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Video Essay
2022, 6(2), Article No: 20
Heightened Genre and Women's Filmmaking in Hollywood: Twilight (Catherine Hardwicke, 2008) as Teen Gothic
Mary Harrod 1 *
1 University of Warwick, UK
https://doi.org/10.20897/femenc/12343
Published in Volume 6 Issue 2: 12 Sep 2022
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In this video essay I explore intertextuality in Twilight as a marker of cinephilic female authorship. I aim to show that the film relies for much of its gripping effect on overtly re-engaging overdetermined structures of feeling established by earlier texts, in other words by invoking genre memory. Considering the key genres with which the film engages – notably Gothic horror and romance as well as the teen film – I demonstrate how Twilight repeatedly appeals to cultural knowledge at not only an intellectual but also an emotional level. I suggest that apostrophising the mind and the body simultaneously and in a way that cannot be parsed demands to be read as a feminist gesture, since the mode of address adopted by what I call heightened genre films such as this one forecloses the viability of Cartesian dualistic understandings of human experience on which patriarchal exclusions of women and other groups have often rested.
ACCOMPANYING COMMENTARY
Deriving from my book on Heightened Genre and Women's Filmmaking in Hollywood (Harrod, 2021), this essay is planned as the first in a series staging its key claim: that a significant group of female filmmakers in Hollywood have since around 1990 been making films that are at once highly self-conscious yet highly emotionally affecting.1 Since the argument rests on the felt impact of generic echoes, the video essay format provides the ideal means to demonstrate claims about the power of clichéd audio-visual situations to move the viewer even as we are aware of their well-worn history in representation2 – or, in the words of filmmaker Agnieszka Piotrowska paraphrasing Catherine Grant, to 'explor[e] what visual intertextuality can produce in terms of new knowledge' (Piotrowska, 2020: 1).
The essay opens with a prologue adumbrating the stakes of embracing the heightened genre framework, as symptomatic of a refusal to separate thought and feeling, for feminist film studies and feminism as such. This is achieved audio-visually partly through an excerpt from another exemplary film: Greta Gerwig's 2019 Little Women. This film intradiegetically references the deployment of discourses of rationalism to side-line women, when protagonist Jo March (Saoirse Ronan) describes her desire for intellectual as well as romantic fulfilment. I link this recognition to more recent iterations of the condescending tendency to relegate women to the status of over-emotional fools, reproducing the example of UK Prime Minister David Cameron's 2011 gendered jibe to a female colleague in Parliament, 'Calm down, dear', as an emblematic case among myriad manifestations of the nefarious effects of such tenacious discourses on cultural attitudes in even the most public of fora. Indeed, Cameron's comment is succeeded by a gallery of drawn and photographic records of the inhuman treatment to which 'hysterical' women have been subjected in the name of science – a point whose larger significance becomes evident when we recall the etymology of hysteria in the Greek term for the uterus, such that the pathologised over-emotional woman stood for woman par excellence in classical Western patriarchal cultures. I further show that Little Women formally exemplifies heightened genericity by incorporating an intellectual tease into its potentially most rousing emotional scene: a romantic kiss between Jo and a French professor. It interrupts the swelling score and deadline structure, which has Jo chase her departing suitor to the train station and beg him not to move away, in order to reveal the scene to have been added to her own novelisation of her life, in a Russian doll figuration that reaches out to the extratextual female author. However, the romance moment is still played out for effect (rather than spoofed by foregrounding parodic elements) and comprises the film's climactic high in terms of affective trajectory.
The main body of the essay then analyses Twilight as a more subtle but also more thoroughgoing example of heightened genre. Considering the key genres in which Hardwicke's film can be situated, with a view to probing its knowing yet participatory relationship with these, the Gothic emerges as a master category in its defining referentiality to past forms (Spooner, 2006: 9-10). Further, just as the Gothic is given to 'revealing while shrouding' (Branch, 2010: 64), Twilight epitomises heightened genre because it underscores the artificiality of generic elements while fully inviting the viewer's willing multi-sensory 'seduction' (Wilson, 2011; 2014: xii) by these, in a manner that simultaneously resonates with Pamela Craig and Martin Fradley's (2010: 87) description of teen horror in terms of an enduring stress on 'heightened subjective experience and psychological perception, appealing to emotional rather than objective realism' (original emphasis).
To instantiate the film's reliance on Gothic conventions in the video essay, I first juxtapose images of Gothic architecture and art with shots from Twilight, before reading from classic Gothic poem 'Goblin Market' alongside moments from the film with which it bears not only narrative but also remarkably strong visual, aural and altogether sensory comparison. Twilight's similarity to historical vampire films specifically is then drawn out, emphasising such texts' status as already situated at the interface of intellectual appeal – cult fan cultures that catalogue references – and an emotive address in which implied violence engages an erotic register. This apprehension tallies with the way in which not only have vampires become associated with an urgent drive to signify discursively in general (Williamson, 2005: 2), but Anne Morey's examination of Jane Eyre's influence on Twilight illuminates their specific aptness as signifiers of romance, as an ideology based on extreme gender difference. Accordingly, the essay moves next to considering Twilight's debt to nineteenth-century Romantic-Gothic literature, notably as adapted for cinema, with excerpts drawn from versions of Lady Chatterley and Wuthering Heights as well as Jane Eyre. The resulting medley of dialoguing scenes articulates the fact that a female concern with the natural world, theorised as purely haptic in relation to art cinema, also addresses representational memories.3 It thus evokes the way in which, just as the Gothic takes in both surface and depth, Twilight works the interrelated seams of sensory-emotive evocation and cognitively produced signification together, to suggest that there is no meaningful way to separate these scenes' sensuous qualities from their history of connoting (female-accented) sensuality: our sensory-emotive 'insides' are acted on and shaped by outside forces unavoidably embedded in culture and the discursive.
Noting the overlap between romantic desire and the death drive in such textual situations, not to mention the variety of historical representations of vampires, a related, secondary discursive thread of this section of the essay focuses on Twilight's thorough scrambling of gendered conceptions of genre itself, given the historical associations of horror with masculinity and romance with femininity. In this way, Hardwicke's movie is revealed to preclude binaristic understandings at all levels: just as for Christine Gledhill (2017: x) analysis of genre storytelling can expose 'the genericity of social gender', here, likewise, probing the aporias of social gender tags goes hand in hand with exploding the myth of total generic coherence.
After illustrating the intermittent degree of explicitness in Twilight about its own fantastical status, the third part of the essay then looks at how the film achieves its blurring of categories in relation to the teenpic. Part of the objective here is to demonstrate the way in which participation in various genres can be one means to throw the codes pertaining to each into relief. Cross-cutting between clips from Hardwicke's film and other teen or related movies shows how choices of setting and dialogue in particular, as well as specific stylistic features such as the use of slow-motion, wink knowingly at overdetermined teen (and sometimes other, more generalised, narrative) cinematic conventions – and very often their gendered nature, especially in teen horror (Driscoll, 2012; Clover, 1992) – while still situating the viewer in the affectively saturated world of adolescents and tapping into our own (cultural) memories of highly charged teen experiences. 4 Importantly, it is here that the essay gestures implicitly back to the place of the film director in heightened genre filmmaking and analysis, indicating through a comparison between Twilight and quintessential auteur Jean-Luc Godard's Pierrot le fou (1965) that extremely overt, metafictional knowingness can be equated to direct to-audience address usually (though not exclusively) associated with auteur and art cinemas:
