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Q: Web server not receiving POST from android app using Asynchttp - localhost I am trying to work on an android app to send a simple string to a webpage and have the webpage store the string. I recently installed BitnamiWAMP stack to use the PHP code and have been running my PHP through a local host. I followed a few tutorials and came across some examples of posting data using AsynchPost. My PHP code never returns a string. I don't know where to start to debug my app because my PHP code and Android app don't return any errors. Does anyone have any suggestions for what could be going wrong? Any help/advice would be appreciated. I am running my php script on an Apache 2.2 server and am sending data using android's emulator.
MainActivity
package com.example.post;

import java.io.IOException;
import java.util.ArrayList;
import java.util.List;

import org.apache.http.HttpResponse;
import org.apache.http.NameValuePair;
import org.apache.http.client.ClientProtocolException;
import org.apache.http.client.HttpClient;
import org.apache.http.client.entity.UrlEncodedFormEntity;
import org.apache.http.client.methods.HttpPost;
import org.apache.http.impl.client.DefaultHttpClient;
import org.apache.http.message.BasicNameValuePair;
import org.apache.http.util.EntityUtils;

import android.app.Activity;
import android.os.AsyncTask;
import android.os.Bundle;
import android.util.Log;
import android.view.Menu;
import android.view.View;
import android.view.View.OnClickListener;
import android.widget.Button;
import android.widget.EditText;
import android.widget.ProgressBar;
import android.widget.Toast;

public class MainActivity extends Activity implements OnClickListener{

    private EditText value;
    private Button btn;
    private ProgressBar pb;
    @Override
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.main);
        value=(EditText)findViewById(R.id.editText1);
        btn=(Button)findViewById(R.id.button1);
        pb=(ProgressBar)findViewById(R.id.progressBar1);
        pb.setVisibility(View.GONE);
        btn.setOnClickListener(this);
    }

    @Override
    public boolean onCreateOptionsMenu(Menu menu) {
        //getMenuInflater().inflate(R.menu.home, menu);
        return true;
    }

    public void onClick(View v) {
        // TODO Auto-generated method stub
            if(value.getText().toString().length()<1){

                // out of range
                Toast.makeText(this, "please enter something", Toast.LENGTH_LONG).show();
            }else{
                pb.setVisibility(View.VISIBLE);
                new MyAsyncTask().execute(value.getText().toString());
            }

    }

    private class MyAsyncTask extends AsyncTask<String, Integer, Double>{

        @Override
        protected Double doInBackground(String... params) {
            // TODO Auto-generated method stub
            postData(params[0]);
            Log.v("parameters = ", params[0]);
            return null;
        }

        protected void onPostExecute(Double result){
            pb.setVisibility(View.GONE);
            Toast.makeText(getApplicationContext(), "command sent", Toast.LENGTH_LONG).show();
        }
        protected void onProgressUpdate(Integer... progress){
            pb.setProgress(progress[0]);
        }

        public void postData(String valueIWantToSend) {
            // Create a new HttpClient and Post Header
            HttpClient httpclient = new DefaultHttpClient();
            HttpPost httppost = new HttpPost("http://10.0.2.2/hello.php");
            HttpResponse response = null;
            try {
                // Add your data
                List<NameValuePair> nameValuePairs = new ArrayList<NameValuePair>();
                nameValuePairs.add(new BasicNameValuePair("data", valueIWantToSend));
                httppost.setEntity(new UrlEncodedFormEntity(nameValuePairs));

                // Execute HTTP Post Request
                response = httpclient.execute(httppost);
                String res = EntityUtils.toString(response.getEntity());
                Log.v("Response = ", res);

            } catch (ClientProtocolException e) {
                e.printStackTrace();
                // TODO Auto-generated catch block
            } catch (IOException e) {
                e.printStackTrace();
                // TODO Auto-generated catch block
            }
            //return response.toString();
        }

    }
}

Main.xml
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:tools="http://schemas.android.com/tools"
    android:layout_width="match_parent"
    android:layout_height="match_parent" >

    <TextView
        android:id="@+id/textView1"
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_alignParentTop="true"
        android:layout_centerHorizontal="true"
        android:layout_marginTop="20dp"
        android:text="Enter Something Below:"
        android:textAppearance="?android:attr/textAppearanceLarge" />

    <EditText
        android:id="@+id/editText1"
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_below="@+id/textView1"
        android:layout_centerHorizontal="true"
        android:layout_marginTop="30dp"
        android:ems="10"
        android:hint=""
        >

        <requestFocus />
    </EditText>

    <ProgressBar
        android:id="@+id/progressBar1"
        style="?android:attr/progressBarStyleLarge"
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_below="@+id/editText1"
        android:layout_centerHorizontal="true"
        android:layout_marginTop="24dp" />

    <Button
        android:id="@+id/button1"
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_alignLeft="@+id/textView1"
        android:layout_alignRight="@+id/editText1"
        android:layout_below="@+id/progressBar1"
        android:layout_marginTop="24dp"
        android:text="Submit" />

</RelativeLayout>

Manifest

    <uses-sdk
        android:minSdkVersion="8"
        android:targetSdkVersion="19" />
    <uses-permission android:name="android.permission.INTERNET" />
    <application
        android:allowBackup="true"
        android:icon="@drawable/ic_launcher"
        android:label="@string/app_name"
        android:theme="@style/AppTheme" >
        <activity
            android:name="com.example.post.MainActivity"
            android:label="@string/app_name" >
            <intent-filter>
                <action android:name="android.intent.action.MAIN" />

                <category android:name="android.intent.category.LAUNCHER" />
            </intent-filter>
        </activity>
    </application>

</manifest>

PHP code
<?php

//echo "hello";

if(isset($_POST['data'])) {

$message = $_POST["data"];

$filename = "androidmessages.txt";

ini_set("log_errors", 1);

ini_set("error_log", $filename);

error_log($message);
$file = fopen("test.txt", "w");
echo fwrite($file, $message);
fclose($file);

}
//echo $message;
//file_put_contents($filename, $message);

?>

A: If anyone has this question again - Fixed it. See updated code - for some reason file_put_contents wasn't working and the php never set the data. fwrite was a much better option, and ERROR_LOG is another way to write some contents to a file although it writes with a timestamp.


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Posted at Nov 14, 2019 12:40 PM
Clyde McGrady
Watch: Rodney Davis and Eleanor Holmes Norton show off their scooter skills (or lack thereof)
Holmes Norton is an advocate for allowing electric scooters on the Capitol campus
Del. Eleanor Holmes Norton tries out an e-scooter at a Capitol Hill safety demonstration on Wednesday. (Thomas McKinless/CQ Roll Call).
Rep. Rodney Davis, R-Ill., and Del. Eleanor Holmes Norton, D-D.C., attended an e-scooter safety demonstration on Capitol Hill Wednesday afternoon, hosted by the Micromobility Coalition. Holmes Norton is an advocate of allowing e-scooters on the Capitol campus.
"Let's bring the Congress into the 21st century," she said Wednesday.
Robert Matson
Capitol Ink | Interleague Play
Posted at May 15, 2019 5:48 PM
Nathan Ouellette
How does Mike Gallagher fuel up for the ACLI Capital Challenge? He doesn't
Rep. Mike Gallagher and Sen. Kyrsten Sinema pose after running the ACLI Capital Challenge (Nathan Ouellette/CQ Roll Call)
The ACLI Capital Challenge ran for its 38th year Wednesday as members of Congress, the judiciary and executive branch, and the media came together for an early morning jaunt through Anacostia Park.
Posted at Nov 7, 2018 10:43 AM
Katherine Tully-McManus
Women Elected at Historic Levels, But No Surprise Here: White Men Dominate 116th Congress
Number of veterans down
A record number of women will be heading to Congress and there will be more minority lawmakers, but white men will still make up most of Congress. Above, supporters celebrate Jennifer Wexton's victory in Virginia. (Bill Clark/CQ Roll Call)
The 116th Congress is on track to be one of the most diverse in history, but the legislature will still be overwhelmingly white and male compared to the overall U.S. population. Historic numbers of women won seats in the midterm contests, but the number of veterans is likely to fall or stay flat.
At least 96 women running for the House have won their races, shattering the previous record of 84 women in the House. Eighty-three of the women who won were Democrats.
Posted at Aug 14, 2018 12:41 PM
Jeff Cirillo
Democrats Disgusted, Enraged by Trump's Omarosa Comments
President called former White House aide a 'dog' in tweet
President Donald Trump on Tuesday launched another round of derisive comments against former White House aide Omarosa Manigault Newman. (Al Drago/CQ Roll Call file photo)
Democrats in Congress condemned President Donald Trump's latest batch of derisive comments toward Omarosa Manigault Newman, a former White House aide.
After a Tuesday morning tweet in which Trump called Manigault a "crazed, crying lowlife" and a "dog," several House Democrats took consternation from insults they said were tinged with racial and misogynistic connotations.
Posted at Sep 25, 2017 4:10 PM
John T. Bennett
Trump's NFL Feud Competes With Health Care, Tax Pushes
Policy agenda has to contend with fights over flag, race and First Amendment
President Donald Trump has been unrelenting in his criticism of NFL players protesting during the national anthem. (White House photo)
President Donald Trump's feud with the NFL over players kneeling during the national anthem continued Monday, threatening to overshadow his domestic agenda as several legislative matters approach crucial milestones.
White House officials wanted to focus on policy this week, with time dedicated to health care, taxes, and a new science, technology, engineering and mathematics education initiative led by the president's daughter and senior adviser Ivanka Trump.
Posted at Aug 24, 2017 9:50 AM
Trump Shares Race-Baiting Image After Calling for Unity
Image shows him slowly covering country's first African-American president
President Trump retweeted this image on Thursday morning, one day after calling for national unity. (Image created from screengrab)
Updated at 11:41 a.m. | Less than 24 hours after calling for national unity after the racially tinged violence in Charlottesville, President Donald Trump shared an image with racial undertones with his 36.6 million Twitter followers.
The president, during an aggressive and defensive morning tweetstorm, retweeted an image playing off Monday's eclipse showing himself and former President Barack Obama. In it, Trump's head and torso slowly cover more and more of Obama's until the country's first African-American president is no longer visible.
Pelosi Joins Call for Removal of Confederate Statues From Capitol
Trump says country is being 'ripped apart' by removal of 'beautiful' monuments
Democrats are calling for the removal from the Capitol of Confederate statues, like this one of Confederate President Jefferson Davis in Statuary Hall. (Bill Clark/CQ Roll Call file photo)
Updated 12:32 p.m. | House Minority Leader Nancy Pelosi on Thursday joined a drumbeat from other Democrats, calling for the removal of Confederate statues from the U.S. Capitol.
"The halls of Congress are the very heart of our democracy. The statues in the Capitol should embody our highest ideals as Americans, expressing who we are and who we aspire to be as a nation," the California Democrat said in a statement
Trump Hits Lindsey Graham Over Alleged 'Disgusting Lie'
Graham: President suggested 'moral equivalency' between KKK, Heyer
President Donald Trump speaks Tuesday about white supremacist groups and the violence in Virginia. (Drew Angerer/Getty Images)
Updated at 9:11 a.m. | Accusing Sen. Lindsey Graham of a "disgusting lie," Donald Trump warned the South Carolina Republican voters will punish him for criticizing the president's response to the racially tinged violence in Charlottesville, Virginia.
Graham in a Wednesday statement said Trump, during an impromptu press conference Tuesday, "took a step backward by again suggesting there is moral equivalency between the white supremacist neo-Nazis and KKK members who attended the Charlottesville rally and people like Ms. [Heather] Heyer," referring to the young woman killed in a car attack by a Nazi sympathizer.
Posted at Nov 7, 2016 5:00 AM
Do Clinton, Democrats Have a 'Cousin Pookie' Problem?
Obama makes 11th-hour push to get African-Americans to the polls
President Barack Obama greets people as he attends a campaign rally in support of Democratic presidential nominee Hillary Clinton at the University of Central Florida on Oct. 28. Obama has been asking African-Americans to get out and vote. (Photo by Joe Raedle/Getty Images)
Call it the "Cousin Pookie" vote.
When President Barack Obama pleads with African-Americans to get to the polls, he often invokes a fictitious family couch-dweller who's more inclined to watch football than ever cast a ballot. And evidence suggests "Pookie" isn't very fired up this year, creating angst for Democrats up and down the ballot.

