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Home»Posts tagged with»UK
Liz Truss's stunning demise proves Brexit is not complete
By Robert McGarvey on October 24, 2022 Today, Viewpoint, Business, Politics, World
The UK government will not be truly sovereign until it is able to recover its full monetary sovereignty
Whatever you might think of events in the UK these past weeks, it's clear that Brexit is far from complete: The government of the United Kingdom remains subject to the sovereign will of financial markets – the real power in Britain. Prime minister Liz Truss's stunning demise demonstrates that, despite gaining significant political sovereignty in…
Lessons from Boris Johnson's departure and the contest to replace him
By Pat Murphy on July 13, 2022 Politics, World, Today, Viewpoint
The diversity quotient of the leadership candidates is striking, at odds with the conservative caricature
Canadians with a general interest in politics will be watching the current developments in the United Kingdom. They might even feel a touch of envy. Less than three years ago, Boris Johnson bestrode the British scene like the proverbial colossus. Thwarting the dogged opponents of Brexit – including many in his own party – he…
The final act of Boris Johnson's political career
By Michael Taube on July 12, 2022 Politics, World, Today, Viewpoint
Johnson got careless and arrogant after only three years in power, assuming he was above the law
When U.K. Prime Minister Boris Johnson reflects on his political career, there will always be a certain fondness for the Dec. 12, 2019, general election. His Conservative government earned a majority of 80 seats, the party's largest since 1987. The party also had a net gain of 48 seats and its highest percentage of the…
Is it curtains for Boris Johnson?
By Pat Murphy on June 8, 2022 Viewpoint, Politics, World, Today
Call it a 50/50 proposition
Ukrainian president Volodymyr Zelensky is "very happy" that Boris Johnson survived his leadership confidence vote. As the United Kingdom's prime minister, Johnson has been one of Ukraine's most energetic and zealous supporters. And Zelensky doesn't want to lose such a valuable ally. Those who worried that Brexit would turn the U.K. inward and isolationist have…
Catholic Ireland's conflicted interest in the monarchy
By Pat Murphy on June 1, 2022 World, Today, A&E, Books, Viewpoint, Life
Dublin cinemas planned to screen the Queen's coronation but opted not to after receiving threats
News stories about Queen Elizabeth's Platinum Jubilee put me in mind of a book by Irish author Mary Kenny. Called Crown and Shamrock, it's described by historian Roy Foster as a "characteristically breezy, racy and insightful" look at a complicated relationship. Kenny is five months older than I am and what she writes of Ireland…
A love letter from Canadian LGBQT artist to the Queen
By Owen Grant Innes on May 19, 2022 Today, Books, Life
She led me to the intersection of the many roads I could walk, in a bigger world with room for us all
I began my life in Nova Scotia, the most British of Canadian provinces. As a young boy in the 1960s who preferred pink over blue, there was an enormous sense of not belonging, of living in a world that had not yet carved out a place for a child like me. In the accepted definition…
Attlee and Churchill: bound together in war and peace
By Pat Murphy on March 31, 2022 Politics, World, Today, Viewpoint, Life
Churchill said history would be good to him, as he'd write it himself. But ostentation wasn't Attlee's style
For the longest time, Clement Attlee lived in Winston Churchill's shadow. Where Churchill was flamboyant, charismatic and eloquent, Attlee was reticent, dull and rhetorically challenged. Churchill was larger than life and Attlee was the little man who seemed to blend into the woodwork. After becoming leader of the United Kingdom's Labour Party in 1935, Attlee…
Five Eyes' influence challenged by the emergence of the Quad
By William Stoltz on January 11, 2022 Viewpoint, Politics, World, Today
Anxiety in London, Ottawa and Wellington that their influence is waning
Recently there has been a welcome debate about the extent to which the Five Eyes security partnership between Australia, Canada, New Zealand, the United Kingdom, and the United States can and should be mobilized for strategic and diplomatic activities outside of its traditional intelligence, military, and law enforcement collaborations. This debate was further fuelled in…
Thunberg has world leaders in the palm of her hand
By Jack Buckby on December 21, 2021 Politics, World, Today, Viewpoint, Environment
World leaders are doing everything Thunberg and people like her say, without batting an eye
It seems everything is about justice these days. As I drove home from the store recently, I saw a sign for the elections here in New York from the local Democratic Party, promising "equity, equality, and justice for all." Beyond the obvious concerns any sane person should have about a promise of "equity," the sign…
Nuclear fusion could solve our energy and environmental problems
By Jack Buckby on November 12, 2021 Business, Environment, Technology, Today, Science, Viewpoint
Nuclear fusion could generate millions of jobs globally
Nuclear fusion has been a science-fiction fantasy for a long time, the holy grail of energy production. But it's rapidly moving closer to reality. The process involves combining multiple atomic nuclei to generate energy, just as the sun does. That's the opposite of nuclear fission, in which atoms are split. Canadian and British innovators are…


A traditional island arch, a "volto", for an entrance, a byzantine mosaic and slabs of marble for a floor, your footsteps lead you to the hotel reception and a cool fresh juice awaits you. Welcome!
Your first impression of the hotel will be the beautiful lounges, where you may relax and meet people, divided by glass from the breakfast room, the stone snack bar and the hotel yard with the comfy sofas, at your disposal from early morning till late night.
The marvelous decoration, the numerous lanterns lit up at night, the soft music and the sweet atmosphere will allow you perfectly to relax.
Take a few steps outside to "Apenanti"… an open-air café that lies among tamarisk trees, 30 steps above the small organized beach of the hotel. Listen to the plashing sound of the sea and, if you're lucky, watch the full moon rise above the surrounding islands; Tinos will strike you as a magic and exotic destination within easy reach!


Mukesh Yadav, an urban planner and a member of the practice team at the Indian Institute for Human Settlements and who works in the fields of urban planning, governance and policy advisory using remote sensing and GIS as a tool, writes about India's new drone policy and why it is shortsighted.
You can read the entire article here. More drones stories involving India.


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Q: Custom swim lanes in fullcalendar day view In fullcalendar, rather than differentiating events by colour, I'd like to show them in vertical 'swim lanes' in the day view, e.g.
       Calendar 1 | Calendar 2 | Calendar 3
  9am  event 1      event 2
 10am                            event 3
 11am               event 4      event 5
 12am  event 6

etc.
Any suggestions as to the best and quickest approach, e.g. my first thoughts are
a) styling events to give them a width and a horizontal offset, e.g. with four lanes, events would be 25% width, Calendar 2 events would be left=25% of the containing day view. Calendar headings could be added above the calendar component.
b) putting multiple calendar components on the page next to each other.
A bit of an early stage brainstorm rather than something with a specific right answer I know.

redpajama_set_name: RedPajamaStackExchange


text:
import ftpd = require("ftpd");

var options: ftpd.FtpServerOptions = {
	pasvPortRangeStart: 4000,
	pasvPortRangeEnd: 5000,
	getInitialCwd: function(connection: ftpd.FtpConnection, callback: (error: Error, path: string) => void): void {
		callback(null, "boo");
	},
	getRoot: function(connection: ftpd.FtpConnection): string {
		return '/';
	}
};

var host: string = '10.0.0.42';

var server = new ftpd.FtpServer(host, options);

server.on('client:connected', function(conn: ftpd.FtpConnection): void {
	conn.on('command:user', function(user: string, success: () => void, failure: () => void): void {
		success();
	});
	conn.on('command:pass', function(
		pass: string,
		success: (username: string, fs?: ftpd.FtpFileSystem) => void,
		failure: () => void) {
		success("Rogier");
	});
});

server.listen(21);

