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brendan meyer now
We don't find clear information about Brendan Meyer parent's information. Now the people are dithering, arguing about what to do. Stars Brendan Meyer and Jemima Kirke. You can send your sympathy in the guestbook provided and share it with the family. Richard W. Meyer Obituary. Brendan Meyer July 12, 2019. Community See All. I used to always post updates as to where my fans are from. See actions taken by the people who manage and post … See actions taken by the people who manage and post content. www.brendanmeyer.com. View Brendan Meyer's profile on LinkedIn, the world's largest professional community. Birthday . Follow actors to get notifications and filter by them in top charts. Brendan Meyer Net Worth, Height, Family, Age, Weight. J'ai très hâte de l'essayer. … Brendan Meyer. or. 2019 ... ℗ 2019 BRENDAN THOMAS MEYER. Brendan@TheFranchiseConsultingCompany.com. As a serial entrepreneur, Brendan brings over 15 years … Edmonton, Canada (where I'm from)... 4. View Brendan Meyer's profile on LinkedIn, the world's largest professional community. Here is Richard W. Meyer's obituary. Full Name: Profession: Brendan Meyer: Actor: Age: 25 years 9 months 1 days : BirthDate: 02 Oct 1994: Brendan Meyer Family & Relatives. Actor Brendan Meyer, who will be playing Nicolas Cage's son in the upcoming film "Color Out of Space," poses for a portrait in his room in Studio City. Artist. Listen to music by Brendan Thomas Meyer on Apple Music. Page Transparency See More. Brendan Meyer is best known as a TV Actor. 9,933 people like this. Movies Now Streaming Coming Soon to Theaters TV Shows On Tonight Upcoming Series Games New Releases Coming Soon search. Get premium, high resolution news photos at Getty Images Playing $5 Wednesday. Community See all. See all photos. Known for. Brendan Meyer to Star as Stilson in ENDER'S GAME in director Gavin Hood's adaptation of the Orson Scott Card novel. And her Nationality is Canadian. He also appeared in the TV series Dinosapien and starred in the TV movie Girl Vs. Monster. Brendan Meyers brings you experiential interviews, motivation, and strategies to enhance your fitness, business, and overall quality of life. Forgotten account? Contact Us Je viens de recevoir ma nouvelle voile, la Kougar 3 20m.de Niviuk. Brendan has 6 jobs listed on their profile. Brendan Meyer, Actor: The OA. He's a tech gamer kid with a bright future – that is, if he can survive teaming up with Skylar to fight off monsters. Find top songs and albums by Brendan Thomas Meyer including Say You Will, Nerve and more. Related Pages. This super psychedelic, mesmerizing horror flick feels like it's from another time. The film stars Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight, Josh C. Waller, Q'orianka Kilcher, and Tommy Chong. October 2, 1994 (age 26) Birthplace . Brendan Meyer attends the 2019 Beyond Fest opening night premieres of 'Color Out Of Space' and 'Daniel Isn't Real' at the Egyptian Theatre on September 25, 2019 in Hollywood, California. Brendan Meyer Q&A Sep 17, 2011 Teen actor Brendan Meyer has been a hit on TV in Canada, and now Disney XD is bringing his show Mr.Young to a brand new audience in the U.S.! www.brendanmeyer.com Tv Actor #8121. Artist. as Jesse in The OA as Jake Powell in Fear the Walking Dead: Flight 462 as Eric in [email protected] as Adam Young in Mr. Young. See the complete profile on LinkedIn and discover Brendan's connections and jobs at similar companies. Also available in the iTunes Store More by Brendan Thomas Meyer. Netflix, 2016 | Drama, Mystery | Trailer. He previously worked as a features writer at The Dallas Morning News and the Casper (Wyoming) Star-Tribune. Brendan Meyer - Franchise Consultant. January 22 – The King of Staten Island An aimless slacker who spends his days hanging out with his friends and smoking weed dreams of becoming a tattoo artist. In 2016, he appeared in the Netflix series The OA. Vancouver, Canada (my Canadian residence) 5. Artist. Mexico City, Mexico 3. Right now Brendan Meyer is a famous Actor in the world. Meyer also stars in "Mr. Young". 274 people follow this. People. Lavinia (Madeleine Arthur) is the bad-mouthed daughter who's into witchcraft and dark spells. Official homepage of actor, writer, and director Brendan Meyer. See the complete profile on LinkedIn and discover Brendan's connections and jobs at similar companies. Let Us Know! Now that epic sci-fi story is coming to life thanks to writer/director Richard Stanley ... Benny (Brendan Meyer) is the quiet teenager who, despite loving drugs, does everything to please his parents. From a former college athlete and exercise physiology graduate, to over 2.5 million followers on social and now owner of CreateU – he has the experiences and structure, along with his guests, to bring your vision to life. Best Performance by a Young Actress in a Leading Role . He is best known for his role as Adam Young in Mr. Young and Nelson Ort on the television show Dinosapien. Brendan Meyer. Actor. Henry is Skylar's best friend in Girl vs. Monster. He is played by Brendan Meyer. His work has appeared in ESPN, Outside Magazine and Bleacher Report. Lima, Peru 2. IVA Star Rating : 66. Brendan Meyer is a Canadian actor. 275 people like this. 9,961 people follow this. Brendan Meyer is a Canadian actor. Brendan Meyer is an accomplished actor in both theatre and film/TV. Brendan Meyer. 275 likes. Starring Joely Richardson, Q'orianka Kilcher, Tommy Chong, Brendan Meyer, Nicolas Cage If you loved Nicholas Cage in MANDY, you neeeed to see COLOR OUT OF SPACE! 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First and foremost is the love and care of the parents. With this of course, your child should have a complete and balanced diet and plenty of sun and fresh air. Physical activity is also an integral part of child development. The duration and intensity of exercise varies at diff erent ages.
Massage and gymnastics can be carried out in the fi rst weeks of an infants life, however brief and gentle the procedures. Over the time the duration can be increased to 20-25 minutes a session. For a baby older than six months the massage techniques can become stronger, using stroking, rubbing, and kneading accompanied by the words that denote the movement. At this stage, the procedure may be increased to 30-45 minutes. From six to nine months physical activity can include exercises to train walking, for example supporting the child's shoulders or under the arms and slightly tilting forward – as a result, the child refl exively takes a step. Eventually when the baby learns to stand, you can pull him or her upwards, put the child on his feet and walk together. The duration of the first lessons should be only a few minutes, increasing to 20 to 30 minutes over time.
Children older than one year love to play and repeat after their parents. Whether it be crouching with dad, dancing with mom, crawling for treasures, or kicking the ball – all of these games will help increase coordination and movements of the baby. It also useful and strongly encouraged to get out in the open air as often as possible. While playing, children become more confident and purposeful.
Children under five years should be as active as possible to encourage a healthy development. Active games, brisk walking, jogging, cycling, skipping or swimming all contribute to a child's health and should be encouraged. At the school age, the need for physical activity grows and so a child should have at least three hours a day. And so, whether it be outside with mom and dad in the park or dancing at the local kids club down the street, get out with your children or have your children get you out and enjoy the exercise!


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Home Motorsports Motorsport News Aston Martin enters Asian Le Mans Series with Eurasia Motorsport
Aston Martin enters Asian Le Mans Series with Eurasia Motorsport
In the upcoming 2016/2017 Asian Le Mans Series (ASLMS), there's going to be an Aston Martin Vantage GT3 on grid and it'll be run under the banner of Eurasia Motorsport.
The Philippine-based team has teamed up with the British automaker in a bid to win the GT Class of the ASLMS. This, however, will not be the first time for Eurasia Motorsport to run an Aston Martin as they've already done do so back in 2013 under Craft Racing. So we guess they'll do just fine.
We don't exactly know which Vantage GT3-spec their using, but the standard competition car from Aston Martin runs on a 6.0L V12 engine with more than 600 hp and 700 Nm of torque. It utilizes the Vantage road car's bonded aluminum chassis, but with a shorter wheelbase and a lower engine position. There's also a carbon fiber prop shaft and an Xtrac 6-speed sequential box with paddle shifts thrown in the package. If it's the latest 2016-spec machine, then it should have the updated engine and 4-way adjustable Bilstein dampers from GTE.
It'll run 4-hour races on every outing much like the European Le Mans Series (ELMS) and be driven by a 2 or 3 driver lineup, one of which needs to be a bronze driver.
John Gaw, Aston Martin Racing Team Principal: "Aston Martin Racing are pleased to be working with Eurasia Motorsport again in the prestigious Asian Le Mans Series, and look forward to working together to campaign a Vantage GT3 in the region in 2016 and beyond. The Aston Martin Vantage GT3 is proving once again to be a quick and capable machine, with a winning start in a number of events around the globe at the start of 2016. It will be great to push for another win in Asia after securing the GT Asia drivers title in 2015."
Mark Goddard, Eurasia Motorsport Team Principal: "We are really happy to renew our association with Aston Martin, having run the car successfully in GT Asia, achieving a podium finish in the Dubai 24H and gaining an entry for the Le Mans 24H. The team knows the car very well, we will receive engineering back up from Aston Martin Racing and we are confident with the right driver line-up we can win the GT Class."
The 2016/2017 ASLMS runs from October of this year to January of next year, visiting countries that includes as China, Japan, Thailand, and Malaysia for its 4-round season.
AsLMS
Eurasia Motorsport
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Time Attack Manila is an online magazine that focuses mainly on motor racing and the machines that are born out of competition.
Eurasia Motorsport heads to the USA with Rolex 24 at Daytona debut
Trouble-free run yields Eurasia Motorsport 14th place at Le Mans 24 Hours