redpajama_set_name: RedPajamaCommonCrawl


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Didlake Executive Named "Opportunity's Champion"
January 22, 2010 / Didlake / Press Releases
Manassas, VA – Andrew Clarke, Director of Community Services at Didlake, Inc, has been named recipient of an award that recognizes individuals whose volunteer efforts have a significant impact on creating opportunities for people with disabilities. The Opportunity's Champion award was created by the Board of Directors of The Didlake Foundation in 2005 and is awarded only occasionally.
Clarke, who manages community-based programs at Didlake that serve more than 200 people with severe disabilities, was presented the award by Board Chairman Keith Scarborough and Executive Director Betty Dean. Mr. Clarke was nominated for the honor on the basis of his volunteer work for the Foundation, which "goes far above and beyond his professional duties", according to Mr. Scarborough.
A marathon runner himself, Clarke initiated The Didlake Foundation's participation as a Charity Partner in the 2009 Marine Corps Marathon. The Foundation Board cited Clarke's contribution of "literally hundreds of hours of personal time to recruit, train and assist with the fundraising efforts" of each of the 15 runners on the team. With Clarke's coaching and guidance, 14 of 15 participants completed the marathon and the team raised nearly $15,000.
Mr. Clarke more than doubled his personal fundraising goal for the event and his outreach efforts helped connect 139 new donors to Didlake. Said Clarke, "This award is very special to me – and it is all the more meaningful because it was made possible by the support of people who are my friends and neighbors. Our team overcame a lot of challenges to complete the marathon and meet our fundraising goal – but the people with disabilities who will be helped by our accomplishment face, and overcome, far more difficult challenges each and every day".
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1-room apartment 39 m2 on 5th floor, simple and practical furnishings: living/dining room with 2 fold-away beds, cable TV and radio. Kitchenette in the entrance. Bath/WC. Balcony, south facing position. Terrace furniture. Facilities: Internet (WiFi, free). Beautiful view of the "Medelsergletscher.".
1'130 - 1'864 m a.s.l. >>Cosy, idyllic, family-friendly village, mountain village and holiday village with 2'098 inhabitants, in the south-eastern part, in a valley, 60 km from Chur. All shops, restaurants etc. in Ilanz, 38 - 40 km. In the resort: supermarket, shops, grocery, butchery, bakery, post office, bank, restaurant, bar, museum, attractions. Fitness centre. Besides: pharmacy, doctor. Access: motorway A13 Zürich - Chur, exit number "Reichenau". Then road A19 Ilanz - Trun - Disentis/Mustér. Public parking free in Bergbahnen Disentis. Access by train Chur - Ilanz - Disentis/Mustér. Railway station in the resort. Both the Alpine pass routes Oberalp (only accessible in summer) and Lukmanier as well as the Rhaetischen and Matterhorn Gotthard railway lines meet in Disentis.
Bathing lake, 40 m long, up to 20 m wide, suitable for children. Tennis (6 outdoor courts, 2 indoor courts). Minigolf. Fishing (permit required). Paragliding. Cableways, chair lifts, 350 km hiking paths, mountain hikes, mountain tours. 141 km bicycle paths, 296 km mountain bike routes, bicycles and mountain bikes for hire. Children's playground. Gold panning.
NEU: DISENTIS-SEDRUn inclusive. Gratis Benutzung der Matterhorn Gotthard Bahn von Disentis bis Oberalppass, 3 Bergbahnen und die Ortsbusse in Disentis und Sedrun, sowie weitere attraktive Leistungen. Ski-region Disentis 1.9 km, from 1'248 m. 2 cableways, 3 chair lifts, 5 drag lifts, 1 children's ski lift. 16 ski runs, total length 60 km (33 % easy, 50 % intermediate, 17 % difficult). Ski school (downhill, cross country), snowboard school, children's ski school from 4 years old. Cross country ski tracks (illuminated), winter walking paths 55 km. Sports centre. Curling, 2 courts indoor tennis centre. Ski bus. Further ski-regions: Skiarena Andermatt Sedrun at 8 km, Skigebiet Brigels Waltensburg at 24 km, Weisse Arena Laax at 38 km. In Winter: please take snow chains.


