city in cinema. In the process of screenwriting, how does a city setting inform storyworld, narrative and cast design, and how does the city function therein? Where in the scholarship on screen cities and the 'city film' might sit the screenwriter's contribution to this virtual urban planning? If a city itself becomes its own screen language through light, colours, architecture and costumes,2 does it follow that the city becomes its own screenplay language and, if so, what does that look like? Making a case study of my own Melbourne-based, flipped-reality, comedy screenplay, Funny/Peculiar (2016), this article explores possible answers to these questions, informed and complicated by the story's representation of both a familiar and an alternate Melbourne; two different 'city images' rendered on the page.
The screenplay hinges upon the story of a female protagonist explicitly navigating the challenges of her sex and gender, from positions of both subjugation and privilege in keeping with the flipped-reality premise. Therefore, this exploration of writing the city must also be informed by notions of the gendered city – and, in particular, the gendered screen city. Recognising "the screenwriter, in each screenplay, constructs a specific universe for specific characters suited to bringing out distinctive storyline elements and thematic threads",3 this quest to write the city brings with it the gendered specificities of the storyworld, further informing the version/s of Melbourne re-presented on the page. This article, then, discusses city and screen city in relation to gender, and then comedy, before exploring the unique task of rendering the flipped and skewed points-of-view of Melbourne inherent in the screenplay's premise. Finally, I examine the challenges of screenwriting a specific city into existence, especially as complicated by the above considerations.
This article is not a script-to-screen analysis of where the aligned (but, oft thought, separated) practices of screenwriting and filmmaking might intersect in the chain of a film production to create the screen city. As unproduced, the screenplay "reflects the distinct vision of a single writer-researcher" with writing "informed more by discipline specific knowledge than by commercial demands or the expectations of wider audiences or readerships".4 In other words, this article tracks the discrete practice of screenwriting a city, and the process assumes only a speculative position in the chain of screen production – albeit, informed by the understanding that the text produced is designed to disappear into another, namely, a work of cinema.5 Thus, the focus of the discussion centres upon the screened city in consideration of screenplay conventions, such as storyworld and narrative, and, given that the case study is a screenplay in development, is as much about revising a city, Melbourne, as it is about writing one. While analyses are made within cinema studies of "the role of editing, light and sound in the building of a screen city",6 few if any examine the role of the perspectives of the city manifested by the screenplay, through techniques of narrative, world building and cast design, perhaps as a result of the relatively sparse analysis of produced screenplays in general, given their perceived lack of literary value.7 Therefore, this article also offers its insights into the challenges of writing the city for editorial consideration in screenwriting revision processes.
Writing the Gendered City
The screenplay under exploration in this article uses the sequencing model8 of feature film screenwriting, and the inciting incident sees the protagonist transported to a Melbourne in a parallel present; a flipped-reality where gendered hierarchies, behaviours and expectations are reversed. As Jo Little, Linda Peak and Pat Richardson wrote nearly 30 years ago (yet which continues to resonate), "as gender relations change so does the way in which men and women create, reproduce and change the environments in which they live. In turn the environment and its transformation, reflects, reproduces and alters gender relations".9 Taken from the position of cultural geography, this sense of how environments are transformed by notions of gender can be repurposed for the construction of screen cities which, after all, may "influence the perception of our cities in quite a profound way".10 When attempting to write Melbourne, then, a screenwriter working with gendered themes must also understand that cities, as Gülsüm Baydar writes, are "governed by a masculinist discourse based on hierarchy and coherence".11 In this way, it becomes clear that while the first of my Melbourne versions is offered to be understood as the existing city – within what Mary Russo would call the 'indicative'12 world (the world we know) – the protagonist's point-of-view sees a city already re-gendered, or, at least, one where the hegemonic gendering is critiqued:
Above Screenplay13
While "the sight of a familiar space in a film can momentarily banish the sense of marginality that haunts even the most central urban locations",14 the writerly choices in this sequence of scenes serve to foreground that same marginality through a deliberately skewed perspective. The ways in which women might not experience "the right of inhabitants to 'full and complete use' of urban space in their everyday lives"15 is explored through verb choice (e.g., 'looms') and visual storytelling that necessarily pinpoints key events and moments, rather than makes any attempt at a full and faithful rendering of all facets of contemporary Melbourne. The screenplay understands that to write the city – or build screenworlds more broadly – it is important the screenwriter "discards other 'real world' elements that could distract the audience from narrative and thematic comprehension".16 The screenplay makes similar, but opposite, discretionary choices for its first introduction of 'Melbourne' as those that skew the New York of Sex and the City (1998).17, as one "belonging to women who are free citizens of their polis [in] a city defined by its people, and most of the people onscreen are interesting and energetic women" 18 This Melbourne, though, belongs to the indicative world, within which exists "the marginal position of women and others".19
Sex and the City (1998 – 2004)
That my screenplay is a comedy is not irrelevant here; the protagonist is deliberately positioned as a misfit within the narrative, and supplies the comic perspective, one which can be described as "a character's unique way of looking at the world, which differs in a clear and substantial way from the 'normal' world view".20 Assuming "the notion of the universal human being in traditional Western thought who is presented as neutral but is actually founded in a male standard",21 my protagonist, as female, automatically lacks the 'normal' perspective: her way of looking at the world is already 'unique'. The unquestioned norms of the city, then, ones that may have been "historically decided by men who have shaped the places and spaces of the city along specific notions of appropriate gender behaviors and visibilities",22 are exposed in my choices as screenwriter, in terms of what is seen, and through whose eyes. For instance:
As the sequence continues, traveling from the leafy suburbs of the domestic sphere to the Friday night macho melee of King Street in Melbourne's city centre, the two characters negotiate both their full bladders and the dark laneways for both relief and safe passage to their next public transport. From the protagonist's perspective, the historically gendered city reveals itself to retain a male, and masculine, dominance.
Thus, the work of defining a screen city thematically skewed by the protagonist's perspectives of sex and gender begins well before the 'switch' into the parallel world. The protagonist is a single woman with infrequent income and, as such, lives in a shared house with three others – a domestic space that rejects categorisation as "a private enclosure associated with women and the spatial hierarchies that govern the single-family".23 Although she has career ambitions pertaining to her live comedy pursuits, her living situation is never presented as a predicament, nor is it transcended through the machinations of, say, a love plot. In this way, the screenplay positions itself within "critiques of models of urban structure that assumed society was composed of nuclear families with traditional sexual divisions of labour"24 and, as such, claims the Central Business District as its territory and site of investigation. The specific universe of this Melbourne, then, sits in contrast to a Melbourne-set comedy such as The Castle (1997)25 where the world is confined to "the very margins of suburbia, where the city meets a wasteland".26 In fact, their Melbourne deliberately bypasses the city centre, "as it is not only unnecessary to the story, but it also seems superfluous to the daily lives of the characters".27
The Castle (Rob Sitch, 1997)
This is of relevance, here, in terms of the relationship between the story – the labour of the screenplay – and the representation of the world; for our purposes, the city and, specifically, Melbourne. For Sitch et al.,28 their Melbourne's aesthetic was, in part, budgetary; in part a deliberate disruption of the "wide-screen mythologizing of the Australian rural landscape" but also, as Justine Lloyd continues, the "emphasis on story rather than filmmaking craft".29 Here the assumption is that screenwriting and filmmaking are mutually exclusive; that story is separate to the craft of filmmaking. We might consider instead that screenwriting is one component of the filmmaking craft; that story carves out the territory, and therefore the work of building the narrative is part of the work of screening the city. Screenwriter and director Wong Kar-wai acknowledges such work in his assertion that stories arise from the setting, "Because if you know that, then you can decide what the characters do in this space".30 To write a screenplay, then, is to have already identified the world – and, in the case of this Melbourne, one defined by the perspective of a female protagonist struggling within gendered hierarchies.
Melbourne as Alternative World
The screenplay conforms to a structure that first gives "a sense of what the protagonist's life would have been like if the events that lead to the story hadn't interfered",31 after which the protagonist, literally as well as figuratively, enters the 'new world' of the second sequence. In the story of this screenplay, the 'new world' is an alternate version of the Melbourne already portrayed. The challenge already, when adhering to such a structure, is that the screenplay has had only a few pages to establish its 'Melbourne-ness' – in this case, with laneways, trams, suburban archetypes and as a city suffering an acute (Australian Rules) football 'fever'.