redpajama_set_name: RedPajamaGithub


text:
NeoVolta Expands to Colorado, Fourteenth-Ranked State in Solar Capacity
With Over 300 Sunny Days Each Year, Colorado Has Tremendous Solar Potential
San Diego, CA, October 26, 2021 – NeoVolta Inc. (OTCQB: NEOV) – NeoVolta Inc., manufacturer of Smart Energy Storage Solutions, has expanded its distribution network to Colorado. Since December 2020, the company has added eight states to its distribution network. NeoVolta now has certified installers in California, Nevada, Utah, Arizona, Oklahoma, Georgia, Florida, Texas, and Colorado, as well as the territory of Puerto Rico. The expansion is a result of an August 2020 strategic distribution agreement with PMP Energy. The three-year deal secures PMP Energy specific geographic exclusivities in exchange for making minimum purchases of up to $15 million.
Colorado, which enjoys more than 300 days of sunshine each year, ranks fourteenth in the nation in solar capacity. It was one of the first states in the U.S. to adopt a Renewable Energy Standard, and it has multiple incentive programs available for installing rooftop solar.
Colorado's power grid has long been susceptible to winter storms and freezing temperatures but now faces new climate-related threats. One is extreme heat, which can overload the grid when air conditioning use surges, triggering power outages. The other threat comes from the increase in wildfires. Colorado utilities now cut power as a precaution any time hot, dry conditions elevate the risk of wildfire.
When the grid goes down for any reason, NeoVolta storage systems immediately provide backup power. And under normal conditions, they can significantly reduce utility bills. NeoVolta's advanced lithium iron phosphate chemistry is a noncombustible and nontoxic alternative to ordinary lithium ion batteries. The NV14 system has a very high storage capacity of 14.4 kilowatt-hours—expandable to 24.0 kWh with the optional NV24 battery add-on, without the expense of a second inverter. NeoVolta's inverter can charge or discharge 7.7 kilowatts of continuous power, about 50% more power than most competitors in its class.
NeoVolta storage systems are compatible with any residential solar system—new or existing, AC or DC—and have a long life cycle of 16.5 years.
"Year-round energy resilience is a growing need in Colorado," said NeoVolta CEO Brent Willson. "NeoVolta is here to meet that demand, with powerful yet affordable energy storage systems that will deliver energy resilience and utility savings to Coloradans."
About NeoVolta – NeoVolta designs, develops and manufactures utility-bill reducing residential energy storage systems capable of powering your home even when the grid goes down. With a focus on safer Lithium-Iron Phosphate (LiFe(PO4)) chemistry, the NV14 is equipped with a solar rechargeable 14.4 kWh battery system, a 7,680-Watt inverter and a web-based energy management system with 24/7 monitoring. By storing energy instead of sending it back to the grid, consumers can protect themselves against blackouts, avoid expensive peak demand electricity rates charged by utility companies when solar panels aren't producing, and get one step closer to grid independence. Customers can expand the NV14's capacity to an industry-leading 24.0 kWh with the optional NeoVolta NV24 add-on battery. NeoVolta has added generator compatibility and is working on other industry leading improvements that will be announced soon.
For more information visit: http://www.NeoVolta.com email us: [email protected] or call us: 858-239-2029
Forward-Looking Statements: Some of the statements in this release are forward-looking statements within the meaning of Section 27A of the Securities Act of 1933, Section 21E of the Securities Exchange Act of 1934 and the Private Securities Litigation Reform Act of 1995, which involve risks and uncertainties. Forward-looking statements in this press release include, without limitation, the future performance, reliability and safety of NeoVolta's NV14 storage system and the ability of the NV14 to be successfully integrated with residential backup generators. Although NeoVolta believes that the expectations reflected in such forward-looking statements are reasonable as of the date made, expectations may prove to have been materially different from the results expressed or implied by such forward-looking statements. NeoVolta has attempted to identify forward-looking statements by terminology including "believes," "estimates," "anticipates," "expects," "plans," "projects," "intends," "potential," "may," "could," "might," "will," "should," "approximately" or other words that convey uncertainty of future events or outcomes to identify these forward-looking statements. These statements are only predictions and involve known and unknown risks, uncertainties, and other factors, including those discussed under the "Risk Factors" section of NeoVolta's Form 1-A filing filed with the Securities and Exchange Commission ("SEC") and updated from time to time in its other public filings with the SEC. Any forward-looking statements contained in this release speak only as of its date. NeoVolta undertakes no obligation to update any forward-looking statements contained in this release to reflect events or circumstances occurring after its date or to reflect the occurrence of unanticipated events.
NeoVolta designs, develops and manufactures utility-bill reducing residential energy storage systems capable of powering your home even when the grid goes down. With a focus on safer Lithium-Iron Phosphate (LiFe(PO4)) chemistry, the NV14 is equipped with a solar rechargeable 14.4 kWh battery system, a 7,680-Watt inverter and a web-based energy management system with 24/7 monitoring. By storing energy instead of sending it back to the grid, consumers can protect themselves against blackouts, avoid expensive peak demand electricity rates charged by utility companies when solar panels aren't producing, and get one step closer to grid independence. Customers can also add the additional battery storage, the NeoVolta NV24, to the NV14 for an industry leading 24.0 kWh of capacity. NeoVolta has added generator compatibility and is working on other industry leading improvements that will be announced soon.
Some of the statements in this release are forward-looking statements within the meaning of Section 27A of the Securities Act of 1933, Section 21E of the Securities Exchange Act of 1934 and the Private Securities Litigation Reform Act of 1995, which involve risks and uncertainties. Forward-looking statements in this press release include, without limitation, the future performance, reliability and safety of NeoVolta's NV14 storage system. Although NeoVolta believes that the expectations reflected in such forward-looking statements are reasonable as of the date made, expectations may prove to have been materially different from the results expressed or implied by such forward-looking statements. NeoVolta has attempted to identify forward-looking statements by terminology including "believes," "estimates," "anticipates," "expects," "plans," "projects," "intends," "potential," "may," "could," "might," "will," "should," "approximately" or other words that convey uncertainty of future events or outcomes to identify these forward-looking statements. These statements are only predictions and involve known and unknown risks, uncertainties, and other factors, including those discussed under the "Risk Factors" section of NeoVolta's Form 1-A filing filed with the Securities and Exchange Commission ("SEC") and updated from time to time in its other public filings with the SEC. Any forward-looking statements contained in this release speak only as of its date. NeoVolta undertakes no obligation to update any forward-looking statements contained in this release to reflect events or circumstances occurring after its date or to reflect the occurrence of unanticipated events.
NeoVolta Poised for California's NEM Incentives to Pair Solar with Battery StorageJanuary 26, 2023 - 7:06 AM
Additional $630 Million in California State Funding Set Aside to Support Residential Low-Income Solar Plus Storage Adopters
Ageless Dental has selected NeoVolta to be Included into the Design and Build of all of Their Nationwide ClinicsJanuary 25, 2023 - 12:38 PM
Ageless Dental Signs Deals for $2.25 Billion in Property Developments Over 10 Years. Dental Firm Launches Plans for Nationwide Rollout of 750 Clinics.
EOS Linx Increases EV Chargers by 2600% in Second Year, Plans to Deploy Mobile App in 2023December 23, 2022 - 10:14 AM
The leader in EV charging expects 4,000 sockets to be operational in 2023
NeoVolta Selected by American Development Partners for Nationwide IntegrationOctober 4, 2022 - 5:50 AM
A Nationwide Buildout of 750 Pain Management Clinics will all feature a NeoVolta NV14 plus NV24 ESS as a key component of ADP's energy savings and backup protection systems
NeoVolta Systems to be Deployed in EOS Linx EV Charging Stations at Major Hotel BrandSeptember 27, 2022 - 6:00 AM
Continues Expected Rollout of 1,000 NeoVolta Systems at Hotel Chains, Gas Stations, and Convenience Stores Nationwide
NeoVolta Systems to be Deployed in EOS Linx EV Charging Stations at Select National Gas LocationsSeptember 7, 2022 - 5:50 AM
Partnership to Include Expected Nationwide Rollout of 1,000 Systems in Various Gas Stations, Convenience Stores, and Hotel Chains Across the Country
NeoVolta Energy Storage Systems Eligible for 30% in Tax Credits Under the $369 Billion Climate Spending PackageAugust 23, 2022 - 6:00 AM
For the First Time Ever, Energy Storage Systems Qualify as a Stand-Alone Credit
EOS Linx Selects NeoVolta as its Battery Supplier for EOS Charge Station Deployments through 2023August 11, 2022 - 6:30 AM
EOS Linx continues strong relationship with NeoVolta Energy Storage System for Superior Power Management Technology and Battery Chemistry
NeoVolta Announces Closing of Underwriters' Option to Purchase Additional Shares of Common Stock in Connection with its Underwritten Public OfferingAugust 5, 2022 - 2:29 PM
NeoVolta Adds $555,700 in Purchase OrdersAugust 3, 2022 - 5:50 AM
NeoVolta's Distributor, PMP Energy, Sees Continued Demand for NeoVolta Products
NeoVolta Announces Pricing of $3.9 Million Public Offering Priced at a Premium to Market and Uplisting to NasdaqJuly 27, 2022 - 7:50 PM
NeoVolta Listed as One of the Most Affordable Residential Energy Storage Systems by EnergySageApril 12, 2022 - 6:01 AM
NeoVolta's NV14 Installed Cost per kWh Lower than 20 Other Listed Brands in the Solar Marketplace Intel Report
NeoVolta's 6,000-Cycle Home Solar Battery Receives UL 9540A Safety CertificationMarch 22, 2022 - 6:02 AM
Advanced Thermal Runaway Protection Highlights NeoVolta's Commitment to Safe Battery Technology
NeoVolta Receives Purchase Orders of $575,900March 1, 2022 - 6:05 AM
NeoVolta and PMP Energy Continue Distribution Agreement Worth Up To $15 Million
NeoVolta NV14 Recognized by Solar Power World as a Top Solar Storage Product of 2021February 8, 2022 - 5:50 AM
Third Consecutive Year the Safe, High-Capacity NV14 Has Been Recognized
NeoVolta CEO Brent Willson Interviewed by Investor Podcast "Freelancer Finance"November 30, 2021 - 6:05 AM
Willson Discusses Growth, Doubling Production Capacity, Competitive Advantages and the Future of Energy Storage
NeoVolta Expands to Colorado, Fourteenth-Ranked State in Solar CapacityOctober 26, 2021 - 6:05 AM
NeoVolta Posts Revenue Increase of 139% for Year Ended June 30, 2021October 12, 2021 - 6:05 AM
Revenue Driven by Accelerated Growth in Sales Volume and Product Expansion
NeoVolta Expands to Texas, One of the Fastest-Growing Solar Capacity StatesOctober 5, 2021 - 6:05 AM
NeoVolta Energy Storage Systems Now Available to More Than 10 Million Texans
NeoVolta Secures Five-Year Supply Agreement with Inverter ManufacturerSeptember 21, 2021 - 6:15 AM
Provides Strategic Stability to Supply Chain
NeoVolta Posts Revenue Increase of 139% for Year Ended June 30, 2021 NeoVolta CEO Brent Willson Interviewed by Investor Podcast "Freelancer Fi...

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How do I create a complete disk mirror in Windows Server 2008? I'm trying to mirror a full Disk in Windows Server 2008, however I don't see any options to mirror a full Disk, only Volumes.
Both disks are the same brand, size and are configured as Dynamic Disks, and the "spare" disk is unallocated. The "active" disk is the boot disk, and contains the 100mb "System Reserved" partition as well as the C: Volume. There are no other disk or partition used on the server.
I guess what I would want is a true raid1 image, where the disk used for mirroring could be booted if there was a problem with the main disk.
When I right-click on the disk I want to mirror, everything is greyed out but "Properties" and "Help".
How can I make a Disk Mirror?

A: You can't do full disk mirrors using Windows Server, you can only do volume mirrors.
To do a full disk mirror, you will require hardware RAID controller.

A: Yes you can. You just need to configure some specific parameters using diskpart and bcdedit. Check it out: http://support.microsoft.com/kb/951985

A: You can Mirror your full disk (also disk that windows is installed on it).
see the documentation below (written by Microsoft):
Configuring Disk Mirroring for Windows Server 2008 R2.docx


Considering joining the RHC Cross Country Team??? Our official team season will begin with practices in mid-August, watch for more information to come. But in the meantime, you are invited to give Cross Country Running (and our Tiger XC Team) a try with our upcoming Summer Adventure Runs. Runners of all experience and ability levels are welcome. Not sure if XC is a sport for you? This is a great opportunity to give it a try and see what it's all about.
If you plan to participate, we would love to know we are expecting you. Please reply to this email with student name, parent name, and contact phone and email. Thanks! Note: Parents are always welcome and encouraged to join us on our runs.
Save money. You can run anywhere, anytime!
Be part of an exclusive club. It takes a special (maybe crazy) person to run. It's tough and demanding, but will be the highlight of your middle school experience!
Status Symbol. You may not know it, but being a member of the RHCS Cross Country Team is THE coolest thing you could ever do!
Mr. Phil Schoensee is a former elite distance runner and NCAA Division I Cross Country and Track Coach. Mr. Schoensee ran NCAA Division I Cross Country and Track at the University of Wisconsin and coached NCAA Division I Cross Country and Track at the University of Alabama at Birmingham (UAB). Mr. Schoensee shifted his career to education and has enjoyed over 20 years of teaching in Birmingham, AL, San Luis Obispo, CA, Eagle High School, Eagle Middle School, Hidden Springs Charter School, Hidden Springs Elementary School, and is currently also teaching and Director of Special Education Services at Rolling Hills Public Charter School in Boise. He's still not afraid to take on big challenges, such as arm wrestling Captain America!
Three-time conference Coach-of-the-Year at the University of Alabama at Birmingham (UAB) in the early 90's.
Coached NCAA All-American sprinter and long jumper, Vonetta Flowers, at UAB and later became the first African-American to medal in the Winter Olympics Games (Salt Lake 2002 - Bobsled - GOLD).
Coached California High School Cross Country and 3200 meters Champion, Isaiah Festa, Morro Bay High School.
Hidden Springs Elementary Track Team qualified over 20 athletes to compete in the 2010 Boise City Championships.
Two-time NCAA National Team Champion in Cross Country at the University of Wisconsin (1986 and 1988).
Third place in the 10,000 meters at the 1989 NCAA National Track and Field Championships.
USA Junior National Champion at 10,000 meters in 1985. 10K runner-up in 1984.
National Record holder for 15, 16, and 17 year old age-groups for 10 mile and 20 km road races.
Three-time High School All-American and Michigan State Champion in Cross Country and Track.