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UCLA Study Shows Why One of the Biggest Obamacare Fears May Not Come To Pass
By Dan Diamond	 October 15, 2014
Something like 10 million Americans — give or take a few million — have gained health coverage thanks to the Affordable Care Act. And here's one way to put that in perspective: In just six months between late 2013 and early 2014, the nation's persistently high uninsured rate fell by a staggering 25%.
So does this mean that the nation's already busy emergency departments are about to bust at the seams, as some Obamacare critics suggest? That states still nixing the Medicaid expansion are right to worry it would overcrowd their hospitals?
Not necessarily, says UCLA's Gerald Kominski.
Kominski, director of UCLA's Center for Health Policy Research, and colleagues looked at what happened when hundreds of thousands of Californians signed up for a proto-version of Obamacare: the Low Income Health Plan, better known as the LIHP. And UCLA's new study — released on Wednesday — tracks nearly 200,000 enrollees in the LIHP between 2011 and 2013.
So while we can't yet know the fates of the millions of Americans newly covered through the ACA, we do know what happened when hundreds of thousands of Californians got covered through the LIHP: Many rushed to get treatment for unmet medical needs, driving up utilization … and then resumed more normal patterns.
"We see an increase in utilization in the first year, and especially in the first few months," Kominski tells California Healthline. "But then there's a dramatic drop-off."
"I think our results clearly show that this a temporary, not permanent phenomenon."
Coverage Expansion, Closely Studied
The ACA's transforming the nation's health system. Providers' uncompensated care is plunging. States' Medicaid programs are growing.
But the law's also helped catalyze the health policy landscape, pushing researchers to dig into some hugely important policy questions.
Namely, if you give someone health insurance, does that person really get healthier? How many lives might the Medicaid expansion actually save?
Recent studies have attempted to find solutions. "All of those questions still exist, because each expansion has its own context," says Harvard's Ben Sommers, who led some of this research. But we're starting to get answers, he suggests.
For instance, the notion that having health insurance has no positive health effects has been increasingly debunked. "That has become a weaker and weaker argument," Sommers says.
"The argument that providing health insurance provides no health benefit … my response to that is anyone who [still] thinks that's true should voluntarily go uninsured for the next five years," Kominski adds. "I'd love them to report back to me how that worked out."
At the same time, there are still major, open questions about how coverage expansion affects health spending and consumer utilization. For now, many in the policy community are looking to the influential Oregon Health Insurance Experiment for data, given that study's unique construction as a randomized controlled trial. In one major development, researchers this year suggested that Medicaid expansion in Oregon had led to a surge in ED visits.
The findings from the Oregon study have helped some states pause on opting into the ACA's Medicaid expansion. And while the findings may not be totally generalizable to other states, they're a good reminder that coverage expansion doesn't necessarily save money or come with no costs — a persistent myth championed by supporters of the health law, researchers note.
"When you give people coverage, they use more health services," Sommers notes. "And sometimes they use the things we don't want them to use."
The Oregon research is "excellent," Kominski agrees. But "I think the Oregon study, in a sense, has been the outlier. It calls into question some other studies, because it doesn't show across-the-board positive benefits."
"That's why I think our study is particularly interesting," Kominski adds. "It's not directly comparable to the Oregon Health Insurance Experiment — [but] it provides a different view of looking at the issue."
What the LIHP Shows Us
In their study, UCLA researchers separated the new LIHP enrollees into four distinct groups, based on their expected pent-up demand. (In some cases, the newly enrolled individuals had used county indigent services, or had been covered by another low-income health coverage program, or both. These enrollees were expected to have less pent-up demand for care, because they'd been using health services.)
And in the most striking finding, the UCLA researchers determined that patients with the highest expected pent-up demand — the LIHP enrollees who had lacked health coverage and hadn't previously sought out medical care — visited the ED at a rate of about 600 visits per 1,000 people in the first three months after receiving LIHP coverage.
But within the year, the rate of ED visits for this group had slowed, before stabilizing at about one-third the earlier level. Essentially, these patients been putting off their pent-up health care needs, Kominski says, and once those demands were met, they began using the health care system at a more normal level, closer to what was seen among the other LIHP enrollees.
The researchers found a similar spike-and-slowdown with inpatient utilization, too.
"We think that this is a good indication of what happens under the Medi-Cal expansion, because this is the Medi-Cal population," Kominski says.
And what that means moving forward, he argues, is that the Medi-Cal program isn't going to experience that pent-up demand — at least for the hundreds of thousands of Californians who were enrolled in the LIHP program, because they've already had a chance to get treatment.
"The findings are really good news for the state of California," Kominski says. "And it's good news for society's perspective, too."
Here's what else is making news on the road to reform.
Ohio's Medicaid expansion could be reversed. At Kaiser Health News, Sarah Jane Tribble explores the political hurdles still looming for Medicaid expansion in the Buckeye state: its conservative Legislature could roll back the expansion next year.
Can you keep Kynect but kill Obamacare? Running for re-election in Kentucky, Republican Senate Majority Leader Mitch McConnell has argued that the state's popular health insurance exchange can live on even if the ACA is struck down. But that argument seems like a sleight of hand, John Dickerson writes for Slate.
Can you keep the private option but kill Obamacare? McConnell's not alone in trying to thread the needle on the ACA in a Senate race. In Arkansas, Republican Senate candidate Tom Cotton has repeatedly affirmed his opposition to Obamacare, but danced around the issue of dropping the state's "private option," David Ramsey reports for the Arkansas Times.
Medi-Cal Road to Reform The Health Law Hospitals
By Dan Diamond
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Elsie Preston utilises discarded and forgotten material matter that she accumulates through a process of dumpster diving and bartering in an industrial wasteland. Preston uses this as her raw material for the formation of multi-unit sculptural ensembles. These environments generate an open dialogue with a contemporary material culture, reflecting a specific admiration towards industry, architecture and public space. Preston celebrates ad-hoc methods of construction, suggesting modes of re-invention through performative gestures of strength and impulsivity. Preston's sculptural installations oscillate between the monumental and the fragmented. The ephemeral and precarious nature of her work suggests a state of constant flux; offering a disorientating sense of freedom. At certain points the works appear like barricades, barriers and street furniture, asserting an authority over the viewer's navigation of space.
Sarah Summers presents a series of paintings and drawings about the experience of darkness while walking home at night. Using layers of tone, abstraction of forms, and slippery points of light and colour, the works describe the strange and surprising space of an evening suburb. Nightfall creates new shapes and colours, and shadows become portals, rich with possibility. The darkness is a lens, disrupting the stable and expected, inviting the viewer into an intangible encounter with light.
In this exhibition, I have two bodies of work, entitled "A Pack a Day" and "Pondering Art".
"A Pack a Day" is made up of seven pieces based around cigarette packets and through satire discusses the perils of smoking and potential death. My aim is to engage with the audience and encourage them to think about the effects of smoking. The pieces present my take on the anti-smoking campaigns that exist and provide a quirky and satirical look at the impact of smoking, as well as some of the old cigarette advertising styles.
"Pondering Art" is six pieces focusing on viewers' responses to art that is to invite questions of the decadence of art and the relationship between viewers."Pondering Art" is a study of reactions to gallery art. The pieces invite the viewer to consider the thoughts and emotions that will occur when pondering a piece of art.
The synaesizer is a device that makes people see what it hears and hear what it sees. Thus, it turns its audience into synesthetes. To do so, it is an artificial (multimodal and bidirectional) synesthete: its senses having been melt together. Its video system is directly plugged into the audio and vice-versa. The main techniques used here is databending, which is a form of hacking in the primary meaning of the word and generative art systems. Numerical still pictures from the series "Introspectrion" by Dorianne Wotton are interpreted as raw audio files thanks to databending. These raw audio files are then refined by a generative system based on spectrograms analysis. Finally, the properties of these sounds (pitch, attack, volume, ...) are used to animate the original still images thanks to a video synthesizer set up both by Dorianne Wotton and Exomène. One of the purposes of this work is to illustrate the proximity between brains and computers like in Herbert Simon's information theory by simulating an affection of the brain into a computer. If the synaesizer is compared with a human being, it hears with its eyes and sees with its ears and what it sees alters what it hears.
Would you like to exhibit in 2020?
Perfect for artists working in sculpture, installation, public art and spatial arts practice, including VJ's.