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The Flip Side of the Coin
Another repository.
That Old Dream That Moves (2001)
Stranger by the Lake (2013)
Nobody's Hero (2022)
Staying Vertical (2016)
Posted by Ryan Swen at 6:32 PM No comments:
2022 Sight & Sound Ballot Further Remarks First Draft
Incomplete first draft for Sight & Sound.
Not my ten favorite films (that would be too easy), but instead ten sui generis masterpieces that I adore and admire deeply: each of these films stands — or deserves to stand — as a monumental work in both the history of film and my relation to the medium.
I had to establish some ground rules: only one film per director, only films I had seen more than once.
Five films from Greater China (one from the mainland, one from Hong Kong, three from Taiwan), four films from France, and one film from South Korea/the infinite worlds that Hong Sang-soo occupies, which all seems right.
No American/English-language-only films, partly by accident and partly on purpose: maybe they'll make a resurgence for me in the next ten years, but this feels exactly true to my interests at the moment.
Impossible to name *all* of the omissions, but indulgent homage must be paid to the films and filmmakers I had to leave out. Not all (or most) of these are masterpieces, but all of them keep me wondering still and I can't imagine my cinephilia without these; think of it as a cracked self-portrait, full of unity and contradictions, which is what obsessive listmaking boils down to. Not including the filmmakers who I have chosen for my top ten, with many films in very recent memory, and in no particular order and grouping:
Mulholland Dr. (my favorite film) and Twin Peaks: The Return and David Lynch generally, Platform and the work of Jia Zhangke aka the most important filmmaker alive, Hollis Frampton's (nostalgia), Ozu Yasujirō's Late Spring, Max Ophuls's Letter From an Unknown Woman, Jean Eustache's The Mother and the Whore, The Testament of Dr. Mabuse and much of Fritz Lang, Paul Vecchiali's Femmes Femmes...
Alfred Hitchcock's Vertigo and Notorious, Lau Kar-leung's Dirty Ho and The 36th Chamber of Shaolin, Perceval le Gallois and all of Éric Rohmer, Chuck Jones's Duck Amuck, Sparrow among other choices from Johnnie To, Beijing Watermelon and so much of Ōbayashi Nobuhiko, Ousmane Sembène's Black Girl, Guru Dutt's Pyaasa, Mariano Llinás's La Flor, Jacques Demy's The Young Girls of Rochefort, Abel Gance's Napoléon, Peter Watkins' Punishment Park, Orson Welles's The Magnificent Ambersons, Bruce Baillie's All My Life, Li Han-hsiang's The Love Eterne, Pier Paolo Pasolini's Salò or the 120 Days of Sodom, Todd Haynes's Carol, C.W. Winter and Anders Edström's The Works and Days, Bi Gan's Long Day's Journey Into Night, Josef von Sternberg's Shanghai Express and Anatahan...
Thom Andersen's Los Angeles Plays Itself, Christian Petzold's Transit, Peter Chan's Comrades: Almost a Love Story, Fei Mu's Spring in a Small Town, Marie-Claude Treilhou's Simone Barbès or Virtue, Adam Curtis's The Trap, Raúl Ruiz's Mysteries of Lisbon, Kurosawa Akira's Seven Samurai and High and Low, Ōshima Nagisa's Death by Hanging, Zhu Shengze's Present.Perfect., Jerzy Skolimowski's Le Départ, Matías Piñeiro's The Princess of France, Ang Lee's Crouching Tiger Hidden Dragon, Michelangelo Antonioni's L'Avventura, Huang Weikai's Disorder, Patrick Tam's Nomad, Abbas Kiarostami's Close-Up and Like Someone in Love, Jon Bois's The Bob Emergency, Louis Feuillade's incomparably exciting Les Vampires and Tih-Minh, Lisandro Alonso's Jauja, Michael Snow's Wavelength, Nicolas Rey's differently Molussia, Apichatpong Weerasethakul's Syndromes and a Century, Peter Kubelka's Arnulf Rainer, Pedro Costa's Horse Money...
Leo McCarey's Ruggles of Red Gap, Hou Hsiao-hsien's A City of Sadness, Pietro Marcello's Martin Eden, Tsui Hark's Peking Opera Blues and Shanghai Blues, Stephanie Spray and Pacho Velez's Manakamana, Steven Spielberg's A.I.: Artificial Intelligence, Serge Bozon's La France, Nadav Lapid's Synonyms, Miguel Gomes's Tabu, Mizoguchi Kenji's Sansho the Bailiff, Charles Laughton's The Night of the Hunter, Hu Bo's An Elephant Sitting Still, Nathaniel Dorsky's Arboretum Cycle, Satyajit Ray's Charulata, Jafar Panâhi & Mojtaba Mirtahmasb's This Is Not a Film, Alexandre Koberidze's What Do We See When We Look at the Sky?, Ernie Gehr's Serene Velocity, Pierre Léon's L'Idiot, Joseph Cornell's Rose Hobart, F.W. Murnau's Sunrise, Jean Renoir's The Rules of the Game, Claire Denis's Beau Travail and 35 Shots of Rum, Alex Ross Perry's Listen Up Philip and Her Smell, Roberto Rossellini's The Taking of Power by Louis XIV, D.W. Griffith's The Musketeers of Pig Alley, Marguerite Duras's India Song, Heat and Miami Vice and too much from Michael Mann, Eduardo Williams's The Human Surge, Naruse Mikio's Yearning, Anno Hideaki's Neon Genesis Evangelion finale...
François Truffaut's Two English Girls, Hal Hartley's Trust, Sammo Hung's Pedicab Driver, Wai Ka-fai's Too Many Ways to Be No. 1, Chantal Akerman's Jeanne Dielman, Vincente Minnelli's Meet Me in St. Louis, Jordan Belson's Allures, Kurosawa Kiyoshi's Cure, Morgan Fisher's Standard Gauge, Hamaguchi Ryūsuke's Asako I & II and Drive My Car, Carl Theodor Dreyer's Gertrud, along with the collective oeuvres of Jean-Luc Godard, John Ford, Jean-Marie Straub and Danièle Huillet, Jacques Tourneur, Saïto Daïchi, Howard Hawks, Claude Chabrol, Luis Buñuel, Robert Bresson, John Woo, Takahata Isao, Rainer Werner Fassbinder, Miyazaki Hayao...
Posted by Ryan Swen at 12:00 PM No comments:
Nobody's Daughter Haewon First Draft
Complete first draft for Cinema Guild.
Nobody's Daughter Haewon: You Can't Go Home Again Sean and Evan, thank you so much for incorporating me into this trio of pieces. As you both know, your Hong correspondences for both Seattle Screen Scene and MUBI Notebook were incredibly influential to me in my understanding of Hong, and it's a daunting task to try to find my place within this great dynamic. I've always been a sap, especially for Hong, whose extensive reuse of motifs, techniques, and actors makes his body of work immensely warm and comforting (while never predictable) to me; indeed, my favorites are generally the ones that end on a happier resolution, where the pursuit of cinematic and narrative experimentation and the rush of romance are totally linked. But all three of these films, especially the one that I'm writing about, Nobody's Daughter Haewon, end on more irresolute notes, where some form of miscomprehension or unfulfilled dream infuses the coda, even as they make grand use of his middle period humorousness. Nobody's Daughter Haewon, however, is something of an outlier compared to the other two films (though, notably, they are the only three films whose English titles mention a specific character). Those two are the key Jung Yumi works, using an ironclad structure and her innate expressiveness to convey comedy and convolutions alike, each pairing her with Lee Sunkyun and suggesting that Jung is a vivid projection of each character's expectations and desires. But Haewon is played by the innately sad yet cagy Jung Eunchae —in her first of only a few Hong performances — and the film has perhaps the most amorphous structure that Hong has ever used, moving from encounter to encounter as Seongjoon, her past lover and the film's other lead (played by Lee again), drifts in and out of the story. Apart from a series of Haewon's diary entries that place the events of the film between March 21 and April 3, us Hongians are left free to sort out how the film operates. The opening of Nobody's Daughter Haewon suggests a pivot for Hong: for seventeen minutes, it follows Haewon working through her relationship with her mother to an extent greater than any Hong protagonist thus far. This unfolds in two stages: a delightfully surreal dream where she essentially imagines that Jane Birkin (as herself) is her mother figure, and then an extended sequence where Haewon spends time with her actual mother before the latter moves to Canada. But while this unusual narrative element is firmly planted by the end of this section, the rest of the film barely invokes familial relationships, instead shifting back into the realm of fraught romance that the Jung films so thoroughly focus on. These relationships, however, aren't nearly as clear as the love triangle of Oki's Movie or the three suitors in Our Sunhi. Nobody's Daughter Haewon instead moves in leaps in bounds: during the first section, Dongjoo, a bearded bookseller, attempts to flirt with her, then disappears from the film; Haewon and Seongjoon have several breakups and reunions; there is an entire section devoted to her quasi-meet-cute with Joongwon (Hong regular Kim Euisung), the strange professor from San Diego who is apparently rewriting a script for Martin Scorsese. The deeper the Hongian delves into Nobody's Daughter Haewon, the stranger it becomes. The most obvious manifestation is the third dream sequence, the longest in any Hong film, which lasts more than thirty minutes and encompasses many of the above storylines. While the first and second function akin to those in other Hong films, as brief and absurd representations of the main characters' desires, this one operates along thornier lines, and the correspondence of new characters — only Seongjoon and an old man (perennial Hong figure Gi Ju-bong) appear in the rest of the film — to Haewon's state of mind is utterly ambiguous. Perhaps the clearest sign of this is the reappearance of Joongsik and Yeonjoo (repertory players Yoo Joonsang and Ye Jiwon, respectively), one of the main couples in Hong's 2010 film Hahaha. Their situation, despite the breakthrough in their extramarital relationship in the denouement of that film, has mostly stayed the same: Joongsik still takes pills for depression and remains married, despite his vow to live with Yeonjoo. Their relationship is one of contentment, signaled by a conversation that, after briefly lapsing into disagreement, gently reconciles them, but it points to a certain sense of emotional stasis that Nobody's Daughter Haewon embodies. In a sense, all three films share this trait: Oki's Movie takes a retrospective view on the relationships and posits that artistic representation can only go so far; Our Sunhi offers literal liberation to its main character, but not her male suitors who wander in the shadow of her image. Nobody's Daughter Haewon, meanwhile, ends up with a much less apparent image of Haewon. It's certainly not a coincidence that Joongsik and Yeonju's conversation and an earlier, drunken dialogue between Seongjoon and his students at a Korean barbecue restaurant after Haewon has gone to the restroom, are two of only a handful of exchanges in Hong's oeuvre that don't involve the main protagonist. They both feature disagreements about the nature of her character, in direct contrast to the consensus formed in Our Sunhi. She is called aristocratic, and even her ethnicity — some characters say she's mixed because of her taller stature — is called into question; these issues are not so much resolved as dropped in favor of other concerns. Haewon herself is only somewhat forthcoming. At the bookstore café that becomes one of the recurring settings across these odd sequences, she