In terms of narrative theory, the second 'Melbourne' of the screenplay might be considered a 'possible world' and the screenplay a fictional text offering a world "which imposes its laws upon the reader and determines its own horizons of possibilities".32 Possible worlds, then, stand in contrast to 'actual' worlds and, while a full critical engagement with this term is beyond the scope of this article, it is useful to borrow the suggestion that "'the 'actual world' means 'the world where I am located' and all possible worlds are actually from the point-of-view of their inhabitants".33 While one reading of this notion might suggest my protagonist travels from 'actual' Melbourne to 'possible' Melbourne, I argue that both of my Melbournes are 'possible worlds' in terms of a deliberate imposition of perspective. However, as C. Paul Sellors notes in rejecting the direct mapping of digital imaging upon the 'possible worlds' thesis: "it does not necessarily follow that non-actual states of affairs in visual fictions produce possible worlds".34 Although I do not necessarily accept "that fictions can never articulate possible worlds",35 I propose that for my second 'Melbourne', the differentiation may fall instead to the term 'potential' world, whereby protagonists (like mine) "are presented with a potential world that is as tangible and completely formed as the world they depart from.36 I offer, then, the terms 'Melbourne-skewed' and 'Melbourne-flipped' to describe the cities of my screenplay. Just as stories set in a near-future "emphasize the portrayal of urban visions 'just around the corner'",37 'Melbourne-flipped', set in a parallel present, does not offer a feminist utopia; rather, a version of Melbourne, limited by the imagination of the protagonist according to what she thinks she wants. The screenplay anticipates a film that James Walters would classify as belonging to a discrete group within alternative world films, that being those "that include an audacious or inventive narrative development".38 Specifically, the arrival of 'Melbourne-flipped' is facilitated by an inadvertent wish, and thus the city is constructed, in part, by the wish's wording (a desire to be 'at the top') and the perspective of a protagonist already established as politically unengaged and resigned to the systems within which her ambitions flounder. In this way, her perspective is aligned with a version of liberal feminism, as defined by Chris Beasley, whereby she wants "what men have got, rather than questioning its value in any thorough sense".39 Guided by this perspective, the screenplay creates a Melbourne which gives her "access to opportunities associated with men",40 by flipping her lived experience of the Melbourne from whence she came:
Screenplay 41
While not suggesting screenplays do the work of the production designer, labour that would hypothetically extend and advance upon the offers made on the page, my point here is that the narrative, as developed in the screenwriting practice, has directly informed the 'skew' of the city. The cast design, where ideally every character, however minor, has a narrative purpose, functions to assemble multiple perspectives through which to see the world; in this case the world of the possible, potential or 'subjunctive'42 Melbourne. The driver, in the excerpt above, brings an early sense of the dominant world view to a protagonist slowly coming to terms with the flipped reality within which she has found herself, and functions to reinforce and illuminate (for the protagonist, reader and, ultimately, viewer) the subtle changes in the city fixtures.
Melbourne-flipped presents itself as simultaneously strange and familiar. In transplanting the protagonist into a city where she is known by everyone (she is the Prime Minister in this parallel present), and yet no one (her friends have never met her), the screenplay is underpinned by postmodern feminism's acceptance of multiple and contradictory identities. Moreover, the flipped-reality rests upon a rejection of hierarchical dualisms, especially power and knowledge binaries of Enlightenment thought.43 The screenplay operates under the understanding that an "attack on the dualisms of rational/irrational, subject/object and culture/nature is central to both postmodern and the feminist critiques".44 The narrative is theoretically and thematically informed by a postmodern feminist sensibility that believes to "overcome the privileging of the male and the devaluing of the female" is to "reject the epistemology that created these categories",45. The protagonist makes manifest in the screenplay ideas of identity that are "comparativist rather than universalising, refusing unitary notions […] in favour of plural and complex",46 given she is literally living out two versions of herself within alternate possibilities. By this I mean, while the protagonist first introduced by the screenplay travels from Melbourne-skewed to Melbourne-flipped, it is later revealed the former Prime Minister (that is, the alternate version of herself) has experienced the reverse 'switch':47:
This scene repeats and reorients the tram ride made earlier in the screenplay by the original version of the protagonist. As is the tendency of comedy, this scene 'calls back' to earlier visual 'gags' and extends upon them. The scene, then, focuses on only one aspect of living in the world as a woman, that being, the saturation of unattainable ideal body images and the tactics of the powerful weight loss industries. This Melbourne (and the patriarchal system within which it operates) is seen through the new eyes of, ostensibly, the same character, and thus questioned from an 'alien' perspective. In this way, multiple points of view are explored over the two attempted versions of 'Melbourne' made by the screenplay. Through these perspectives, the protagonist (both of her) ultimately learns that what she wants is not necessarily what she needs, as part of the redemptive arc of transformation that is a tendency of the three-act structure (to which the sequencing model conforms, with its eight sequences over three acts). She becomes more interested in "destabilising the manifold operations of power" than enjoying the privilege that comes with being part of "a (positive) distinguishable group identity".49 In other words, a postmodern feminist framework is built into the very fabric of the screenplay, and inflects the re-presentation of the city in similar ways to its intended final medium.
Revising Melbourne's Melbourne-ness and the Gendered City
Having argued for the place of the screenplay in establishing a screen work's world and, specifically, carving out the representation of the screen city, I now turn my attention to the challenges of this labour for the screenwriter. I have written elsewhere of the slippery category of practice that is script development50 but, by most commercial definitions, this screenplay – conceived as a research artefact within the academy – has not been 'in development' in the mainstream sense. However, in the practice of shaping a story into a narrative through plotting and drafting,51 the screenplay is in development insofar as it has enjoyed multiple drafts and awaits further revision – with the next 'pass' homing in on 'writing the city'. In other words, further drafts can hone the gender perspective more specifically to Melbourne and less generically to gendered cities.
To revise is to understand that "each draft script becomes one more fixed version" and that the "final film […] is another such version".52 Thus, I note the following strengths and shortcomings of the current draft not to detour into a reflection on practice; rather, to demonstrate the aspects of screenwriting technique that can be honed to inform and propel a cinematic vision; one that promotes the "clear 'lingering effect' of films in the fabric of the city portrayed on the screen which may affect our perception of a particular location"53 – in this case, a screened Melbourne.
If, as Wong Kar-wai believes, "the most important thing about the script is to know the space it takes place in",54 then to set a comedy about comedy in Melbourne is to understand its international standing as a comedy capital with, for instance, the third largest comedy festival in the world.55 In this way, the setting works with the comedy mode56 to dictate what is described and how. The Melbourne of this screenplay, then, simultaneously absorbs and projects the tone, as in this excerpt where the protagonist explores her new – 'flipped' reality:
Screenplay.57
Maureen Thomas writes "It is characteristic of the vast majority of cities in the movies that they focus not on architecture per se, but on architecture as it affects, and is interpreted by, citizens".58 In terms of presenting a potential, subjunctive Melbourne informed by gendered perspectives, the screenplay understands, to a degree, that the city changes beyond the attitudes of the characters within:
Screenplay59
Although this extract explores, through its established comic tone, the 'Melbourne-ness' of, firstly, trams; secondly, the city's unique relationship to the national sport and, thirdly, the existing cityscape that includes Flinders Street Station's copper dome, here the writing is trying harder to present a gendered city than a version of Melbourne. The work of the text (redressing both the paucity of women's bathroom facilities and surplus of imagery peddling semi-dressed, unattainable body types) currently functions, through visual storytelling, to flip the reality women experience in any number of contemporary, Western cities. In this way, it understands that "Awareness of the departure from the norm – and hence awareness of the norm – is one of the key ingredients of the comic effect",60 but it could work harder to populate the scene more vividly with Melbourne, as well as gendered, norms.
At the same time, the screen cities of the screenplay (two Melbournes) could more keenly explore women's freedom to move safely through cities and "gendered exclusions from the right to the city caused by issues of fear and safety",61 as in this raw sequence which was not developed further for the current draft:
While this scene's inclusion may not propel the plot, it presents a Melbourne where the population unites around netball; re-presenting the atmosphere of the sports-obsessed city on the night of a grand final. The characters wander into one of Melbourne's laneways without risking the high levels of sexual harassment that women might typically experience at night in the Melbourne Central Business District; a city that warrants its own digital map, created by and for women, upon which to report streets as more or less dangerous and "gender neutral".62 This flipped-reality Melbourne, then, as Thomas writes of the New York of Sex and the City (1998) and which can be similarly applied, "is not the traditional screen city, where men are challenged to take on the violent but exciting streets and protect – or exploit – the women who frequent them, way out of their feminine element".63
The challenge of screenwriting a city into existence is, as previously noted, related to editorial discernment – the same visionary ability at other stages of the filmmaking chain required to carve out a version of the city that serves the unique universe of the screenworld. Further, a city's familiar iconography – trams, laneways and landmarks – are tempting yet, in themselves, inadequate elements for incorporation by a screenwriter seeking to write the screen city beyond the simple specifics of location. Writing the experience of the screen city is a broader endeavour, and one perhaps informed by an understanding of point-of-view – foregrounded and facilitated, in my case, by the attempt to write flipped and skewed versions of Melbourne, informed by a postmodern feminist sensibility.