A text that thematizes its own self-conscious awareness of the process of its own construction unavoidably thematizes the importance of its creator (Worthington, 2001: 118).
Further, drawing on Torben Grodal's claim that moments of self-consciousness in cinema are 'more emotional than cognitive, as [they] provide[s] a "feeling" in the viewer' (Grodal, 1999: 216), the essay points to a relation of felt complicity between the viewer and the filmmaker, which has important implications for orienting us positively towards the cinephilic mainstream film director. Such a championing of Hardwicke as a skilled artist – including noting some of her original contributions to adapting Twilight from its book form in terms of costume and styling – is important given her widespread denigration in criticism disavowing the movie's spectacular success, which included attaining the record for the highest-grossing opening for any film directed by a woman (Kapurch, 2012: 183).
The final moments of the video essay acknowledge Twilight's relation to a recent trend for representing young women on screen as agentic if not violent, especially in female-authored films. However, I choose to frame the work with a quotation from George Eliot's Middlemarch (1998: 186):
To be a poet is to have a soul so quick to discern, that no shade of quality escapes it, and so quick to feel, that discernment is but a hand playing with finely-ordered variety on the chords of emotion, a soul in which knowledge passes instantaneously into feeling, and feeling flashes back as a new organ of knowledge.
The inclusion of this detail here takes the final emphasis away from representational politics to recentre questions of aesthetics choice in film practice. Specifically, it foregrounds the way in which many female authors' work exemplifies what Jane Gaines (2012: 18) has described as women filmmakers' 'highly developed social expertise in the ways and means of feeling'. It is the central claim of this first instalment of the present series of video essays that recent heightened genre filmmaking by Hardwicke in Twilight, like other women working in contemporary Hollywood, manifests particularly clearly how such expertise leads to 'the codification of emotional knowledge in genre' (Gaines, 2012: 18). Such a recognition elevates the status of the typically decried female director of contemporary mainstream cinema, resituating her as a powerful author of collective subjectivities.
Relevant filmmakers in addition to Hardwicke and Greta Gerwig, both discussed in this video essay, include Kathryn Bigelow, Amy Heckerling, Sofia Coppola, Nora Ephron and Nancy Meyers (who have received some limited critical attention) as well as Kimberly Peirce (who has received almost none). For a fuller discussion of Twilight, including extended analysis of the heightened generic power of a single shot and reflections on how the film's status as adaptation, serial narrative and object of fan cultures consolidate and expand claims about it, see pp. 117-134.↩
See also Dyer, 2007.↩
For a famous and influential example of haptic criticism on Jane Campion's The Piano, see Sobchack (2004: 61-66).↩
The essay also illustrates how Hardwicke' film engages yet stakes out its distance from the commodified, 'shiny' aesthetics of girl teen films specifically. On this topic, see also Colling (2017: 68), building on the work of Mary Celeste Kearney and Marina Warner.↩
Branch, L. (2010). Carlisle's Cross: Locating the Post-Secular Gothic. In A. M. Clarke and M. Osborn (eds), The Twilight Mystique: Critical essays on the novels and films (pp. 60-79). Jefferson, NC and London: McFarland and Co.
Clover, C. J. (1992). Men, Women and Chain Saws: Gender in the modern horror film. Princeton: Princeton University Press.
Colling, S. (2017). The Aesthetic Pleasures of Girl Teen Film. New York and London: Bloomsbury. https://doi.org/10.5040/9781501318528
Craig, P. and Fradley, M. (2010). Teenage traumata: Youth, affective politics and the contemporary American horror film. In S. Hantke (ed), American Horror Film: The genre at the turn of the millennium (pp. 77-102). Jackson: University of Mississippi Press. https://doi.org/10.14325/mississippi/9781604734539.003.0006
Driscoll, C. (2012). Girl culture and the 'Twilight' Franchise, in A. Morey (ed), Genre, Reception and Adaptation in the 'Twilight' Series (pp. 95-112). Farnham: Ashgate.
Dyer, R. (2007). Pastiche. London and New York: Routledge.
Eliot, G. (1998). Middlemarch. Hertfordshire, UK: Wordsworth Classics.
Gaines, J. (2012). The genius of genre and the ingenuity of women. In C. Gledhill (ed), Gender Meets Genre in Postwar Cinemas (pp. 15-28). Chicago: University of Illinois Press.
Grodal, T. (1999). Moving Pictures: A new theory of film genres, feelings, and cognition. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780198159834.001.0001
Gledhill, C. (2017). Preface. In M. Harrod and K. Paskiewicz (eds), Women Do Genre in Film and Television (pp. ix-xiv). London and New York: Routledge.
Harrod, M. (2021). Heightened Genre and Women's Filmmaking in Hollywood: The rise of the cine-fille. London: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-70994-5
Kapurch, K. (2012). 'I'd never given much thought to how I would die': Uses (and the decline) of voiceover in the 'Twilight' films, in A. Morey (ed.), Genre, Reception and Adaptation in the 'Twilight' Series (pp. 181-197). Farnham: Ashgate.
Morey, A. (2012). 'Famine for food, expectation for content': Jane Eyre as Intertext for the Twilight Saga. In A. Morey (ed), Genre, Reception, and Adaptation in the Twilight Series (pp. 15-28). London: Routledge.
Piotrowska, A. (2020). What does (a nasty) woman want? Feminist Encounters: A Journal of Critical Studies in Culture and Politics, 4(2), 33. https://doi.org/10.20897/femenc/8521
Sobchack, V. (2004). Carnal Thoughts: Embodiment and moving image culture. Oakland: University of California Press. https://doi.org/10.1525/9780520937826
Spooner, C. (2006). Contemporary Gothic. London: Reaktion Books.
Williamson, M. (2005). The Lure of the Vampire: Gender, fiction, and fandom from Bram Stoker to Buffy. London: Wallflower Press.
Wilson, N. (2011). Seduced by Twilight: The allure and contradictory messages of the popular saga. Jefferson, NC and London: McFarland and Co.
Wilson, N. (2014). Foreword. In W. Clayton and S. Harman (eds), Screening Twilight: Critical approaches to a cinematic phenomenon (pp. x-xiv). London: I. B. Tauris.
Worthington, M. (2001). Done with mirrors: Restoring the authority lost in John Barth's Funhouse. Twentieth-Century Literature, 47(1), 114-136. https://doi.org/10.1215/0041462X-2001-2003
AMA 10th edition
In-text citation: (1), (2), (3), etc.
Reference: Harrod M. Heightened Genre and Women's Filmmaking in Hollywood: Twilight (Catherine Hardwicke, 2008) as Teen Gothic. Feminist Encounters: A Journal of Critical Studies in Culture and Politics. 2022;6(2), 20. https://doi.org/10.20897/femenc/12343
In-text citation: (Harrod, 2022)
Reference: Harrod, M. (2022). Heightened Genre and Women's Filmmaking in Hollywood: Twilight (Catherine Hardwicke, 2008) as Teen Gothic. Feminist Encounters: A Journal of Critical Studies in Culture and Politics, 6(2), 20. https://doi.org/10.20897/femenc/12343
Reference: Harrod, Mary. "Heightened Genre and Women's Filmmaking in Hollywood: Twilight (Catherine Hardwicke, 2008) as Teen Gothic". Feminist Encounters: A Journal of Critical Studies in Culture and Politics 2022 6 no. 2 (2022): 20. https://doi.org/10.20897/femenc/12343
Reference: Harrod, Mary "Heightened Genre and Women's Filmmaking in Hollywood: Twilight (Catherine Hardwicke, 2008) as Teen Gothic". Feminist Encounters: A Journal of Critical Studies in Culture and Politics, vol. 6, no. 2, 2022, 20. https://doi.org/10.20897/femenc/12343
Reference: Harrod M. Heightened Genre and Women's Filmmaking in Hollywood: Twilight (Catherine Hardwicke, 2008) as Teen Gothic. Feminist Encounters: A Journal of Critical Studies in Culture and Politics. 2022;6(2):20. https://doi.org/10.20897/femenc/12343
affect, genre, women's filmmaking, intertextual pastiche, popular cinephilia
Gender Studies, Social Sciences
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.