is told that she can pay as much as she'd like for the books. Her response is that "it'll show who I am," and in the second instance Joongwon responds that she should "pay enough not to show" herself. She nevertheless declines to do so, and that inability to communicate herself, even in situations that seem to demand it, manifests itself across her interactions. While she isn't recessive in the manner of Yoo's lead performances, she constantly deflects people's attention to themselves or others, fatalistically noting to Seongjoon that "death resolves all" — she is seen reading Norbert Elias's The Loneliness of the Dying, a bleakly funny sight gag in this context — and refraining from either confirming or denying the attributes that her screen partners ascribe to her. Her eyes, full of quiet determination, seem to indicate some sort of drive, but to what ends are kept inscrutable. The title of Nobody's Daughter Haewon, then, could be taken in numerous directions: as an expression of abandonment; as a self-proclaimed divestment from ownership; as a recognition that none of these people know who Haewon is, least of all herself. The inclusion of Joongsik and Yeonju seems to suggest that the only way to understand Haewon is by invoking other Hong films — she and Seongjoon reconcile in the dream after both this encounter and her meeting with the old man, three presences that hearken back to past (and future) Hong films. But even that has its limits, especially because of their firm ensconcement inside the dream with no indication that the couple exists except in Hahaha and in Haewon's imagination. Nobody's Daughter Haewon ends with one of the most mysterious lines Hong has written: "Waking up, I realized he was the nice, old man from before." Who "he" is and who the "nice, old man" is are left up the viewer to decide. The natural inclination is to assume that the former is Seongjoon — since the preceding scene was her reconciliation with him — and the latter is Joongwon, or perhaps Gi's character, but what the statement actually means, in either a narrative, metaphoric, or even dream logic context, leaves the viewer hanging, and Haewon back where she started. Since this concludes with the dream sequence, the development or change in mindset afforded to other Hong protagonists, including Haewon herself with the Jane Birkin dream, is not granted. Instead, the thinking passes to the Hongians, who interpret all these little beats into something at least a little more legible and less mysterious. In that conversation between Joongsik and Yeonjoo, as they look at a flag, the latter observes that it allows them to see the wind, an observation the former reacts to with endearing amazement. Mid-period Hong, which is my favorite as well, can be said to operate in this same way: the reasons for these occurrences, for these romantic entanglements, for this structure, are fundamentally as difficult to truly understand as the wind is to see. What Hong offers is a means of giving a container to it, each experiment another daring way to witness how these elements, untethered from normal narrative methodology, collide with each other. Especially with the hazy canvas that Haewon provides, he finds more pathways in order to get closer to the truth of the situation. But that might be ascribing way too much overt purpose to a director so free in his own methodology. Evan, what do you think?
The Fabelmans First Draft
Complete first draft for In Review Online's best of 2022 feature.
For an oeuvre so relentlessly dedicated to (and associated with) a commercial cinema, full of thrills and cheers, Steven Spielberg's fantastical and earthly worlds have always carried an undercurrent of pain. His latest film, The Fabelmans, a semi-autobiographical portrait of the artist as a young man, foregrounds this searing emotion across the two or three forces that have defined his mammoth shadow on the American film industry: his awe at the power of the moving image, his parents' divorce, and his Jewish heritage. It's certainly no mistake that The Fabelmans possesses only Spielberg's fourth writing credit (shared with Tony Kushner), as his first three entries all rank among his most evidently personal and feed into their successor's DNA: Close Encounters of the Third Kind, about a man who forsakes his family for a spectacular adventure; Poltergeist, concerning the spectral histories menacing a suburban home; and A.I. Artificial Intelligence, which brazenly mixes science-fiction fabulism with Oedipal reveries. A similar level of daring animates The Fabelmans, necessarily transforming what could be a nostalgic evocation of movie magic into something far knottier. Even something as simple as the trick that his stand-in Sammy Fabelman (an uncannily vivid Gabriel LaBelle) uses to simulate a grenade explosion is thrown into doubt by the discerning viewer, a question of whether the veteran director added a little something extra despite the air of amateurism. The opening scene, a recreation of Spielberg's first experience in a movie theater — equal parts wonder and terror, more real than real — is followed by a scene of Sammy in bed, trying to calm himself with the dull thrum and green glow of an oscilloscope; much later, that sound and image will accompany the last moments of his grandmother, in sync with the pulse he can see in her veins immediately before she dies. Such privileged images and dramatically ironic touches help structure The Fabelmans, which could come across as neat were its gaze not so sprawling, were Spielberg not willing to dive down rabbit holes into his past (real or imagined). Case in point: two exhortations by near-mythic figures — in a film already dominated by Michelle Williams's deliberately stylized performance as Sammy's mercurial, otherworldly mother Mitzi — speak both in unison and at cross-purposes. Sammy's lion tamer great-uncle Boris (Judd Hirsch) stresses that the artist will be torn in two by art and family; John Ford (brilliantly embodied by David Lynch, in one of the greatest bits of stunt casting of the century) begins his abbreviated conversation with the budding director by exclaiming that the movie business will tear him in two. Two old hands, one justly described "the greatest film director who ever lived" (an appellation that movingly rings true for both the signifier and the signified) and the other a possibly real, possibly fictional perennial outsider; together they reach towards the balance of art and commerce that has provided Spielberg with some of his greatest successes and most vehement criticism. Boris's warning becomes a test that gets applied to practically every scene to follow; Ford's bitter reflection is left unaddressed but hangs in the air, even managing to render the jubilant ending and its sublime meta-joke with a slight foreboding, maybe even regret. Second-guessing and the unknown lie everywhere in The Fabelmans, so many little threads and insinuations that are ultimately unanswered. Burt Fabelman, as embodied by Paul Dano with ultimate poise, generosity, and sad fatalism as a counterbalance to Williams's vivaciousness, is perhaps the most poignant figure of all. Sammy bases his greatest triumph, Escape to Nowhere, on his father's war stories, something which the elder doesn't comment on, instead choosing to throw himself headlong into his electronics and computers. In a relative paucity of screentime, Spielberg sketches out a storyline that comes within striking distance of The Magnificent Ambersons, capturing a genius ushering in the future which will have consequences both positive and negative. Sammy (and Spielberg) of course is no George Amberson Minafer, and there's very little comeuppance that he deserves. But, despite the fact that Burt, not Mitzi, gets to bestow the final blessing on the genius in the making, it's hard not to recall that his invention will one day help birth the systemic degradation of the industry his son has worked so hard to maintain. It is to The Fabelmans's credit that such considerations are both text and subtext, that its ideas about creativity and the march of time are so hammered home amid an exhilarating and touching experience, that the most sobering and tragic ramifications appear only in hindsight, when looked upon from a distant vantage point. If that isn't movie magic, what is?
Posted by Ryan Swen at 11:59 AM No comments:
Decade Top Tens 12/13/22
Films, Features, Mid-Lengths, Shorts
Ten Favorite Moving-Image Works
YI YI (Edward Yang)
MULHOLLAND DR. (David Lynch)
SANS SOLEIL (Chris Marker)
THE MAGNIFICENT AMBERSONS (Orson Welles)
A TOUCH OF ZEN (King Hu)
IN THE MOOD FOR LOVE (Wong Kar-wai)
A BRIGHTER SUMMER DAY (Edward Yang)
THE YOUNG GIRLS OF ROCHEFORT (Jacques Demy)
THE NIGHT OF THE HUNTER (Charles Laughton)
CÉLINE AND JULIE GO BOATING (Jacques Rivette)
DRIVE MY CAR (Hamaguchi Ryūsuke)
MEMORIA (Apichatpong Weerasethakul)
WALK UP (Hong Sang-soo)
CAN'T GET YOU OUT OF MY HEAD: AN EMOTIONAL HISTORY OF THE MODERN WORLD (Adam Curtis)
PACIFICTION (Albert Serra)
THE NOVELIST'S FILM (Hong Sang-soo)
DAYS (Tsai Ming-liang)
THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) (C.W. Winter & Anders Edström)
WHAT DO WE SEE WHEN WE LOOK AT THE SKY? (Alexandre Koberidze)
EO (Jerzy Skolimowski)
LA FLOR (Mariano Llinás)
YOURSELF AND YOURS (Hong Sang-soo)
STRAY DOGS (Tsai Ming-liang)
TWIN PEAKS: THE RETURN (David Lynch)
MOUNTAINS MAY DEPART (Jia Zhangke)
MYSTERIES OF LISBON (Raúl Ruiz)
LIKE SOMEONE IN LOVE (Abbas Kiarostami)
ASAKO I & II (Hamaguchi Ryūsuke)
THE DAY HE ARRIVES (Hong Sang-soo)
THE ASSASSIN (Hou Hsiao-hsien)
GOODBYE, DRAGON INN (Tsai Ming-liang)
PLATFORM (Jia Zhangke)
CROUCHING TIGER, HIDDEN DRAGON (Ang Lee)
OXHIDE II (Liu Jiayin)
A.I. ARTIFICIAL INTELLIGENCE (Steven Spielberg)
SPIRITED AWAY (Miyazaki Hayao)
SYNDROMES AND A CENTURY (Apichatpong Weerasethakul)
CHUNGKING EXPRESS (Wong Kar-wai)
HEAT (Michael Mann)
THE HOLE (Tsai Ming-liang)
NEON GENESIS EVANGELION: "TAKE CARE OF YOURSELF." (Anno Hideaki)
COMRADES: ALMOST A LOVE STORY (Peter Chan)
TWIN PEAKS: FIRE WALK WITH ME (David Lynch)
TRUST (Hal Hartley)
MAHJONG (Edward Yang)
CLOSE-UP (Abbas Kiarostami)
L'ARGENT (Robert Bresson)
BLUE VELVET (David Lynch)
THE KILLER (John Woo)
A CITY OF SADNESS (Hou Hsiao-hsien)
BEIJING WATERMELON (Ōbayashi Nobuhiko)
PEKING OPERA BLUES (Tsui Hark)
PARIS, TEXAS (Wim Wenders)
MANHUNTER (Michael Mann)
STOP MAKING SENSE (Jonathan Demme)
OUT 1: NOLI ME TANGERE (Jacques Rivette)
THE MOTHER AND THE WHORE (Jean Eustache)
PERCEVAL LE GALLOIS (Éric Rohmer)
FEMMES FEMMES (Paul Vecchiali)
INDIA SONG (Marguerite Duras)
ERASERHEAD (David Lynch)
(NOSTALGIA) (Hollis Frampton)
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman)
LA JETÉE (Chris Marker)
LAST YEAR AT MARIENBAD (Alain Resnais)
DRAGON INN (King Hu)
MURIEL, OR THE TIME OF RETURN (Alain Resnais)
GERTRUD (Carl Theodor Dreyer)
WAVELENGTH (Michael Snow)
HIGH AND LOW (Kurosawa Akira)
THE UMBRELLAS OF CHERBOURG (Jacques Demy)
PIERROT LE FOU (Jean-Luc Godard)
VERTIGO (Alfred Hitchcock)
SEVEN SAMURAI (Kurosawa Akira)
DUCK AMUCK (Chuck Jones)
GENTLEMEN PREFER BLONDES (Howard Hawks)
SANSHO THE BAILIFF (Mizoguchi Kenji)
RIO BRAVO (Howard Hawks)
A MAN ESCAPED (Robert Bresson)
TOKYO STORY (Ozu Yasujirō)
REAR WINDOW (Alfred Hitchcock)
