This pair of camo blankets are made from polyester, recycled cotton inside, and they are machine washable, please remember to use delicate cycle. These multi-purpose blankets can be used anywhere you see fit, such as in the bunk bed, back yard camping, fishing trip, you name it!
If you only need one blanket, this 72 in.x80 in. Camouflage Blanket for you.


text:
A Faculdade de Educação é uma unidade da Universidade do Vale do Paraíba, sediada no Campus Aquarius da cidade de São José dos Campos no interior do estado de São Paulo (Brasil).

A Faculdade de Educação - FE - possui vários cursos para a formação de professores das séries finais do Ensino Fundamental e Ensino Médio.

Todos os cursos estão alicerçados nas Novas Diretrizes Curriculares, em sintonia com a Declaração Universal dos Direitos Humanos e no Relatório da Comissão Internacional sobre Educação para o Secúlo XXI - Unesco, relatado por Jacques Deloes no livro: Educação um Tesouro a Descobrir.

Os cursos de licenciaturas são direcionados para o candidato que deseja ser um Educador.

Cursos

Artes Visuais
Ciências Biológicas
Ciências Sociais
Educação Física
Física
Geografia
História
Letras
Matemática
Pedagogia
Química

Personalidades

Professor Ravanelli: fundador do curso de Letras e professor do curso há 40 anos.

Ligações externas

Cursos da FE

Instituições de ensino superior de São Paulo (estado)

redpajama_set_name: RedPajamaWikipedia


HAMPTON INN & SUITES LEBANON $96 ($̶1̶1̶9̶) - Updated ... https://www.tripadvisor.com/Hotel_Review-g55153-d1236725-Reviews-Hampton_Inn_Suites_Lebanon-Lebanon_Tennessee.html For a comfortable stay, a warm welcome and great value just 20 minutes from the center of Nashville, TN, check-in to the Hampton Inn & Suites Lebanon hotel.
HAMPTON INN LEBANON $127 ($̶1̶6̶4̶) - Updated 2019 ... https://www.tripadvisor.com/Hotel_Review-g39577-d503186-Reviews-Hampton_Inn_Lebanon-Lebanon_Kentucky.html See 329 traveler reviews, 52 candid photos, and great deals for Hampton Inn Lebanon, ranked #1 of 2 hotels in Lebanon and rated 4 of 5 at TripAdvisor.
HAMPTON INN LEBANON $124 ($̶1̶5̶0̶) - Updated 2019 ... https://www.tripadvisor.com/Hotel_Review-g44586-d96398-Reviews-Hampton_Inn_Lebanon-Lebanon_Missouri.html See 344 traveler reviews, 53 candid photos, and great deals for Hampton Inn Lebanon, ranked #1 of 11 hotels in Lebanon and rated 4.5 of 5 at TripAdvisor.
Hampton Inn Lebanon, KY - Booking.com https://www.booking.com/hotel/us/hampton-inn-lebanon.html?aid=1354421 This Lebanon, Kentucky hotel offers a free breakfast and free Wi-Fi. An indoor pool is available on-site.
Hampton Inn Lebanon: 2019 Room Prices $125, Deals & Reviews ... https://www.expedia.com/Lebanon-Pine-Grove-Hotels-Hampton-Inn-Suites-Lebanon.h21867940.Hotel-Information Results 1 - 10 of 14 ... Hampton Inn Lebanon features an indoor pool and a fitness center. Wireless Internet access is complimentary. A business center is on site.
Hampton Inn Lebanon - 51 Photos & 13 Reviews - Hotels - 930 Ivey ... https://www.yelp.com/biz/hampton-inn-lebanon-lebanon-3 13 reviews of Hampton Inn Lebanon "The hotel and rooms are newly remodeled, everything smells fresh and clean. The room was modern and comfortable.
Hampton Inn Lebanon, MO - Booking.com https://www.booking.com/hotel/us/hampton-inn-lebanon-lebanon.html?aid=1354421 This Lebanon, Missouri hotel is near the downtown Business District and Bennett Spring State Park.
Hampton Inn Lebanon, TN - Booking.com https://www.booking.com/hotel/us/hampton-inn-suites-lebanon.html?aid=1354421 This completely non-smoking hotel in Lebanon, Tennessee offers a free hot breakfast and free high-speed internet access.