This article asserts that part of the role of the screenwriter is representing – and re-presenting – a city in cinema. Screenwriting practice understands that the city setting informs storyworld, narrative and cast design, and I propose the reverse is also true – that is, these very techniques have the potential to carve out the eventual screen city. The 'screen idea' is a term coined by Ian Macdonald and defined, in part, as "a central imaginary that can be viewed from different perspectives."64 I have argued, then, that if the city is, or is part of, the screen idea, the central imaginary of the city can be viewed – and made manifest – by the different perspectives and practices inherent in the collaborative production of cinema.
The two Melbournes of my script are written with the understanding that a screenplay protagonist "will belong to a specific world, [and] then is likely to be transported to another world, either literally or metaphorically" and that therefore the screenwriter must "know what these worlds are, and how they work for the story".65 For any film that begins with a screenplay, it is the screenwriter in the first instance responsible for "casting the world".66 In turn these characters – in a thoughtful cast design – contribute to shaping the version of the screenplay's city. As Thomas puts it:
Movies most often tell stories, and these stories are usually about people and the relationships between them, so the cities they show are primarily visible on the screen and significant because they are the habitat of the characters in the dramas.67
Thus, the screenplay necessarily incorporates notions of the gendered city, and these considerations create its two Melbourne/s in more far-reaching ways than does the surface iconography. If our screen cities are called into being according to "film-makers' (sic) relationship to urban space",68 this article argues they are also intrinsically informed by the characters and story within, and around, which they live.
While cinematic cities are indisputably realised in the vision of screen producers (for example, directors, directors of photography and production designers), and choices are made about "what they take out of our cities to project on to the silver screen",69 it is often overlooked how this work starts on the pages of the screenplay. Here, decisions are made to determine a knowable world from the endless possibilities inspired by the city – "a semi-permanent but ever-changing built environment or milieu".70 Just as different directors will project different versions of familiar cities,71 so will different stories, and the perspectives through which they are told, as crafted by the screenwriter. In this case of screenwriting Melbourne, those perspectives are gendered, and the stories influenced by inner city territory claimed by the central characters. As this article argues, while the screenplay "refers only to the screen idea in the head",72 the specific skew of the city is already established by the screenwriter's choices, in terms of who inhabits the city, and the eyes through which we see it. As such, cast design and narrative development, each born of the screenplay, are significant contributing factors to the rendering of our screen cities.
Richard Koeck and François Penz. "Screen City Legibility," City: analysis of urban trends, culture, theory, policy, action 7, no. 3 (2003): 365. ↩
François Penz, "Screen Cities Introduction," ibid.: 363. ↩
Jule Selbo, "The Constructive Use of Film Genre for the Screenwriter: Mental Space of Film Genre First Exploration," Journal of Screenwriting 1, no. 2 (2010): 76. ↩
Dallas Baker, "Scriptwriting as Creative Writing Research: A Preface," TEXT Special Issue 19: Scriptwriting As Creative Writing Research (2013): 4. ↩
As French screenwriter Jean-Claude Carriére suggests, "the destiny of a screenplay is that it is never complete – or rather that it is only complete when it vanishes or disappears into the film", as cited in Steven Maras, "The Film Script as Blueprint: Collaboration and Moral Rights," Media International Australia, Incorporating Culture & Policy, no. 93 (1999): 147. ↩
Patricia Kruth, "The Color of New York: Places and Spaces in the Films of Martin Scorsese and Woody Allen," in Cinema and Architecture: Melies, Mallet-Stevens, Multimedia, ed. François Penz and Maureen Thomas (London: British Film Institute, 1997): 70. ↩
As Steven Price has put it, "The most familiar and insidious argument against the literary status of the screenplay is that it is nothing more than a planning document" The Screenplay: Authorship, Theory and Criticism (Basingstoke: Palgrave Macmillan, 2010), 44. ↩
Described by Paul Joseph Gulino as "eight to fifteen minute segments that have their own internal structure – in effect, shorter films built within the larger film" in Screenwriting: The Sequencing Approach (New York and London: Continuum, 2004): 2. ↩
"Introduction: Geography and Gender in the Urban Environment," in Women in Cities: Gender and the Urban Environment, ed. Jo Little, Linda Peak, and Pat Richardson (Washington Square: New York University Press, 1988), 12. ↩
Koeck and Penz, 373. ↩
"Wo/man in contemporary architectural discourse" in Negotiating Domesticity: spatial productions of gender in modern architecture, ed. Hilde Heynen and Gülsüm Baydar (Oxon and New York: Routledge, 2005), 35. ↩
The Female Grotesque : Risk, Excess, and Modernity (New York: Routledge, 1995), 60. ↩
Stayci Taylor, "Funny/Peculiar: A Creative Practice Approach to Flipping Perspective for Female Protagonists in Comedy Screenplays" (Dissertation, RMIT University, 2016), 80-81. ↩
Patrick Keiller, "The City of the Future," City: analysis of urban trends, culture, theory, policy, action 7, no. 3 (2003): 382. ↩
Tovi Fenster, "The Right to the Gendered City: Different Formations of Belonging in Everyday Life," Journal of Gender Studies 14, no. 3 (2005): 219. ↩
Selbo, 76. ↩
Darren Star, "Sex and the City," (USA: Home Box Office (HBO), 1998). ↩
Thomas, 410. ↩
Ibid. ↩
John Vorhaus, The Comic Toolbox: How to Be Funny Even If You're Not (St. Leonards, N.S.W: Allen & Unwin, 1994), 31. ↩
Chris Beasley, What Is Feminism Anyway? : Understanding Contemporary Feminist Thought (St Leonards: Allen & Unwin, 1999), 82. ↩
Maureen A. Flanagan and Maryann Gialanella Valiulis, "Introduction: Gender and the City: The Awful Being of Invisibility," Frontiers 32, no. 1 (2011): xiv. ↩
Baydar, 41. ↩
Little, Peak, and Richardson, 11. ↩
Rob Sitch, "The Castle," (Australia: Village Roadshow Entertainment, 1997). ↩
Justine Lloyd, "The Politics of Dislocation: Airport Tales, The Castle," in Cinema and the City: Film and Urban Societies in a Global Context, ed. Mark Shiel and Tony Fitzmaurice (Oxford and Massachusetts: Blackwell Publishers Ltd, 2001), 171. ↩
Ibid, 175. ↩
Director Rob Sitch co-wrote the screenplay with Santo Cilauro, Tom Gleisner and Jane Kennedy, as part of Working Dog, a team which "appears to exemplify 'true collaboration' with the team working across all projects in a variety of ways" Lisa French, "A 'Team' Approach: Sue Brooks, Sue Maslin and Alison Tilson," ed. Lisa French, Womenvision: Women and the Moving Image in Australia (Melbourne: Damned Publishing, 2003), 293. This suggests, perhaps, that the oft assumed discrete processes of 'screenwriting' and 'filmmaking' are already collapsed in their process. ↩
174. (emphasis added) ↩
"The Place Comes before the Story," in Moviemakers' Master Class: Private Lessons from the World's Foremost Directors, ed. Laurent Tirard (New York and London: Faber & Faber, 2002), 197. ↩
Gulino, 14. ↩
Marie-Laure Ryan, "Possible Worlds Theory," in Routledge Encyclopedia of Narrative Theory, ed. David Herman, Manfred Jahn, and Marie-Laure Ryan (London and New York: Routledge, 2005), 447. ↩
Ibid., 446. ↩
"The impossibility of science fiction: against Buckland's possible worlds," Screen 41, no, 2 (2000), 205. ↩
Ibid, emphasis in original. ↩
James Walters, Alternative Worlds in Hollywood Cinema: Resonance between Realms (Bristol and Chicago: Intellect Books, 2008), 113. ↩
Walters, 213. ↩
Beasley, 52. ↩
Taylor, 98-99. ↩
Russo has termed as 'subjunctive' "the possible world of the topsy-turvy", 60. ↩
Susan J. Hekman, Gender and knowledge: elements of a postmodern feminism (Cambridge: Polity, 1992), 8. ↩
Lucy Bolton, Film and Female Consciousness: Irigaray, Cinema and Thinking Women (Houndmills, Basingstoke, Hampshire and New York: Palgrave Macmillan, 2011), 3. ↩
As argued previously, the flipped reality device functions differently from other 'switch' narratives where "the default world remains the same, with all of its entrenched cultural, social and political norms still intact" – see, Taylor, S 2016, 'In Her Shoes: flipped-realities and female perspectives in comedy screenwriting', Senses of Cinema no. 80 <http://sensesofcinema.com/2016/new-directions/in-her-shoes-flipped-realities-and-female-perspectives-in-comedy-screenwriting/> ↩
Taylor, 154-55. ↩
See, for example, Stayci Taylor and Craig Batty, "Script Development and the Hidden Practices of Screenwriting: Perspectives from Industry Professionals," New Writing: The International Journal for the Practice and Theory of Creative Writing 13, no. 6 (2015). ↩
Linda Aronson, for instance, breaks down the process of this individual pursuit into twenty-five "development strategies": The 21st-Century Screenplay: A Comprehensive Guide to Writing Tomorrow's Films (Los Angeles: Silman-James Press, 2010), x-xi. ↩
Ian W. Macdonald, Screenwriting Poetics and the Screen Idea (Basingstoke and New York: Palgrave Macmillan, 2013), 4. ↩
197. ↩
https://www.comedyfestival.com.au/about-us/background. ↩
Like film scholar Geoff King, I reject the classification of comedy as 'genre', believing, as he suggests, that "Comedy is a mode – a manner of presentation – in which a variety of different materials can be approached, rather than any relatively more fixed or localised quantity" and that "any genre might be treated as a subject for comedy" – see Film Comedy (London: Wallflower Press, 2002), 2. ↩
Taylor, 108. ↩
King, 130. ↩
Fenster, 218. ↩
Olivia Lambert, "Women reveal harrowing stories of sexual harassment and abuse they cop on Melbourne Streets," 29 March 2017 <http://www.news.com.au/lifestyle/real-life/news-life/women-reveal-harrowing-stories-of-sexual-harassment-and-abuse-they-cop-on-melbourne-streets/news-story/9e15de77fe471d8e71822cdd5ffd61d8#sharehash> ↩
Macdonald, 6. ↩
Craig Batty, Screenplays: How to Write and Sell Them (Harpenden, Herts: Kamera Books, 2012), 47. ↩
Kruth, 70. ↩
Penz, 362. ↩
Elizabeth Grosz, "Bodies-Cities," in Sexuality and Space, ed. Beatriz Colomina (Princeton: Princeton Architectural Press, 1992), 244. ↩
See, just for one of many examples, the New Yorks of directors Woody Allen and Martin Scorsese as discussed by Kruth. ↩
Macdonald, 187. ↩
Sonic Disturbance and Chromatic Dissolution: The Cantrills remake Melbourne
Uncanny Suburbia, Hauntology and Post-Traumatic Poetics: Conversations with Dirk de Bruyn's Conversations With My Mother (1990).
Dr Stayci Taylor is an Industry Fellow with the Media program in RMIT University's School of Media and Communication. She is co-editor of the Journal of Screenwriting's special issue on Script Development, and is further published in such journals as Celebrity Studies, New Writing and TEXT. Stayci teaches screenwriting at RMIT and continues to work as a screenwriter and script consultant in film and television.
Melbourne's Capitol Theatre: "The Best Cinema That Has Ever Been Built or Is Ever Likely to Be Built"
Lisa French
Glenn D'Cruz