MEET ME IN ST. LOUIS (Vincente Minnelli)
LATE SPRING (Ozu Yasujirō)
LETTER FROM AN UNKNOWN WOMAN (Max Ophuls)
CITIZEN KANE (Orson Welles)
HIS GIRL FRIDAY (Howard Hawks)
THE HEIRESS (William Wyler)
NOTORIOUS (Alfred Hitchcock)
SPRING IN A SMALL TOWN (Fei Mu)
THE BIG SLEEP (Howard Hawks)
ONLY ANGELS HAVE WINGS (Howard Hawks)
THE RULES OF THE GAME (Jean Renoir)
THE TESTAMENT OF DR. MABUSE (Fritz Lang)
RUGGLES OF RED GAP (Leo McCarey)
THE AWFUL TRUTH (Leo McCarey)
M (Fritz Lang)
SHANGHAI EXPRESS (Josef von Sternberg)
A DAY IN THE COUNTRY (Jean Renoir)
MOROCCO (Josef von Sternberg)
FURY (Fritz Lang)
SUNRISE: A SONG OF TWO HUMANS (F.W. Murnau)
NAPOLÉON (Abel Gance)
THE PASSION OF JOAN OF ARC (Carl Theodor Dreyer)
SPIONE (Fritz Lang)
THE GENERAL (Buster Keaton)
GREED (Erich von Stroheim)
THE DOCKS OF NEW YORK (Josef von Sternberg)
DR. MABUSE, THE GAMBLER (Fritz Lang)
SEVEN CHANCES (Buster Keaton)
MAN WITH A MOVIE CAMERA (Dziga Vertov)
LES VAMPIRES (Louis Feuillade)
WORKERS LEAVING THE LUMIÈRE FACTORY IN LYON (Louis & Auguste Lumière)
TIH-MINH (Louis Feuillade)
FANTÔMAS (Louis Feuillade)
THE MUSKETEERS OF PIG ALLEY (D.W. Griffith)
THE ARRIVAL OF A TRAIN AT LA CIOTAT STATION (Louis & Auguste Lumière)
THE SPRINKLER SPRINKLED (Louis & Auguste Lumière)
TUNNELING THE ENGLISH CHANNEL (Georges Méliès)
THE BLACK IMP (Georges Méliès)
A TRIP TO THE MOON (Georges Méliès)
Films Only
Ten Favorite Films
DAYS OF BEING WILD (Wong Kar-wai)
Features Only
Ten Favorite Feature Films
DIRTY HO (Lau Kar-leung)
THE LOVE ETERNE (Li Han-hsiang)
A STAR IS BORN (George Cukor)
PYAASA (Guru Dutt)
THE BIRTH OF A NATION (D.W. Griffith)
Mid-Lengths Only
Ten Favorite Mid-Length Films
NIGHT AND FOG (Alain Resnais)
ZORNS LEMMA (Michael Snow)
GRASS (Hong Sang-soo)
SURVIVING DESIRE (Hal Hartley)
HILL OF FREEDOM (Hong Sang-soo)
IT FELT LIKE A KISS (Adam Curtis)
SECTION 1 (Jon Bois)
EARTHEARTHEARTH (Saïto Daïchi)
INTRODUCTION (Hong Sang-soo)
EVENTIDE (Sharon Lockhart)
THERE ARE NOT THIRTY-SIX WAYS OF SHOWING A MAN GETTING ON A HORSE. (Nicolás Zukerfeld)
EDUCATION (Steve McQueen)
FIRST TIME [THE TIME FOR ALL BUT SUNSET – VIOLET] (Nicolaas Schmidt)
RAMPART (Marko Grba Singh)
WILL-O'-THE-WISP (João Pedro Rodrigues)
ALEX WHEATLE (Steve McQueen)
THE PRINCESS OF FRANCE (Matías Piñeiro)
NO NO SLEEP (Tsai Ming-liang)
ARAGANE (Oda Kaori)
CLAIRE'S CAMERA (Hong Sang-soo)
THE GRAND BIZARRE (Jodie Mack)
JOURNEY TO THE WEST (Tsai Ming-liang)
A WORLD WITHOUT WOMEN (Guillaume Brac)
CLASSICAL PERIOD (Ted Fendt)
THE HAND (Wong Kar-wai)
DISORDER (Huang Weikai)
THROUGH THE FOREST (Jean-Paul Civeyrac)
L'IDIOT (Pierre Léon)
LOST IN THE MOUNTAINS (Hong Sang-soo)
PROFIT MOTIVE AND THE WHISPERING WIND (John Gianvito)
LOOKING FOR TSAI (Patrik Eriksson & Erik Hemmendorff)
PETITE CONVERSATION FAMILIALE (Hélène Lapiower)
DONG (Jia Zhangke)
U.S. GO HOME (Claire Denis)
LA VIE DES MORTS (Arnaud Desplechin)
THE MAMMALS OF VICTORIA (Stan Brakhage)
NITRATE KISSES (Barbara Hammer)
XIAO SHAN GOING HOME (Jia Zhangke)
STANDARD GAUGE (Morgan Fisher)
CONTACT (Alan Clarke)
LES SIÈGES DE L'ALCAZAR (Luc Moullet)
AMERICAN DREAMS (LOST AND FOUND) (James Benning)
ZORNS LEMMA (Hollis Frampton)
THE HYPOTHESIS OF THE STOLEN PAINTING (Raúl Ruiz)
THE BENCH OF DESOLATION (Claude Chabrol)
POETIC JUSTICE (Hollis Frampton)
BERNICE BOBS HER HAIR (Joan Micklin Silver)
ITALIANAMERICAN (Martin Scorsese)
FROM THESE ROOTS (William Greaves)
LIZA WITH A Z (Bob Fosse)
THE INNER SCAR (Philippe Garrel)
THE IMMORTAL STORY (Orson Welles)
NOT RECONCILED (Jean-Marie Straub & Danièle Huillet)
BLACK GIRL (Ousmane Sembène)
THE WAR GAME (Peter Watkins)
SIMON OF THE DESERT (Luis Buñuel)
THE KOUMIKO MYSTERY (Chris Marker)
THE BRIG (Jonas Mekas)
THE TRIAL OF JOAN OF ARC (Robert Bresson)
PASAZERKA (Andrzej Munk)
STATUES ALSO DIE (Alain Resnais & Chris Marker & Ghislain Cloquet)
UNE SIMPLE HISTOIRE (Marcel Hanoun)
I WALKED WITH A ZOMBIE (Jacques Tourneur)
DETOUR (Edgar G. Ulmer)
THE LEOPARD MAN (Jacques Tourneur)
THE MASK OF FU MANCHU (Charles Brabin)
SHERLOCK JR. (Buster Keaton)
THE SEASHELL AND THE CLERGYMAN (Germaine Dulac)
MÉNILMONTANT (Dimitri Kirshoff)
Shorts Only
Ten Favorite Short Films
ALL MY LIFE (Bruce Baillie)
OUTER SPACE (Peter Tscherkassky)
THE HOUSE IS BLACK (Forough Farrokhzad)
MESHES OF THE AFTERNOON (Maya Deren & Alexander Hammid)
ENGRAM OF RETURNING (Saïto Daïchi)
ARBORETUM CYCLE (Nathaniel Dorsky)
TRANSFORMERS: THE PREMAKE (Kevin B. Lee)
LIST (Hong Sang-soo)
SHAKTI (Martín Rejtman)
THE HEDONISTS (Jia Zhangke)
REDEMPTION (Miguel Gomes)
LET YOUR LIGHT SHINE (Jodie Mack)
NIGHT WITHOUT DISTANCE (Lois Patiño)
THE HEART OF THE WORLD (Guy Maddin)
TREES OF SYNTAX, LEAVES OF AXIS (Saïto Daïchi)
ORIGINS OF THE 21ST CENTURY (Jean-Luc Godard)
THE FOLLOW (Wong Kar-wai)
THE SKYWALK IS GONE (Tsai Ming-liang)
( ) (Morgan Fisher)
CRY ME A RIVER (Jia Zhangke)
TEXTISM (Hirabayashi Isamu)
GREEN FUSE (Saïto Daïchi)
JE VOUS SALUE, SARAJEVO (Jean-Luc Godard)
PREMONITIONS FOLLOWING AN EVIL DEED (David Lynch)
WHEN IT RAINS (Charles Burnett)
AMBITION (Hal Hartley)
BLACK ICE (Stan Brakhage)
AM MEER (Ute Aurand)
THEORY OF ACHIEVEMENT (Hal Hartley)
JOY STREET (Suzan Pitt)
NIGHT MUSIC (Stan Brakhage)
EXPECTATIONS (Edward Yang)
ORDERLY OR DISORDERLY (Abbas Kiarostami)
CAT LISTENING TO MUSIC (Chris Marker)
EIN BILD (Harun Farocki)
THE GARDEN OF EARTHLY DELIGHTS (Stan Brakhage)
THE BIRTH OF MAGELLAN I: CADENZA I (Hollis Frampton)
EN RACHÂCHANT (Jean-Marie Straub & Danièle Huillet)
NEW YORK STORY (Jackie Raynal)
SERENE VELOCITY (Ernie Gehr)
ASPARAGUS (Suzan Pitt)
CRITICAL MASS (Hollis Frampton)
ASSOCIATIONS (John Smith)
INTRODUCTION TO ARNOLD SCHOENBERG'S "ACCOMPANIMENT TO A CINEMATOGRAPHIC SCENE" (Jean-Marie Straub & Danièle Huillet)
PROJECTION INSTRUCTIONS (Morgan Fisher)
LA SOUFRIÈRE (Werner Herzog)
WONG SINSAANG (Eddie Wong)
MOTHLIGHT (Stan Brakhage)
ALLURES (Jordan Belson)
DOG STAR MAN (Stan Brakhage)
ARNULF RAINER (Peter Kubelka)
COSMIC RAY (Bruce Conner)
THE NAIL CLIPPERS (Jean-Claude Carriére)
CASTRO STREET (Bruce Baillie)
LE CHANT DU STYRÈNE (Alain Resnais)
DUCK DODGERS IN THE 24½TH CENTURY (Chuck Jones)
RABBIT SEASONING (Chuck Jones)
A MOVIE (Bruce Conner)
RABBIT OF SEVILLE (Chuck Jones)
PESCHERECCI (Vittorio De Seta)
SURFARARA (Vittorio De Seta)
OPERATION: RABBIT (Chuck Jones)
FIREWORKS (Kenneth Anger)
RADIO DYNAMICS (Oskar Fischinger)
ROSE HOBART (Joseph Cornell)
UN CHIEN ANDALOU (Luis Buñuel)
RAIN (Joris Ivens & Mannus Franken)
BALLET MÉCHANIQUE (Fernand Léger & Dudley Murphy)
THE LIFE AND DEATH OF 9413, A HOLLYWOOD EXTRA (Robert Florey & Slavko Vorkapich)
LIBERTY (Leo McCarey)
RECORD 957 (Germaine Dulac)
BRUMES D'AUTOMNE (Dimitri Kirshoff)
TOKYO MARCH (Kenji Mizoguchi)
THE BABY'S MEAL (Louis & Auguste Lumière)
BOAT LEAVING THE PORT (Louis & Auguste Lumière)
THE UNCHANGING SEA (D.W. Griffith)
Top 100 12/13/22
The original incarnation of this list, which is now updated regularly, can be found here.
A text-only version of this list can be found here.
100. Paris, Texas (1984, Wim Wenders)
99. Sparrow (2008, Johnnie To)
98. The Rocking Horsemen (1992, Ōbayashi Nobuhiko)
97. A New Leaf (1971, Elaine May)
96. Cure (1997, Kurosawa Kiyoshi)
95. The Trap: What Happened to Our Dream of Freedom (2007, Adam Curtis)
94. Drive My Car (2021, Hamaguchi Ryūsuke)
93. Dirty Ho (1979, Lau Kar-leung)
92. All My Life (1966, Bruce Baillie)
91. Yearning (1964, Naruse Mikio)
90. Inland Empire (2006, David Lynch)
89. Peking Opera Blues (1986, Tsui Hark)
88. The End of Evangelion (1997, Anno Hideaki)
87. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975, Chantal Akerman)
86. The Day He Arrives (2011, Hong Sang-soo)
85. Los Angeles Plays Itself (2003, Thom Andersen)
84. Spione (1928, Fritz Lang)
83. Miami Vice (2006, Michael Mann)
82. The Love Eterne (1963, Li Han-hsiang)
81. Asako I & II (2018, Hamaguchi Ryūsuke)
80. Like Someone in Love (2012, Abbas Kiarostami)
79. Syndromes and a Century (2006, Apichatpong Weerasethakul)
78. Ashes of Time (1994, Wong Kar-wai)
77. Pierrot le fou (1965, Jean-Luc Godard)
76. Rear Window (1954, Alfred Hitchcock)
75. The Heiress (1949, William Wyler)
74. Spirited Away (2001, Miyazaki Hayao)
73. Days of Being Wild (1990, Wong Kar-wai)
72. The Umbrellas of Cherbourg (1964, Jacques Demy)
71. His Girl Friday (1940, Howard Hawks)
70. Close-Up (1990, Abbas Kiarostami)
69. Shanghai Express (1932, Josef von Sternberg)
68. Tokyo Story (1953, Ozu Yasujirō)
67. Beijing Watermelon (1989, Ōbayashi Nobuhiko)
66. (nostalgia) (1971, Hollis Frampton)
65. A City of Sadness (1989, Hou Hsiao-hsien)
64. A.I. Artificial Intelligence (2001, Steven Spielberg)
63. The Passion of Joan of Arc (1928, Carl Theodor Dreyer)
62. M (1931, Fritz Lang)
61. Mahjong (1996, Edward Yang)
60. The Awful Truth (1937, Leo McCarey)
59. Mysteries of Lisbon (2010, Raúl Ruiz)
58. Blue Velvet (1986, David Lynch)
57. Eraserhead (1977, David Lynch)
56. High and Low (1963, Kurosawa Akira)
55. Citizen Kane (1941, Orson Welles)
54. Oxhide II (2009, Liu Jiayin)
53. India Song (1975, Marguerite Duras)
52. Rio Bravo (1959, Howard Hawks)
51. Wavelength (1967, Michael Snow)
50. Trust (1990, Hal Hartley)
49. Sansho the Bailiff (1954, Mizoguchi Kenji)
48. Twin Peaks: Fire Walk With Me (1992, David Lynch)
47. Comrades: Almost a Love Story (1996, Peter Chan)
46. Napoléon (1927, Abel Gance)
45. Mountains May Depart (2015, Jia Zhangke)
44. Letter From an Unknown Woman (1948, Max Ophuls)
43. Neon Genesis Evangelion: Take care of yourself. (1996, Anno Hideaki)
42. Sunrise: A Song of Two Humans (1927, F.W. Murnau)
41. Workers Leaving the Lumière Factory in Lyon (1895, Louis & Auguste Lumière)
40. Gertrud (1964, Carl Theodor Dreyer)
39. Femmes Femmes (1974, Paul Vecchiali)
38. The Hole (1998, Tsai Ming-liang)
37. Les Vampires (1915, Louis Feuillade)
36. Heat (1995, Michael Mann)
35. Gentlemen Prefer Blondes (1953, Howard Hawks)
34. Muriel, or the Time of Return (1963, Alain Resnais)
33. The Testament of Dr. Mabuse (1933, Fritz Lang)
32. Twin Peaks: The Return (2017, David Lynch)
31. Ruggles of Red Gap (1935, Leo McCarey)
30. Crouching Tiger, Hidden Dragon (2000, Ang Lee)
29. Perceval le Gallois (1978, Éric Rohmer)
28. The Mother and the Whore (1973, Jean Eustache)
27. Stray Dogs (2013, Tsai Ming-liang)
26. Duck Amuck (1953, Chuck Jones)
25. Late Spring (1949, Ozu Yasujirō)
24. Dragon Inn (1966, King Hu)
23. Yourself and Yours (2016, Hong Sang-soo)
22. Platform (2000, Jia Zhangke)
21. Chungking Express (1994, Wong Kar-wai)
20. Last Year at Marienbad (1961, Alain Resnais)
19. La Flor (2018, Mariano Llinás)
18. The Rules of the Game (1939, Jean Renoir)
17. La jetée (1962, Chris Marker)
16. Out 1: Noli me tangere (1971, Jacques Rivette)
15. Only Angels Have Wings (1939, Howard Hawks)
14. Seven Samurai (1954, Kurosawa Akira)
13. Meet Me in St. Louis (1944, Vincente Minnelli)
12. Goodbye, Dragon Inn (2003, Tsai Ming-liang)
11. Vertigo (1958, Alfred Hitchcock)
10. Céline and Julie Go Boating (1974, Jacques Rivette)
9. The Night of the Hunter (1954, Charles Laughton)
8. The Young Girls of Rochefort (1967, Jacques Demy)
7. A Brighter Summer Day (1991, Edward Yang)
6. In the Mood for Love (2000, Wong Kar-wai)
5. A Touch of Zen (1971, King Hu)
4. The Magnificent Ambersons (1942, Orson Welles)
3. Sans soleil (1983, Chris Marker)
2. Mulholland Dr. (2001, David Lynch)
1. Yi Yi (2000, Edward Yang)
Ryan Swen