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Stephen Levinson
(Redirected from Stephen C. Levinson)
For Associate Justice of the Supreme Court of Hawaii, see Steven Levinson.
Stephen C. Levinson FBA (born 6 December 1947)[1] is a British social scientist, known for his studies of the relations between culture, language and cognition, currently one of the scientific directors of the Max Planck Institute for Psycholinguistics in Nijmegen, the Netherlands.
Levinson was educated at Bedales School and King's College, Cambridge, where he received a BA in Archaeology and Social Anthropology, and University of California Berkeley where he received a PhD in Linguistic Anthropology.[1] He has held posts at the University of Cambridge, Stanford University and the Australian National University, and is currently Professor of Comparative Linguistics at Radboud University. Among other distinctions, he is winner of the 1992 Stirling Prize, Fellow-elect of the Stanford Center for Advanced Study in the Behavioral Sciences, member of the Academia Europaea, and 2009 Hale Professor of the Linguistic Society of America. In 2017 Levinson received an honorary doctorate award from Uppsala University.[2]
Levinson's earliest work was with John Gumperz in interactional sociolinguistics, studying the interaction patterns in a multilingual community in India. He has written extensively on pragmatics, producing the first comprehensive textbook in the field (1983). He locates his work on pragmatics under what he has called the Gricean umbrella (2000:12ff.), a broad theory of communication that focuses on the role of conversational implicatures. His work with Penelope Brown on language structures related to formality and politeness across the world led to the publication of Politeness: Universals in Language Usage (1978/1987), a foundational work in Politeness theory.
From 1991 onward Levinson has led his own research lab, funded by the Max Planck Society and based at the Max Planck Institute for Psycholinguistics. Work in his Language and Cognition group (formerly Cognitive Anthropology research group) focuses on linguistic diversity and its importance to cognitive science. The group has played a pioneering role in developing the field of semantic typology and new models of language documentation. [1], [2] In 2009, Levinson co-wrote (with Nicholas Evans) a hotly debated article contesting the existence of non-trivial linguistic universals and arguing that linguistic diversity is a crucial datum for cognitive science.
Levinson was one of the driving forces behind a re-evaluation of the notion of linguistic relativity in the early nineties, publishing (with Gumperz) an influential review of the issue (Current Anthropology, 1991) and co-editing (with Gumperz) a volume on the topic with contributions of experts from various fields (Gumperz & Levinson 1996). An influential paper with Penelope Brown titled Immanuel Kant among the Tenejapans: Anthropology as Empirical Philosophy won the 1992 Stirling Award of the Society for Psychological Anthropology. Levinson's work on language and space (Levinson & Brown 1993, Levinson 2003, 2006) demonstrated a form of linguistic relativity by showing that speakers of languages which use different spatial systems solve non-verbal spatial tasks in distinct ways. His recent work describes the relations between culture of the inhabitants of Rossel Island, and their Yélî Dnye language.
References cited and notable publications[edit]
Levinson, Stephen C. (1983). Pragmatics. Cambridge Textbooks in Linguistics. Cambridge: Cambridge University Press. ISBN 0-521-22235-4.
Brown, Penelope; Stephen C. Levinson (1987). Politeness: Some Universals in Language Usage. Studies in interactional sociolinguistics. Cambridge: Cambridge University Press. ISBN 0-521-30862-3.
Levinson, Stephen C.; Penelope Brown (1993). "Background to "Immanuel Kant among the Tenejapans"". Anthropology Newsletter. 34 (3): 22–23.
Levinson, Stephen C.; Penelope Brown (1994). "Immanuel Kant among the Tenejapans: Anthropology as empirical philosophy". Ethos. 22 (1): 3–41. doi:10.1525/eth.1994.22.1.02a00010. JSTOR 640467.
Levinson, Stephen C. (2000). Presumptive Meanings: The Theory of Generalized Conversational Implicature. MIT Press.
Levinson, Stephen C. (2003). Space in language and cognition: explorations in cognitive diversity. Cambridge: Cambridge University Press.
Evans, Nicholas; Stephen C. Levinson (2009). "The Myth of Language Universals: Language diversity and its importance for cognitive science". Behavioral and Brain Sciences. 32 (5): 429–492. doi:10.1017/S0140525X0999094X.
Gumperz, John J.; Stephen C. Levinson (December 1991). "Rethinking Linguistic Relativity" (PDF). Current Anthropology. 32 (5): 613–623. doi:10.1086/204009. ISSN 0011-3204. JSTOR 2743696.
Levinson, Stephen C.; Pierre Jaisson (2006). Evolution and culture. Cambridge, MA: MIT Press.
Levinson, Stephen C.; David P. Wilkins (2006). Grammars of space. Cambridge: Cambridge University Press.
^ a b LEVINSON, Prof. Stephen Curtis, Who's Who 2014, A & C Black, 2014; online edn, Oxford University Press, 2014
^ http://www.uu.se/en/media/news/article/?id=7322&area=2,6,12,16&typ=artikel&lang=en
Levinson's MPI homepage
BNF: cb12461391k (data)
DBLP: 157/8758
NKC: mzk2010613381
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WorldCat Identities (via VIAF): 107792
Retrieved from "https://en.wikipedia.org/w/index.php?title=Stephen_Levinson&oldid=903881832"
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text:
Another Day, Another 2010 Ferrari 458 Italia Crashes
Viknesh Vijayenthiran August 24, 2010 Comment Now!
2010 Ferrari 458 Italia crash
Warning--this is not a joke. Less than a week after reporting about the ninth wrecked 2010 Ferrari 458 Italia (the first on U.S. soil), comes news of yet another damaged example, this time in the Czech Republic. While the damage on this latest car is not as severe as previous incidents, it is still the tenth 458 Italia to suffer a mishap in the past nine months--and remember that deliveries of the gorgeous supercar still number in the low hundreds.
The car had less than 200 miles on the odometer when the accident occurred and had been in its owner's possession for just six hours. Allegedly, the owner ran it into a ditch while trying to overtake another 'slower moving' vehicle. No doubt speed was a factor in the resulting crash.
If only drivers of exotic supercars were forced to undergo special driver training when they purchase their vehicle in order to guarantee they at least have the ability to control their pride and joy.
At least the damage doesn't look too severe and the car salvageable. Sadly, the same can't be said for previous examples. Follow the jump below to see more images, including details of the past nine damaged 458 Italias.
[Wrecked Exotics]
2010 Crashes Exotics Month Ferrari crash News Supercars
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Pagani C9 Being Homologated To Meet U.S. Standards
Concept With No Windows, No Doors. Sound Safe?
Another Day, Another Start-Up Announces An Electric Supercar
2023 Ford Mondeo is the Fusion we need Sedans January 17, 2022
2024 Ford Mustang, 2023 Alfa Romeo Tonale, 2022 Lexus LX: Car News... Today in Car News January 17, 2022
Ford patents trisected tailgate, takes aim at GM and Ram Patent January 17, 2022
2024 BMW M5, Noble M500, De Tomaso P72: This Week's Top Photos Photos Of The Week January 15, 2022
2022 Mercedes-Benz AMG SL, 2021 Polestar 1, Detroit auto show: The Week In... The Week In Reverse January 14, 2022


text:
#include "OgreGLHardwarePixelBuffer.h"

#include "OgreTextureManager.h"

#include "OgreGLTexture.h"
#include "OgreGLRenderSystem.h"
#include "OgreGLPixelFormat.h"
#include "OgreException.h"
#include "OgreLogManager.h"
#include "OgreStringConverter.h"
#include "OgreBitwise.h"
#include "OgreGLFBORenderTexture.h"
#include "OgreRoot.h"
#include "OgreGLStateCacheManager.h"

namespace Ogre {
//-----------------------------------------------------------------------------
void GLTextureBuffer::_blitFromMemory(const PixelBox &src, const Box &dst)
{
    if(!mBuffer.contains(src))
        OGRE_EXCEPT(Exception::ERR_INVALIDPARAMS, "destination box out of range",
         "GLHardwarePixelBuffer::blitFromMemory");
    PixelBox converted;

    if(GLPixelUtil::getGLInternalFormat(src.format) == 0)
    {
        // Extents match, but format is not accepted as valid source format for GL
        // do conversion in temporary buffer
        allocateBuffer();
        converted = mBuffer.getSubVolume(src);
        PixelUtil::bulkPixelConversion(src, converted);
    }
    else
    {
        // No scaling or conversion needed
        converted = src;
    }

    upload(converted, dst);
    freeBuffer();
}
//-----------------------------------------------------------------------------
void GLTextureBuffer::blitToMemory(const Box &srcBox, const PixelBox &dst)
{
    if(!mBuffer.contains(srcBox))
        OGRE_EXCEPT(Exception::ERR_INVALIDPARAMS, "source box out of range",
         "GLHardwarePixelBuffer::blitToMemory");
    if(srcBox.getOrigin() == Vector3i(0, 0 ,0) &&
       srcBox.getSize() == getSize() &&
       dst.getSize() == getSize() &&
       GLPixelUtil::getGLInternalFormat(dst.format) != 0)
    {
        // The direct case: the user wants the entire texture in a format supported by GL
        // so we don't need an intermediate buffer
        download(dst);
    }
    else
    {
        // Use buffer for intermediate copy
        allocateBuffer();
        // Download entire buffer
        download(mBuffer);
        if(srcBox.getSize() != dst.getSize())
        {
            // We need scaling
            Image::scale(mBuffer.getSubVolume(srcBox), dst, Image::FILTER_BILINEAR);
        }
        else
        {
            // Just copy the bit that we need
            PixelUtil::bulkPixelConversion(mBuffer.getSubVolume(srcBox), dst);
        }
        freeBuffer();
    }
}
//********* GLTextureBuffer
GLTextureBuffer::GLTextureBuffer(GLRenderSystem* renderSystem, GLTexture* parent, GLint face,
                                 GLint level, uint32 width, uint32 height, uint32 depth)
    : GLHardwarePixelBufferCommon(width, height, depth, parent->getFormat(), (Usage)parent->getUsage()),
      mTarget(parent->getGLTextureTarget()), mFaceTarget(0), mTextureID(parent->getGLID()),
      mLevel(level), mHwGamma(parent->isHardwareGammaEnabled()),
      mRenderSystem(renderSystem)
{
    // Get face identifier
    mFaceTarget = mTarget;
    if(mTarget == GL_TEXTURE_CUBE_MAP)
        mFaceTarget = GL_TEXTURE_CUBE_MAP_POSITIVE_X + face;