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text:
ГЕС Hochon 4 – гідроелектростанція у північно-східній частині Північної Кореї. Знаходячись після ГЕС Hochon 3, становить нижній ступінь дериваційного каскаду, який використовує ресурс зі сточища річки Hochon, лівої притоки Ялуцзян (басейн Жовтого моря), перекинутий в долину річки  Namdaechon (впадає до Японського моря біля міста Танчхон).

Відпрацьований на станції Hochon 3 ресурс потрапляє до тунелю, який прямує в правобережному гірському масиві Namdaechon понад 15 км. На завершальному етапі після запобіжного балансувального резервуару по схилу гори прокладено кілька напірних водоводів, які виводять до розташованого за 0,4 км наземного машинного залу.

ГЕС Hochon 4 ввели в експлуатацію ще у 1943 році, в часи японського колоніального панування у Кореї (тому вона також відома під японською назвою Kyosen). Станція має потужність 66 МВт, що є третім показником серед чотирьох основних станцій каскаду загальною потужністю 335,4 МВт.

Відпрацьована на ГЕС Hochon 4 по відвідному тунелю довжиною біля 0,2 км потрапляє до каналу, який, перш ніж злитися з Namdaechon, прямує по правобережжю майже 6 км до ГЕС Танчхонської молоді.

Починаючи з 1980 року на станціях каскаду Hochon впроваджене дистанційне керування.

Корейська війна
Починаючи з червня 1952-го авіація ООН неодноразово піддавала бомбардуванням північнокорейські електростанції. Найбільш потужні удари прийшлись на кінець червня, при цьому на другий день операції, 24 числа, ГЕС Hochon 4 була зруйнована літаками з борту авіаносця Bon Homme Richard.

У другій половині 1950-х років каскад Hochon пройшов через відбудову, під час якої первісно змонтоване тут японське обладнання замінили на постачене з Чехословаччини.