text:
sbin="`dirname "$0"`"
sbin="`cd "$sbin"; pwd`"

. "$sbin/spark-config.sh"
. "$SPARK_PREFIX/bin/load-spark-env.sh"

if [ $# != 0 ]; then
  echo "Using command line arguments for setting the log directory is deprecated. Please "
  echo "set the spark.history.fs.logDirectory configuration option instead."
  export SPARK_HISTORY_OPTS="$SPARK_HISTORY_OPTS -Dspark.history.fs.logDirectory=$1"
fi

exec "$sbin"/spark-daemon.sh start org.apache.spark.deploy.history.HistoryServer 1

redpajama_set_name: RedPajamaGithub


text:
layout:     post
title:      Ressource
date:       2015-08-11 12:32:18
categories:
tags:
 -
---
# Création / Gestion entreprise
## Statut
- https://www.codeur.com/blog/freelances-comment-choisir-statut-auto-entrepreneur-portage/

## Tarification / Méthode de travail
 - https://www.codeur.com/blog/tarif-taux-horaire/

## Outils pour réaliser maquettes
- https://www.codeur.com/blog/15-outils-wireframes/
- http://www.creativebloq.com/wireframes/top-wireframing-tools-11121302


text:
Hoplomyzon es un género de peces actinopeterigios de agua dulce, distribuidos por ríos de América del Sur.

Especies
Existen tres especies reconocidas en este género:
 Hoplomyzon atrizona Myers, 1942
 Hoplomyzon papillatus Stewart, 1985
 Hoplomyzon sexpapilostoma Taphorn y Marrero, 1990

Referencias

Enlaces externos

Aspredinidae
Géneros de peces

redpajama_set_name: RedPajamaWikipedia


I bought this car in early 2004 with my tax return money. I had always wanted a second car to learn how to tinker on. I actually bought the car a month or two before BFest was right here in Denver Colorado! But as I was so new to the car I didn't have the passion and enthusiasm for the car and the community that I do now and didn't attend. She was a 1989 Base model with beat blue interior and bone stock save for a remote start system and old faded tinted windows.
Shortly after I bought the car my friend turned me onto to junk yarding. HOLY COW did I learn a lot about this car in a short period of time! All the models produced, different engines, seat styles, different body kits, suspension bars and so more! That and the knowledge base that is Beretta.net turned me into an addict very quickly. The car went through a lot of different looks in a rather short period of time but one look caught my eye in particular… the GTU look. And after going through three different interior colors / setups I finally rounded up all I needed for a black interior, save for the dash.
How about a small list of mods hmm? The list is MUCH bigger, but these are the highlights.


A wet, cold and dismal Saturday afternoon, what better way to spend it than stick yourself in the net and wallow around in the mud! I think this is the reason I haven't played football for the past four years! Maybe I'm mad, but I'm certainly aching after the game today!
A couple of Matt Hamnett specialty throws and a couple of decent headers, meant that we got a couple of goals to take us into half time 3-1 up. After the break though the game felt completely different. The referee was absolutely atrocious, allowing a goal that was clearly offside to count allowing them get back into the game. With the game at 3-3 the referee made yet another mistake in allowing another goal to stand that was miles offside!
So with the game at 4-3 we go on the attack and our forward gets cynically brought down in the area, which the referee decided he wouldn't see. So the game ended a 4-3 with the Spurley boys definitely cheated out of a result, but hey, that's football and we've just got to get on with it and make sure we get a result next week!
Well, I've done a little spring cleaning, and given my site a new lease of life since I felt it was going to waste!
I find blogging very time consuming, and time is something I seem to be having less and less of these days. I have about 6 websites that are currently on the go, that's enough to keep me busy for a week or so! Five of those are personal sites which I hope to develop in the coming weeks, and one is for a client who is a family friend!
Some of the sites in the pipeline include online Sudoku and a great site featuring Mr Bean! Those are only small sites though, in need of design, and development, but the great domain names are registered! Hopefully within the next few months I will have developed a couple more serious sites which relate to a few business ideas I currently have.
At the moment however, University still comes first and I have some work to do for an E-Marketing project which should be fairly easy as I've been doing this stuff for years now! I'm in a group with two other guys, and we have to plan an E-Marketing strategy for a cycle company in Preston who want to move some of their business online.
I'll be back with updates on all my website ventures and that E-Marketing project which looks promising!
Posted on November 23, 2007 November 24, 2007 Categories GeneralLeave a comment on A Clean Slate!


text:
Postcommodity
Each Branch Determined
POSTCOMMODITY is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Their art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity's most recent project is Repellent Fence, a two-mile-long land installation at the US./Mexican border near Douglas, AZ.
The group collaborated with the Indigenous Futures Research Cluster as part of the 2167 Project: an innovative virtual reality and immersive media series. Six Indigenous filmmakers and artists were commissioned to create six VR projects in 2017, with each artist asked to set their work 150 years in the future.
Postcommodity was in residence at the Cluster January 7 – 13, and again from July 25-29, 2016.
Individual Project Press Release
Public Talk:
Cristóbal Martínez (left), Raven Chacon (middle), Kade L. Twist (right)
Postcommodity with Obx Labs Team
View More Pictures of their residency.
Cristóbal Martínez Trying out the Samsung VR gear for the very first time!
Raven Chacon exploring a custom environment made in Unity 3D where we imported various sketch models & drawings so that Postcommodity could get a better understanding of and feel for moving around in 3D space.
Kade L. Twist exploring a custom environment made in Unity 3D where we imported various sketch models & drawings so that Postcommodity could get a better understanding of and feel for moving around in 3D space.
Cristóbal Martínez is trying out the Oculus Rift Demo "Affected-the horror experience" by fallen planet studio while Raven Chacon is trying out the Samsung VR gear.
Cristóbal Martínez exploring a custom environment made in Unity 3D where we imported various sketch models & drawings so that Postcommodity could get a better understanding of and feel for moving around in 3D space.
IFFs First Residency Postcommodity Artist Collective
Postcommodity Residency Day 2