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No matter who your candidate is – we can all agree it's been a crazy election cycle this year. But despite the news, encouraging children to learn about voting and how our government works is an exciting topic to tackle. If your child is hoping to get into the "voting" spirit next week, take a look at this week's roundup for a few kid-friendly election crafts projects your family can try together.
The Lemonade Stand pulled together her favorite resources for Presidents' Day activities at school, but many of the ideas are perfect for Election Day. A favorite? A patriotic voter badge.
Voting doesn't always have to be about top offices. Take a cue from Studio DIY and vote for what's on the dinner table tonight with these printable ballots.
If you're going to be casting your vote, you'll need somewhere to put it. Coupons Are Great shows off this idea for making an easy, DIY ballot box.
Once the voting is done it's time to celebrate. Show off your voter pride by making one of these cute popsicle stick American flags from A Pumpkin and a Princess.


In the first steps towards developing a system for dynamic modelling of plant cell development, we have generated a 2D description of the physical properties of cells, using a novel double spring model to describe cell wall properties. This physical model provides an engine for the production of cells through enlargement and division. Fields of proliferating cells can then be programmed via a genetic script to produce and respond to different morphogens. We are using this 2D system as a pilot study for modelling cell dynamics and interactions in 3D. However it is also proving very useful as a tool for modelling interactions within single layers of cells, such as the epidermis, and for modelling zonation within a meristem.
Growth rate: The relative rate of growth of the cell defined on [0,1].
Growth axis: The direction along which anisotropic growth will occur most. This is defined relative to the dividing wall which created the cell, and may be parallel or perpendicular to it.
Division axis: The direction along which the dividing wall is formed during mitosis. Again this is defined relative to the dividing wall which created the cell.
Turgor: The internal turgor of a cell is modelled to allow it to maintain its shape and to allow the transmission of hydrostatic pressure across the tissue.
Morphogen concentrations: These form the basis of the chemical patterns which may then influence cell behaviour via the genetic script. This is analogous to gene expression in response to signalling molecules.
Morphogen production rates: The rate at which each cell is producing or degrading each of the morphogens in the system.
Timer: A timer variable is initialised to zero when a cell divides: analogous to the cell cycle.
Volume/Size: In 2D this is the area enclosed by the cell boundary. This may not be directly changed by the script but is affected by altering the growth parameters.The boundary of each cell is defined by a set of linear walls which form a closed polygon. The geometry of the walls is controlled by our spatial model.