Примітки

Hochon
Hochon

redpajama_set_name: RedPajamaWikipedia


text:
<meta charset="UTF-8">
<title>processFiles - test</title>

test / processFiles

processFiles

fun <T> processFiles(processor: () -> T): List<T>

Runs processor for each file and collects its results into single list

Parameters

processor - function to receive context for symbol resolution and file for processing

redpajama_set_name: RedPajamaGithub


text:
hannah_pipes9
What did Paul Ehrlich do? (3 things) and when was he around?
Early 1900s. Found trypan red killed trypanosomes. Found Arsphenamine treats syphilis. Called it a "magic bullet" which kills microbe without harm to host
What did Gerhard Domagk do and when was he around?
1900s. Found Prontosil treated Strep and Staph. Metabolized sulfanilamide. Called this Sulfa Drugs. and Won a Nobel prize
Who is Alexander Fleming and when was he around?
1900s. Found Penicillium mold and founded Penicillin. Found microbes could kill other microbes. Got a Nobel Prize.
What is Broad-spectrum?
Effective against a wide range of microorganism (Gram + and Gram-)
What is Narrow-Spectrum?
Effective against only a small subset of microorganisms
What is an Antibiotic?
Produced by other microbes
What is a Synthetic antimicrobial agent?
Produced by chemical synthesis
What is the Minimal Inhibitory Concentration?
Minimum concentration needed to prevent growth
What is the Minimal Lethal Concentration?
The minimum concentration needed to Kill a population of microorganism
What does Penicillin inhibit?
Cell wall
How does Penicillin weaken the cell wall?
It has a beta-lactam ring and mimics D-Ala-D-ala in Transpeptidation using Penicillin-binding proteins.
What two types of Penicillin are natural?
G and V
Besides natural Penicillins, what are the rest called?
Semi-synthetic
What do Cephalosporins inhibit?
Cephalosporins came from ________________
Cephalosporium
Cephalosporins do not have a beta-lactam ring. (T/F)
False. They do.
_____________ + ______________ make up Glycopeptides
Peptide + Disaccharide
Vancomycin is a ______________
Glycopeptide
How does Vancomycin cause resistance in a cell to weaken the cell wall?
G+, binds to D-Ala-D-Ala
Vancomycin is a drug used as a last resort (T/F)
Glycopeptides inhibit what?
What to Protein Synthesis Inhibitors bind to?
Ribosomes. Prokaryotic ribosomes (30S or 50S)
What do Aminoglycosides inhibit?
Aminoglycosides are made up of __________ and bind to ________ ribosomes
Amino sugars; 30S
Streptomycin is a _____________
Amnioglycoside
What did Waksman do in 1944?
He screened 10,000 strains, found Streptomycin as the first drug for Tuberculosis, and got a Nobel Prize in 1952
Streptomycin is the first drug for _________________
Kanamycin, tobramycin, and gentamycin are in what group?
Aminoglycosides are not toxic to the host (T/F)
False. Can cause deafness or kidney damage.
Tetracyclines inhibit what?
Tetracyclines bind to __________ ribosomes and are _____________ spectrum
30S; Broad
Tetracyclines are Bacteriostatic (T/F)
Tetracyclines are non-toxic (T/F)
False. Can be toxic at high doses to the kidney, liver, and yellow teeth
Macrolides inhibit what?
Erythromycin is in what group?
Macrolides bind __________ ribosomes and are _________ spectrum
12-22 carbon ________ rings + ___________ are in Macrolides
Lactone; Sugars
What do Nucleic Acid Synthesis inhibitors do?
Inhibit DNA/RNA polymerase, DNA helicase, etc.
Quinolones and Fluoroquinolones are what (inhibit what)?
Nucleic Acid Synthesis Inhibitors
Ciprofloxacin (Cipro) is what group?
DNA gyrase, topoisomerase II are events in what group?
Quinolones are _________, _________, and ___________ spectrum
Synthetic; Bactericidal; Broad
Antimetabolites do what?
Block metabolic pathways and Competitively inhibit enzymes
Antimetabolites are __________ analogs, __________ spectrum, and bacterio__________
Structural; Broad; Static
p-aminobenzoic acid (PABA) analog is part of what group?
Sulfa drugs (Sulfonamides)
Sulfonamides (sulfa drugs) synthesize what?
Sulfonamides are apart of what group?
Trimethoprims are apart of what group?
Trimethoprim synthesize what?
Dyhydrofolate reductase is in what group?
Trimethoprim
Trimethoprim combined with sulfa drugs is what?
Synergistic
Daptomycin causes what problem to the cell?
Cell membrane disruption
Cyclic lipopeptide and G+, bactericidal are two factors in ________________
Daptomycin binds to membranes and forms what that disrupts the cell membrane?
Polymyxin B causes what problem to the cell?
Polymyxin B binds to the membrane making it more __________ and causing ____________ of cellular components
Permeable; Leakage
Polymyxin B mostly effects Gram-__________ and are ____________ toxic
Negative; Highly
Polymyxin B are often found in ____________
The Immune system is the main _______________
Microbial clearance mechanism
What is an infection?
When immune system can't effectively clear microorganisms
How can Antimicrobials help the immune system?
By decreasing microbial burden so immune system can be effective
What are the Five Drug Resistance Mechanisms?
Reduce uptake (Penetration), Efflux pumps (multidrug resistance pumps), Modify the drug, Modify the drug target, and Use an alternate pathway
What does Reducing the uptake (Penetration) do to a drug?
Makes sure the drug can't get past outer membrane, outer layer
What are two ways of Modifying the drug for resistance?
Beta-lactamase. Acetylation of aminoglycosides
What is an example of modifying the drug target and what does it do?
Enterococcus resistance to vancomycin.
It changes the terminal D-Ala-D-Ala to D-Ala-D-Lactate
How can using an alternate pathway create resistance?
Importing folic acid
Bacteria can be naturally resistant or have Acquired resistance (T/F)
What are three types of Acquired Resistance?
Mutation. Horizontal gene transfer. Antibiotic resistance cassettes on plasmids or other mobile DNA
Overuse of antimicrobials in acquired resistance selects for ________________
Resistant Strains
What is the acquired resistance crisis?
Increasing antimicrobial resistance, very few new antimicrobials
What are combinations called?
Acquired resistance screen _____________________
Natural compounds
Viruses use host _______________
Cell machinery
What are two types of Virus specific polymerases?
Viral DNA polymerases and HIV
What inhibitors are apart of HIV?
Reverse transcriptase (AZT)
What is Nevirapine and what group is it apart of?
Nonnucleoside Reverse Transcriptase Inhibitor. Antivirals.
What two diseases inhibit viral enzymes/proteins and are antivirals?
Oseltamivir (Tamiflu) and HIV protease inhibitors
Oseltamivir (Tamiflu) blocks _____________________
Influenza virus neuraminidase
What happens during HIV protease inhibitors?
Multiple proteins made as a single polypeptide and they mimic peptide bonds.
Fungi and Protozoans are ________________________ (Eukaryotes, Bacteria, or Archaea)
In Antifungals, what three differences do you look for?
Membrane sterols, Cell wall (chitin or other polysaccharides), and Folate synthesis
_______________ and ___________________ mycoses are apart of Antifungals
Superficial and Systemic
Chloroquine and Artemisinin are in what group?
Antiprotozoans
Malaria is what?
Microbial Ecology--Exam 4
Lab 20-Extracellular Enzymatic Activities of Micro…
Human Microbiome--Exam 4
Lab 21-Carbohydrate Fermentation
Clinical Significance and Introduction
Chapter 1: Body Cavities
Chapter 1: Bilateral Symmetry
Chapter 1: Directional Terms
A balanced three-phase source with $$ V_L = 240 V $$ rms is supplying 8 kVA at 0.6 power factor lagging to two wye-connected parallel loads. If one load draws 3 kW at unity power factor, calculate the impedance per phase of the second load.
What is it in the epidural space? a. fat, connective tissue, and blood vessels b. fat, connective tissue, and CSF c. dura mater d. CSF
The Ogallala Aquifer is a one-time deposit of water and has such a slow recharge rate it is\ a. huge and can accommodate the water needs of the Great Plains for at least several more decades.\ b. not replenishing at the rate it is being used, and one result is land subsidence.\ c. protected by state laws and is therefore underutilized.\ d. suffering from severe salinization as water infiltrates the ground and dissolved minerals are added to the aquifer.\ e. increasing each car with the expectation that the rate of increase will grow as the climate changes and brings more storms to the Great Plains.
What's the thermal energy of one mole of ideal gas at $0^{\circ} \mathrm{C}$ ? (a) $0 \mathrm{~J}$; (b) $1700 \mathrm{~J}$; (c) $2200 \mathrm{~J}$; (d) $3400 \mathrm{~J}$.
Recommended textbook solutions
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text:
Q: Navigating from one table view to another table view on selecting a particular cell I have a view based application which consists the following files