Create a script that prompts the visitor to enter two numbers and then shows their sum.
P.S. There is a gotcha with types.
Note the unary plus + before prompt. It immediately converts the value to a number.
Otherwise, a and b would be string their sum would be their concatenation, that is: "1" + "2" = "12".


text:
Neymar to be offered lucrative Barcelona payrise after big-money Manchester United offer
By Eduardo Fernandez-Abascal
September 1, 2015 17:00 BST
Follow live coverage of deadline day in the summer transfer window here
Barcelona are ready to make Neymar the second-highest-paid player in the squad just behind Messi. Reuters
Barcelona are ready to offer a lucrative payrise to Neymar after the Brazilian international was recently tempted with a big money move to Manchester United, according to Sport. The Catalan-based newspaper has claimed that the Premier League giants offered him around £280,000 a week to make him Louis van Gaal's main signing of the summer transfer window. Late last month (24 August 2015), website Globo Esporte broke the news when it reported that after missing out on Barcelona's Pedro Rodriguez to Chelsea, the Red Devils made a €190m (£140m) bid to secure the services of Neymar. The Guardian said last week that that the former Santos star was also open to the idea of moving to Old Trafford this summer.
More about Neymar and Manchester United
Manchester United: Neymar and Thomas Muller dismiss rumours regarding Old Trafford move
Harry Redknapp believes Manchester United will have to wait to sign Real Madrid star Gareth Bale
Manchester United make €190m bid for Barcelona forward Neymar
Manchester United transfer rumour: Barcelona star Neymar open to Old Trafford move
Manchester United offer for Barcelona star Neymar does not exist, insists agent
Neymar later responded to rumours suggesting that he was not keen to leave the Camp Nou at any price, but suggested there was eventually a big money offer on the table. "'I want to stay at Barcelona, no matter how many million-pound offers come from England," Neymar said, as quoted by Sport. "The people from Barca can be calm. When I hear things like this, I don't think anything. I just heard it and I am calm. I am very happy at Barca and with my colleagues."
Meanwhile, club president Josep Maria Bartomeu claimed that Barcelona were not interested in selling him, and that they would commit to his long-term future at the Camp Nou with a new deal. "We do not want Neymar to leave. He is young and we want him to retire here at our club," Bartomeu said, as quoted by Goal. "We will discuss Neymar's renewal in some months' time as he must stay here – not only for the next three seasons, but for the next five or 10."
Sport claims that the rumours have urged Barcelona to address the issue of interest from elsewhere, and is soon to offer the player almost double his current wages to make him stay – which would put him just behind Leo Messi in terms of the squad's biggest earners. Nevertheless, the Catalan newspaper understands that the club will not be able to match United's offer to the player: the Premier League giants tried to tempt Neymar with a £14.5m a year (around £280,000 a week) salary, which is almost what Messi is currently earning at the Camp Nou.
Related topics : Louis van Gaal


text:
Q: How to call XSL template from java code? How to call XSL template from java code ?
Please note that, I don't need to know how to transform xml docuemnt by XSL in Java.
What I need exactly is that, I have some XSLT document that contains a template that do something, ex:
<xsl:template match="/">

My CD Collection

        Title
        Artist

        .
        .

</xsl:template>

Then I need that template to be called from java code. How to ??
Thanks All guyz, I did it, Please see :
http://m-hewedy.blogspot.com/2009/12/how-to-call-xslt-template-from-your.html

A: Here's some code for a simple XSL transform, along with some tips for using XSL in Java.  And here's another example, complete with an example XML and XSL.

A: You can use the javax.xml.transformer.Transformer API for this.
Here's a basic kickoff example:
Source xmlInput = new StreamSource(new File("c:/path/to/input.xml"));
Source xsl = new StreamSource(new File("c:/path/to/file.xsl"));
Result xmlOutput = new StreamResult(new File("c:/path/to/output.xml"));

try {
    Transformer transformer = TransformerFactory.newInstance().newTransformer(xsl);
    transformer.transform(xmlInput, xmlOutput);
} catch (TransformerException e) {
    // Handle.
}

A: Is your question that you have an XSLT which doesn't require an input document? Then just give the Transformer object some kind of minimal document:
transformer.transform(new StreamSource(new StringReader("<empty/>")), yourResult);


text:
using QuickDB.Core.Models;
using QuickDB.Core.QuickDBException;
using QuickDB.Dependencies.Contracts;
using QuickDB.Dependencies.Encryptions;
using QuickDB.Dependencies.FileIO;
using System;
using System.Collections.Generic;
using System.Linq;

namespace QuickDB.Core.Core
{
    public abstract class CoreQuickDB<TClientModelObject> where TClientModelObject : new()
    {
        public int MaximumUpdateHistoryDepth { set; get; }

        #region Ctor & Dependencies

        public bool ReadOnly { set; get; }

        protected AbstractEncryptionHandler EncryptionHandler { set; get; }

        protected AbstractSerializationHandler SerializationHandler { set; get; }

        protected AbstractFileAccessHandler FileAccessHandler { set; get; }

        protected bool EnableEncryption { set; get; }

        public void VerifyQuickDBDependencySetUp(QuickDBDependencySetUpObject quickDBDependencySetUpObject)
        {
            if (quickDBDependencySetUpObject == null) throw new ArgumentNullException();
            if (quickDBDependencySetUpObject.EncryptionHandler == null) throw new ArgumentNullException();
            if (quickDBDependencySetUpObject.AbstractSerializationHandler == null) throw new ArgumentNullException();
            if (quickDBDependencySetUpObject.FileAccessHandler == null) throw new ArgumentNullException();
        }

        protected CoreQuickDB(QuickDBDependencySetUpObject quickDBDependencySetUpObject, bool readOnly = false)
        {
            MaximumUpdateHistoryDepth = 100;
            VerifyQuickDBDependencySetUp(quickDBDependencySetUpObject);
            ReadOnly = readOnly;
            EnableEncryption = quickDBDependencySetUpObject.EnableEncryption;
            EncryptionHandler = quickDBDependencySetUpObject.EncryptionHandler;
            SerializationHandler = quickDBDependencySetUpObject.AbstractSerializationHandler;
            FileAccessHandler = quickDBDependencySetUpObject.FileAccessHandler;
        }

        #endregion Ctor & Dependencies

        #region private methods

        #endregion private methods

        #region Main Functions

        protected ADocumentObject<TClientModelObject> _Deserialize(string stringContentInConfigFile)
        {
            return SerializationHandler.DeSerialize<ADocumentObject<TClientModelObject>>(stringContentInConfigFile);
        }

        protected ADocumentObject<TClientModelObject> _DecryptAndDeserialize(string stringContentInConfigFile)
        {
            return _Deserialize(EncryptionHandler.DeCrypt(stringContentInConfigFile));
        }

        protected ADocumentObject<TClientModelObject> _TryDeserializeStrategies(string stringContentInConfigFile)
        {
            var tmpStringContent = stringContentInConfigFile;
            try
            {
                if (EnableEncryption)
                    return _DecryptAndDeserialize(tmpStringContent);

                return _Deserialize(tmpStringContent);
            }
            catch (Exception)
            {
                try
                {
                    return _Deserialize(tmpStringContent);
                }
                catch (Exception)
                {
                    return _DecryptAndDeserialize(tmpStringContent);
                }
            }
        }

        protected void _SaveRaw(string json)
        {
            if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException();
            if (EnableEncryption)
                json = EncryptionHandler.EnCrypt(json);

            FileAccessHandler.Save(json);
        }

        protected void _Delete(ADocumentObject<TClientModelObject> updatedDocument)
        {
            if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException();
            try
            {
                _TrySave(() =>
                {
                    updatedDocument.State = DocumentState.Deleted;
                    return updatedDocument;
                });
            }
            catch (Exception)
            {
                throw new QuickDBErrorDeletingDocumentException();
            }
        }

        protected void _DeleteDocumentPermanently(ADocumentObject<TClientModelObject> updatedDocument)
        {
           if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException();
            var permanentDeleteException = new QuickDBPermanentDocumentDeleteException();
            try
            {
                _Delete(updatedDocument);
                FileAccessHandler.Delete();

                if (FileAccessHandler.Exists())
                    throw permanentDeleteException;
            }
            catch (Exception e)
            {
                if (e is QuickDBErrorDeletingDocumentException)
                    throw;

                throw permanentDeleteException;
            }
        }

        #endregion Main Functions

        #region Critical Points

        private bool _handleCheckIfEtagHasChangedSinceLastLoad(ADocumentObject<TClientModelObject> updatedDocument, ADocumentObject<TClientModelObject> currentDocument, bool throwExceptionIfThereAreChangesSinceLastLoad)
        {
            var etagHasChangedSinceLastLoad = (currentDocument != null && currentDocument.ETag != updatedDocument.ETag) || (currentDocument == null);

            if (throwExceptionIfThereAreChangesSinceLastLoad && etagHasChangedSinceLastLoad)
            {
                throw new QuickDBUnSafeDocumentWriteException("Document has been modified since last load with . Please reload the document before trying to save");
            }

            return etagHasChangedSinceLastLoad;
        }

        protected string _CreateNewDocument(bool makeDocumentReadOnly = false)
        {
            if (FileAccessHandler.Exists())
            {
                throw new QuickDBTryingToCreateAnAlreadyExistingDocumentException();
            }
            FileAccessHandler.CreateRequiredDirectoryIfItDoesntAlreadyExist();
            FileAccessHandler.CreateRequiredFileIfItDoesntAlreadyExist();

            var docId = Guid.NewGuid();
            var doc = _UpdateDocumentPropertiesAndSaveToDisc(new ADocumentObject<TClientModelObject>(docId), 0, DateTime.UtcNow, makeDocumentReadOnly);
            return doc;
        }

        protected string _LoadRaw(bool decrypt = false, bool createIfItDoesNotExist = false)
        {
            if (createIfItDoesNotExist)
            {
                _CreateNewDocument();
            }

            if (!FileAccessHandler.Exists())
            {
                throw new QuickDBTryingToReadNonExistentDocumentException();
            }

            var result = FileAccessHandler.Read();

            if (string.IsNullOrEmpty(result))
            {
                throw new NotImplementedException();
            }

            if (decrypt)
            {
                result = EncryptionHandler.DeCrypt(result);
            }

            return result;
        }

        #endregion Critical Points

        #region Document Updates methods

        protected void _TrySave(Func<ADocumentObject<TClientModelObject>> updateDocumentActionToBeRetried, bool makeReadOnly = false, int numberOfRetries = 0, int intervalBetweenRetries = 100,Guid? transactionOwned=null)
        {
            if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException();

            if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException(" 'ReadOnly' is True and prevents document from being updated");
            if (numberOfRetries < 0) throw new ArgumentException("numberOfRetries cannot be negative");

            var retryCount = 0;
            var saved = false;
            while ((retryCount <= numberOfRetries))
            {
                try
                {
                    var data = updateDocumentActionToBeRetried.Invoke();