text:
World Cup 2014 /
Croatian coach Kovac: If this was a penalty, ...
Croatian coach Kovac: If this was a penalty, it's better for us to go home!
SAO PAULO, June 12, 2014 (Xinhua) -- Brazil's players celebrate after scoring the penalty kick during the opening match of 2014 FIFA World Cup, Arena de Sao Paulo Stadium, Sao Paulo, Brazil, June 12,
SAO PAULO, June 12 (Xinhua/Sun) -- Croatian coach Niko Kovac slamed Japanese referee Yuichi Nishimura after Brazil's 3-1 victory in the World Cup opener at Arena Corinthians here on Thursday.
"I had a feeling that the referee had one set of rules for us and the other for Brazil. I don't want to talk about referees but everybody saw how he did his job. He didn't have respect for Croatia. He's not good enough to be a referee in such a important game," Kovac said to Croatian Television after the match.
During the match Kovac had a poker face. He held it until 70th minute when Nishimura pointed to penalty spot after Dejan Lovren challenged Fred in Croatia's penalty box.
"If that was a penalty than we don't have to play football anymore. This is not basketball. This was a robbery," the Croatian coach said.
Croatian players and other experts shared his opinion.
"We should be talking about great game, two great teams fighting and instead we have to talk about the referee. It's a shame that one person can destroy everything that we worked for. I think we deserved more," Croatian midfielder Ivan Rakitic said.
For all Croatians this was the greatest match in the young country's history. For Brazilians this was just the first of the seven steps on the way to the sixth World Cup trophy. In the 11th minute it was Croatians who were in seventh haven when Marcelo accidentally pushed the ball into his own goal after cross from Ivica Olic.
"In the first 20 minutes Croatia played like you should play against Brazil. They were focused, the midfield was covered and when they got the ball they were fast and dangerous. On one such occasion they got the goal," said Goran Vlaovic, former player from Croatia's Golden Generation.
But there was still 70 minutes to play and Brazilians were getting closer to Croatian penalty box by each minute. Croatian goalkeeper Stipe Pletikosa had some great saves but he couldn't stop Neymar from scoring in the 29th minute. Pletikosa was close to stop Barcelona's star penalty kick in the 71st minute but the ball went of his hands into the net. In the stoppage time Oscar confirmed Brazil's victory with clever shot when he was few meters outside the penalty box.
"It's not easy to play against the team that has so many great individuals. Just because of that they can be dangerous even without paying attention to tactics. Croatian players did a great job. There is not much more they could do. They even had a chance to make it 2-2 at the end of the match but that didn't happen," Robert Prosinecki said.
Vlaovic, Prosinecki's former teammate from the 1998 World Cup squad, was a bit more critical of Croatia's presentation in Sao Paulo.
"After great first 20 to 25 minutes Croatia didn't do enough. It seemed that they didn't have a will to attack Brazilians. They became slower and if you play slow against Brazil than you are in danger because they have fast players. Every time when Croatians lost the possession Brazilians were dangerous," Vlaovic said.
When he wasn't talking about the Japanese referee, Niko Kovac was full of praise for his team. "We were not just good. We were excellent in both halves. This is how you fight for your team and I am very proud of my players. They did everything that we've planned. It's a shame that we didn't have a lead after the first half. If we continue to play like this I am convinced that this team will advance to the knockout phase," Kovac said.
First step to that goal Croatia can make on 18 June, when Kovac's team will try to beat Cameroon in Manaus.
Latest World Cup 2014
Messi wins Golden Ball award
Sabella praises Argentina's team of "warriors"
Loew reveals pep talk with Goetze before goal
Germany triumph fruit of 10-year plan: Loew
German cohesion the recipe for World Cup glory
More World Cup 2014


text:
Q: Relation between radii of incircle and excircle of a triangle : $r_{1}^{2}=d^{2}+2r_{1}r_{2}$ Problem :
Let $∆ABC$ triangle and $C(D,ED)$ excircle of triangle $ABC$ , $r_{1}=ED$ also $C(G,GF)$ incircle of a triangle $ABC$, $GF=r_2.$
$d=$ distance between centers of the two circles $d=d(D,G)$

Then prove that :
$$r_{1}^{2}=d^{2}+2r_{1}r_{2}$$

I know the center of the incircle can be found as the intersection of the three internal angle bisectors and The center of an excircle is the intersection of the internal bisector of one angle
But I don't know which relations I must use to prove the above relations

A: See Euler's theorem for the triangle.

redpajama_set_name: RedPajamaStackExchange


text:
Apple's 'McQueen' platform could mean a totally private iCloud
Nate Swanner
Former Reporter, TNW
TNW's former West Coast writer in the PNW (Portland, Oregon). Nate loves amplifying developers, and codes in Swift when he's not writing. If (show all) TNW's former West Coast writer in the PNW (Portland, Oregon). Nate loves amplifying developers, and codes in Swift when he's not writing. If you need to get in touch, Twitter is your best bet.
According to several reports, Apple is quietly working on its own cloud infrastructure.
Codenamed 'McQueen,' Apple's initiative is said to be a means to wean itself from Amazon Web Services and Microsoft Azure. Specifically, Apple is reportedly dismayed by AWS, which loads images and video slowly to smartphones and tablets.
Microsoft, on the other hand, has reportedly told Apple it can't scale fast enough to support iCloud's growing ecosystem. Separate reports claim Apple is also going to use Google's cloud platform, but that seems like a stopgap at this point. Apple has been buying real estate globally — reportedly for McQueen — and has already committed to growing its data center footprint domestically.
The project will take several years, but Apple reportedly sees McQueen turning a profit in three years time thereafter.
While this likely means iCloud data transfers will be faster, it could also be a security measure. Should Apple choose to disavow itself of access keys to your iCloud account, there would be no way for it to turn over any data to government agencies.
It's a method already in use, most notably by SpiderOak. Its 'zero knowledge' cloud solution puts you in total control of your data; the company doesn't even know what's there.
That's a feature most probably aren't concerned with, but Apple seems increasingly interested in making great products and services — not dealing with the government. McQueen could be a ploy to serve Apple as much as its users.
Published March 18, 2016 - 12:54 am UTC
The rumored iPhone selfie camera upgrade should come to all Apple devices
Blessed be the Find My app, savior of my lost AirPods
The Apple and Google app store monopoly could soon be over — here's why
Apple is finally forcing mobile devs to let you delete your app account easily


This December 7th, Universal Pictures is rereleasing "Schindlers List" onto the big screen in a remastered version with 4K image and Atmos audio for a very limited engagement.
For this, the excellent USC Shoa Foundation has arranged free screenings for educators on December 4th and 5th. However, their submission period has closed and their screenings obviously couldn't seat everyone.
The commercial re-release is on a Friday, a business day. That means that on December 7th, there will be hundreds of half-empty and even mostly-empty matinee shows in the mornings. As the founder of Rerelease News, a small news site which celebrates and benefits from rereleases such as this, I see this as an opportunity.
New York has multiple premium large format locations where the film will be shown in the morning. For young adults, to see an uninterrupted version of Schindler's List in a commercial movie theater can be an experience unparalleled with other ways of seeing the film. There will be no breaks, no cell-phone checks and no talking allowed. It's a way to view the film in it's entirety, for three hours, on a large screen with remastered image and sound. A truly lasting experience unlikely to be available again for years.
So I am planning to use some of Rerelease News' financial resources combined with my experience in getting discounted tickets to offer free tickets to New York educators to take students to see the film at morning shows on December 7th.
However, my financial resources are very limited and Dolby/RPX tickets are expensive. So I am asking for your help to make those tickets available for free.
Every donation will go to at least one ticket to see the film on the 7th. Applications for educators are available here .
No money will be spent on concessions or other unnecessary expenses - only tickets.
The application for educators, as mentioned before, is available here .
This rerelease is a unique opportunity to see Schindler's List on a large silver screen, one likely not to come again in years. Renting a theater costs hundreds, but here we have commercial shows made available to the public on a specific date and time. I don't want to see this opportunity go to waste.
Please donate to help fill up often morning shows of the film with students from the New York Metro Region.


The market hasn't been too harsh in Queens County as say Suffolk. This can be attributed to it's proximity to Manhattan and being a "more bang for your buck" option. Low taxes and community strength are other factors in a strong market presence.
Appraisals for homes in Queens are pretty thorough due to quality and detail of MLS. MLS information is readily available for most properties providing details on year built, interior photos, basement details, amenities (such as porch, lot size, patio, deck, fireplace, central air conditioning, etc.) garage, views, days on market, types of financing, broker info and so on. This is a great thing because primary appraisal software such as Comps Inc and Geo data don't provide detailed interior information.
Real Estate Appraisers in Queens County, The most important factor when choosing comparable sales in Queens is interior & exterior square footage (GLA & Lot Size). Land is very valuable in Queens and it's important to compare similar sized properties with each other. This being the case, one can compare a 2-story with a 4-story if the sq footage is similar. Amenities are also very important such as cac, garage, patio, deck, porch, balcony, fireplace etc. When appraising in urban areas such as Queens it's all about choosing comparables from similar neighborhoods. This way all the sales share similar socio-economic influences. The way banks keep track of this is by looking at the locations of the sales on a location map. If any sale is on the other side of an "artery" or main road then it's validity is in question. Such "arteries" include Grand Central Parkway, Northern Blvd, Jamaica Ave, Astoria Blvd, etc.


text:
Dr Catherine Hogan, Research Fellow at Cardiff University
By supporting the next generation of researchers who will accelerate the development of new, more effective treatment, you can improve the survival rates and quality of life for people with cancer, now and in the future.
Your gift to the Future Leaders in Cancer Research initiative will support carefully targeted career development of exceptional young cancer researchers.
Help us support the wide range of researchers, from laboratory scientists and clinical trial specialists to psychologists helping patients deal with the mental burden of cancer, and those looking to identify new cures and treatments.
Magda's cancer research story
Magda Meissner is a researcher and clinician, but her cancer story, as for so many people, is much more personal.
Future Leaders in Cancer Research
Cardiff's Future Leaders in Cancer Research initiative proactively identifies, supports and nurtures the cancer research community of tomorrow. The programme identifies talented early career cancer researchers working in the lab and directly with patients.
The Future Leaders' cohort is given specialist training and coaching to develop "non-bench" skills such as grant-writing, financial management, and presentation techniques.
The programme encourages participants to engage in personal and professional self-assessment so that they are able to identify skills gaps, develop a career plan and build professional networks with senior colleagues.
Cancer research at Cardiff University
Our cancer research community is collaborative and innovative. The new cancer research strategy is built around three strengths:
discovery of new targets and novel strategies to develop innovative cancer treatments
designing and leading on the delivery of clinical studies using innovative cancer inventions
working on earlier diagnosis and prevention of many cancers to reduce the global burden of cancer.
The strategy also sets out ambitious plans to grow Cardiff's cancer research community, attracting and retaining talented academics and clinicians, with an emphasis on nurturing the cancer research leaders of tomorrow.
CancerChevron right
Magda's cancer research storyChevron right


text:
Q: Set precision gives a zero after the decimal before the alloted digits When I try and round digits using setprecision(2) in C++, numbers like "0.093" re returned- THREE, not two digits after the decimal! I cannot figure out why this is.  I've included my very rudimentary code below, in case I am severely missing some point. Thanks!
#include <iostream>
#include <iomanip>
using namespace std;

int main()
{
    double tax = 0.06 ; //Tax Rate
    float cost ; //Cost of item
    float computed ; //Non-rounded tax

    cout << "Enter the cost of the item: " ;
    cin >> cost ;

    computed = tax*cost;

    cout << "Computed: $" << computed << endl;
    cout << "Charged: $" << setprecision(2) << computed << endl; //Computed tax rounded to 2 decimal places

    return 0;

}

A: This is because std::setprecision doesn't set the digits after the decimal point but the significant (aka "meaningful") digits if you don't change the floating point format to use a fixed number of digits after the decimal point. To change the format, you have to put std::fixed (documentaion) into your output stream:
cout << "Charged: $" << fixed << setprecision(2) << computed << endl;

A: From: http://www.cplusplus.com/reference/iomanip/setprecision/
The decimal precision determines the maximum number of digits to be written on insertion operations to express floating-point values. How this is interpreted depends on whether the floatfield format flag is set to a specific notation.
...
On the default floating-point notation, the precision field specifies the maximum number of meaningful digits to display in total counting both those before and those after the decimal point.
In your case: 0.093, 93 - two meaningful digits.