    // Get format
    mGLInternalFormat = GLPixelUtil::getGLInternalFormat(mFormat, mHwGamma);

    // Log a message
    /*
    std::stringstream str;
    str << "GLHardwarePixelBuffer constructed for texture " << mTextureID
        << " face " << mFace << " level " << mLevel << ": "
        << "width=" << mWidth << " height="<< mHeight << " depth=" << mDepth
        << "format=" << PixelUtil::getFormatName(mFormat) << "(internal 0x"
        << std::hex << value << ")";
    LogManager::getSingleton().logMessage(
                LML_NORMAL, str.str());
    */
    // Set up pixel box
    mBuffer = PixelBox(mWidth, mHeight, mDepth, mFormat);

    if(mWidth==0 || mHeight==0 || mDepth==0)
        /// We are invalid, do not allocate a buffer
        return;
    // Allocate buffer
    //if(mUsage & HBU_STATIC)
    //  allocateBuffer();
    // Is this a render target?
    if(mUsage & TU_RENDERTARGET)
    {
        // Create render target for each slice
        mSliceTRT.reserve(mDepth);
        for(uint32 zoffset=0; zoffset<mDepth; ++zoffset)
        {
            String name;
            name = "rtt/" + StringConverter::toString((size_t)this) + "/" + parent->getName();
            GLSurfaceDesc surface;
            surface.buffer = this;
            surface.zoffset = zoffset;
            RenderTexture *trt = GLRTTManager::getSingleton().createRenderTexture(name, surface, mHwGamma, parent->getFSAA());
            mSliceTRT.push_back(trt);
            Root::getSingleton().getRenderSystem()->attachRenderTarget(*mSliceTRT[zoffset]);
        }
    }
}
GLTextureBuffer::~GLTextureBuffer()
{
}
//-----------------------------------------------------------------------------
void GLTextureBuffer::upload(const PixelBox &data, const Box &dest)
{
    mRenderSystem->_getStateCacheManager()->bindGLTexture( mTarget, mTextureID );
    if(PixelUtil::isCompressed(data.format))
    {
        if(data.format != mFormat || !data.isConsecutive())
            OGRE_EXCEPT(Exception::ERR_INVALIDPARAMS,
            "Compressed images must be consecutive, in the source format",
            "GLTextureBuffer::upload");
        GLenum format = GLPixelUtil::getGLInternalFormat(mFormat, mHwGamma);
        // Data must be consecutive and at beginning of buffer as PixelStorei not allowed
        // for compressed formats
        switch(mTarget) {
            case GL_TEXTURE_1D:
                // some systems (e.g. old Apple) don't like compressed subimage calls
                // so prefer non-sub versions
                if (dest.left == 0)
                {
                    glCompressedTexImage1DARB(GL_TEXTURE_1D, mLevel,
                        format,
                        dest.getWidth(),
                        0,
                        data.getConsecutiveSize(),
                        data.data);
                }
                else
                {
                    glCompressedTexSubImage1DARB(GL_TEXTURE_1D, mLevel,
                        dest.left,
                        dest.getWidth(),
                        format, data.getConsecutiveSize(),
                        data.data);
                }
                break;
            case GL_TEXTURE_2D:
            case GL_TEXTURE_CUBE_MAP:
                // some systems (e.g. old Apple) don't like compressed subimage calls
                // so prefer non-sub versions
                if (dest.left == 0 && dest.top == 0)
                {
                    glCompressedTexImage2DARB(mFaceTarget, mLevel,
                        format,
                        dest.getWidth(),
                        dest.getHeight(),
                        0,
                        data.getConsecutiveSize(),
                        data.data);
                }
                else
                {
                    glCompressedTexSubImage2DARB(mFaceTarget, mLevel,
                        dest.left, dest.top,
                        dest.getWidth(), dest.getHeight(),
                        format, data.getConsecutiveSize(),
                        data.data);
                }
                break;
            case GL_TEXTURE_3D:
            case GL_TEXTURE_2D_ARRAY_EXT:
                // some systems (e.g. old Apple) don't like compressed subimage calls
                // so prefer non-sub versions
                if (dest.left == 0 && dest.top == 0 && dest.front == 0)
                {
                    glCompressedTexImage3DARB(mTarget, mLevel,
                        format,
                        dest.getWidth(),
                        dest.getHeight(),
                        dest.getDepth(),
                        0,
                        data.getConsecutiveSize(),
                        data.data);
                }
                else
                {
                    glCompressedTexSubImage3DARB(mTarget, mLevel,
                        dest.left, dest.top, dest.front,
                        dest.getWidth(), dest.getHeight(), dest.getDepth(),
                        format, data.getConsecutiveSize(),
                        data.data);
                }
                break;
        }

    }
    else
    {
        if(data.getWidth() != data.rowPitch)
            glPixelStorei(GL_UNPACK_ROW_LENGTH, data.rowPitch);
        if(data.getWidth() > 0 && data.getHeight()*data.getWidth() != data.slicePitch)
            glPixelStorei(GL_UNPACK_IMAGE_HEIGHT, (data.slicePitch/data.getWidth()));
        if((data.getWidth()*PixelUtil::getNumElemBytes(data.format)) & 3) {
            // Standard alignment of 4 is not right
            glPixelStorei(GL_UNPACK_ALIGNMENT, 1);
        }

        void* pdata = data.getTopLeftFrontPixelPtr();

        switch(mTarget) {
            case GL_TEXTURE_1D:
                glTexSubImage1D(GL_TEXTURE_1D, mLevel,
                    dest.left,
                    dest.getWidth(),
                    GLPixelUtil::getGLOriginFormat(data.format), GLPixelUtil::getGLOriginDataType(data.format),
                    pdata);
                break;
            case GL_TEXTURE_2D:
            case GL_TEXTURE_CUBE_MAP:
                glTexSubImage2D(mFaceTarget, mLevel,
                    dest.left, dest.top,
                    dest.getWidth(), dest.getHeight(),
                    GLPixelUtil::getGLOriginFormat(data.format), GLPixelUtil::getGLOriginDataType(data.format),
                    pdata);
                break;
            case GL_TEXTURE_3D:
            case GL_TEXTURE_2D_ARRAY_EXT:
                glTexSubImage3D(
                    mTarget, mLevel,
                    dest.left, dest.top, dest.front,
                    dest.getWidth(), dest.getHeight(), dest.getDepth(),
                    GLPixelUtil::getGLOriginFormat(data.format), GLPixelUtil::getGLOriginDataType(data.format),
                    pdata);
                break;
        }
    }

    // TU_AUTOMIPMAP is only enabled when there are no custom mips
    // so we do not have to care about overwriting
    if((mUsage & TU_AUTOMIPMAP) && (mLevel == 0))
    {
        glGenerateMipmapEXT(mTarget);
    }