                    _Save(data, makeReadOnly, true, transactionOwned);
                    saved = true;
                    break;
                }
                catch (Exception e)
                {
                    if (!(e is QuickDBUnSafeDocumentWriteException))
                        if (!(e is QuickDBTryingToSaveADocumentThatIsAlreadyInATransactionException))
                        throw e;

                    System.Threading.Thread.Sleep(intervalBetweenRetries);
                    retryCount++;
                }
            }
            if (!saved)
                throw new QuickDBMaximumNumberOfRetrrDocumentWriteExceededException("Number of retries is " + numberOfRetries);
        }

        private void _UpdateDocumentHistory(ADocumentObject<TClientModelObject> updatedDocument, ADocumentObject<TClientModelObject> currentDocument, DateTime stamp)
        {
            if (updatedDocument.ReadOnlyDocument)
                throw new QuickDBTryingToWriteToAReadOnlyDocumentException();

            if (ReadOnly)
                throw new QuickDBTryingToWriteToAReadOnlyDocumentException();

            if (currentDocument != null)
            {
                updatedDocument.UpdateHistory = currentDocument.UpdateHistory ?? new List<ADocumentObject<TClientModelObject>>();

                if (currentDocument.UpdateHistory != null && currentDocument.UpdateHistory.Count > MaximumUpdateHistoryDepth)
                {
                    currentDocument.UpdateHistory = currentDocument.UpdateHistory.OrderBy(x => x.Timestamp)
                        .Skip(currentDocument.UpdateHistory.Count + 1 - MaximumUpdateHistoryDepth)
                        .Take(MaximumUpdateHistoryDepth)
                        .ToList();
                }

                updatedDocument.UpdateHistory.Add(new ADocumentObject<TClientModelObject>()
                {
                    Document = currentDocument.Document,
                    DocumentName = currentDocument.DocumentName,
                    ETag = currentDocument.ETag,
                    DateCreated = currentDocument.DateCreated,
                    Timestamp = stamp,
                    State = currentDocument.State,
                    Version = currentDocument.Version
                });
            }
        }

        private void _UpdateDocumentProperties(ADocumentObject<TClientModelObject> updatedDocument, long version, DateTime stamp, bool makeReadOnly = false)
        {
            if (updatedDocument.ReadOnlyDocument)
            {
                throw new QuickDBTryingToWriteToAReadOnlyDocumentException();
            }

            if (ReadOnly)
            {
                throw new QuickDBTryingToWriteToAReadOnlyDocumentException();
            }
            if (updatedDocument.ID == null)
            {
                throw new NotImplementedException();
            }

            updatedDocument.ReadOnlyDocument = makeReadOnly;
            updatedDocument.ETag = Guid.NewGuid();
            updatedDocument.Timestamp = stamp;
            updatedDocument.DateCreated = stamp;
            updatedDocument.Version = version;
            updatedDocument.State = updatedDocument.State == DocumentState.Unknown ? DocumentState.Valid : updatedDocument.State;
            updatedDocument.DocumentName = typeof(TClientModelObject).Name;
        }

        #endregion Document Updates methods

        #region Main Load and save

        protected ADocumentObject<TClientModelObject> _Load(string raw = null, bool createIfItDoesNotExist = false,Guid? transactionOwned=null)
        {
            try
            {
                if (raw == null)
                {
                    raw = _LoadRaw(decrypt: false, createIfItDoesNotExist: createIfItDoesNotExist);
                }
                var result = _TryDeserializeStrategies(raw);
    var foundEmptyExistingFile = (result.Document == null);

                result.Document = foundEmptyExistingFile ? new TClientModelObject() : result.Document;
                if (result.ID == null)
                {
                    throw new QuickDBInvalidDocumentException();
                }

                if (result.State == DocumentState.Deleted)
                {
                    throw  new QuickDBTryingToLoadDeletedDocumentException();
                }

                if(  (transactionOwned != null)&&raw!=null)
                {
                    throw new Exception("cannot do a transaction when default raw data is supplied");
                }

                //if doc has been set with transaction
                if (result.TransactionId != null)
                {
                    if (result.TransactionId != transactionOwned)
                    {
                        throw new QuickDBTryingToEnterIntoTransactionWithADocumentAlreadyInAnExistingTransactionException();
                    }
                }
                else // if no existing transaction on doc
                {
                    // and if a transaction is requested
                    if (transactionOwned == null) return result;
                    // try to enter into a transaction
                    try
                    {
                        var result1 = result;
                        result1.TransactionId = transactionOwned;
                        _TrySave(() => result1,false,100,100, transactionOwned);
                    }
                    catch (Exception)
                    {
                        throw new QuickDBUnableToLoadParticipantOfATransactionException();
                    }
                    try
                    {
                         result = _Load();
                    }
                    catch (Exception)
                    {
                        // this file should be locked down for recovery
                        throw new QuickDBFatalAndDataIntegritySeriousException();
                    }

                }

                return result;
            }
            catch (Exception e)
            {
                if (e is QuickDBTryingToLoadDeletedDocumentException)
                    throw;

                if (e is QuickDBTryingToReadNonExistentDocumentException)
                    throw;

                if (e is QuickDBTryingToCreateAnAlreadyExistingDocumentException)
                    throw;

                return null;
            }
        }

        protected string _Save(ADocumentObject<TClientModelObject> updatedDocument, bool makeReadOnly = false, bool throwExceptionIfThereAreChangesSinceLastLoad = false,Guid? transactionOwned=null)
        {
            if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException();
            var stamp = DateTime.UtcNow;

            var currentDocument = _Load();

            if (currentDocument.TransactionId != null)
            {
                if (transactionOwned!=currentDocument.TransactionId)
                {
                    throw new QuickDBTryingToSaveADocumentThatIsAlreadyInATransactionException();
                }
            }

            _handleCheckIfEtagHasChangedSinceLastLoad(updatedDocument, currentDocument, throwExceptionIfThereAreChangesSinceLastLoad);

            _UpdateDocumentHistory(updatedDocument, currentDocument, stamp);

            var version = currentDocument.Version + 1;

            return _UpdateDocumentPropertiesAndSaveToDisc(updatedDocument, version, stamp, makeReadOnly);
        }

        private string _UpdateDocumentPropertiesAndSaveToDisc(ADocumentObject<TClientModelObject> updatedDocument, long version, DateTime stamp, bool makeReadOnly = false)
        {
            if (updatedDocument.ReadOnlyDocument)
                throw new QuickDBTryingToWriteToAReadOnlyDocumentException();

            if (ReadOnly) throw new QuickDBTryingToWriteToAReadOnlyDocumentException();

            _UpdateDocumentProperties(updatedDocument, version, stamp, makeReadOnly);

            updatedDocument.Document = updatedDocument.Document.Equals(null) ? new TClientModelObject() : updatedDocument.Document;
            var json = SerializationHandler.Serialize(updatedDocument);

            if (EnableEncryption)
                json = EncryptionHandler.EnCrypt(json);

            FileAccessHandler.Save(json);

            return json;
        }

        #endregion Main Load and save
    }
}


- Ruffle wrap mini skirt.
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- Mini wrap around skirt.
- Chunky waistband is adjustable to hug a wide range of curves.