The passage from Fiji to Vanuatu took 3 1/2 days, it was James's first blue water ocean passage. We motored out of the reef with Norman and Sara on Norsa and Geoff on Seafauke who took some great pictures of Camomile with her sails flying. I ran a net in the evening and had about half a dozen boats to call and take their positions and weather reports.
We had a good wind but unfortunately the sea was a bit lumpy and James took to his bunk. By the third day he was getting really bored but fortunately he managed to catch a yellow fin tuna, he managed to catch a second one but it got away. On the forth day James spotted land first and by 3pm we had motored around the south side of the reef and anchored in Anatom, James jumped straight in the water for a swim.
Anatom is the most southerly island of the Vanuatu group and has for a long time been overlooked by many yachts because it lacked any check-in authorities and the sail back from further up the chain against the prevailing South Easterly would be a hard flog at the best of times. This has now changed so we waited quietly at anchor in the protected lagoon behind Mystery Island and recovered from the passage until the following morning when the local policeman came to process us. We had several local people approach the boat in dug out canoes offering fruit and veggies and James couldn't resist having a try out in one of the outrigger canoes. It was more stable than he was expecting.
There were enough yachts in the anchorage for the local tribe to roll out their recently conceived welcome evening, which started with a presentation of leis, a welcome song, and displays of traditional skills like making fire with a stick and tinder.
This was followed by traditional dancing, after which we were encouraged to join in, and a banquet of locally prepared food. This was their first and so we were the guinea pigs but it was an honest and enjoyable evening that was a great success.
Mystery Island turned out to be a contrivance for the occasional cruise liner but despite this there was good snorkelling to be had and a pleasant walk around the perimeter of this small sand cay with an airstrip down it's middle. We found this set up in the middle of the 'market' square.
Meanwhile, on the mainland, the village featured a church ruined by an earthquake while, in front of it stood a "reconciliation" monument to missionaries killed shortly after their first arrival in these islands. And, yes, without cast down eyes, shuffling feet or mumbling we were told, "they were eaten". Interesting if slightly worrying for the casual visitor that there are those in the community who can recount this heritage entirely without trepidation.
After a long day sail we arrived at the island of Tanna and it's active volcano, which was the highlight of this leg both for Bill and for James who is interested in geology as part of his Open University work.
The anchorage at Port Resolution was thought by Captain Cook to have promise as a harbour because when he named it, less than 200 years ago it was deep. We anchored in good holding in about 7 meters, which due to the land being pushed upwards, is a lot less than the captain found on his lead line. As we approached we observed seawater steaming in some areas and could hear the roar of regular eruptions. Tanna was talking to us at level 3 of 5 where a 5 means evacuate or get hurt.
The trip to the crater is a 40 minute 4×4 pickup ride along tracks which look like something from the set of an extreme off-roader commercial. The ladies swiftly ensconced themselves in the cab, leaving the four men in the back where low hanging boughs swept just inches above our heads, the torrential rain, full of black grit, permeated every crevice of our clothing, and the ride bucked and rolled in a spirited attempt to liberate itself of the human cargo hanging on to it for grim death.
At last, and quite suddenly, the rain stopped, the jungle gave way to a vast black ash plain and the driver pulled over and parked. I don't really know what I expected, barriers, informative multiple signage, a briefing on how to avoid getting hit on the head by descending molten magma perhaps. None of the above were present, just a solitary sign proclaiming "Think Safety".
The driver told us to walk up the slope to the crater and then turn right but to avoid the choking fumes we turned left and went higher and higher to the accompaniment of nerve grinding booms which we could now feel through our feet.
Awesome is a word that has been hijacked by generations of comic books finally becoming an adjective applied to the latest and perfectly banal mobile phone or a new ipod case. These things are not awesome but looking straight down into a crater watching lumps of magma half the size of a car being hurled hundreds of feet into the air certainly is awesome.
James was suddenly 5 years old again. Shrieking and yelling he took off at a run, hundreds of feet right up to the highest point of the crater. Sue and I, clinging to each other for moral support with me pretending not to be scared witless, made our way up about half way before we realised that the splodge shaped rocks strewn around the gravelly ash slope we were picking our way through could only have been created in one way. We stood our ground however and, as darkness gradually shrouded us, the explosive emissions of glowing molten rock gave us the show of our lives.
We returned to Camomile in darkness and shed our wet and gritty clothing hoping that the heavy rain would get the black ash out of it. Wrong, the following morning our decks were covered in this abrasive grit, which had got everywhere. We spent 3 hours sluicing the boat down in attempt to get it away from winches and cars. Even the nearly new stainless rigging was showing orange streaks in the acid rain and I could swear that the Treadmaster deck looked even more threadbare than before.
It was definitely time to leave though sadly we had to part company with our good friends Norman and Sara as they made their way back to Oz and a flight home to the UK.
Our next and even more poignant goodbye was to James who picked up a flight from Port Vila three days after we checked in at the capital. He had recharged his batteries, eaten lots and was set for some skydiving in Fiji as he passed through there on his way back to the UK.
We turned up at the hot and humid arrival hall of Fiji's Nadi International Airport with at least 2 hours to spare but we were both so excited about the arrival of James that we were far too keyed up to sit around Port Denerau where the boat was moored. This would be the first time I had seen my son in 3 years and though Sue had seen him just last year on a brief visit home this was the first time he had been on the boat since well before we left. We also knew that he needed the well-earned 6 week break he was taking from his busy life. We took a pause to purge the jet lag and reacquaint ourselves with each other. Both of us being engineers, work on the diesel's cooling system for which James had brought some much needed new parts with him from the UK and then we were off.
We started with an overnight stop in Vuda point to take James to the First Landing resort and our favourite place to eat. Our waiter friend Norman (name) found us a good table and served us with the usual delicious fare we had enjoyed before. James agreed the food was wonderful.
We had visited this western side of Fiji and the Yasawa group of islands twice before and were dying to take James to see all the best bits. Having rendezvoused with Norman and Sara on their Malo 36, just before sunrise we gently motored out of a quiet bay near to Lautoka and made the day passage northwards skirting Bligh Water. This stretch of water was named after the infamous captain who, in his open boat, was chased through here by war canoes, into the Tamasua Passage.
After a long day sail we arrived at our first village anchorage at Nabukaru sheltering from the trade winds behind Sawa I Lau island. Anchoring up over night we went ashore the following morning with the traditional offering of Kava root (a pepper with a mild euphoric effect when ground and mixed with water) for the village chief. This gesture is always well received as it marks a sign of respect by the visitor for their culture and, though the days are long gone where protection is needed, grants you their blessing to freely visit their homes and territory.
The lifestyle here is basic and though the houses are often block work with corrugated iron roofing some traditional huts, made with local materials from the surrounding jungle can still be found among the overcrowded living conditions of the newer buildings. Fijians have the readiest smiles of all the peoples we have met yet on our travels. They are fun and love you to join in. James had a blast playing football with kids on the beach and touch rugby with the men, who were keen followers of the World Cup via radio, on their improvised pitch at the school.
A visit to swim one of the nearby limestone caves ducking under a flooded passage to emerge in a creepy chamber with a vertical shaft letting in just a dim vestige of sunlight to penetrate the gloom was a first for Sue. Underwater caves and spiders, well done her!
Sailing south now and starting mid morning ensured that the sun was high and behind us so that we could navigate the reefs by eyeball. The charting for the outlying islands is crude, inaccurate and incomplete so this is the only reliable method to use although I have found that Google Earth with its detailed photographic images, which clearly show the reefs, is incredibly precise if you can arrange to download the area you are in.
After the 11 mile hop we anchored up in Blue Lagoon named after the original movie of the same name that was filmed here. We had come to pay a visit to Sani and her lovely family who had been so kind to us on our last visit almost 2 years ago. We all received a warm welcome though sadly Ratu Saleem, the old chief who had so impressed us before with his worldly wisdom and intellect, had passed away.
We stayed for Sunday and went to church which is an uplifting experience by the sublime and enthusiastic harmony of the congregation's singing. Sunday lunch was prepared and eaten in the open air together with the whole of Sani's extended family and James, who had been scuba diving off nearby reefs, turned up to regale us with tales of his latest adventure instantly disappearing under a host of small black bodies wanting to swing from his arms as he spun them in circles.
There was a sad goodbye to this kind and generous family, as this was likely the last time we would see them but time pressed on and we sailed another short hop south to anchor in Narewa Bay surrounded by miles of curving white sand beach against a backdrop of jungle and swooping mountainous ridges.
The view across Narewa Bay from the top of the hill James climbed.
The jungle and hills were too much for James and pack readied he made off with a machete to plough through the jungle and on up the steep slopes beyond while his old man looked on from the deck of the boat and wondered how many times he would run out of puff if he tried to do that. Across the narrow isthmus, in a lagoon, a WW2 plane wreck can be found in around 3-4 metres of water on a sandy bottom.
After we had inspected this we sailed south again to the nearby Manta Ray pass. As the name suggests the huge rays, often more than 4 meters across, are sometimes seen here. They are gentle, graceful creatures that come to feed on the small organisms carried by the currents sluicing through the pass and can be safely shadowed at a respectful distance with just a snorkel and mask. We were in luck and James was treated to the rare and exciting experience of swimming and free-diving with these amazing fish.
Our next stop was south of the Yasawas in the Mamanutha group, by the island of Navandra, uninhabited except for a goat. Some of Fiji's best coral lies beneath the stunningly clear sea in the bay and exploring the deserted beach here and on the island next door was a lovely adventure. James decided to build a big fire in honour of my birthday, which we celebrated while there, but decided not to light it. It was to be our last taste of the rustic outlying islands with our next stop being the Musket Cove resort on Malolo Leilei. With Camomile med moored stern to a modern pontoon which forms a bridge to a tiny palm covered sandy island with a bar and a range of driftwood fired BBQs we put our feet up for a few days after our recent adventures. Civilisation is welcome when it comes in this form.
We returned to Vuda point where Sue and James decided to go into town on a local bus, windows aren't necessary.
We had a final meal at First Landing followed by a dance show performed by some locals with a wonderful photo opportunity afterwards for James.
Time was moving on and so should we. Sadly it was time to bid a fond farewell for probably the last time to Fiji's shores, one of the most beautiful countries on our travels so far.