    // Restore defaults
    glPixelStorei(GL_UNPACK_ROW_LENGTH, 0);
    glPixelStorei(GL_UNPACK_IMAGE_HEIGHT, 0);
    glPixelStorei(GL_UNPACK_ALIGNMENT, 4);
}
//-----------------------------------------------------------------------------
void GLTextureBuffer::download(const PixelBox &data)
{
    if(data.getSize() != getSize())
        OGRE_EXCEPT(Exception::ERR_INVALIDPARAMS, "only download of entire buffer is supported by GL",
            "GLTextureBuffer::download");
    mRenderSystem->_getStateCacheManager()->bindGLTexture( mTarget, mTextureID );
    if(PixelUtil::isCompressed(data.format))
    {
        if(data.format != mFormat || !data.isConsecutive())
            OGRE_EXCEPT(Exception::ERR_INVALIDPARAMS,
            "Compressed images must be consecutive, in the source format",
            "GLTextureBuffer::download");
        // Data must be consecutive and at beginning of buffer as PixelStorei not allowed
        // for compressed formate
        glGetCompressedTexImageARB(mFaceTarget, mLevel, data.data);
    }
    else
    {
        if(data.getWidth() != data.rowPitch)
            glPixelStorei(GL_PACK_ROW_LENGTH, data.rowPitch);
        if(data.getHeight()*data.getWidth() != data.slicePitch)
            glPixelStorei(GL_PACK_IMAGE_HEIGHT, (data.slicePitch/data.getWidth()));
        if((data.getWidth()*PixelUtil::getNumElemBytes(data.format)) & 3) {
            // Standard alignment of 4 is not right
            glPixelStorei(GL_PACK_ALIGNMENT, 1);
        }
        // We can only get the entire texture
        glGetTexImage(mFaceTarget, mLevel,
            GLPixelUtil::getGLOriginFormat(data.format), GLPixelUtil::getGLOriginDataType(data.format),
            data.getTopLeftFrontPixelPtr());
        // Restore defaults
        glPixelStorei(GL_PACK_ROW_LENGTH, 0);
        glPixelStorei(GL_PACK_IMAGE_HEIGHT, 0);
        glPixelStorei(GL_PACK_ALIGNMENT, 4);
    }
}
//-----------------------------------------------------------------------------
void GLTextureBuffer::bindToFramebuffer(uint32 attachment, uint32 zoffset)
{
    assert(zoffset < mDepth);
    switch(mTarget)
    {
    case GL_TEXTURE_1D:
        glFramebufferTexture1DEXT(GL_FRAMEBUFFER_EXT, attachment,
                            mFaceTarget, mTextureID, mLevel);
        break;
    case GL_TEXTURE_2D:
    case GL_TEXTURE_CUBE_MAP:
        glFramebufferTexture2DEXT(GL_FRAMEBUFFER_EXT, attachment,
                            mFaceTarget, mTextureID, mLevel);
        break;
    case GL_TEXTURE_3D:
    case GL_TEXTURE_2D_ARRAY_EXT:
        glFramebufferTexture3DEXT(GL_FRAMEBUFFER_EXT, attachment,
                            mFaceTarget, mTextureID, mLevel, zoffset);
        break;
    }
}
//-----------------------------------------------------------------------------
void GLTextureBuffer::copyFromFramebuffer(uint32 zoffset)
{
    mRenderSystem->_getStateCacheManager()->bindGLTexture(mTarget, mTextureID);
    switch(mTarget)
    {
    case GL_TEXTURE_1D:
        glCopyTexSubImage1D(mFaceTarget, mLevel, 0, 0, 0, mWidth);
        break;
    case GL_TEXTURE_2D:
    case GL_TEXTURE_CUBE_MAP:
        glCopyTexSubImage2D(mFaceTarget, mLevel, 0, 0, 0, 0, mWidth, mHeight);
        break;
    case GL_TEXTURE_3D:
    case GL_TEXTURE_2D_ARRAY_EXT:
        glCopyTexSubImage3D(mFaceTarget, mLevel, 0, 0, zoffset, 0, 0, mWidth, mHeight);
        break;
    }
}
//-----------------------------------------------------------------------------
void GLTextureBuffer::blit(const HardwarePixelBufferSharedPtr &src, const Box &srcBox, const Box &dstBox)
{
    GLTextureBuffer *srct = static_cast<GLTextureBuffer *>(src.get());
    /// Check for FBO support first
    /// Destination texture must be 1D, 2D, 3D, or Cube
    /// Source texture must be 1D, 2D or 3D

    // Using this in Terrain composite map RTT interferes with Impostor RTT rendering in pagedgeometry
    // I have no idea why! For the moment, disable when src is RTT
    if(GLAD_GL_EXT_framebuffer_object && (src->getUsage() & TU_RENDERTARGET) == 0 &&
        (srct->mTarget==GL_TEXTURE_1D||srct->mTarget==GL_TEXTURE_2D
         ||srct->mTarget==GL_TEXTURE_3D)&&mTarget!=GL_TEXTURE_2D_ARRAY_EXT)
    {
        blitFromTexture(srct, srcBox, dstBox);
    }
    else
    {
        GLHardwarePixelBufferCommon::blit(src, srcBox, dstBox);
    }
}

//-----------------------------------------------------------------------------
/// Very fast texture-to-texture blitter and hardware bi/trilinear scaling implementation using FBO
/// Destination texture must be 1D, 2D, 3D, or Cube
/// Source texture must be 1D, 2D or 3D
/// Supports compressed formats as both source and destination format, it will use the hardware DXT compressor
/// if available.
/// @author W.J. van der Laan
void GLTextureBuffer::blitFromTexture(GLTextureBuffer *src, const Box &srcBox, const Box &dstBox)
{
    //std::cerr << "GLTextureBuffer::blitFromTexture " <<
    //src->mTextureID << ":" << srcBox.left << "," << srcBox.top << "," << srcBox.right << "," << srcBox.bottom << " " <<
    //mTextureID << ":" << dstBox.left << "," << dstBox.top << "," << dstBox.right << "," << dstBox.bottom << std::endl;
    /// Store reference to FBO manager
    GLFBOManager *fboMan = static_cast<GLFBOManager *>(GLRTTManager::getSingletonPtr());

    /// Save and clear GL state for rendering
    glPushAttrib(GL_COLOR_BUFFER_BIT | GL_CURRENT_BIT | GL_DEPTH_BUFFER_BIT | GL_ENABLE_BIT |
        GL_FOG_BIT | GL_LIGHTING_BIT | GL_POLYGON_BIT | GL_SCISSOR_BIT | GL_STENCIL_BUFFER_BIT |
        GL_TEXTURE_BIT | GL_VIEWPORT_BIT);

    // Important to disable all other texture units
    RenderSystem* rsys = Root::getSingleton().getRenderSystem();
    rsys->_disableTextureUnitsFrom(0);
    mRenderSystem->_getStateCacheManager()->activateGLTextureUnit(0);

    /// Disable alpha, depth and scissor testing, disable blending,
    /// disable culling, disble lighting, disable fog and reset foreground
    /// colour.
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_ALPHA_TEST, false);
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_DEPTH_TEST, false);
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_SCISSOR_TEST, false);
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_BLEND, false);
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_CULL_FACE, false);
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_LIGHTING, false);
    mRenderSystem->_getStateCacheManager()->setEnabled(GL_FOG, false);

    /// Save and reset matrices
    glMatrixMode(GL_MODELVIEW);
    glPushMatrix();
    glLoadIdentity();
    glMatrixMode(GL_PROJECTION);
    glPushMatrix();
    glLoadIdentity();
    glMatrixMode(GL_TEXTURE);
    glPushMatrix();
    glLoadIdentity();

    /// Set up source texture
    mRenderSystem->_getStateCacheManager()->bindGLTexture(src->mTarget, src->mTextureID);

    /// Set filtering modes depending on the dimensions and source
    if(srcBox.getSize()==dstBox.getSize())
    {
        /// Dimensions match -- use nearest filtering (fastest and pixel correct)
        mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_MIN_FILTER, GL_NEAREST);
        mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_MAG_FILTER, GL_NEAREST);
    }
    else
    {
        /// Dimensions don't match -- use bi or trilinear filtering depending on the
        /// source texture.
        if(src->mUsage & TU_AUTOMIPMAP)
        {
            /// Automatic mipmaps, we can safely use trilinear filter which
            /// brings greatly imporoved quality for minimisation.
            mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_MIN_FILTER, GL_LINEAR_MIPMAP_LINEAR);
            mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_MAG_FILTER, GL_LINEAR);
        }
        else
        {
            /// Manual mipmaps, stay safe with bilinear filtering so that no
            /// intermipmap leakage occurs.
            mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_MIN_FILTER, GL_LINEAR);
            mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_MAG_FILTER, GL_LINEAR);
        }
    }

    /// Clamp to edge (fastest)
    mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_WRAP_S, GL_CLAMP_TO_EDGE);
    mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_WRAP_T, GL_CLAMP_TO_EDGE);
    mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_WRAP_R, GL_CLAMP_TO_EDGE);

    /// Set origin base level mipmap to make sure we source from the right mip
    /// level.
    mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_BASE_LEVEL, src->mLevel);

    /// Store old binding so it can be restored later
    GLint oldfb;
    glGetIntegerv(GL_FRAMEBUFFER_BINDING_EXT, &oldfb);

    /// Set up temporary FBO
    glBindFramebufferEXT(GL_FRAMEBUFFER_EXT, fboMan->getTemporaryFBO());

    TexturePtr tempTex;
    if(!fboMan->checkFormat(mFormat))
    {
        /// If target format not directly supported, create intermediate texture
        tempTex = TextureManager::getSingleton().createManual(
            "GLBlitFromTextureTMP", ResourceGroupManager::INTERNAL_RESOURCE_GROUP_NAME, TEX_TYPE_2D,
            dstBox.getWidth(), dstBox.getHeight(), dstBox.getDepth(), 0,
            fboMan->getSupportedAlternative(mFormat));

        glFramebufferTexture2DEXT(GL_FRAMEBUFFER_EXT, GL_COLOR_ATTACHMENT0_EXT,
            GL_TEXTURE_2D, static_pointer_cast<GLTexture>(tempTex)->getGLID(), 0);
        /// Set viewport to size of destination slice
        mRenderSystem->_getStateCacheManager()->setViewport(Rect(0, 0, dstBox.getWidth(), dstBox.getHeight()));
    }
    else
    {
        /// We are going to bind directly, so set viewport to size and position of destination slice
        mRenderSystem->_getStateCacheManager()->setViewport(Rect(dstBox.left, dstBox.top, dstBox.right, dstBox.bottom));
    }

    /// Process each destination slice
    for(uint32 slice=dstBox.front; slice<dstBox.back; ++slice)
    {
        if(!tempTex)
        {
            /// Bind directly
            bindToFramebuffer(GL_COLOR_ATTACHMENT0_EXT, slice);
        }
        /// Calculate source texture coordinates
        float u1 = (float)srcBox.left / (float)src->mWidth;
        float v1 = (float)srcBox.top / (float)src->mHeight;
        float u2 = (float)srcBox.right / (float)src->mWidth;
        float v2 = (float)srcBox.bottom / (float)src->mHeight;
        /// Calculate source slice for this destination slice
        float w = (float)(slice - dstBox.front) / (float)dstBox.getDepth();
        /// Get slice # in source
        w = w * (float)(srcBox.getDepth() + srcBox.front);
        /// Normalise to texture coordinate in 0.0 .. 1.0
        w = (w+0.5f) / (float)src->mDepth;