text:
Tag Archives: Margaret Pomeranz
Reviews Wrap
Posted on March 29, 2012 by Rochelle Siemienowicz
Here's a quick dip into the reviews of two recently released Australian feature films: Black & White & Sex and Any Questions for Ben?. Please note these do not reflect the views of the AFI | AACTA. We're aiming to represent opinions and views from a variety of sources, and you'll make up your own mind, of course!
Black & White & Sex
Billed as 'an intimate film about sex', Black & White & Sex was released in March on just a few screens in Melbourne and Sydney by John L. Simpson's Titan View. The film previously screened at the 2011 Sydney and Brisbane film festivals, and also screened in official selection at the 2012 Rotterdam Film Festival.
Written and directed by John Winter (who has previously produced films such as Rabbit-Proof Fence and Paperback Hero), Black & White & Sex is a film within a film, following a largely unseen documentary filmmaker (Matthew Holmes) who gets more than he bargained for when he interviews a sex worker who goes by the name of 'Angie'. Intriguingly, this character is played by eight different actresses (Katherine Hicks, Anya Beresdorf, Valerie Bader, Roxane Wilson, Michelle Vergara Moore, Dina Panozzo, Saskia Burmeister, Maia Thomas). Filmed in black and white, and with occasional split screens, this is an independent film in every way.
Here's the trailer:
Andrew L. Urban and Louise Keller, over at Urban Cinefile, are both extremely positive about Black & White & Sex, with Urban describing it as "bravura filmmaking on a taboo subject." He praises the performances of the actresses, the ironic choice of black and white cinematography (ironic because the subjects under discussion are anything but black and white), and the manner in which the film questions assumptions and hypocrisies within our culture around sex and prostitution.
Keller also praises the work as "an ambitious, fearless film" and enjoys the "titillating dialogue" and "witty banter" as well as the performances of the eight very different women, who respond to the filmmaker's questions – "every question anyone ever wanted to ask a prostitute." Keller finds the film surprisingly sweet and playful.
Peter Galvin, writing on the SBS Film website, agrees that the film is ambitious and experimental, and that the acting is fine, but wrestles with the question of whether the film actually becomes the very thing it aims to counter – a stereotypical representation of the prostitute as cultural cipher. Galvin also finds the dialogue clichéd, writing that "most of the talk has the dry, pre-digested, lifeless feel of a self-help manual – it's all catchphrases and aphorisms."
Writing for Variety (login required), Richard Kuipers describes the film as offering "a full-tilt examination of the sex-for-sale biz that effectively challenges stereotypes and is well served by dashes of droll humor." Kuipers sees only a few "flat dialogue stretches" and praises the "uniformly excellent acting" and the "outstanding black-and-white HD widescreen imagery by lenser Nicola Daley." He predicts, however, that the film will probably appeal more to festival audiences than to mainstream ones.
Over on the ABC's At the Movies, Margaret Pomeranz and David Stratton agree that Black & White & Sex is "imaginative", "brave", superbly acted, and "within its limitations, very stylishly done". They concur on a three and a half star rating.
Want to read other reviews of Black & White & Sex? More can be found here:
Glenn Dunks – Onya Magazine
Luke Buckmaster – Crikey
Any Questions For Ben?
A romantic comedy from Working Dog, the team behind previous Australian hit features The Dish and The Castle, Any Questions For Ben? was released in Australia on 9 February 2012 through Roadshow Films. Written by Santo Cilauro, Tom Gleisner and Rob Sitch, and also directed by Sitch, the film stars Josh Lawson as a smart, good-looking Lothario suffering a quarter-life crisis, brought about by his encounter with a beautiful United Nations lawyer (Rachael Taylor) who makes him question the meaning and purpose of his life. A supporting cast includes Rob Carlton as Ben's father, Lachy Hulme as his mentor, and Daniel Henshall, Felicity Ward and Christian Clark as his best buddies.
Simon Miraudo reviews the film on QuickFlix and finds it has "an easy, low-stakes charm, and is buoyed by its very talented cast of performers." Miraudo praises Lawson as a likable lead who "deserves much of the praise for making sympathetic a character who could be considered the poster child for 'first world problems'" – though he wonders if a more understated and less slick style may have been more appropriate to the film's material. While declining to include it in the same "pantheon of Australian films" as The Castle and The Dish, Miraudo declares it it "a sweet, unassuming and occasionally very funny film."
Likewise, Matthew Pejkovic of Matt's Movie Reviews enjoys "a funny and insightful look into Gen X pressures in an increasingly fast paced world," and has more praise for Lawson's natural comedic timing and ability to depict Ben as sympathetic despite the fact that he's "swimming in money, opportunity and women."
Richard Gray of The Reel Bits gives another positive review of the film, and finds Ben to be a character whose struggle to find meaning in modern life makes him "just as much of a local hero as Darryl Kerrigan." Gray applauds Lawson in the lead role, and also enjoys Rachael Taylor's "most naturalistic performance to date."
In stark contrast, Crikey's Luke Buckmaster is scathing of the film, failing to see any effective comedy or any chemistry between Lawson and Taylor. He wishes more effort had been made to capture the subtleties of the Melbourne location and deplores the soundtrack "stuffed to the gills with top 50 bubblegum pop tracks."
Sandra Hall, writing for the Sydney Morning Herald is gentler on the "bright and shiny piece of film-making," but is also disappointed, finding its depiction of Melbourne akin to a tourism advertisement, and its music montages "a sign of desperation." Hall is thankful there are no fart jokes, (as in Apatow comedies), but finds herself "nostalgic for Working Dog's sharper days when they would surely have perpetrated all sorts of wickedness at Ben's expense."
Other reviews of Any Questions for Ben? can also be found here:
Jake Wilson – The Age
David Stratton & Margaret Pomeranz – At the Movies
Megan Lehmann – The Hollywood Reporter
Did you see these films? What did you think? Feel free to comment below. Note that comments are subject to moderation. We'll print them as long as they're fit for polite company.
Posted in Film, Film Reviews, Now showing | Tagged Andrew L Urban, At The Movies, Australian Films, Critics, David Stratton, Glenn Dunks, Louise Keller, Margaret Pomeranz, Megan Lehmann, Onya Magazine, Peter Galvin, SBS Film, Simon Miraudo, Urban Cinefile	| Leave a comment
25 Years on the Couch: Margaret Pomeranz
Posted on August 18, 2011 by Rochelle Siemienowicz
With her spiky blonde crop, enormous earrings and throaty laugh, Margaret Pomeranz is no doubt the most recognisable and beloved film critic in Australia. In an amazing feat of television longevity, Pomeranz has been appearing on screen with her fellow reviewer (and friendly sparring partner) David Stratton, for 25 years now. They first appeared together in 1986, when they established and hosted The Movie Show on SBS. In 2004, the duo moved to the ABC, where the show was renamed At the Movies, and is still going strong today. In fact, to celebrate the 25th anniversary, the Australian Centre for the Moving Image (ACMI) in Melbourne is now staging an exhibition, 'Margaret and David: 25 Years Talking Movies' (17 August – 4 December 2011).
Pomeranz fell into movie reviewing completely by chance. As a producer for SBS, she was casting The Movie Show and needed a female host as conterpart to established film critic David Stratton. There didn't seem to be anybody else available, so Pomeranz stepped in, sat down on the sofa, and as they say, a star was born.
An Arts graduate with a major in German and Pyschology, the young Margaret had spent time in Europe, worked as a journalist for the ABC and the Bulletin, and had become an enthusiastic supporter of the new wave of Australian films in the 1970s, alongside her husband, filmmaker Hans Pomeranz . After attending the Playwright's Studio at NIDA she began writing for television, radio and film, and then moved to screenwriting and television producing for the newly established multicultural broadcaster, SBS – where her experiences included excecutive producing the AFI Awards and the IF Awards.
A passionate and outspoken advocate for the freedom of speech, Pomeranz is currently vice-President of Watch on Censorship. She's also served as a member of the Advertising Standards Board, and is a past President of the Film Critics Circle of Australia.
In our interview, conducted earlier this year at the 2011 Adelaide Film Festival, Pomeranz was as warm, funny and intense in person as she is on screen. She enthused about her new hot pink iPhone ('Now I can finally find my phone in my handbag!'), reminisced about her early years on television, and discussed the complexities of reviewing the Australian films made by colleagues and friends. And just in case you think her job's a dream, she lets us in on some of the minor irritations of having to see every single film released each week.
Celebrating 25 years of sparring on the couch: Margaret Pomeranz and David Stratton. Image courtesy of ABC
AFI: Congratulations on 25 years of doing The Movie Show – or versions thereof!
Margaret Pomeranz: It's been incredible. I can remember way back, at the beginning, when I'd only been doing it for four years, I remember saying, 'Oh, I'll just do it for one more year.' It's always been one more year, one more year. And then all of sudden, you go 'Oh wow, it's ten years!' And then it's 20. Now it's a quarter of a century and it sounds pretty heavy duty.
AFI: When you were saying 'one more year', was that because the pace was so intense that you didn't know if you could keep it up? Or were you thinking that the show wouldn't be supported for more than one more year?
Margaret Pomeranz: Well, I suppose in those days, programs only lasted a certain number of seasons. You expected that they'd want to go on and make something new. I think because we started on SBS, we sort of worked our way in from the edge. People who liked film made an effort to find us, and then the show became established. Films keep coming out every week, all year round, so they need reviewing. It just keeps on keeping on.
AFI: When the show started you were producing as well as presenting. What was it like performing both those roles?
Margaret Pomeranz: It nearly killed me! It's not actually an ideal balance of roles, because, you know, I had to learn to shut up in the studio, to let them call the shots from the control room, instead of me trying to do it. I'm such a control freak! That took a while.
It's a small country, and it's actually quite a small industry, so you actually do personally know a lot of the people in these films you're talking about and you know that if you are critical, it's terribly hurtful for them, and terribly damaging.
AFI: In Australia, you and David are our most recognisable film critics, and you're very much part of the debate when a new Australian film gets released. Every Australian filmmaker is interested in how their work is reviewed on your show. They'll be watching and caring about what you think. That must be quite a consideration for you.
Margaret Pomeranz: It is a consideration. It's a small country, and it's actually quite a small industry, so you actually do personally know a lot of the people in these films you're talking about and you know that if you are critical, it's terribly hurtful for them, and terribly damaging. I must admit that I really liked it when our show was a little niche program on SBS without that responsibility. I don't particularly want that responsibility. But unfortunately, it's been thrust upon us and I'm very aware of how important it is for filmmakers when their work is reviewed on our show.
AFI: Your show was the first of its kind in Australia, wasn't it?
Margaret Pomeranz: Yes. We were the only program that tried to cover every film in a week. You had Peter Thompson on the ABC and gradually, on cable television, there were a few shows as well. But for free-to-air, I can't actually believe that no one had ever thought of this before. And even with SBS, you know, we really had to fight to get it up. There were movie review shows that were well-established in America at that time, but there was nothing here, and there continued to be nothing. I don't know whether it was because the commercial television channels here were so aligned with some of the studios – the output that they took from Paramount and Warners and stuff like that, so that they thought it would compromise them if some of their material would be criticised on their own station – but the ABC and, well, public broadcasting in general, has that absolute freedom to not owe anything to anyone, which is healthy. It's why I believe in public broadcasting.
AFI: The film critic or reviewer has to be absolutely autonomous, otherwise it's a pointless exercise.
Margaret Pomeranz: Yes. At the same time, I wouldn't downplay the major newspaper critics in this country either. I'm sure every city has at least one reviewer who is very important and would consider themselves to be thoroughly independent.
AFI: As someone who's been doing this for so long, do you get the feeling that the quality of the debate about cinema and film culture has improved in the last couple of decades, or has it changed in any way?
Margaret Pomeranz: I actually don't think television is the arena for really in-depth debate about film. All I wanted to do with our program was make a guide to cinema, the current cinema. But what I did notice over the years is this absolute explosion of interest in cinema. And I imagine it's because cinema is taught in schools and kids have the ability to make their own short films with the technology these days. And it is a magic art. No wonder they're so enthused about it! Nowadays many young people are extremely cinema-literate, so that has certainly changed over the years. When we started, we were the first people to go out and actually cover Australian films shooting on location. A lot of the early stories that we did, no one else had ever thought of that. Then the idea of creating EPKs [Electronic Press Kits] came up and we pulled back from that. But I hope that by giving those kinds of insight into this struggling, poor little industry that we've got, an industry that throws up so much talent, that we can be part of the process of developing enthusiasm for what's happening in film in this country.
I walk the streets of any city in this country and people greet me with a smile. Now, that's not a bad way to go about life, actually, to have that sort of genuine response – people smiling at you as if you're a friend.
AFI: You travel the world's film festivals and watch films for a living. What is the hardest part of your job?
Margaret Pomeranz: I suppose the fact is that you're completely at the mercy of someone else's schedule. It's very hard even making a doctor's appointment that you know you're going to be able to keep. Or a dinner appointment. Recently I said to [theatre director] Neil Armfield, 'I'm giving up on theatre. I can't go to the theatre anymore because I don't know when I'm going to have to go to a six o'clock film screening. And I'm never going to make the theatre by eight.' The number of theatre tickets I've had to swap or abandon! It just gets to be very frustrating. It's really difficult, trying to have dinner with the kids, who seem to want to get up early and go to bed early. It's a minor irritation. But the rest of it is great. Everybody is so lovely. I have to tell you, I walk the streets of any city in this country and people greet me with a smile. Now, that's not a bad way to go about life, actually, to have that sort of genuine response – people smiling at you as if you're a friend. It's lovely.
AFI: You don't get people coming up to you and saying: 'How could you not have loved such-and-such a film?'
Margaret Pomeranz: No. Occasionally, very occasionally, people come up and take issue in a really engaged way. They're not attacking, but they want to talk about a film that you haven't liked and they've really liked. But generally, there's just great enthusiasm for the program. It's surprised me, it really surprised me. But we've been in people's lounge rooms for 25 years. You know, there are 25-year olds who've grown up with us. We've been part of young people's lives for all their lives if they're interested in film and they've been following the program, and a lot of them have. It's incredible. We're an institution, we're institutionalised!
AFI: In a good way! And what advice would you have for a young film reviewer who's trying to make a start?
Margaret Pomeranz: I suppose it's the same advice that you give a filmmaker. Just watch a lot of cinema. See how the good ones do it. See how the bad ones do it. Have a film education. We've introduced this 'Classics' segment on At The Movies, and the response to that has been really extraordinary. I mean, people want to learn about cinema. They do want to be led towards really fantastic films of the past. And I think good filmmakers know what the greats have done in the past and they can learn from them.
AFI: You said something very interesting in your 2010 Hector Crawford Memorial Lecture, bemoaning Australian filmmakers' traditional reticence to pack an emotional punch and to explore things like sex and intimacy. Do you think we're heading away from that tendency or is it still a problem?
Margaret Pomeranz: I don't know. I mean, I don't want to make blanket criticisms, but I think it is a trend. And I noticed it in Canadian films too. Perhaps it's because we've inherited that 'Britishness', that reticence, which the Americans just shrugged off, embracing their new world and everything that was free in it, including emotion. But I do think that it's not an area that Australians feel competent to explore – ideas of intense emotion, intense love. But, I have to say that I've just recently seen Griff the Invisible, and it's beautiful. It is really a compassionate, wonderful little film. So, you know, with films like that, maybe things are changing.
AFI: From an AFI perspective, you've been engaged with the AFI Awards in various ways for a long time. What are your memories of those early years when you produced the awards when they were broadcast on SBS?
Margaret Pomeranz: Oh yes, I pounded the floor backstage and wrung my hands whenever anybody went over their allotted time for their thank you speech! It was a massive undertaking. I had never done anything like that before, so it was a huge learning curve for me. But fortunately, Denny Lawrence was the AFI Chair at the time and I'd known him for a long time and we got on very well. I was able to speak up about things and become really engaged in the process, which was lovely.
AFI: From your perspective now, as a film reviewer now, what are the importance of the AFI Awards?
Margaret Pomeranz: I think they're really important, because it focuses the nation's attention on our cinema and highlights the grand achievements in the particular year. It's good for individual films, but I think it's also good for the country as a whole to have their interests pricked at certain moments and this is the big moment in the year for Australian film. In the early days when I came back to Australia from overseas, I'd go to the AFI Awards. Actually at that time I had a screen writing credit so I was able to vote in the screen writing category. And I'd go to the AFI Awards screening and you'd get to see all the films released in that year. Everybody in the film industry went. It was a great informal forum for the discussion of film. Now I'm looking forward to seeing the actual Awards being in Sydney for a change.
AFI: The glamour, the glamour! We look forward to seeing you there. Thanks for talking with us.
Margaret Pomeranz: My pleasure.
At the Movies screens on ABC TV every Wednesday night at 10.00pm and is repeated on Sundays at 6.00pm.