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Mercedes-Benz C-Class Coupe For Sale in Buena Park, CA
The Mercedes-Benz House of Imports proudly serves the Buena Park, Anaheim, Cerritos and Fullerton areas of southern California.
The latest model year of the C-Class Coupe embodies sport styling, a muscular structure asserting presence on the roads. The C-Class 300 Coupe performs at 255 hp and reaches 0-60 mph in just 5.9 seconds. The C-Class Coupe leaves no stone left unturned, incorporating innovation, performance and safety.
The C-Class Coupe models:
Mercedes-Benz C 300 4MATIC®
They're nearly identical models, save for the 4MATIC® all-wheel drive drivetrain. The C300 has is a rear-wheel drive car.
The Mercedes-Benz C-Class 300 Coupe reveals a sporty edge under a sleek exterior, perfect for those willing to unleash their assertiveness on the roads. The Mercedes-AMG® C-Class Coupe also comes in Mercedes-AMG® treatment: the Mercedes-AMG® C 43 and Mercedes-AMG® C 63, an alternative for those who are ready to experiment with the boundaries of luxury and performance. The standard C-Class 300 uses sports tuning for the steering wheel to absorb shock, so that you can experience more precise handling.
Get in touch with our Finance Department today, and discuss all of your options, so you can enjoy the car of your dreams.
Mercedes-Benz C-Class Coupe Specifications
The standard Mercedes-Benz C-Class Coupe runs on a 2.0L inline-4 turbo engine, using innovative technologies to deliver higher performance with less fuel. The C 300 gets 22 city/31 hwy mpg, while the C 300 gets a similar 21 city/30 hwy mpg.**
The 2.0 inline-4 turbo geting gets 255 hp and goes 0-60 mph in 5.9 seconds. The dimensions of a Mercedes-Benz C-Class C 300 Coupe are 184.5 in. in length, 55.3 in. for height and the overall width is 79.4 in, including mirrors. The Mercedes-AMG® C 43 Coupe amplifies all the great qualities of the C 300 Coupe, intensifying power and speed.
Mercedes-Benz C-Class Coupe Features
The Mercedes-Benz C-Class 300 Coupe covers all bases of features accommodating comfort to style. A panorama roof brings the outside in. These views can be enjoyed while seated in luxurious power-front memory foam seats accessed through KEYLESS-GO, meaning you don't have to move a finger. All with enjoying peace of mind knowing that technology is on your side when it comes to safety.
Safety systems such as active brake assist and blind spot go beyond just seat-belts to assist you.. Android Auto and Apple CarPlay leave you always connected to your smartphone. Upgrade to the Mercedes-Benz C 300 4MATIC® Coupe, for included all-wheel drive (AWD) to support you in all driving conditions. The sensual four passenger cockpit removes all boundaries of a typical interior, creating an experience for all passengers. Never lose track of your destination with optional COMAND navigation system.
Buying a Mercedes-Benz C-Class Coupe Near Buena Park, CA
Do you want a truly unique Mercedes-Benz C-Class Coupe? Custom order your new vehicle today and ensure every detail is suited to you. We want you to get the car that you can't stop thinking about, so why not finance a C-Class 300 Coupe?
If you are someone who doesn't want to own a car outright, and likes to have the newest models, then leasing might be better for you, contact our Finance Team to discuss your options. For peace of mind, there are warranties available for your new and Certified Pre-Owned (CPO) vehicles.
Come by your local Mercedes-Benz dealership at House of Imports today for a test drive. We're located at 6862 Auto Center Drive, Buena Park, CA 90621.
*Base MSRP excludes transportation and handling charges, destination charges, taxes, title, registration, preparation and documentary fees, tags, labor and installation charges, insurance, and optional equipment, products, packages and accessories.
**Based on 2020 EPA mileage ratings. Use for comparison purposes only. Your mileage will vary depending on driving conditions, how you drive and maintain your vehicle, battery-pack age/condition and other factors.