*

*The main view controller which has a button

*The display view controller which will display a set of countries in the form of a table

*The states view controller which will display a set of states for the countries selected in the 2nd step in the form of tables again
It's button --> countries(tableview) and after selecting a cell --> states(tableview).
Well, everything works fine, except I can't navigate to the states of the countries when I click on a particular country. Eg. if I select AUS then I don't get states of AUS.
The code is as follows.
The main view controller which has a button:
.h file
    {
     IBOutlet UIButton *btn;
    }
    -(IBAction)click;

.m file
    -(IBAction)click
        {

            display *dis=[[display alloc]initWithNibName:@"display"bundle:nil];
            [self presentModalViewController:dis animated:YES];

        }

The display view controller
.h file
                    @interface display : UITableViewController
        {
            NSArray *countries;
        }
        @property(nonatomic,retain)NSArray *countries;

        @end

the display.m file
                - (void)viewDidLoad {
                   NSArray *count=[[NSArray alloc] initWithObjects:@"India",@"USA",@"UK",@"AUS",@"SA",@"PAK",@"BANGLADESH",nil];
                    self.countries=count;
                [count release];
                self.countries=count;
                    self.title=@"Select a Country";
                    [super viewDidLoad];

                }

                - (NSInteger)numberOfSectionsInTableView:(UITableView *)tableView {
                    // Return the number of sections.
                    return 1;
                }

                - (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section {
                    // Return the number of rows in the section.
                    return [countries count];
                }

                // Customize the appearance of table view cells.
                - (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath {

                    static NSString *CellIdentifier = @"Cell";

                    UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:CellIdentifier];
                    if (cell == nil) {
                        cell = [[[UITableViewCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:CellIdentifier] autorelease];
                    }

                    // Configure the cell...
                    //countries=
                    cell.textLabel.text=[countries objectAtIndex:indexPath.row];
                    return cell;
                }

                - (void)tableView:(UITableView *)tableView didSelectRowAtIndexPath:(NSIndexPath *)indexPath {
                    // Navigation logic may go here. Create and push another view controller.
                    //UITableViewCell *thiscell=[tableView cellForRowAtIndexPath:indexPath];
                    if(indexPath.row==0)
                    {
                     states *detailViewController = [[states alloc] initWithNibName:@"states" bundle:nil];
                     // ...
                     // Pass the selected object to the new view controller.
                        //detailViewController.indexPath=self.indexPath;
                        //self.dis.indexValue=indexPath;
                     [self.navigationController pushViewController:detailViewController  animated:YES];
                        //detailViewController.indexPath=self.indexPath;
                        [self presentModalViewController:detailViewController animated:YES];

                     [detailViewController release];
                    }
                    if(indexPath.row==1)
                    {
                        states *detailViewController = [[states alloc] initWithNibName:@"states" bundle:nil];
                        // ...
                        // Pass the selected object to the new view controller.
                        [self.navigationController pushViewController:detailViewController animated:YES];
                        [self presentModalViewController:detailViewController animated:YES];

                        UITableViewCell *cell=[self.tableView cellForRowAtIndexPath:indexPath];
                        [detailViewController release];

                    }

                    [tableView deselectRowAtIndexPath:indexPath animated:NO];
                }

the statesenter code here controller
states.h file
            @interface states : UITableViewController {
                NSArray *state;
                NSArray *state1;
                NSArray *state2;
                //NSIndexPath *indexPath;
            }
            @property(nonatomic,retain) NSArray *state;
            @property(nonatomic,retain) NSArray *state1;
            @property(nonatomic,retain) NSArray *state2;
            //@property(nonatomic,retain)display *dis;
            //@property(nonatomic,retain)NSIndexPath *indexPath;
            @end

the states.m file
                     - (void)viewDidLoad {

                        NSArray *sta=[[NSArray alloc]initWithObjects:@"goa",@"ap",@"karnataka",nil];
                        self.state=sta;
                        [sta release];
                        self.state=sta;
                        [super viewDidLoad];

                            NSArray *sta1=[[NSArray alloc]initWithObjects:@"Los Angeles",@"California",@"Las Vegas",nil];
                            self.state1=sta1;
                            [sta release];
                            self.state1=sta1;
                            [super viewDidLoad];

                            NSArray *sta2=[[NSArray alloc]initWithObjects:@"Southhampton",@"Nottingham",@"London",nil];
                            self.state2=sta2;
                            [sta release];
                            self.state2=sta2;
                            [super viewDidLoad];

                        // Uncomment the following line to display an Edit button in the navigation bar for this view controller.
                        // self.navigationItem.rightBarButtonItem = self.editButtonItem;
                    }

                    - (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section {
                        // Return the number of rows in the section.
                        return [self.state count];
                    }

                    // Customize the appearance of table view cells.
                    - (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath {

                        static NSString *CellIdentifier = @"Cell";

                        UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:CellIdentifier];
                        if (cell == nil) {
                            cell = [[[UITableViewCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:CellIdentifier] autorelease];
                        }

                        // Configure the cell...
                        if(indexPath.row==0)
                        {
                        cell.textLabel.text=[state objectAtIndex:indexPath.row];
                        }
                        else if(indexPath.row==1)
                        {
                            cell.textLabel.text=[state1 objectAtIndex:indexPath.row];

                        }
                        return cell;
                    }

So when I run this code it runs fine, but I get southhampton and california whenever I select any country.
I don't want to create multiple view controllers for all states, it would be foolish to do so. So I created an array and use the states view controller to display different states arrays for the selected country.
How am I supposed to pass the indexpath value of countries to the states view controller so that I can access all the respective states of the respective countries? (Note: I haven't created all the arrays for states, just created two to just check.)

A: hey just use setTableArray of stateView in didSelectRowAtIndexPath delegate method of countriesView...
setTableArray method like Bellow:
-(void)setTableArray:(NSMutableArray *)arr
{
    arrData = arr;
    [arrData retain];
    //[tblView reloadData];
}

here arrData is MutableArray....
when you push the stateView fromdidSelectRowAtIndexPath at that time just set aaray like bellow...
[detailViewController setTableArray:yourArray];

here you just get data with selected country index and pass that array insted of yourArray...
hope, this help you...
:)

A: First thing why you are comparing indexPath in  didSelectRowAtIndexPath of display view controller?You can put code like this also. if you only want to pass indexPath:
- (void)tableView:(UITableView *)tableView didSelectRowAtIndexPath:(NSIndexPath *)indexPath {
    //UITableViewCell *thiscell=[tableView cellForRowAtIndexPath:indexPath];
    states *detailViewController = [[states alloc] initWithNibName:@"states" bundle:nil];
    //Pass the selected object to the new view controller.
    detailViewController.m_SelectedIndexPath=indexPath;
    [self.navigationController pushViewController:detailViewController  animated:YES];        [self presentModalViewController:detailViewController animated:YES];
    [detailViewController release];

[tableView deselectRowAtIndexPath:indexPath animated:NO];
 }

and In states.m, cellForRowAtIndexPath you can check m_SelectedIndexPath like this:
- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath
 {
    static NSString *CellIdentifier = @"Cell";
    UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:CellIdentifier];
     if (cell == nil) {
    cell = [[[UITableViewCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:CellIdentifier] autorelease];}

 // Configure the cell...
 if(m_SelectedIndexPath == 0)
 {
     cell.textLabel.text=[state objectAtIndex:indexPath.row];
 }
  else if(m_SelectedIndexPath==1)
 {
     cell.textLabel.text=[state1 objectAtIndex:indexPath.row];
 }
  return cell;
 }

Second thing you are pushing as well as presenting tableview.You should push or present.