Margaret and David: 25 Years Talking Movies is exhibited at ACMI in Melbourne from 17 August until 4 December 2011. The 25 year anniversary episode of At the Movies will screen on ABC1 on 26 October. Visit abc.net.au for further info.
'Let's agree to disagree' – A great piece posted on the ACMI Blog, with David and Margaret offering their 25 most memorable and most forgettable film experiences. Also, some terrific photos from the early years.
Posted in Film Reviews, Interviews | Tagged ABC, ACMI, At The Movies, David Stratton, Margaret Pomeranz, Reviews, SBS, The Movie Show	| 2 Comments
Posted on July 7, 2011 by Rochelle Siemienowicz
Here's a quick taste of reviews of current release Australian feature films Blame and Sleeping Beauty. Please note these do not reflect the views of the AFI. We're aiming to represent opinions and views from various sources, and you'll make up your own mind, of course!
Released nationally in Australia on 16 June by Pack Screen, Blame premiered at the 2010 Melbourne International Film Festival (where it was a MIFF Premiere Fund film) and screened to some acclaim at festivals including Toronto and Chicago. Filmed and set in the foothills of Perth, the story centres on a group of young vigilantes intent on wreaking vengeance for a sexual betrayal.
Directed by Michael Henry, and produced by Ryan Hodgson, Melissa Kelly and Michael Robinson, Blame stars a raft of fresh but familiar talent, including Sophie Lowe, Kestie Morassi, Damian de Montemas, Simon Stone, Mark Leonard Winter and Ashley Zukerman. Reviewing the film as part of the TIFF 2010 lineup, Twitch's Todd Brown was particularly impressed by the actors, and by the opening sequences, but writes that the film is "[l]ong on cast and concept but slightly short on execution," and that it "never quite manages to reach its full potential or really cash in on its premise".
Megan Lehmann, writing for The Hollywood Reporter (login required), calls Blame "a compact little thriller set in a remote corner of the Australian bushland," and predicts that it will be a good calling card for its cast and crew. She singles out the stark piano-heavy score and DOP Torstein Dyrting's lingering camera-work for special mention, with the only real criticism being a "generally tight script [that] stumbles in the second act as the characters chase their tails for a while."
Simon Miraudo, over at Quickflix sees in the film "brief flashes of brilliance that evoke Alfred Hitchcock and Agatha Christie," though ultimately, he argues, "it feels like a sincere tribute to Hitchcock and Christie, but not a modern-day companion piece." Miraudo singles outs out performances by Damian de Montemas, Sophie Lowe and Kestie Morassi for special mention. Also seeing Hitchockian references in Blame, Peter Galvin (SBS Film) commends the way the audience's sympathies are simultaneously engaged by both the victim and the perpetrators.
Leigh Paatsch, reviewing for the Herald Sun gives Blame three stars and writes that "[f]irst-time writer-director Michael Henry makes a little go a long way throughout, pushing an impressive young cast through a twisty, turny maze most viewers will be happy to get lost in." Both David Stratton and Margaret Pomeranz from the ABC's At The Movies are similarly impressed with the film, agreeing with a three and a half star rating, and praising it as an intelligent low budget film that "punches above it's weight."
Sleeping Beauty, an 'erotic fairytale' about a young woman, Lucy (Emily Browning), who sells her body in a particularly passive way, is shaping up to be one of those films that is dividing critics and audiences. This divisive tendency was evident at the film's premiere screening in Official Competition at Cannes 2011 (you can see a table summarising critical responses from French critics at Cannes here), and the vigorous debates here at home continue the tendency. In fact, as Glenn Dunks argues, writing for Onya Magazine, perhaps "the discussion it has elicited from critics and audiences (domestic and international alike) is reason enough for [the film's] existence."
One of the most interesting and lateral responses to Sleeping Beauty is this one by Matt Riviera on his blog A Life in Film, where he engages not only with the film but with its critical and audience responses. (Riviera has meticulously compiled a table of Sydney critics' responses to 2011 Sydney Film Festival offerings, including Sleeping Beauty, and you can see that film's divisive effect evident in the chart here.)
Anticipating that many viewers will be alienated and unmoved by the somewhat clinical tone of the film, Riviera notes that "[w]e are not encouraged to relate as much as to reflect on our position as voyeurs. In other words, we can look but cannot touch." He goes on to offer a fascinating and unexpected reading of the film as a metaphor for Australia's passive relationship to its own beauty and international exploitation.
Over at Cinema Autopsy, Thomas Caldwell gives a more conventional review. Awarding Sleeping Beauty four stars, Caldwell admires writer/director Julia Leigh's "well tuned sense of visual storytelling" and notes that the film's cinematography (Geoffrey Simpson) and production design (Annie Beauchamp) evoke the work of Kubrick, Lynch and Greenaway. Caldwell also praises the "meticulous and minimalist sound design by Sam Petty", and the "highly measured and controlled performance" of Emily Browning in the lead role. Anticipating other viewers' criticism of the film, he writes that "[o]n face value Sleeping Beauty may appear to be simply an arty exercise in film style and as a result will no doubt perplex and frustrate some audiences, particularly those expecting something more erotic or blatantly emotionally charged. However, like Lucy it contains something dark, complex, mysterious and, indeed, beautiful deep down below the surface."
David Stratton, reviewing for At The Movies, called Sleeping Beauty "a handsomely made and quite haunting first feature" and gave the film three and a half stars. Stratton argued, however, that "while it's often very impressive it's also very cold and detached." Andrew L. Urban is another such viewer, frustrated at what he perceives as the film's coldness. At Urban Cinefile he writes: "I salute the unique vision, but I feel cheated that I felt so little emotion in a film that has such vast emotional potential." Writing in the same space, Louise Keller declares Sleeping Beauty "a mesmerizing film and a stunning debut for Leigh, although the ending disappoints and leaves us adrift."
Jim Schembri, writing in the Sydney Morning Herald gives the film backhanded praise, arguing that "the one thing you can't say about Sleeping Beauty that you can about many other Australian arthouse films, is that it is boring. If anything, there's something mesmerising about Lucy's journey and in Browning's deliberately passive, low-key performance, even if the whole shebang leads to frustration." Leigh Paatsch, in the Herald Sun is not so kind, describing it as "prentious" and an "arthouse snoozer". Variety's Peter Debruge is similiarly unimpressed, criticising the film's "frustratingly elliptical feel and lack of character insight."
Over at the Guardian however, Peter Bradshaw seems to gain far greater insight into the "emotional seriousness" of Lucy's character, praising Emily Browning's "fierce and powerful performance." Bradshaw also calls the film a "technically elegant" and "assured debut", nevertheless finding it to be "no more than the sum of its parts".
Clearly, the debate will continue to rage. What did you think?
A Sense of Wonder: An Interview with Julia Leigh, writer/director of Sleeping Beauty
Reviews Wrap: The Tunnel, Here I Am, Cane Toads The Conquest and Oranges and Sushine
Reviews Wrap: Mrs Carey's Concert, Mad Bastards & Snowtown
Reviews Wrap: Griff the Invisible, The Reef, and A Heartbeat Away
Posted in Film, Film Reviews, Now showing | Tagged A Life in Film, Andrew L Urban, Annie Beauchamp, Ashley Zukerman, At The Movies, Australian Films, Blame, Cannes, Cinema Autopsy, Critics, Damian de Montemas, David Stratton, Emily Browning, Geoffrey Simpson, Glenn Dunks, Guardian, Herald Sun, Jim Schembri, Julia Leigh, Kestie Morassi, Leigh Paatsch, Louise Keller, Margaret Pomeranz, Mark Leonard Winter, Matt Riviera, Megan Lehmann, Melissa Kelly, Michael Henry, Michael Robinson, MIFF Premiere Fund, Onya Magazine, Peter Bradshaw, Peter Debruge, Peter Galvin, Quickflix, Reviews Wrap, Ryan Hodgson, SBS Film, Simon Miraudo, Simon Stone, Sleeping Beauty, Sophie Lowe, Sydney Film Festival, Sydney Morning Herald, The Hollywood Reporter, Thomas Caldwell, TIFF, Todd Brown, Torstein Dyrting, Twitch, Urban Cinefile, Variety	| 1 Comment
Posted on June 2, 2011 by Rochelle Siemienowicz
Here's a quick taste of what some reviewers said about recently released Australian feature films. Please note that these do not reflect the views of the AFI; we're aiming to represent just a smattering of opinions and views from various sources. You'll make up your own mind, of course!
Mrs Carey's Concert
Bob Connolly and Sophie Raymond's observational documentary about a high school music teacher may well be the surprise Australian hit of the year. The self-distributed film, which opened this year's BigPond Adelaide Film Festival, is not only performing well at the limited release box office (more than $500,000 to date), it's also being universally praised by critics and reviewers. David Stratton and Margararet Pomeranz from At the Movies describe it as "a rounded and very satisfying film that is both hugely entertaining and incredibly inspirational," giving it four and a half stars and four stars respectively. Writing for the Sydney Morning Herald, Sandra Hall also gives Mrs Carey's Concert four and a half stars, praising Connolly's "patience and unobtrusiveness" which result in a film that's "well worth every exhilarating minute." The Age's Jake Wilson gives high praise, writing that Mrs Carey's Concert "transcends its "inspirational" format to rank as the best Australian film so far this year." Filmink's Cara Nash calls the film "absorbing and revealing" and "nothing short of compelling", using the Filmink ratings system to value the film at $17 out of a possible $20. Writing for Onya magazine, Glenn Dunks has only one qualm, observing that "a sequence in which Mrs Carey loses a folder of sheet music feels artificial and unnecessary." In the end however, he finds the film to be "a wonderful experience to witness." (Interested in finding out more about Bob Connolly and Sophie Raymond? Click through to read our recent interview with them.)
Mad Bastards
Filmed and set within Indigenous communities in the amazingly picturesque Kimberley region of WA, Mad Bastards impressed at Sundance where it premiered earlier this year. Directed by Brendan Fletcher, and featuring the musical talents of the Pigram Brothers (who also acted as producers on the film), Mad Bastards is a musical journey following three generations of Aboriginal men who find their way out of the cycle of violence. Thomas Caldwell, writing for The Big Issue magazine (review reproduced on the Cinema Autopsy blog) gave the film four stars and announced that "Mad Bastards is simply Australia's most impressive film since Animal Kingdom." Helen Garner, writing in the May 2011 edition of The Monthly writes that "Mad Bastards is a work of serious maturity and grace. It reminded me of something that Plato said about art – that it should be 'like a wind from excellent places, bringing health."
Writing for the SBS Film website, Michelle Orange found the musical interludes intrusive, arguing that director Brendan Fletcher's "over-reliance on score sets up an avoidant rhythm that begins to feel like a lack of narrative confidence." Ultimately though, Orange finds much to like about the film, and writes that in it's final climactic scene, "the privileging of tableau over dialogue feels just right." Quickflix critic Simon Miraudo gives Mad Bastards four out of five stars, and despite admitting to hating films which conclude with footage of real subjects, Miraudo acknowledges that it works here, and that "Mad Bastards is an involving tribute to – and exciting evolution of – Australian storytelling."
Writing for the Melbourne Age and Sydney Morning Herald, Jim Schembri awards Mad Bastards four and a half stars out of five, writing that it "bravely explores a host of hot-button issues with a deft blending of humour, sensitivity and often brutal frankness." Andrew L. Urban over at Urban Cinefile writes that the film "understated in its redemptive message, much like Samson and Delilah was, and while it has a few clunky storytelling moments, it's an engaging and touching film."
Certainly the most controversial Australian release of the year so far, Justin Kurzel's feature directorial debut Snowtown is based on the brutal serial killings known as the 'bodies in the barrels' cases, which occurred in Adelaide in the 1990s. Winner of the 2011 Adelaide Film Festival's Audience Award (where it had its Australian premiere) and selected for Critics' Week at Cannes (where it received a special mention by the Jury President), Snowtown is currently dividing audiences and critics – though everyone seems to agree that Adam Arkapaw's cinematography and Jed Kurzel's musical score are beyond reproach.
One of the most rapturous responses to the film surely came from Clem Bastow at The Vine, who awarded Snowtown five out of five stars and wrote that despite its grimness, the film is "an incredible piece of cinema and a devastating, poetic work of storytelling." Crikey blogger Luke Buckmaster over at Cinetology was similarly blown away, praising the "airtight sense of verisimilitude maintained by unwavering directorial focus," and calling it the "most frightening Australian film ever made, and a great piece of art."
Both Louise Keller and Andrew L. Urban of Urban Cinefile commended the strong performances of the actors in the film and agreed that the film succeeded in creating an undeniably tense atmosphere, yet Keller's admission that she " left the cinema feeling repulsed and downtrodden at the sombre world depicted, from which not even a little piece of blue sky can be seen," is one echoed my many viewers, including Helen Garner, who admitted in The Monthly that the film left her despairing and nauseated. The Adelaide based Anders Wotzke of Cut Print Review commends director Justin Kurzel's naturalistic direction, but argues that the grisly film "struggles to build an emotional rapport with its audience." Both Margaret Pomeranz and David Stratton from the ABC's At the Movies praised the impressive acting performances on screen, but found the setup confusing and worried at the film's lack of "moral centre". The debate continues, and audiences seem keen to check it out for themselves, with the film's strong performance on the limited box office charts. (Interested in learning more about the actors in Snowtown? Click through to read our interviews with Daniel Henshall, Lucas Pittaway and Louise Harris.)
Check out these films on the big screen now, while they're in the cinemas, and feel free to drop back and leave your comments and opinions.
Next week, our Reviews Wrap will take in the crowdfunded film The Tunnel, available freely on torrent; Beck Cole's Here I Am, and Mark Lewis's 3D creature feature documentary Cane Toads: The Conquest.
Posted in Film Reviews, Now showing | Tagged Adelaide Film Festival, Anders Wotzke, Andrew L Urban, Beck Cole, Bob Connolly, Brendan Fletcher, Cane Toads The Conquest, Cannes Film Festival, Cara Nash, Cinema Autopsy, Cinetology, Clem Bastow, Cut Print Review, David Stratton, Filmink, Glenn Dunks, Helen Garner, Here I Am, Jake Wilson, Jim Schembri, Justin Kurzel, Luke Buckmaster, Mad Bastards, Margaret Pomeranz, Mark Lewis, Michelle Orange, Mrs Carey's Concert, Onya, Quickflix, SBS Film, Simon Miraudo, Snowtown, Sophie Raymond, The Monthly, The Tunnel, The Vine, Thomas Caldwell	| 1 Comment
Alan Finney's Cannes Report #2
Posted on May 19, 2011 by Rochelle Siemienowicz
The view from the Screen Australia office at Cannes
AFI Chair Alan Finney, is currently attending the 2011 Cannes Film Festival (11 – 22 May) as a producer and member of the Australian film contingent. As an industry insider since the 1960s, as a filmmaker, distributor and exhibitor, Finney has been to Cannes many times before. This year Alan is sending back snapshots, impressions and memories. In this second report, he catches up with some old friends and attends a forum debating the merits of Video on Demand (VOD) versus a traditional windows approach to distribution. You can catch the previous Cannes Report here or read on for the latest…
My favourite memory of Cannes is probably the launch of Muriel's Wedding and The Adventures of Priscilla, Queen of the Desert, back in 1994, and it was the exposure they got here, followed by terrific screenings back home that really kicked off their success.
Now there are so many Australians here which is terrific – producers, distributors and government film body representatives and a lot of "veteran friends" who still come to the festival to stay in touch with the worldwide industry. And of course, there are icons such as David Stratton and Margaret Pomeranz who are stars in their own right. It was also great to bump into Anthony LaPaglia in the street as we hadn't worked together since Brilliant Lies, directed by the late and great Richard Franklin and based on the David Williamson play.
The place for Aussies to congregate is naturally at the Screen Australia office, perched high up and with great views of Cannes. Screen Australia CEO Ruth Harley and her team are most hospitable, and as well as being a spot to catch up with friends and business contacts, there are many functions to which filmmakers from other countries are invited and the communication opportunities are most beneficial. What also pleased me was the number of young Australian filmmakers who I met in this office, most at the Festival for the first time. Some of them are here with short film experience, while others are attending, just with plans to make features and using the experience to sound out possible opportunities and strategies.
Overall there's a really positive attitude to our home-grown product, and this is appropriate and necessary if we are to continue encouraging and supporting our filmmakers, both established and those preparing to get into the rough and tumble world of getting projects up onto the big or small screen.
The American Pavillion - a place to eat, drink, connect to Wifi and attend industry panels and seminars
There is a really interesting venue called The American Pavillion, and by registering for a not too heavy fee, you can mingle, buy things to eat and drink, use free Wifi and also attend information sessions such as one I did. The subject matter was 'Indie Film Innovators: Keeping up with the New Thinking in Distribution' (See participants below*). A wide range of topics were discussed including (naturally) the issue of day and date theatrical and Video on Demand (VOD) release strategies.
The panel were in fact split on this question, some seeing keeping [separate theatrical and DVD] windows as a necessary way to recoup the production investment and value the theatrical publicity which helps VOD and gives the release high profile.
Those in favour of day and date release argue that they have to be where their customers are and that their film should be on as many 'monetised' (the new buzzword) channels as possible. They believe that consumers are platform agnostic. They also see the impact of piracy which is encouraged if a film plays in limited locations in its theatrical life. The most sensible view seemed to be that the question of a window approach depends on the movie itself, and that this decision should be on a title by title basis.
A related subject discussed, of course, was social networking and the way it has changed how audiences learn about and become excited about films.
*Indie Film Innovators: Keeping up with New Thinking in Distribution. Participants: Jon Fougner (Facebook), Tim League (Alamo Drafthouse), Shawn Bercuson (PreScreen), David Fenkel (Oscilloscope), Berry Meyerowitz (Phase Four). Moderated by: Scott Macaulay (Editor-in-chief, Filmmaker Magazine).
Below: Alan's Snapshots from The American Pavillion at Cannes
Posted in Film Festivals | Tagged Cannes, David Stratton, Distribution, Margaret Pomeranz, Ruth Harley, Screen Australia, Theatrical, VOD	| 1 Comment