redpajama_set_name: RedPajamaCommonCrawl


text:
Director of the Federal Bureau of Investigation
2005-2012 Works as a partner at King & Spalding for 12 years, a firm which counts among its clients: (USAToday)
Rosneft, one of the largest state controlled oil companies in Russia
Gazprom, one of the largest state controlled oil companies in Russia
2013-2016 At King and Spalding, personally worked to defend Chris Christie in the Bridgegate scandal. During the scandal, a missing cellphone of Christie's containing vital evidence was being sought and was only found two years later, in Wray's possession. (NJ.com)(NYTimes)
7/10/17 A financial disclosure form shows that Wray received a partnership share from his Atlanta lawfirm of $9.2 million. He has received payments for legal services from large corporations including: Wells Fargo, Chevron, CreditSuisse and two online betting groups FanDuel and DraftKings. Also payment from New Jersey governor Chris Christie. The disclosure also lists a mortgage on a personal residence valued at $1-$5 million. (CNN)
9/27/17 White House announces Trump will skip the ceremony for newly appointed FBI Director Wray, breaking with tradition, presumably to avoid contact with former FBI head James Comey and special counsel Robert Mueller, who is leading a sprawling investigation of Trump. (Newsweek)
Director of FBI Facts
Official Title: Director of the Federal Bureau of Investigation
Term: 10 years
Based in: J. Edgar Hoover Building, Washington, D.C.
Reports to: Attorney General and Director of National Intelligence
Appointed by: the President with advice and consent of the Senate
Origin: 1908
Function: Serves as both the domestic intelligence and security service of the U.S. as well as the nation's prime federal law enforcement agency. Member of the U.S. Intelligence Community, leading efforts in counterterrorism, counterintelligence and crime investigation in over 200 categories of federal crimes.
Budget: $8.3 billion (FY2014)
Number of Underlings: 35,000
Agency Motto: Fidelity, Bravery, Integrity
Christopher Wray Facts
Name: Christopher Asher Wray
Born: December 17, 1966, New York City, NY
Mother: Gilda Gates Wray, charity officer
Father: Cecil Wray, Jr., lawyer
Married: Helen Garrison Howell (m.1989)
Children: two
Phillips Academy, Andover, MA
BA from Yale University, cum laude, 1989
JD from Yale Law School, 1992
Clerkship for Judge J. Michael Luttig, U.S. Court of Appeals, 4th Cir.
1997-2001 Assistant U.S. Attorney for N. Dist. Of Georgia
2001-2003 Justice Department associate deputy attorney general
2003-2005 Nominated by Bush as head of Criminal Division of the Justice Department
2005-2017 Litigation partner at King & Spalding, D.C. and Atlanta offices.
2017 Tapped by Trump for director of the F.B.I.


Jay X2 is a lightweight, maintenance-free, fluid wheelchair cushion with a reduced profile that is designed to provide stability and pressure relief to active clients. Using elements from the Jay Xtreme and Active cushions, the X2 combines Jay's time-tested designs with its latest technologies.
Lightweight, stable foam base with reduced profile: Jay X2's incredibly lightweight foam keeps the overall weight of the mobility system down for active clients, while its 2.25" profile doesn't sacrifice seat-to-floor height. Its flat base allows the client to sit at the front of the cushion comfortably during daily tasks and activities. A notch at the rear of the cushion reduces pressure over the coccyx bone. Removable 1" lateral thigh supports provide additional positioning.
Jay Flow fluid insert: Jay X2 wheelchair seating features a small Jay Flow fluid insert, which conforms to each individual's shape and ensures proper fluid placement beneath bony prominences to help protect the skin from breakdown. Its zero-maintenance design delivers superior results throughout the life of the cushion.
Innovative, dual-cover system: For convenience and protection, Jay X2 features a dual-cover system. The inner cover is water-resistant and easy to wipe off and clean, while its Aqua-guard zipper and anti-wicking thread protect the foam base from fluids. The machine-washable, stretch outer cover reduces surface tension and its zipper enclosure ensures secure coverage.


Caudo Vineyard is situated in the Cadell Valley region of South Australia. Here we see on average 320 days of sunlight and blue skies each year. These conditions combined with nutrient rich soils and state of the art irrigation allows growing consistent premium quality wine while caring for the environment.
Fresh, zesty and vibrant is what we require for the River life. This field blend is no exception, full bodied and rich. Perfect for lazy days in the sun at the river's edge. Our refreshing Semillon Chardonnay is best enjoyed in the heat of the day with the company of family and friends.
BODY and flavour: light to medium body, smooth peachy notes.
Finish: A more-ish wine with a complex finish. Lighty tart yet smoothed off with a buttery finish. The tartness lingers on making the mouth water for more.