Thread: Molten Orange ST thread!
So I noticed that there is threads for Tux/panther Black, Oxford/frozen White, Performance Blue, Race Red and Ingot Silver STs, but none for the Molten Orange! (Or green!) I have a Molten Orange so decided I'd start this one!
So come on fellow MO FiSTers post your multicolor and reflection shots here!
Fezzer180, SHROSS and moltyfist like this.
Mountune : MP215 Kit, Short Shift, Induction Hose, Boost Pipes, Roll Restrictor, Sport springs, Cat Back Exhaust.
Can you spot my antenna ornament in the last shot? Pic may have lost quality when uploaded but you might still be able to make it out!
What wheels are those Dreadly?
I'm more interested in the lip.
Plasti-dipped the rims and the orange trim is a seperate product called AlloyGator www.alloygator.co.uk and added the black/orange DMB centrecap overlays.
The Lip is the Triple R one, fitted as shipped (no painting) bolts directly on to your existing bumper with 6 X 6mm nuts & bolts. Easy job and well worth it.
Recommend a group buy on them with 4-5 people, save about $40-$50 each! Find Triple R composites on facebook.
Hmm I may have to do that. I've never dipped rims before though.
DjDevilCloud, CLNFiST and RSWRC like this.
DjDevilCloud and jayroddrumz like this.
Poll: Who's opting for the Molten Orange Recaro seats?


Have you made Caraway Cakes?
1. Cream sugar and butter or butter substitute.
2. Add egg yolks. Beat thoroughly. Add lemon juice, flavoring, and grated lemon rind.
3. Sift flour, measure, and sift with salt and baking powder.
4. Add alternately with milk to first mixture. Add caraway seed.
5. Mix thoroughly. Fold in stiffly beaten egg whites.
6. Fill well-oiled muffin tins 2/3 full. Bake in moderate oven (375 F) about 30 minutes.
This recipe contains potential food allergens and will effect people with Wheat, Lemon, Egg, Milk, Butter, Gluten, Sulfites, Natural Sweeteners, Fructose Malabsorption, Citric Acid allergies.


text:
Delete These Banned Apps From Your Android Phone
Brendan Hesse
Photo: Pexels (Pixabay)
Google recently removed several apps from the Google Play Store after discovering they violated the Play Store terms of service—and, more importantly, could be used as stalkerware. That doesn't mean they're deleted from your Android device, though, so now's a great time to remove them.
If you're unfamiliar with the phrase, "stalkerware" involves giving a third party access to another user's device, location data, and other sensitive information. These apps often present themselves as "normal" tracking tools—for employee activity on company phones or your children's whereabouts (a moral grey area to begin with), but they can also be used to spy on romantic partners, friends, or roommates.
These apps run afoul of Google's policies for apps distributed via Google Play: "Surveillance and Commercial Spyware apps are explicitly prohibited on Google Play. Only policy compliant apps exclusively designed and marketed for parental (including family) monitoring or enterprise management may distribute on the Store with tracking and reporting features, provided they fully comply with the requirements described below."
As part of these requirements, tracking apps must clearly show that they're active and cannot mislead users about their purpose. In other words, apps that try to hide on a user's device and send their location data to someone else are a no-go. Security company Avast was responsible for highlighting these seven stalkerware apps to Google, which you should remove from your Android device if you see them:
Employee Work Spy
Phone Cell Tracker
SMS Tracker
Spy Kids Tracker
Spy Tracker
Track Employees Check Work Phone Online Spy Free
If you don't see them, but suspect your movements are being tracked in some fashion, consider performing a factory reset on your device. You'll have to reinstall your apps—and you'll want to back up critical data like your photos and videos before you kick off the reset—but it's the best and easiest way to ensure that hidden apps aren't tracking your whereabouts. Once you have your new device set up, make sure you're using a stronger unlocking method so someone can't get back in and reinstall any tracking tools.
Brendan is a freelance writer and content creator from Portland, OR. He covers tech and gaming for LifeHacker, and has also written for Digital Trends, EGM, Business Insider, IGN, and more.
Dolemite
But without Spy Kids Tracker, I won't know when the next Spy Kid's movie comes out.