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Food caterers in South Delhi, Gurgaon, Noida
Atticus is a bespoke catering brand, headed by an internationally trained professional Chef, Tanuvee Agarwal. We specialise in catering to high end parties and soirees. As a food caterer in South Delhi NCR, Atticus introduces a unique tradition of 'Cocktail Dinatoire', a concept which comes from a French origin (which literally means- Cocktail Dinner), to the Indian fine-dining stage. With a menu made of canapés and tapas, the delectable dishes crafted by us, are a treat for all the senses.
A food caterer in South Delhi NCR, Atticus is an entity, it is a being that derives its meaning through its name. Traditionally, the name 'Atticus' comes from an ancient Roman word that directly translates to 'man from Attica'. Just like the nature of conquest that the Romans possessed in history, Atticus combines various cuisines to create a unique, sophisticated and story-like menu, rich in complexities and flavours.
Additionally, echoing the character Atticus, from 'To Kill a Mockingbird' by Harper Lee, the goal of the entity is to show that creativity and wisdom go hand in hand and have no bounds. It is an emotion, a feeling that can be found anywhere and everywhere when foraged for.
Moreover, analogous to its philosophical roots, Atticus aims to build itself as a legacy, which can be sustained as something beyond cooking. Atticus is an inception. It is a new beginning enriched with history and sustained through change. It is a mindset; a trend in development.
TAGS: Food caterers in Delhi NCR, Food caterers in Gurgaon, Food caterers in Noida, Food caterers in South Delhi
Atticus | Bespoke catering services | tanuvee@atticus.co.in | +91-11-45687000; +91-9999200152 | D 9/3 Okhla Industrial Area, Phase II, New Delhi