Transport for London (TfL) is today (Wednesday 12 September) seeking views on plans for a second entrance at Southwark Tube station.
The station, which has won awards for its design was opened in 1999 as part of the Jubilee Line Extension. It has approximately 17 million customers using it every year. From 2002 to 2017, daily entries and exits have doubled every five years and TfL predicts that the number of customers will increase significantly in the next 20 years.
The proposed entrance on Greet Street, at the corner of Wootton Street, will ensure the station is able to manage any future increases in passenger numbers and relieve pressure on the existing entrance. The upgrade will also provide more direct routes to The Cut and the Waterloo area, enabling customers to reach their destination quicker and will help support local businesses and restaurants. The land at the Greet Street location is owned by TfL, meaning that an entrance on this site would be cost effective.
The plans for the entrance include a planted roof and a community space. There are also plans to work with the local borough to improve the immediate area outside the entrance.
TfL will be holding two exhibitions in the coming weeks for local residents, businesses and customers to discuss these plans with the Southwark station project team. Southwark station was designed by the late Sir Richard MacCormac. It includes a glass circular ticket hall and is known for its use of natural and artificial light to guide passengers through the station.
This entrance is separate from the proposals for an over station development which includes office, retail and cultural space.
Any over station development would preserve and protect the station design and would sensitively consider the impact on the local area. TfL would publicly consult before any final decision on the design is made.


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text:
Q: Strip a part of string in linux Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 is my string and the result I want is vm-1.0.3
What is the best way to do this
Below is what I tried
$ echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 | awk -F _ {'print $2'} | awk -F - {'print $1,$2'}

vm 1.0.3
I also tried
$ echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 | awk -F _ {'print $2'} | awk -F - {'print $1"-",$2'}

vm- 1.0.3
Here I do not need space in between
I tried using cut and I got the expected result
$ echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 | awk -F _ {'print $2'} | cut -c 1-8

vm-1.0.3
What is the best way to do the same?

A: Making assumptions from the 1 example you provided about what the general form of your input will be so it can handle that robustly, using any sed:
$ echo 'Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2' |
    sed 's/^[^-]*-[^-]*-[^_]*_\(.*\)-[^-]*$/\1/'
vm-1.0.3

or any awk:
$ echo 'Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2' |
    awk 'sub(/^[^-]+-[^-]+-[^_]+_/,"") && sub(/-[^-]+$/,"")'
vm-1.0.3

A: This is the easiest I can think of:
echo "Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2" | cut -c 25-32

Obviously you need to be sure about the location of your characters. In top of that, you seem to be have two separators: '_' and '-', while both characters also are part of the name of your entry.

A: You don't need 2 calls to awk, but your syntax with the single quotes outside the curly's, including printing the hyphen:
echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 |
  awk -F_ '{print $2}' | awk -F- '{print $1 "-" $2}'

If your string has the same format, let the field separator be either - or _
echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 | awk -F"[-_]" '{print $4 "-" $5}'

Or split the second field on - and print the first 2 parts
echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 | awk -F_ '{
  split($2,a,"-")
  print a[1] "-" a[2]
}'

Or with gnu-awk a bit more specific match with a capture group:
echo Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2 |
  awk 'match($0, /^Apps-[^_]*_(vm-[0-9]+\.[0-9]+\.[0-9]+)/, a) {print a[1]}'

Output
vm-1.0.3

A: echo 'Apps-10.00.00R000-B1111_vm-1.0.3-x86_64.qcow2' | sed -E 's/^.*_vm-([0-9]+).([0-9]+).([0-9]+)-.*/vm-\1.\2.\3/'

redpajama_set_name: RedPajamaStackExchange


Martin Benn's Sepia restaurant was recently named one of the top five restaurants in the world by Michelin-starred chef and television personality Eric Ripert.
Sepia restaurant Executive Chef Martin Benn shares his Sydney food secrets.
Favourite brunch spot: Yellow, Potts Point.
Sydney's best snack: Wagyu bresaola on rye at Monopole, Potts Point.
My sweet indulgence: Anything from Flour and Stone in Woolloomooloo (the lamingtons are amazing!).
Favourite picnic spot: Milk Beach, Vaucluse. And I'd have champagne and Sydney rock oysters.
Place for a romantic dinner: Fratelli Paradiso, Potts Point.
Favourite market: Eveleigh Farmers' Markets at Carriageworks.
Best food bargain: Cafe Paci in Darlinghurst. The most creative and original tasting menu for just $85 a person. Crazy good!
Quiet night in: Always a barbecue with local seafood.
Best coffee spot: Our local, Kafeine, on Balmain's Darling Street.
Favourite deli/providore: Victor Churchill butcher store, Woollahra.
Local treasure: Rosso Pomodoro – the best pizza.
Dining with a view: Peter Gilmore's Quay at the Overseas Passenger Terminal.
Coolest dining environment: Spice Temple Sydney.
Favourite ethnic eats: Nithik's Kitchen in Rozelle for Indian.
Why I love Sydney dining: The diversity, creativity and uniqueness. Sydney food is up there with some of the best in the world.