redpajama_set_name: RedPajamaCommonCrawl


BOSTON--(BUSINESS WIRE)--XenoTherapeutics, a life science company whose mission is to solve the global shortage of organs and tissues for transplants, announced today that the U.S. Food and Drug Administration has cleared the company's Investigational New Drug application (IND #18914) allowing clinical studies of Xeno-Skin™ to be initiated. Xeno-Skin is a first-of-its-kind xenotransplantation product, designed to provide a safe temporary coverage mechanism for patients with severe burn wounds. The company is in active preparations to enroll patients for a first-in-human clinical study of Xeno-Skin at Massachusetts General Hospital (MGH) by the end of 2018.
FDA clears XenoTherapeutics IND application to start first-in-human trials of Xeno-Skin™, a novel xenotransplantation treatment for severe burns.


text:
» Review: Dave Rowntree – Radio Songs
A sad realization of the technological advances of today is the fact most kids will never know the glory of gazing into the warm embrace of a radio light and dial, uncertain of what would come next, and the excitement of whatever poured out of the speakers; the escape.
It is this feeling that inspired Dave Rowntree's debut solo-record Radio Songs. The film and TV composer, podcaster, light aircraft pilot/instructor, lawyer, former Labour councillor, and drummer for a little gig called Blur, like many of us, found warmth in the embrace of unseen waves travelling through the air, into our homes, and into the formation of who we'd become. As Rowntree put it, "Radio has been a constant for me, it's been one of the steadying factors in my life."
Laying on the floor, slowing my breathing, I ventured into the sonic landscape of Radio Songs. The ten-track debut is a sonic journey traversing meaningful blends of orchestral nods, electronic undercurrents, and floating lyrical expressions. Opener "Devil's Island" quickly begins to feel familiar in its complex, tonally deep layers. "1000 Miles" weighs heavy on the reflective tones of static memory and longing desire, both instrumentally and lyrically. "Machines Like Me" explores the confines of the digital expression with heartfelt execution. "Who's Asking" is an audible cloud-break that draws the record to a close with orchestrated simplicity, overlaid in subtle fuzz, revealing a bright future and warm farewell. Throughout, Dave Rowntree's Radio Songs strikes an immensely intimate chord for those who recall the beautifully simple explorations of audible discovery and delivers and heavy wave of fulfillment packed with emotion and release.
Radio Songs' is a poetically down-tempo exploration of a deeply-rooted love for the worldly sounds in radio, mesmerizingly executed, contrasting expectations, yet refueling the warmth of connection between oneself and the music. It is remarkable Dave Rowntree has waited this long, not for a debut solo record, but to reveal to the world his capabilities as an independent artist in his own name. Radio Days debuts on Cooking Vinyl January 20, 2023.
Dave Rowntree
Micheal Fordays – Slowly Now (Single)
Every new year sparks a hope for a fresh start, something bold and new. That's all good and fine, but no one, in their right