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text:
Renewable energy supply to double in major economies by 2030
Reuters , Thursday 5 Nov 2015
Renewable energy supply in eight major economies will collectively more than double by 2030 due to new national climate and energy plans, according to a study by the think tank World Resources Institute (WRI).
Total clean energy supply from eight of the world's 10 largest greenhouse gas emitters - Brazil, China, the European Union, India, Indonesia, Japan, Mexico and the United States - will jump to 20,000 terawatt hours (TWh) from around 9,000 TWh in 2009.
That is equivalent to India's current energy demand.
"These new renewable energy targets send strong signals to energy markets and investment circles," said Jennifer Morgan, Global Director, Climate Program, WRI.
"Combined with the Paris climate agreement, it's clear that renewable energy is poised to surge forward in the next 15 years bringing clean and affordable power to millions of people worldwide."
These economies are among many which have announced new renewables targets in the past 12 months ahead of a United Nations' climate conference in Paris from Nov. 30 to Dec. 11 to fight global warming from 2020.
Canada and Russia, which are also among the world's top 10 emitting countries, were not included in the study because they have not announced post-2020 renewable energy targets.
So far, plans submitted to the U.N. by around 150 countries to cut greenhouse gases will only slow climate change and not limit rising global temperatures to two degrees Celsius, a threshold seen by scientists as avoiding the worst effects of climate change.


text:
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The IPC and Advanced Energy Economy
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Growing Innovative Companies to Scale: How Does Massachusetts Measure Up?
Richard Lester, Elisabeth Reynolds, Charles Sodini, Max Luke, Amaya Arcelus, IPC, 2015
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The New Division of Labor: How Computers Are Creating the Next Job Market
Frank Levy and Richard J. Murnane, Princeton Press, 2005
D. Hugh Whittaker, Tianbiao Zhu, Timothy J. Sturgeon, et al., 2008


Last year, we brought you the story of Michter's – the brand 264 years in the making. We took a bit of a cheap shot at the Michter's lineage and the lack of a tangible connection between the Michter's brands that date back to 1753, and the name bought following the brand owner's bankruptcy in the early 2000's. But then we backpedaled a bit, recognizing that Michter's president, Joe Magliocco, himself had a history with Michter's.
While that history may be interesting as to an appreciation of the Michter's brand today (you should check it out), this review centers around another story: Michter's and its toasted barrel finishes.
In 2014, Michter's released its first "Toasted Barrel Finished" Bourbon. That product was a standard batch of Michter's US*1 Bourbon (which we reviewed last year), but finished in a new toasted, not charred, oak barrel. That barrel was purportedly toasted over an open flame of its own wood for 60 minutes. There the bourbon rested for 26 days.
In 2017, Michter's continued the story by releasing a rye finished in toasted barrels as well. We reviewed it last year, and were a bit unimpressed, finding that the barrel took away much of the qualities that we enjoyed in the regular Barrel Strength Rye.
When the 2018 Michter's Toasted Barrel Finish Bourbon, we grabbed up a bottle. Eric Schoeder and I sat down for a review.
I'm a big fan of the Michter's Ryes. We reviewed the Barrel Strength Rye last year and it is really solid. I'm not a huge Michter's bourbon fan, whether it be the standard US*1, this Toasted Barrel Finish, or the 10 year. It isn't bad, but I just don't think it holds up to its price. For this price, I'd grab an Old Forester 1920 or 1897, a Wild Turkey Kentucky Spirit, a midrange priced MGP, a Four Roses Single Barrel, a Blanton's, or a Baker's, just to pick a few competitors with similar prices, ages and proofs from some of the big distilleries.


When I read this plot I was instantly excited! Finally, a unique, fresh new story which I couldn't wait to get into my hands!
Hiding in an Korean Boarding School! Go Girl!
Gracie comes from a loaded family that made their money in the music business. But when something horrible (which we have yet to fully discover what that actually is…) happens, she leaves home, her complicated parents to move to a boarding school in Korea! Yeah, Gracie couldn't get far enough away from her home… So she not only has to deal with her train past but also this whole new culture and social environment, but Grace took everything like a Champ. You really felt that she wanted to be there, that she wanted to make this work and take this chance to learn from such a different culture and to grow!
Making Friends, Finding Love and Heal with the help of music!
This story is a wonderful story about family dynamics and friendships and Gracie easily became friends with Sophie who grew up in the US with her Twin Brother Jason who is a famous Korean Pop Star. Jason is an interesting character and a not so easy love interest. Their friendship and finally romance was sometimes adorable cute and shy, and sometimes frustratingly slow and careful. But all in all it felt completely genuine and sweet! They initially bonded over music and I loved how music played such a big role in their life and also on their path of healing.
Hello, I Love You by Katie M. Stout is a delightfully fresh story that easily draws you in with a perfect combination of Angst, Romance and Friendship. Katie M. Stout most definitely rocks this Debut and I cannot wait to read more from her!
Katie M. Stout was here a few weeks ago and she shared her Dream Cast with me! Do not miss seeing how she pictures her characters!
Oh, I am loving this cover! And the book sounds so good! Thanks for sharing!
I wouldn't've even looked at this except I was curious what the story was behind the cover, because the cover is gorgeous. Honestly, though, the title? Made me hesitate. Still, I enjoyed "Anna and the French Kiss" because it was cute and fluffy and since this is supposed to be a lot like it, I think I'll pick it up sometime. And it's set in Korea! I love that; I don't think I've ever seen anything like that before.
I've heard such terrible things about this (the MC is one of those terrible Americans who shouldn't be allowed out of the country, etc.) it's nice to hear you liked it. Makes me want to read it, just so I can see what I think!
I've seen some mixed reviews of Hello I Love You but I still think I'd really enjoy it 🙂 I'm glad you enjoyed it and great review!
Zareena recently posted..Review: Defy by Sara B. Larson // no love triangle!


Oando Plc delivered good results and created value for its shareholders in its financial results for the full year ended, December 31, 2018, that was released yesterday.
The results showed that despite a challenging local environment, the oil and gas company was able to maintain a trend by posting positive results for the third consecutive year with the announcement of a N28.8 billion profit after tax (PAT), which was 46 per cent increase from the N19.8 billion the company recorded in 2017.
As at full year 2018, Oando's turnover increased by 37 per cent to N679.5 billion, compared with the N497.4 billion it realised the previous year, driven primarily by higher oil prices which resulted in higher oil revenue and higher gas prices. This led to higher gas revenues.
In addition, its gross profit grew by nine per cent to N96.3 billion in the year under review, from N88.1 billion in 2017.
Also, the total group borrowings decreased by 11 per cent to N210.9 billion, from N237.4 billion in 2017, while long term borrowings decreased by 23 per cent to N76.8 billion compared to N99.6 billion in the same period of 2017.
Worthy of note was the fact that, since its acquisition of ConocoPhillips Nigeria in 2014, Oando has embarked on a proactive drive to significantly reduce its debt and liabilities. From a N473.3 billion corporate facility in 2014 to N210.9 billion at the end of 2018, represented a 55 per cent decrease and in its upstream business, the company has reduced its debt by 70 per cent, from $801.6 million in 2014 to $260 million as at FYE 2018.
The statement added: "The company's full year 2018 results are further evidence that the management team is focused on maintaining a strong balance sheet, profitability, value creation and a business that is indeed here for good.
Speaking further, Tinubu said: "We remain confident in our ability to deliver significant value to shareholders in the years ahead as well as resuming our dividend payments.