A: cout <<  fixed <<setprecision(6)<< a<<endl; // add whatever you want to round in the place of a


Save Passamaquoddy Bay, the Eastport Maine-based alliance of US, Passamaquoddy, and Canadian citizens opposed to liquefied natural gas (LNG) development in Passamaquoddy Bay, alerted news media today that the Federal Energy Regulatory Commission (FERC) has put difficult questions to Downeast LNG.
FERC is requiring Downeast LNG to answer how the company plans to ship natural gas south to its intended Boston market on the Maritimes and Northeast Pipeline. The pipeline company has just announced it is planning to reverse direction, shipping natural gas north to New England — including Maine — and the Canadian Maritimes. FERC also asks Downeast LNG to justify its import project now that US natural gas production is booming, entirely eliminating the need for LNG imports. FERC is requiring answers by February 27th.
"FERC is demanding answers to some elementary questions that Downeast LNG will have a difficult time answering," said Robert Godfrey, researcher for Save Passamaquoddy Bay.
"After eight years in the FERC permitting process, it is unbelievable that Downeast LNG is still being asked these questions. Hopefully, FERC will finally dismiss this inappropriate, unneeded project," Godfrey concluded.


Awesome October is fast, friendly and full of heart!
Last night at the Flying Tiger, another Awesome Newcastle commenced! We were on a mission of time efficiency while still having a special evening as per usual..
April's Awesome Newcastle at the Wombat!
Perpetually keeping things interesting, Awesome Newcastle went off last night at the Happy Wombat. A gregarious group gathered in their funky side room with t..


text:
Ostrov muzeí či Muzejní ostrov (německy ) je severní část ostrova na Sprévě v Berlíně, na níž leží pět světově významných muzeí, součástí Berlínských státních muzeí. Ostrov je od roku 1999 na seznamu světového kulturního dědictví UNESCO.

Historie
První muzeum bylo na ostrově založeno v roce 1830, první muzejní budovu, dnešní Altes Museum postavil Karl Friedrich Schinkel na přání Fridricha Viléma IV. Sbírka si v krátké době získala velmi dobrou pověst, a tak byla již v roce 1855 otevřena nová muzejní budova Neues Museum, určená pro sbírky starověkého Egypta, prehistorické a etnografické sbírky. V roce 1876 na ostrově vzniklo další muzeum, tentokrát budova národní galerie (Nationalgalerie - později přejmenována na Alte Nationalgalerie), určená pro soudobé německé umění. Donace a vykopávky prováděné Prusy v 19. století, hlavně na Blízkém východě, nicméně rychle vedly k přesunům sbírek a k zaplnění existujících muzeí. V roce 1904 proto pro malby a sbírku plastik vznikla nová budova se jménem Kaiser-Friedrich-Museum (dnešní Bode-Museum). Ani to však nestačilo pro sbírku starověkých exponátů a neustále rostoucí archeologické sbírky, jako poslední bylo proto na ostrově postaveno Pergamonmuseum, dokončené v roce 1930.

Muzejní ostrov silně poškodila 2. světová válka a její následky. Budova Neues Musea byla vážně poškozená bombami, většina sbírek však byla dobře ukryta. Po rozdělení Berlína byla však rozdělena a vystavena na různých místech východního i západního Berlína. Sjednocení a restrukturalizace sbírek byla možná teprve po sjednocení Berlína, v té době také začaly opravy všech pěti muzejních budov.

Pro muzejní ostrov byl vytvořen Master Plan, který počítá s výstavbou další nové budovy, sloupořadí po severním břehu ostrova, které bude sloužit jako vstupní hala s potřebným návštěvnickým zázemím. Ponese jméno James Simon Gallery podle známého berlínského mecenáše. Bude stát vedle budovy Neues Musea a budovy muzeí budou (s výjimkou Staré národní galerie) propojeny podzemní chodbou - Archeologickou promenádou. Pro velké obtíže se zakládáním v močálovité půdě byl základní kámen položen až roku 2013 a dokončení je plánováno na rok 2019.

Přístup
Na Muzejní ostrov se lze dostat S-Bahnem (linky S5, S7, S75, S9) nebo tramvají (linky M2, M4, M5, M6) – stanice Hackescher Markt.

Muzejní budovy
Na ostrově jsou umístěny:

 Staré muzeum, budova podle návrhu Karla Friedricha Schinkela z roku 1830 hostící část sbírky antického umění;
 Nové muzeum dokončené roku 1855 podle plánů Friedricha Augusta Stülera, zničené během druhé světové války a znovuvybudované pod vedením Davida Chipperfielda roku 2009, dnes vystavuje starověké, především staroegyptské sbírky;
 Pergamonské muzeum, vybudované roku 1930, obsahuje další část sbírky antického umění, především Pergamonský oltář a Ištařinu bránu; a sbírky islámského umění.
 Stará národní galerie z roku 1876, navržená rovněž Friedrichem Augustem Stülerem, hostí sbírku umění 19. století;
 Bodeho muzeum vzniklo roku 1904 pod jménem Muzeum císaře Fridricha, dnes nese jméno Wilhelma von Bode, který jeho stavbu prosadil, a obsahuje sbírku středověkého a byzantského umění, sochařské sbírky a sbírku mincí.

Fotogalerie

Reference

Externí odkazy

 Stručný průvodce (česky)

Muzea v Berlíně
Světové dědictví (Německo)
Geografie Berlína


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Jarhead: Oscar winner Jamie Foxx (Collateral, Ali) and Jake Gyllenhaal (The Day After Tomorrow. Donnie Darko) star in this critically acclaimed portrayal of a group of young "Jarheads" during the explosive days of the Gulf War. From the Academy Award-winning director of American Beauty. Jarhead is a powerful story, told with painful honesty and irreverence, with spectacular cinematography. Jarhead follows 'Swoff' (Gyllenhaal) from a sob..
Battle-scarred and disillusioned by the war, Corporal Chris Merriman is put in charge of a unit whose next mission is to re-supply a remote outpost on the edge of Taliban-controlled territory. While driving through the hostile Helmand province, a Navy Seal flags down their convoy and enlists the unit on an operation of international importance: they must help an Afghan woman, famous for her defiance of the Taliban, escape the country. W..
Assigned to protect a seemingly safe U.S. Embassy in the Middle East, elite Marine Corporal Evan Albright (Charlie Weber) thought he wasn't going to see much action. But when a hostile, extreme militant group launches a surprise attack aimed at killing an Embassy informant, Albright's team is caught off guard. Out-gunned and outnumbered, Albright's routine assignment escalates into an all-out war. With national security at stake, an int..
Academy Award-winner Jamie Foxx and Jake Gyllenhaal star in this critically acclaimed, brilliantly unconventional war story from Oscar-winning director Sam Mendes. Jarhead (the self-imposed moniker of the Marines) follows Swoff (Gyllenhaal) from a sobering stint in boot camp to active duty, where he sports a sniper rifle through Middle East deserts that provide no cover from the heat or Iraqi soldiers. Swoff and his fellow Marines susta..
Oscar winner Jamie Foxx (Collateral, Ali) and Jake Gyllenhaal (The Day After Tomorrow. Donnie Darko) star in this critically acclaimed portrayal of a group of young "Jarheads" during the explosive days of the Gulf War. From the Academy Award-winning director of American Beauty. Jarhead is a powerful story, told with painful honesty and irreverence, with spectacular cinematography. Jarhead follows 'Swoff' (Gyllenhaal) from a sobering sti..


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Bhojpuri SEXY video: Kajal Raghwani, Khesari Lal Yadav's song 'Sarso Ke Sagiya' goes viral on YouTube
Bhojpuri actress Kajal Raghwani and Khesari Lal's song 'Sarso Ke Sagiya is going viral among fans. This song has been watched over 62 million times in just a few days.
Photo Courtesy: YouTube
Khesari Lal Yadav is a well-known actor in Bhojpuri cinema. His music and videos are still well-known. Khesari songs, both old and new, are going popular on the internet.
His music has once again piqued the interest of his followers. The Bhojpuri song 'Sarso Ke Sagiya,' featuring Khesari Lal and Kajal Raghwani, has gone viral on social media.(WATCH VIDEO)
Khesari Lal Yadav and Kajal are becoming increasingly popular on YouTube. This song has received over 62 million views. And fans are outraged by this video, with some even referring to Khesari Lal Yadav and Kajal as the number one Jodi.
Fans of Kajal Raghwani and Khesari Lal Yadav are many. The on-screen pair is enough to bring the song, music video, or film to life. This couple's fans like seeing them together.
Kajal Raghwani and Khesari Lal Yadav are seen getting very passionate in the video. For those who are unaware, the duo is one of the most well-known in the Bhojpuri film business.
They have a sizable following. Every music video showcases their chemistry. Fans adore seeing Kajal Raghwani and Khesari Lal Yadav even though this video is in great demand.
The duo's spectacular performance had the audience captivated. You'll like viewing this video, which is gaining popularity.
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