text:
Home > Platform Update
Software Update: Technology Page UI Overhaul
Taylor Denning
Platform Update
We decided that enough time had passed since we first introduced the technology page, so we were past due for a revisit. You'll notice that the changes are minor, but they include an updated layout, as well as adding integrations to other areas of the website!
You can still add an image showcasing the piece of technology with a description of it, but now there's a modern look to the layout and is consistent with the look and feel of other pages on your website.
The biggest change is being able to associate a technology entry to a service page. If a service is associated with the technology entry, there will be a line of text saying "Learn more about where we use this technology:" and a button to the associated service page will be added. To associate a technology to a service page, you can edit the entry and you will see a widget on the admin page that lists off the different services.
As mentioned, the changes are minor! They have been automatically applied to your website so no need to contact us if you want to make the update. If you have any questions or feedback we'd love to hear from you.
Great Dental Websites Support Team
US: support@greatdentalwebsites.com - (720) 399-7071
Taylor grew up in the mountains of Vail, Colorado, and went to Colorado State University where she graduated in three years with a degree in Communications. In her free time, she can be found skiing back home in Vail, playing soccer, trying out new restaurants around Denver, or attempting to beat the boys in the office at foosball.
Software Update: Contact Page Expansion
Software Update: Multi-Location Organization
COVID-19 Quick Links
New Software Update: FAQ Page
By Taylor Denning
New Software Update: Emergency Alert Banner


We are always looking for how we can fit more into our days and weeks, eager to try the newest productivity tip that comes our way, just like the newest fad diet. The pomodoro technique? Check. Waking up at 4am like Apple CEO Tim Cook? Tried it. The 'throw out your to-do list' productivity tip? Tried that one, too.
And yet we're still looking for the productivity hack, that magic pill promising to will us into action toward the goal of checking everything off our to-do list by the day's end.
But, here's the thing. Before you can even think about trying the latest tips and tricks on the productivity front, you have to change your thinking about productivity. In other words, you have to start thinking of managing your energy first – not time itself.
The forces that provide energy – namely, your body and your mind, need to be the starting points. It's the number one most overlooked productivity tip out there.
The links between productivity, sleep, healthy food, exercise and mental health are well-documented and yet they are among the most overlooked productivity boosters out there. The link between sleep and productivity is well-known, but it can be difficult to stop burning the midnight oil, even though it's so counterintuitive.
One study found that insomniacs and those with insufficient sleep syndrome (those who fail to get enough sleep at night and are sleep deprived) had significantly worse productivity levels and overall performance compared to those who got more sleep.
And then there's all of the studies linking certain foods and energy levels. According to the World Health Organization, healthy eating can increase your productivity levels by 20 percent. Although drive-thrus were designed to be efficient, they are backfiring when it comes to productivity.
And, of course, the dreaded topic of exercise. This study compared 200 employees on the days they exercised and the days they didn't. The results were impressive. 72% reported improvements in time management, while 74% reported better workload management. The scores were also 41% higher on feeling motivated to work, 22% higher for finishing work on time and 21% higher in concentration.
There's also mental energy that comes into play when it comes to productivity, with studies showing that people only have a limited amount of energy to spend during the day. Once that's depleted, productivity decreases.
When it comes to getting more sleep, eating healthier and getting more exercise in, you're likely familiar with the old classics: avoid digital screens an hour or two before going to bed, swap out white carbs for brown carbs, nix the sugar and so on.
Keep in mind many of these elements are interconnected. So, carving out a little bit of time for exercise can help you sleep better at night.
But here is what some of the latest research on the topic has to say.
Do you have trouble falling asleep once your head hits the pillow? A cognitive scientist has offered a new, drug-free sleep hack called cognitive shuffling that promises to make you fall asleep in mere seconds. The idea is that it lulls you into that foggy state that comes before actual sleep where things stop making sense.
This is how it works: Instead of counting sheep, choose a random word like 'Productivity.' Next, come up with new words based on each letter and imagine those words vividly. By focusing on random words and images, it lulls the brain into that foggy state.
Are you getting enough sunlight exposure in the morning? Sunlight has been linked with better sleep. This helps regulate circadian rhythms. Try taking the dog out for a brisk walk around the block in the morning or drinking your morning cup of coffee on the patio.
The best diet for energy? According to a new study published by American Academy of Neurology, the answer lies in the Mediterranean diet – a diet rich in fruits, vegetables, beans, cereal grains and olive oil and fewer animal products like dairy and fish.
The study, while using a population of older adults, found that they retained more brain volume over three years than those who did not follow the diet as closely. If you can swap out processed foods throughout your work week, your brain will thank you with more brain power throughout the day.
When we want to get more accomplished in the day, it seems counterintuitive to try to fit in exercise. Nonetheless, new research on the topic is showing you don't need to spend hours on the treadmill or at the gym in order to unleash the brain-boosting benefits of exercise.
The best kind of exercise for people that don't have a lot of time? Short bouts of intense exercise. A new study has found that even one minute of exercise – one minute! – has similar health effects to longer endurance training.
If you're resistant to exercise, a more gentle form of exercise like Hatha yoga has been found to improve brain function and energy levels. The same was true for mindfulness meditation. The study found that all you needed was 25 minutes.
Using your lunch break to do a little bit of mindfulness meditation can help see you through that classic afternoon slump and reach for the coffee pot.
When it comes to mental energy, it is important to prioritize mental health. A surprising way to boost energy is watching cat videos. One study has found that watching cat videos at your desk improves energy and boosts positive emotions.
The benefits of green space on mental health, including the ability to reduce stress, have been well documented. Whether you add a couple of plants to your desk at work or you walk over to the park on your lunch break, you will leave feeling calmer and ready to take on the rest of your day.
Before you read the latest and greatest productivity hack, or before you question why you're not accomplishing enough, ensure that you are managing your physical and mental energy first. This is the number one most overlooked productivity tip out there.
How are you managing your energy throughout the day? Let us know anything you do which you believe can be beneficial to all of us.
Arash Asli is at the forefront of business growth helping SMBs grow their businesses, as CEO of Yocale, an online scheduling and marketing platform. His thought leadership have been featured in major publications including Forbes, Huffington Post, and Inc. He is honoured to have been named the Business in Vancouver's Top Forty under 40 business executive.
I love your blog posts. Whenever I read articles on your website, I feel a positive energy within. Thanks for creating such a brilliant blog.