        /// Finally we're ready to rumble
        mRenderSystem->_getStateCacheManager()->bindGLTexture(src->mTarget, src->mTextureID);
        mRenderSystem->_getStateCacheManager()->setEnabled(src->mTarget, true);
        glBegin(GL_QUADS);
        glTexCoord3f(u1, v1, w);
        glVertex2f(-1.0f, -1.0f);
        glTexCoord3f(u2, v1, w);
        glVertex2f(1.0f, -1.0f);
        glTexCoord3f(u2, v2, w);
        glVertex2f(1.0f, 1.0f);
        glTexCoord3f(u1, v2, w);
        glVertex2f(-1.0f, 1.0f);
        glEnd();
        mRenderSystem->_getStateCacheManager()->setEnabled(src->mTarget, false);

        if(tempTex)
        {
            /// Copy temporary texture
            mRenderSystem->_getStateCacheManager()->bindGLTexture(mTarget, mTextureID);
            switch(mTarget)
            {
            case GL_TEXTURE_1D:
                glCopyTexSubImage1D(mFaceTarget, mLevel,
                    dstBox.left,
                    0, 0, dstBox.getWidth());
                break;
            case GL_TEXTURE_2D:
            case GL_TEXTURE_CUBE_MAP:
                glCopyTexSubImage2D(mFaceTarget, mLevel,
                    dstBox.left, dstBox.top,
                    0, 0, dstBox.getWidth(), dstBox.getHeight());
                break;
            case GL_TEXTURE_3D:
            case GL_TEXTURE_2D_ARRAY_EXT:
                glCopyTexSubImage3D(mFaceTarget, mLevel,
                    dstBox.left, dstBox.top, slice,
                    0, 0, dstBox.getWidth(), dstBox.getHeight());
                break;
            }
        }
    }
    /// Finish up
    if(!tempTex)
    {
        /// Generate mipmaps
        if(mUsage & TU_AUTOMIPMAP)
        {
            mRenderSystem->_getStateCacheManager()->bindGLTexture(mTarget, mTextureID);
            glGenerateMipmapEXT(mTarget);
        }
    }

    /// Reset source texture to sane state
    mRenderSystem->_getStateCacheManager()->bindGLTexture(src->mTarget, src->mTextureID);
    mRenderSystem->_getStateCacheManager()->setTexParameteri(src->mTarget, GL_TEXTURE_BASE_LEVEL, 0);

    /// Detach texture from temporary framebuffer
    glFramebufferRenderbufferEXT(GL_FRAMEBUFFER_EXT, GL_COLOR_ATTACHMENT0_EXT,
                    GL_RENDERBUFFER_EXT, 0);
    /// Restore old framebuffer
    glBindFramebufferEXT(GL_FRAMEBUFFER_EXT, oldfb);
    /// Restore matrix stacks and render state
    glMatrixMode(GL_TEXTURE);
    glPopMatrix();
    glMatrixMode(GL_PROJECTION);
    glPopMatrix();
    glMatrixMode(GL_MODELVIEW);
    glPopMatrix();
    glPopAttrib();

    if(tempTex)
        TextureManager::getSingleton().remove(tempTex);
}
//-----------------------------------------------------------------------------
/// blitFromMemory doing hardware trilinear scaling
void GLTextureBuffer::blitFromMemory(const PixelBox &src, const Box &dstBox)
{
    /// Fall back to normal GLHardwarePixelBuffer::blitFromMemory in case
    /// - FBO is not supported
    /// - the source dimensions match the destination ones, in which case no scaling is needed
    if (!GLAD_GL_EXT_framebuffer_object ||
        (src.getSize() == dstBox.getSize()))
    {
        _blitFromMemory(src, dstBox);
        return;
    }
    if(!mBuffer.contains(dstBox))
        OGRE_EXCEPT(Exception::ERR_INVALIDPARAMS, "destination box out of range",
                    "GLTextureBuffer::blitFromMemory");

    TextureType type = (src.getDepth() != 1) ? TEX_TYPE_3D : TEX_TYPE_2D;

    // Set automatic mipmap generation; nice for minimisation
    TexturePtr tex = TextureManager::getSingleton().createManual(
        "GLBlitFromMemoryTMP", ResourceGroupManager::INTERNAL_RESOURCE_GROUP_NAME, type,
        src.getWidth(), src.getHeight(), src.getDepth(), MIP_UNLIMITED, src.format);

    // Upload data to 0,0,0 in temporary texture
    Box tempTarget(src.getSize());
    tex->getBuffer()->blitFromMemory(src, tempTarget);

    // Blit from texture
    blit(tex->getBuffer(), tempTarget, dstBox);

    // Delete temp texture
    TextureManager::getSingleton().remove(tex);
}
//-----------------------------------------------------------------------------

RenderTexture *GLTextureBuffer::getRenderTarget(size_t zoffset)
{
    assert(mUsage & TU_RENDERTARGET);
    assert(zoffset < mDepth);
    return mSliceTRT[zoffset];
}
//********* GLRenderBuffer
//-----------------------------------------------------------------------------
GLRenderBuffer::GLRenderBuffer(GLenum format, uint32 width, uint32 height, GLsizei numSamples):
    GLHardwarePixelBufferCommon(width, height, 1, GLPixelUtil::getClosestOGREFormat(format),HBU_GPU_ONLY),
    mRenderbufferID(0)
{
    mGLInternalFormat = format;
    /// Generate renderbuffer
    glGenRenderbuffersEXT(1, &mRenderbufferID);
    /// Bind it to FBO
    glBindRenderbufferEXT(GL_RENDERBUFFER_EXT, mRenderbufferID);

    /// Allocate storage for depth buffer
    if (numSamples > 0)
    {
        glRenderbufferStorageMultisampleEXT(GL_RENDERBUFFER_EXT,
            numSamples, format, width, height);
    }
    else
    {
        glRenderbufferStorageEXT(GL_RENDERBUFFER_EXT, format,
                            width, height);
    }
}
//-----------------------------------------------------------------------------
GLRenderBuffer::~GLRenderBuffer()
{
    /// Generate renderbuffer
    glDeleteRenderbuffersEXT(1, &mRenderbufferID);
}
//-----------------------------------------------------------------------------
void GLRenderBuffer::bindToFramebuffer(uint32 attachment, uint32 zoffset)
{
    assert(zoffset < mDepth);
    glFramebufferRenderbufferEXT(GL_FRAMEBUFFER_EXT, attachment,
                        GL_RENDERBUFFER_EXT, mRenderbufferID);
}

}

redpajama_set_name: RedPajamaGithub


TEC-Angel is a monitoring and alert system to help vulnerable people, living alone, stay in their homes; keeping their independence while giving those who care for them peace of mind.
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A ITargetPreparer that pushes all IBuildInfo.getFiles() to specific path on device.
t Throwable: if the invocation ended with an exception, this will be the exception that was caught at the Invocation level. Otherwise, will be null.


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Resume: The continuation of the Devil's Night series, brings the story of Kai Mori and Banks. The story takes us back to their highschool days where the "Four Horseman" ruled the school and had all girls after them. Kai used to have all girls he wanted, until a tomboy girl caught his attention. Seven years later, Kai is still recovering from his time he spent in prison when during a meeting, he meets the girl that has been haunting him for seven years and that holds the answers he needs for the questions inside his head.
Kai…Kai was my favorite character in book #1. I was dying to read his book and now this… Disappointed. Boring, slow paced, characters a bit off. The book was about Kai but Damon stole the scenes because the author decided to create misters around him that he became THE book. Kai was boring, annoying. His darkness? It didn't feel darkness. I didn't see what they were talking about him being more unstable and dangerous than maybe Damon. Anyway, this book was a waste.Too many details, the author was dragging to make the book longer and I could cut it to half if I removed the unecessary parts. And Banks? Strong heroine but so boring at times, so slow paced character, it took her almost all book to pick a side. And their romance seemed so off.
I'm just going to wait for Damon's book and hopefully the series will pick up again.


Can Ghee help in weight loss?
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Last week the Heason team showcased cutting edge motion components and solutions at the DSEI Show in London.
A centre piece of the show was a pan & tilt positioner. This highly accurate azimuth/elevation positioner can be custom-designed for applications such as line of sight/beyond line of sight secure communications. It can also be adapted for positioning other types of loads such as required for range finding or target tracking.
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The 270 Nm peak-torque capacity assembly is housed in a robust IP67- rated cast aluminium enclosure for harsh environment installation. A compact dual-axis micro-stepping/zero backlash gearbox drive arrangement includes rotary joints that allows RF and other electrical services to pass through the complete assembly, with full 360⁰ rotary travel for the azimuth axis and +/- 95⁰ for elevation. It is suitable for both fixed and mobile use.
For further detailed technical information, take a look at our Show preview "Heason Technology at DSEI" which explains more.
The Defence Security and Equipment International (DSEI) is a defence and security equipment exhibition held every two years at the ExCel in London.
The DSEI Show draws thousands of visitors from both the trade and military industries. It is the world's largest fully integrated international defence exhibition featuring six themed zones including Land, Air, Naval, Security Unmanned and Medical Innovation.
The DSEI returns in 2019 between 10th and 13th September.