text:
Union of Veterans' Affairs Employees (UVAE) Scholarship: Summary of Procedures
2021 applications by email only
Scholarship 2021
If you are a UVAE member in good standing in post-secondary studies or have a child going to College or University or a Trade School, UVAE will be offering a total of 5 (five) scholarships in 2021 up to a maximum total expenditure of $5000.00 in Scholarships.
Each scholarship for 2021 will be in the amount of up to $1,000.00 (one-thousand) and the deadline for submission of scholarship applications is August 1, 2021.
No more than one scholarship will be awarded to the same family in a given year and no applicant will be awarded a scholarship more than once.
The application will be reviewed as a whole, however, the scholarships will be awarded primarily based on the merit of the 500 – 800 – word essay according to the essay topic determined for the given year, as well as on the applicant's grades, volunteer and extra-curricular activities.
All documents sent by mail need to be received or postmarked no later than August 1, 2021. Documents sent by email are to be received at the UVAE National Office by 5pm EST on August 1, 2021.
Confirmation of complete applications will be provided by UVAE.
UVAE members must be in good standing.
All members in good standing or Children of members in good standing going to College/University/Trade School are eligible to apply for 1 (one) of the 5 (five) scholarships up to a maximum of $1000 (one-thousand).
Please note that the UVAE member may attend school on a part-time or full-time basis and be in any field of study. If applicants are in part-time studies, the scholarship will be awarded up to a maximum of $500.00.
Supporting Documents Required for full Application of a UVAE 2021 Scholarship
Copy of Transcript (Children of members only)
Letter of Acceptance
List of Extra Curricular Activities
List of all Volunteer Activities
Essay (500-800 words) – based on Topic for year (Topic selected by NEO)
List of Union involvement
Deadline for Applications – August 1, 2021
Submission of Applications and Supporting Documentation
• All Application Forms are to be received at the UVAE National Office no later than August 1, 2021.
• Completed application forms and supporting documents shall be forwarded to the UVAE National Office as soon as they are completed but no later than August 1, 2021 to avoid any questions of late submissions.
Applicant Requirements
Completed application form with all relevant information;
A 500 – 800 word essay on the topic chosen by the UVAE for the current year.
UVAE 2021/2022 Scholarship(s) Essay Question: Union Activism: How to better engage our Membership in the 21st Centrury?
Proof of registration with the name of the university, college or institute of higher learning.
Proof of registration payment
A transcript of most current academic standing (children of members).
• Attendance will be verified before granting of the award(s). Recipients must attend school during the academic year (Fall 2021 to Summer 2022) or it will default to another applicant.
• Recipients will be asked to provide their Social Insurance Number (S.I.N.) in order to receive the scholarship.
The UVAE reserves the right to withhold the granting of an award if no applicant is deemed to possess the necessary requirements, or for other valid reasons. All submissions become the property of the UVAE.
Completed applications must be emailed, or mailed to:
Ottawa, Ontario K2P OP2
Via Email: howarda@uvae-seac.ca
Part-time Student versus Full-Time Student:
Full-time is considered a minimum of 12 (twelve) credits.
Part-time is considered between 6 (six) and 11 (eleven) credits. I.e., Evening/weekend classes or courses taken by correspondence. Devoting a majority of their time to other activities such as employment.
The member may attend a College, University or Trade School as long as it is an accredited education learning facility. No applicant will be awarded a scholarship more than once.
Applications by UVAE members in good standing are not restricted to first-year students.
Applications from children of UVAE members in good standing are restricted to first-year students only. No applicant will be awarded a scholarship more than once.
National Selection Committee Consideration
A National Selection Committee consisting of no fewer than three (3) members of the National Executive will be appointed by the National President of the Union of Veterans' Affairs Employees.
The National Selection Committee will meet at a time and place coordinated by the UVAE National Office.
All information received from applicants will be documented and made available for the National Selection Committees consideration and selection of the successful applicants.
The successful scholarship recipients and all scholarship applicants will be formally advised of the National Selection Committee's decision.
Suitable arrangements for the presentation of the scholarship will be made by the UVAE National Office.
Following the scholarship presentations, the winner's names and photographs will be published on the UVAE Website.
UVAE_Scholarship_Application_Form
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The Raptor Center was recently featured in a Minnesota Daily article on West Nile.
Thanks for this blog. I've recently learned that virtually all pandemic virus incidents stem from (contamination by exposure to) migratory bird fowl, even though most of these viruses are not known as "bird flu". Thus, the importance of keeping our kids aware of the risks associated with dead birds is quite obvious. Further, there is apparently no clear way to predict future outbreaks of WNV owing to findings that random factors such as weather are key determinants. All quite scary stuff.


We, at Buffalo Touring Company, are committed to your touring enjoyment, and realize that, from time to time, reasons for cancellation may occur. Please read the following guidelines, and if there is ever an issue, call us - we want to work with you.
Segway® PT tour reservations made over the phone must be paid for in full.
48-hr. notice is required for Guest cancellation.
No-shows will not be refunded or rescheduled.
Late Policy: Please understand that Buffalo Touring Company may have several tours scheduled during any given day. Therefore, it is important that you and your group be on time for your scheduled tour. If a participant is more than 10-minutes late for their scheduled tour, the route will have to be modified to stick to our touring schedule.
Should Buffalo Touring Company need to cancel for circumstances beyond its control, a full refund will be issued to the Guest(s).


The European parliament decided with the PSD2 regulation that European Banks must open their systems to the world in order to boost innovation for the banking customer experience. Australia, India Singapour are following their path. But banks were never prepared to open their IT as their business was to manage users captive in their systems. This is a cultural and technical revolution. In that context of "forced innovation", what banks need to do? What Banks are actually doing? Co-author of the Banking API : State of the Market from 2015 to 2018, Mehdi will provide an overview of the current banking practices worldwide, from business strategy to API implementation to Developer portal design. To help Banks open APIs with strategy, Mehdi will propose the R.I.S.K. pattern for Banks to open and manage APIs to win the race on building the best customer experience applications.


(for a supportive firmer feel).
For those who require a supportive feel the Pocket Memory Classic is the firmest model in the Relyon memory collection.
* Single layer of independently Pocketed springs – are sewn into hard wearing pockets allowing individual movement for each spring with a wire edge to support the border edge.
* This mattress does not need to be turned, but it should be rotated once a month for the first 3 months and then every 3 months thereafter to prolong the life and comfort of the mattress.
* Supportive layer of memory foam conforms perfectly to body contours, to reduce stress and relieve aches and pains.
* Reflex foam has been especially designed to provide a supportive feel, it is highly resilient and has been treated with fire retardency for your safety.
* This fibre provides softness and resilience, which is sterilised and dust free, therefore an ideal upholstery filling for allergy sufferers.
* Provides a stronger and more robust border than a standard mattress.
* Handles are attached with a layer of flag stitching for strength so that the mattress can be rotated easily.
* All Upholstery fillings are evenly spread and held in place with strong tufts for durability.
* Highest quality ticking which is stringently colourfast, breathable and fire retardant.
* For your peace of mind, Relyon offers a 5 year guarantee on all mattresses purchased with a divan base.


Hi guys I've made an easy step by step guide to farm exp. Some of you may know of this technique already, but I would like to share with everyone.
You must be level 30+ in order to enter the Earthen's Maze. Which is located in daily instance.