text:
@interface EPPersistentStoreHelper : NSObject

+ (void)storeDictionary:(NSDictionary*)dictionary toFile:(NSString*)fileName;
+ (NSDictionary*)readDictionaryFromFile:(NSString*)fileName;
+ (BOOL)archiveObject:(id)object toFile:(NSString*)fileName;
+ (id)unarchiveObjectFromFile:(NSString*)fileName;

+ (void)deleteFile:(NSString*)fileName;

+ (NSURL*)persistentStateURLForFile:(NSString*)fileName;

@end

redpajama_set_name: RedPajamaGithub


text:
Q: WPF : How to refresh model data values only when binding is active? I'm working on a application which is communicating by network to monitor another application's variables.
The remote application has loads of variables, and I want to transfer only the variables that I'm currently watching on my user interface, to avoid overloading the network.
I try to keep the architecture of my application as clean as possible, with a model that doesn't know about the view, using bindings, etc.
I thought about refreshing my model data values only when the bindings are active (which mean that the usercontrol displaying some of the variables is shown), do you think it's a good solution?
Otherwise, I could also work with the property "IsVisible" of each usercontrol... but I think it would be better to work on the model side of my application I think.
Do you know if there is a way to know if a binding is active or not?
If my question isn't clear enough, I could draw a small schema. Just tell me.