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Provides access to members that control Workspace Editing.
AbortEditOperation Aborts an edit operation.
DisableUndoRedo Disables Undo and Redo of edit operations.
EnableUndoRedo Enables Undo and Redo of edit operations.
HasEdits True if there are any completed edit operations that need to be saved .
HasRedos True if there are any completed undos that can be redone.
HasUndos True if there are any completed edit operations that can be undone.
IsBeingEdited True if the workspace is being edited.
IsInEditOperation Is the workspace currently in an edit operation?
RedoEditOperation Causes a Redo to be performed on the last undo.
StartEditing Starts editing the workspace.
StartEditOperation Begins an edit operation.
StopEditing Stops editing the workspace.
StopEditOperation Ends an edit operation.
UndoEditOperation Causes an Undo to be performed on the last edit operation.
IWorkspaceEdit Provides access to members that control Workspace Editing.
The IWorkspaceEdit2 interface has two properties. EditDataChanges can be used to retrieve the changes made in the current edit session (or edit operation), and IsInEditOperation can be used to determine if the workspace edit session is in an active edit operation.


text:
Q: I will give you the money after my parents [give it/have given] it to me? I will be giving something to someone after I get it from elsewhere.

I will give you the money after my parents give it to me.
I will give you the money after my parents have given it to me.

Which one is the correct?

A: Both the present and the present perfect may be used in a subordinate clause when the verb in the main clause is in the future tense.  So either of your example sentences is permissible.
Additionally, the present perfect indicates that the first action will be completed before the next occurs.  So it might be stylistically preferable to use "have given" with "after".

I will give you the money after my parents have given it to me.
I will give you the money when my parents give it to me.

Sources:

*

*English Grammar - Tenses in subordinate clauses

*English Practice - Perfect tenses in subordinate clauses

redpajama_set_name: RedPajamaStackExchange


text:
Sanatorium pod Klepsydrą – polski film fabularny z 1973 w reżyserii Wojciecha Jerzego Hasa. Swobodna adaptacja prozy Brunona Schulza, oparta głównie na opowiadaniu tytułowym ze zbioru Sanatorium pod Klepsydrą (1937) oraz opowiadaniu Wiosna z tego samego zbioru, stanowi surrealistyczną opowieść o młodym człowieku przybywającym do tytułowego sanatorium zawieszonego w czasie i przestrzeni.

Sanatorium pod Klepsydrą – film afirmujący kulturę żydowską naznaczoną doświadczeniem Zagłady – został zrealizowany w cieniu antysemickich wystąpień z 1968 roku, toteż jego premiera była odkładana przez władze komunistyczne. Po premierze w Polsce film był poddawany ostrej krytyce, a gdy Has wbrew decydentom wysłał go na Festiwal Filmowy w Cannes, otrzymał kilkuletni zakaz reżyserii. Mimo to za granicą dzieło Hasa zostało bardzo dobrze przyjęte: w Cannes Sanatorium pod Klepsydrą otrzymało Nagrodę Jury, a kolejni krytycy i historycy filmowi zaczęli poddawać go wzmożonej analizie.

Fabuła
Film jest opowieścią o młodym człowieku, Józefie. Podróżując pociągiem prowadzonym przez ślepego konduktora, Józef zostaje przezeń zbudzony i wyskakuje z zatrzymanego pociągu. Dociera do Sanatorium pod Klepsydrą, prowadzonego przez doktora Gotarda. Gotard pokazuje młodzieńcowi jego leżącego w łóżku, bliskiego śmierci Ojca, po czym informuje Józefa, iż "śmierć ojca nie doszła jeszcze do skutku, ta śmierć, która go w pańskiej ojczyźnie dosięgła".

Józef wraca do swojego domu, gdzie spotyka się ze swoją Matką traktującą go jak małego chłopca. Próbuje podążyć śladem Ojca, lecz zamiast do pracowni tegoż położonej na strychu trafia do sklepu. Tam budzi śpiących subiektów, po czym w pokoju Adeli znajduje szpargał, który bierze za "święty oryginał", umożliwiający mu powrót do wyobrażonej krainy dzieciństwa. Pod łóżkiem znajduje przejście, dzięki któremu odnajduje się w centrum rynku wymyślonego żydowskiego miasteczka. Tam odnajduje Ojca w pełni sił, ten jednak mówi mu, że odnaleziona przezeń Księga jest mitem. Józef nie dowierza Ojcu, po czym zagląda do markownika ze znaczkami siedzącego obok Rudolfa. Po rozmowie z niewidomym konduktorem podnosi z ziemi ogromnego motyla i przenosi się w czasoprzestrzeni pod mury ogrodu Bianki, będącej uosobieniem jego chłopięcych marzeń erotycznych. Wchodząc do wnętrza ogrodu, dostrzega najpierw matkę Bianki, po czym ją samą. Ta zaprasza go do wnętrza.

W ogrodzie Józef odnajduje kolejną fantastyczną willę i schodzi po linie do jej wnętrza. tam dostrzega nieruchome repliki postaci historycznych – manekiny cesarza Franciszka Józefa i jego brata Maksymiliana, a także wielu innych postaci XIX wieku. Na ich straży – jak również na straży oficjalnej wykładni historycznej – stoi tajemniczy Pan de Voss. Rozszyfrowawszy książęcy rodowód Bianki i demaskując manipulacje Pana de Voss, Józef musi uciekać. Bianka proponuje mu zaniechanie jego misji, ten jednak odmawia i wycofuje się z pokoju dziewczyny, po czym przenosi się w czasoprzestrzeni do scenki z ucztą sabatową. Wówczas dostrzega znieruchomiałe manekiny, które za jego rozkazem ożywają. Wraz z manekinami Józef udaje się w pogoń za Bianką i Panem de Voss, którzy odjeżdżają w powozie. Kiedy orientuje się, że nie rozwiązał w istocie zagadki Bianki, dostrzega ją już odpływającą parowcem w asyście Rudolfa. Tymczasem Pan de Voss odbiera sobie życie, manekiny zaś się rozchodzą.

Z pokoju Bianki ponownie pod łóżkiem Józef przenosi się do magicznej ptaszarni Ojca i spostrzega go wśród kolorowych ptaków. Ojciec przekazuje mu mowę ptaków. Józef, udając się w dalszą podróż, spotyka się z Matką i wchodzi do sklepu. Tam zastaje ponownie zajętego handlem Ojca. Otwiera w sklepie przejście na rynek miasteczka, po czym uczestniczy w uczcie szabatowej i obrzędzie Hawdali. Zakończywszy swą drogę we śnie, Józef budzi się w sanatoryjnym łóżku Ojca. Przechodzi przez rynek miasteczka, który jest wypełniony grobami, dostrzega zniszczony sklep i ludzi uciekających ulicami, jego Ojciec zaś ostatecznie umiera. W ostatniej scenie filmu Józef, tracąc wzrok, przebrany w strój konduktora wydostaje się z sanatorium. Podążając wśród grobów, schodzi w głąb świata zmarłych.

Obsada
Źródło: FilmPolski.pl

Produkcja
Sanatorium pod Klepsydrą, zbiór opowiadań Brunona Schulza z 1937 roku, miał opinię nieprzetłumaczalnego na język filmowy. Tym bardziej jednak fascynował Wojciecha Jerzego Hasa, który z tymże zbiorem zapoznał się w Krakowie podczas niemieckiej okupacji. Has po II wojnie światowej postawił przed sobą zadanie realizacji zbioru Schulza. Okazja ku temu nadarzyła się w 1968 roku, kiedy reżyser zrealizował Lalkę na podstawie powieści Bolesława Prusa. Wówczas podjął próbę rozmowy na temat planowanego projektu z Jerzym Bossakiem, ówczesnym kierownikiem Zespołu Filmowego "Kamera". Pierwowzorem adaptacji Has uczynił tytułowe opowiadanie Sanatorium Pod Klepsydrą, a także wątki opowieści i opowiadań: Wiosna, Ptaki, Noc wielkiego sezonu, Księga, Genialna epoka i Mój ojciec wstępuje do strażaków. Jednak pod koniec 1968 roku kierownictwo partyjne zdecydowało się rozwiązać wszystkie zespoły filmowe, w tym także "Kamerę". Dopiero w 1972 roku, kiedy przywrócono struktury zespołów filmowych, Has mógł podjąć się realizacji autorskiego projektu. Dzięki pomocy Zespołu Filmowego "Silesia", kierowanego przez Kazimierza Kutza, jeszcze w 1972 roku ruszyły prace nad filmem.

Reżyser nie miał na celu dokładnego odtworzenia treści opowiadań Schulza, a raczej "uchwycenie i odfotografowanie tego, co określamy mianem poetyki utworu: jego niepowtarzalnego, zamkniętego świata, jego klimatu, barwy i kształtu". Wystawne scenografie do dzieła Hasa opracowali Jerzy Skarżyński i Andrzej Płocki, a odpowiedzialny za zdjęcia Witold Sobociński opracował metodę rejestracji obrazu od perforacji do perforacji (bez miejsca na ścieżkę dźwiękową). Znakiem rozpoznawczym zdjęć Sobocińskiego stało się filmowanie bohaterów z dołu, z użyciem obiektywu szerokokątnego. Zarejestrowany na negatywie  za pomocą tego obiektywu kadr obejmował o 32,2% większe pole powierzchni aniżeli powszechnie stosowany w Polsce format 1,85:1. Szczególne znaczenie miała też "oziębiona" kolorystyka zdjęć Sobocińskiego, ukazująca degrengoladę świata przedstawionego. Ujęcia, które przedstawiały obumierający świat odkrywany przez Józefa, rzadko przybierały charakter statyczny; Sobociński wykonywał przede wszystkim długie jazdy kamery.