text:
Аббатство Святой Марии в долине Иосафата — бенедиктинское аббатство, расположенное к востоку от Старого города Иерусалима, основанное Годфридом Бульонским на предполагаемом месте Гробницы Девы Марии.

История
Аббатство Святой Марии было построено рядом с византийской церковью, в которой находился храм Успения Пресвятой Богородицы. Первые монахи аббатства были из окружения Годфрида и управляли церковью Святой Марии, Гротом Агонии и Гефсиманской церковью, расположенными недалеко от Елеонской горы.

Арнульф де Роол отремонтировал церковь в 1112 году. Морфия, жена короля Балдуина II, была похоронена здесь, положив начало прецеденту, когда королевы Иерусалима были похоронены не в Храме Гроба Господня, а погребены отдельно от своих мужей. В 1120 году Балдуин II назначил своего двоюродного брата Гильдуина из Ле-Пюизе, сына Гуго I из Ле-Пюизе, аббатом. Там же была похоронена королева Мелисенда.

Крестоносцы перестроили верхнюю церковь около 1130 года, но она была разрушена Саладином вместе с монастырем после 1187 года. Части верхней церкви были использованы для стен Иерусалима.

В 1999 году в ходе археологических исследований была обнаружена большая картина трапезной с несколькими надписями, которая с 2010 года выставляется в Музее Израиля. Это был деисус («мольба» по-гречески), иконография, в которой Мария и Иоанн Креститель молятся Иисусу во имя человечества о прощении<ref>{{Cite web|lang=fr|url=https://halshs.archives-ouvertes.fr/halshs-02185595/|title=Transferts épigraphiques : les inscriptions de l'abbaye du Val de Josaphat à Jérusalem, Estelle Ingrand-Varenne|access-date=2022-05-18|archive-date=2021-04-11|archive-url=https://web.archive.org/web/20210411195000/https://halshs.archives-ouvertes.fr/halshs-02185595|deadlink=no}}</ref>.

 См. также
 Христианство в Израиле
 Могила Девы Марии

 Примечания

 Источники
 Post-Classical History, Abbey of Jehosaphat (архив)
 Pringle, Denys, The Churches of the Crusader Kingdom of Jerusalem, Cambridge University Press, London, 1993 (доступно в Google Книгах)
 Riley-Smith, Johathan, The First Crusaders, 1095—1131'', Cambridge University Press, London, 1997

Культовые сооружения по алфавиту
Елеонская гора
Монастыри по алфавиту
Монастыри Израиля
Архитектура Иерусалима
Появились в XII веке

redpajama_set_name: RedPajamaWikipedia


text:
Arts Education Law
Queensland Conservatorium
Head of Jazz receives doctorate
Published June 5, 2013 AuthorNicole Butler
Dr Stephen Newcomb
Dr Stephen Newcomb, Lecturer and Head of Jazz at Queensland Conservatorium Griffith University recently received his doctoral study in jazz composition from the Manhattan School of Music.
Manhattan School of Music is not an unfamiliar place for Stephen, as it's where he completed his Masters in jazz piano performance in 2001, with his final thesis a composition for the Jazz Philharmonic Orchestra, which encompassed a big band, strings, percussion and double winds.
Stephen was honoured to study with one of his heroes, jazz extraordinaire Jim McNeely.
"I studied with one of my heroes and a world exponent of composition/arranging for jazz orchestra," he said.
Stephen has travelled in and out of Australia showcasing his musical talents at international venues such as A-Train (Berlin), Porgy and Bess (Austria) and The Ellington Jazz Club (Perth).
"I have been very fortunate throughout my career to perform in world class venues across the globe."
As a musician with talents across many genres, Stephen has also shared his love and passion for composing in orchestral repertoire, developing many compositions and orchestrations for various symphonic ensembles.
"I completed my Bachelor of Music degree in Orchestral Trombone performance, and believe it became the foundation for my future musical career," he said.
Teaching is also an important element of his work. As musical director for the West End Composers Collective and his teaching positions within Queensland Conservatorium, Stephen believes it is important to provide his students with real world knowledge and experience.
Categories Queensland Conservatorium, Queensland Conservatorium Research CentreTagged Music, Stephen Newcomb
Griffith Honours College students awarded New Colombo Plan Scholarships
Eleven Griffith students are headed on overseas adventures after being awarded scholarships to work and study internationally under Australia's New Colombo Plan.
Irene Bartlett: Vocal coach for "Elvis" movie and a three-decade career that has fostered singers across the globe
Irene Bartlett has had a long, illustrious career as a vocal coach, teacher, and mentor to generations of singers across the globe.
Griffith and QPAC partnership brings Queensland's best talent to Queensland's best stages
Musical theatre students at the Queensland Conservatorium Griffith University have never been closer to performing on the professional stage following the announcement of a partnership with QPAC.
2022 Queen's Birthday Honours for Griffith
Queensland Conservatorium, Griffith University teachers Oleg Stepanov OAM and Natasha Vlassenko OAM head a number of Griffith staff, former staff and alumni recognised in the 2022 Queen's Birthday Honours List. Mr Stepanov and Mrs Vlasssenko, considered world class pianists and teachers, were awarded an Order of the Medal of Australia for their service to the […]


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text:
Le vol Sepahan Airlines 5915 du , affrété par la compagnie aérienne Sepahan Airlines, en provenance de l'aéroport international Mehrabad en Iran et à destination de l'aéroport de Tabas, assuré par un Antonov An-140, s'est écrasé dans les faubourgs de Téhéran quelques instants après son décollage.  L'avion de ligne transportait  et membres d'équipage. Il n'y a que 9 survivants.

Caractéristiques de l'avion
Le vol 5915 a été opéré par un Antonov An-140, un avion de ligne bi-turbopropulsé immatriculé EP-GPA fabriqué sous licence en Iran. L'avion effectua son premier vol en 2008. C'est une version de l'Antonov An-140 qui peut transporter jusqu'à 52 personnes.

Déroulement des faits
L'avion, qui devait effectuer la liaison entre l'aéroport international Mehrabad de Téhéran et l'aéroport international de Tabas (Iran) avec 40 passagers et 8 membres d'équipage à bord, avait décollé et se trouvait en montée lorsque l'appareil a brusquement perdu de l'altitude et s'est écrasé à  dans les faubourgs de la ville de Téhéran, dans le quartier résidentiel d'Azadi, à cinq kilomètres de l'aéroport, avant de prendre feu.

Alireza Jahanguirian, chef de l'Organisation de l'aviation civile, déclare que l'avion s'est écrasé sur des arbres et qu'il n'y pas de victimes au sol.
Le pilote a évité de justesse les immeubles et un marché bondé, avant de s'écraser et percuter le mur en béton d'une caserne de l'armée de l'air.

Passagers et membres d'équipage
Il y avait à bord 40 passagers dont 6 enfants et 8 membres d'équipage. Certains passagers blessés grièvement ont été transportés à l'hôpital.

Causes
L'agence officielle IRNA indique que l'avion aurait subi un incident moteur, ce qui lui aurait fait perdre de l'altitude.

Les autorités iraniennes citées le  par les médias indiquent que l'accident a été causé par une panne de moteur et un signal d'alerte défaillant.

Historique d'accidents
Les accidents aériens sont nombreux en Iran avec plus de 900 morts en dix ans, en raison d'une flotte âgée et d'une maintenance insuffisante en partie due à l'embargo exercé depuis les années 1980 et imposé par les États-Unis sur les composants aéronautiques ou les avions. En effet, les sanctions imposées par les États-Unis et les pays européens en raison du programme nucléaire controversé de Téhéran empêchaient jusqu'à récemment l'Iran d'acheter des pièces de rechange ou des avions occidentaux pour renouveler sa flotte aérienne civile, dans un état vétuste.

Notes et références

Voir aussi

Articles connexes
 Chronologie de catastrophes aériennes
 Listes des accidents aériens par nombre de victimes
 Statistiques d'accidents d'avion

Sepahan Airlines 5915
Accident ou incident aérien de Sepahan Airlines
Sepahan Airlines 5915
Sepahan Airlines 5915
2014 en Iran
Août 2014