A: Remember that binding is only refreshed when a change is posted via INotifyPropertyChanged (or in the case of a two-way binding your UI modifies a two-way binded variable).  Most of the time, you will explicitly query a service.  When the service response comes back, you will modify properties in your ViewModel and call the PropertyChanged event to tell the bindings to update themselves.
Essentially, your binding isn't going to update unless you tell it to.  ObservableCollections will automatically update the binding because they internally implement INotifyPropertyChanged.  But still, that only happens when you update the collection.
To answer your question, yes, keep network chatter down by only updating when you absolutely need to.  Since you are using WPF and INotifyPropertyChanged, this will only happen when you invoke an update to a bound variable + fire the event.

A: If a binding is "active" (I assume you mean that there are dependency properties interested in the property) they will call the getter for the property on notifypropertychanged for the particular property.
So, as long as you're not firing NotifyPropertyChanged superfluously, every time the get of your property is being called, you are safe to do whatever data refreshing applies to that property.

A: This SO question and answers inspired me to create markup extension named VisibleBinding
when using it - the binding will be applied (therefore will listen to INotifyPropertyChanged on source) only when control is visible.
Check my blog post for more details.

redpajama_set_name: RedPajamaStackExchange


text:
SC 126 Transatlantic Link Field Study 2 - Washington, DC: the Pentagon, United States Capitol and International Organizations
Arriving in Washington, DC on the afternoon of 7 May, the delegation quickly changed into their service dress uniforms for a special reception at Marine Corps Barracks, Washington DC hosted by MG Padilla, President of National Defense University, on behalf of Gen. Dunford, Commandant of the Marine Corps.
The next morning, the delegation arrived at the Pentagon to begin a long day of key events. The day began with a tour of the Pentagon, after which the initial discussion was led by Mr. James Townsend, Deputy Assistant Secretary of Defense for European and NATO Policy, who spoke about the evolution of NATO strategy on defense of the Alliance over the last two decades and about current US security policy regarding the future of the Alliance.
BGen John Jansen, Assistant Deputy Commandant for Programs and Resources, Headquarters Marine Corps and 2008 Ancien of the NDC Senior Course, then led a presentation on the US Marine Corps perspective on both US and global security. Beginning with a brief evolution of the Marine Corps, he quickly transitioned to the importance of partnerships and integration of defense-related activities.
The final presentation at the Pentagon was by MG Steven Shepro, Vice Director for Strategic Plans and Policy, Joint Staff J5. MG Shepro outlined the organization of the US Joint Staff and how it interacts with other agencies of the US government. He briefly discussed the policy development process and concluded with the J5 view of the world, including security, conflict, partnership development and emerging threats.
The delegation then transitioned to the US Capitol for lunch at the Capitol Visitors Center, some time to observe the interior of the US Capitol and the afternoon series of briefings. Ms Sarah Blocher, Professional Staffer for the House Foreign Affairs Committee, spoke about the Foreign Affairs Committee, focusing on the leading topics currently being discussed there, and followed up with an in-depth question and answer session covering a wide range of topics.
Mr John Daly, Special Legislative Assistant Marines Office of Legislative Affairs, led the final discussion. He described the interaction between the Marine Corps and legislators on Capitol Hill. An important factor in this respect is the process of creating a shared understanding between the representatives of the Armed Forces and members of Congress. He concluded with a frank discussion on the disparate prioritization of defense spending between legislators and the US military.
Each of the briefings at the Pentagon and US Capitol was complemented by a lively question and answer session. The delegation briefly returned to the hotel to properly dress for another evening at the Marine Corps Barracks, with the opportunity to observe the Marine Corps Band and Silent Drill Platoon performing their Evening Parade. The delegation then enjoyed the weekend in Washington, DC, which began with a guided tour of the Capitol Mall monuments on Saturday morning.
Monday found the delegation transitioning to International Organizations with a morning arrival at the World Bank (WB). Ms Angelica Silvero, Head of Speakers Bureau for the World Bank, began her discussion with an historical overview, explaining current structure and the prioritization of monetary policy decisions at the international level as an indispensable basis for economic growth. Highlighting governance as a significant dimension of policy, she detailed the organization's ultimate goal of ending poverty by enhancing shared prosperity around the world.
Following that, Mr. Patrick Cirillo , Principal Assistant to the Secretary of the International Monetary Fund (IMF), provided an excellent presentation on the history, organization and goals of the IMF. The organization's overarching mission being the promotion of global economic and financial stability, he dwelt on the IMF's primary functions (Surveillance, Technical and Financial Assistance) and their direct relevance to overcoming current worldwide economic challenges. He concluded with a wide-ranging perspective on global economic prospects and appropriate strategies for (inter)national economic development.