Gdy jednak ukończony film został wysłany wbrew władzom komunistycznym na Festiwal Filmowy w Cannes (gdzie zdobył Nagrodę Specjalną Jury), jego reżyser otrzymał zakaz realizacji kolejnych filmów na następne dziesięć lat. Sam Has komentował w 1981 roku swoją długoletnią przerwę następującymi słowami: "moje filmy są trudne z dwóch powodów: po pierwsze – są kosztowne, po drugie – są skomplikowane realizacyjnie. Wymagają techniki i środków produkcji, jakich już dziś w Polsce nie ma". Istnieją jednak interpretacje, wedle których powodem izolacji Hasa od filmowego środowiska miała być scena, w której decydenci dopatrzyli się pogromu żydowskiego.

Wydanie
Według bazy WorldCat pierwsze kopie Sanatorium pod Klepsydrą zaczęły krążyć w legalnym obiegu na kasetach VHS dopiero około 1995 roku, nakładem francuskiego wydawnictwa Ateliers de Diffusion Audiovisuelle. W 2005 roku wydana została wersja na DVD, której dystrybutorem było francuskie wydawnictwo Malavida. Francuskie wydanie DVD zawierało oprócz Sanatorium pod Klepsydrą także film krótkometrażowy Hasa Moje miasto oraz 11-minutowy portret reżysera Les mystères de Has. W 2010 roku w kinach polskich zaczęto dystrybuować zrekonstruowaną cyfrowo wersję filmu Hasa, odnowioną w ramach projektu KinoRP. W 2014 roku rekonstrukcja cyfrowa Sanatorium pod Klepsydrą została wydana na płytach Blu-ray, z dźwiękiem zapisanym w formacie Dolby Digital 5.1, obrazem w formacie 1,85:1 oraz zestawem dodatków: zwiastunem filmu, materiałem porównawczym przed i po rekonstrukcji, galerią zdjęć oraz materiałami promocyjnymi. 24 sierpnia 2020 roku premierę na New York Film Festival miała rekonstrukcja cyfrowa filmu Hasa w formacie 4K.

Odbiór
Gdy Sanatorium pod Klepsydrą ukazało się na ekranach polskich kin, zostało przyjęte chłodno przez krytyków. Największy sprzeciw wzbudzało wśród literaturoznawców. Artur Sandauer, choć zwracał uwagę na filmowość prozy Schulza, odrzucił zdecydowanie film Hasa, gdyż jego zdaniem ów film miał zmienić opowiadania Schulza o "kosmicznym" wymiarze w groteskowy folklor. Natomiast Jerzy Jarzębski uznawał adaptację Hasa za budzącą "uczucie jaskrawej niedostateczności". Trafiały się jednakże również recenzje pochlebne, czego przykładem był szkic Konrada Eberhardta w czasopiśmie "Kino". Również Adam Garbicz stwierdził, że reżyserowi nie chodziło o dosłowną adaptację dzieła Schulza, lecz o uchwycenie eschatologicznego klimatu prozy. Garbicz pisał, iż "Sanatorium pod Klepsydrą jest nie tylko wierne specyficznej atmosferze prozy [...], ale również mistrzowsko wyreżyserowane". Zdaniem Marcina Marona "dzieło to jest wynikiem wnikliwej lektury nie tylko prozy Schulza, ale przede wszystkim próbą odczytania zagadki ludzkiego życia i historii".

Dla odmiany we Francji film został bardzo dobrze przyjęty. François Mourin dla pisma "L'Humanité" pisał, iż dzieło Hasa jest "pod względem dekoracji, kostiumów, zdjęć oraz prowadzenia aktorów wielce kunsztownym [...] efektem gigantycznej pracy". Jacques Siclier w "Le Monde" twierdził, iż widz przeżywa "emocjonalny szok, który pozbawia go tchu". W "Politique Hebdo" widniała opinia, iż "trzeba uważniej się przyjrzeć" twórczości Hasa. W piśmie "Positif" Sanatorium pod Klepsydrą doczekało się sporych rozmiarów artykułu pióra Jeana-Paula Töröka. Richard Bégin analizował Sanatorium pod Klepsydrą pod względem przenikającej ten film atmosfery przemijania i martwoty, którą wytwarzają dominujące w kadrze ruiny.

Film został doceniony również w kręgach anglosaskich. Annette Insdorf w monografii poświęconej Hasowi uznała jego Sanatorium pod Klepsydrą za "elegię dla straconych polskich Żydów", upatrując w niej fascynację utraconą częścią polskiej kultury. Phelim O'Neill z "The Guardiana" oceniła film Hasa jako "psychodeliczne dzieło klasyczne". Michael Wilmington z "Chicago Tribune" przyznał filmowi 3,5 gwiazdki na 4, komentując dzieło Hasa jako "pełną przepychu, surrealistyczną adaptację" zbioru Schulza. Janet Maslin w recenzji dla "The New York Timesa" stwierdziła, iż film Hasa jest "wdzięcznie poprowadzony i tylko nieznacznie irytujący".

Recenzując odrestaurowaną wersję filmu Hasa w 2014 roku, Darek Kuźma z portalu Onet.pl twierdził, że "skrzące kolorami i kompozycją kadry, sceny często filmowane na imponująco długich ujęciach, oświetlenie planów i twarzy aktorów oraz szczegóły zdobiące stroje postaci czy pełne niesamowitości scenografie wyglądają na tym wydaniu nieziemsko". Kuźma wyraził też opinię, iż "każdy inteligentny, otwarty i szanujący niezwykłość filmowego wizjonerstwa widz powinien spróbować stawić tej produkcji czoła".

Analizy i interpretacje
Jeszcze w 1975 roku literaturoznawca Witold Kiedacz poddał Sanatorium pod Klepsydrą wnikliwej analizie, potwierdzającej wymyślną strukturę filmu:

Kiedacz argumentował, iż konduktor-przewodnik, oczywiście obecny w opowiadaniu, w filmie przyjmuje symboliczną rolę Tejrezjasza. Jednocześnie w sposób niesłychanie skomasowany, jak twierdził polski literaturoznawca, w filmie Hasa zawarte zostały wątki ze wszystkich opowiadań zbioru Schulza, a w finale filmu postacie konduktora i Józefa symbolicznie zlewają się ze sobą; Józef ślepnie, jednocześnie nabywając mądrość i ucząc się dostrzegać "rzeczy i sprawy niedostrzegalne dla zwykłego, przeciętnego człowieka".

Konrad Eberhardt zauważył, że film Hasa nadaje bardziej tragiczny ton opowiadaniom Schulza, gdyż wplata w nie kontekst Zagłady Żydów. Motyw ten rozpoznawalny jest wprawdzie tylko w jednej scenie, kiedy Józef obserwuje przez okno piwnicy tłum ludzi uciekających w panice z całym swym dobytkiem. Jednakże już pierwsza scena filmu, w której wśród pasażerów pociągu pojawia się więzień na obozowej pryczy, komunikuje widzowi doświadczenie Zagłady.

Małgorzata Jakubowska w swej monograficznej analizie filmu podkreśliła rolę, jaką odgrywa w filmie Hasa struktura labiryntowa. Interpretując Sanatorium pod Klepsydrą przez pryzmat teorii kłącza Gilles'a Deleuze'a oraz Feliksa Guattariego, Jakubowska zauważyła, że nie tylko nielinearna narracja filmu, ale również obecność w świecie filmowym bujnie rozrastających się w różnych kierunkach pędów, bluszczy i paproci dowodzi plastycznej realizacji idei kłącza avant la lettre.

Nagrody i wyróżnienia
 1973: Nagroda Jury XXVI Międzynarodowego Festiwalu Filmowego w Cannes dla reżysera Wojciecha Jerzego Hasa
 1973: Nominacja do Złotej Palmy, głównej nagrody XXVI Międzynarodowego Festiwalu Filmowego w Cannes
 1974: Nagroda 1. Festiwalu Polskich Filmów Fabularnych w Gdańsku za scenografię dla Andrzeja Płockiego i Jerzego Skarżyńskiego

Amerykański reżyser Martin Scorsese uznał Sanatorium pod Klepsydrą za jedno z arcydzieł polskiej kinematografii i w 2014 roku wytypował je do prezentacji w Stanach Zjednoczonych oraz Kanadzie w ramach festiwalu polskich filmów Martin Scorsese Presents: Masterpieces of Polish Cinema.

Przypisy

Bibliografia

Linki zewnętrzne

 Scenografia do filmu Sanatorium pod Klepsydrą wybudowana w Krakowie

Filmowe adaptacje utworów Brunona Schulza
Filmy kręcone w Drohiczynie
Filmy w reżyserii Wojciecha Hasa
Polskie adaptacje filmowe
Polskie filmy o podróżach w czasie
Polskie filmy psychologiczne
Polskie filmy z 1973 roku

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