Two ground blades slide past each other on cutting, leaving behind them an accurate and clean cut. The Comfort Secateurs are therefore perfect for cutting flowers, young, fresh shoots and fresh wood.
Bottom blade made of stainless steel, fibreglass-reinforced handle, integrated spring.
The GARDENA Comfort Secateurs with their non-stick-coated upper blade and a bottom blade made of rust-proof stainless steel are perfect for cutting flowers, young shoots and fresh wood. Ergonomically shaped handles permit maximum comfort when cutting. The spring is integrated into the shears so that it cannot be lost and is protected from dirt. The secateurs have a practical single-hand safety lock for safe storage. 25 year warranty.


verb (used with object), chug-a-lugged, chug-a-lug·ging.
to swallow (a container of beverage) without interruption.
verb (used without object), chug-a-lugged, chug-a-lug·ging.
to swallow a beverage without interruption.
by swallowing or gulping without interruption: drinking their soft drinks chug-a-lug.


During the 1920s and 1930s, Gordine worked on a series of sculptures that represent the physiognomic characteristics of different races. The idea that people from other cultures can be studied as depersonalised 'types' reflects the racist, colonial attitudes of the time. It can also be linked to the nineteenth century fascination for phrenology, a study of the shape of the human skull to discover character traits and mental disposition. Gordine probably made this head in Paris, drawing on popular ideas about Mongolia rather than direct observation and experience.
Dora Gordine was born in St. Petersburg in 1906 and died in London in 1991.
Inscr. 'Dora Gordine 1928' on back of neck.
Bronze, 13×7 1/2×9 1/2 (33×19×24).
Presented by an anonymous donor through the National Art-Collections Fund 1928.
Exh: Leicester Galleries, October 1928 (15).
Repr: Connoisseur, CXLII, 1958, p.236.
Modelled and cast in Paris. Other casts are in the Collections of Hugh Reynolds of Little Manor, East London, South Africa, Sir John and Lady Maude (bequeathed to them by Sir Michael Sadler), and the artist.


text:
01 October 2020 PCR test for SARS-CoV-2 persistently positive. Virus detection is not always COVID-19
Pages 264-265 (01 October 2020)
PCR test for SARS-CoV-2 persistently positive. Virus detection is not always COVID-19
Test de PCR a SARS-CoV-2 persistentemente positivo. No siempre la detección del virus es COVID-19
Carlos Herrero Hernando
carlosherrero7@hotmail.com
, Javier Amadeo Álvarez Serra, María José Elizari Saco, Silvia Martínez-Nadal, Clara Vila Cerén
Hospital de Barcelona, Barcelona, Spain
From December 31, 2019, when the detection of 27 cases of pneumonia of initially unknown aetiology was reported, to present, when there are more than 11 million confirmed cases of coronavirus disease 2019 (COVID-19), our knowledge about severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) has been increasing. In Spain, the Asociación Española de Pediatría (Spanish Association of Pediatrics) created a specific working group1 and we have at our disposal the entire international scientific output of the past months. However, several aspects of this disease remain unknown. The duration of the period of infectiousness and viral shedding is still under investigation. Based on the most recent evidence, the period during which polymerase chain reaction (PCR) tests for SARS-CoV-2 are positive is longer than the period of infectiousness. Some studies have evinced absence of viral culture viability despite positive PCR tests in samples with viral loads of less than 105 copies RNA/mL.2 Other studies have reported positive PCR tests following negative tests and clinical recovery, but this new detection has not been associated with clinical worsening or transmission to contacts in any case.3 Although this is known,4 there are cases in which uncertainty arises in clinical practice and we need to rely on different aspects to discern between prolonged viral shedding, detection of nonviable microorganisms, reinfection or reactivation.
What differentiates the case presented here from others is the positive detection of SARS-CoV-2 by PCR more than 50 days after the first positive test in association with respiratory symptoms. The patient was a girl aged 4 years that received a diagnosis of SARS-CoV-2 infection on March 31, 2020 based on a positive PCR test after presenting with isolated fever of 5 days' duration. The fever was managed at home, with a good outcome and full resolution after 6 days of illness. A follow-up PCR was not performed at the time to confirm clearance of the virus. On May 20, 2020 the patient presented in our hospital with a new episode of fever with onset 3 days prior, this time associated with cough and moderate respiratory distress. The physical examination revealed mild chest retractions and disseminated subcrepitant rales predominantly on the right side, and the haemoglobin concentration remained at 95%. The chest radiograph revealed peribronchial cuffing with a mild infiltrate in the right lower lobe. The salient findings of the initial blood workup were a white blood cell count of 15.7 × 109/L, with 84% neutrophils, and a level of C-reactive protein of 159 mg/L and a procalcitonin (PCT) level of 0.38 ng/mL. The patient received a diagnosis of superinfection in the context of bronchitis and was admitted to hospital to receive inhaled bronchodilators and intravenous antibiotherapy; she did not require oxygen therapy during the stay. Per the current protocol, we performed SARS-CoV-2 and respiratory pathogen panel PCR tests at the time of admission. The PCR test for detection of SARS-CoV-2 was positive again. The results of the blood tests were not positive for any other indicators typically found in this infection or markers of severity (total lymphocytes, 1.4 × 109/L; D-dimer, 488 ng/mL; lactate dehydrogenase, 270 U/L; interleukin-6, 17.85 pg/mL; ferritin, 78 ng/mL). The PCR panel was negative for viruses. This panel also included automatic testing for 7 bacterial species and was positive for Haemophilus influenzae. Antibiotherapy proceeded. Given the positive result of the PCR test for SARS-CoV-2 e 50 days after the initial positive PCR result and the associated respiratory manifestations, additional tests were performed for detection of antibodies against SARS-CoV-2 by means of immunochromatography (IC) and ELISA, which yielded positive results for IgG (IC +/ELISA, 8.49) and negative results for IgM (IC –/ELISA, 0.26). After nearly 72 h of intravenous antibiotherapy, the patient showed clinical improvement with resolution of fever and decreasing levels of inflammatory markers. In light of these results, the clinical outcome and microbiological tests, we approached the illness as a case of respiratory superinfection in the context of bronchitis, with shedding of SARS-CoV-2 that was not replication-competent. The day of discharge, another viral PCR test was performed, yielding the first negative result 55 days after the initial test.
The high frequency of respiratory illnesses in childhood may be a source of confusion in the efforts to control the SARS-CoV-2 pandemic. To prepare for periods when SARS-CoV-2 will coexist with other respiratory viruses, we believe it necessary to develop scores combining clinical, laboratory and microbiological parameters to guide the initial differentiation between an acute SARS-CoV-2 infection or a different type of infection in the context of a past episode of COVID-19 with prolonged viral shedding.
C. Calvo, M.G. López-Hortelano, J.C. De Carlos Vicente, J.L. Vázquez Martínez.
Recomendaciones sobre el manejo clínico de la infección por el < <nuevo coronavirus=""> > SARS-CoV2. Grupo de trabajo de la Asocicción Española de Pediatría (AEP) </nuevo>.
An Pediatr (Barc)., 92 (2020), pp. 241
R. Wölfel, V.M. Corman, W. Guggemos, M. Seilmaier, S. Zange, M.A. Müller, et al.
Virological assessment of hospitalized patients with cCOVI19.
Nature., 581 (2020), pp. 465-469
L. Lan, D. Xu, G. Ye, C. Xia, S. Wang, Y. Li, et al.
Positive RT-PCR test results in patients recovered from COVID19.
JAMA., 323 (2020), pp. 1502-1503
http://dx.doi.org/10.1001/jama.2020.2783 | Medline
Y. Xing, P. Mo, Y. Xiao, O. Zhao, Y. Zhang, F. Wang.
Post-discharge surveillance and positive virus detection in two medical staff recovered from coronavirus disease 2019 (COVID-19), China, January to February 2020.
Euro Surveill., 25 (2020),
http://dx.doi.org/10.2807/1560-7917.ES.2020.25.32.2001410 | Medline
Please cite this article as: Herrero Hernando C, Álvarez Serra JA, Elizari Saco MJ, Martínez-Nadal S, Vila Cerén C. Test de PCR a SARS-CoV-2 persistentemente positivo. No siempre la detección del virus es COVID-19. An Pediatr (Barc). 2020;93:264–265.
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