I am trying to add a VerticalLineAnnotation with a text at the bottom to my SciChart graph.
The similar thing works great when the XAxis is a NumericalAxis, but throws an Exception when it is a TimeSpanAxis.
We have Scichart 2.32 version software. In this version, we are using DateTimeAxis format on XAxis. We are showing XAxis Labels in this Text Formatting as "yyyy-MM-dd HH:mm:ss".
But now, we need to changing the TextFormatting of XLabels.
We need to show time representation of XLabels in Minutes format. We need to show only minute representation during the Time span in the live chart.
How can we achieve this TextFormatting in 2.32 version software? If not, can we achieve this Formatting in the newer versions?


Project objective: To create for Genève Aéroport a 4-minute video in French for employees and partners explaining what sustainable development is about and what it means for Genève Aéroport. The video should introduce the Brundtland definition, the notion of triple bottom line as well as the ways Genève Aéroport makes decisions taking into account the economic, social and environmental components.
Video making process: The original script was written by Denis Teuscher, sustainability project manager for the sustainability team. I provided some feedback in order to optimize the script for the purpose of an hand-drawn video. Once the script was finalized, I started sketching the drawings illustrating the video. I created an airport character with arms and hands to illustrate the mission of the airport to provide optimal conditions for air traffic in Geneva and to meet the demand in the region today and in the future. I also used three colours to help the viewer connect the various elements in the video to the three elements of the triple bottom line. I packaged all the drawings in a storyboard to help Genève Aéroport understand how the video would run once drawings are animated and synchronized with the voice-over. Thanks to valuable feedback from Genève Aéroport, I changed a few drawings to have the best possible illustrations given the objectives of the project. Once the storyboard approved, I drew all the illustrations from scratch again recording my screen as a video using a screen recording software (see inside the creation of my videos for more details) and edited the final video with Final Cut Pro X using the voice-over recorded by a Geneve Aeroport staff named Bertrand Staempfli. The final HD (2K) video was delivered in a .mov format optimized for online upload.
More about the environment at Genève Aéroport: Genève Aéroport has for many years implemented a series of environmental measures as part of its quality, environmental and safety management system. Genève Aéroport aims to restrict disturbances caused by air traffic, airport activities and airport-related road traffic. Genève Aéroport fifth environmental report "Environment – results and objectives 2013" was published in June 2011. A sustainable development report is now published every two years since 2014.
See all animation video projects here.


text:
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">

  <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
  <META NAME="Keywords" CONTENT="UNAM">
  <meta name="description" content="UNAM">
  <link rel="shortcut icon" href="">
  <title>Métodos Numéricos II - UNAM</title>

  <link href="estilos-internas.css"rel="stylesheet" type="text/css"/>
  <link href="nav-v.css" rel="stylesheet" type="text/css" />

<?php echo getFecha(); ?>


text:
Barry Lyndon is a 1975 period drama film written, directed, and produced by Stanley Kubrick, based on the 1844 novel The Luck of Barry Lyndon by William Makepeace Thackeray. Starring Ryan O'Neal, Marisa Berenson, Patrick Magee, Leonard Rossiter, and Hardy Krüger, the film recounts the early exploits and later unravelling of a fictional 18th-century Irish rogue and opportunist who marries a rich widow to climb the social ladder and assume her late husband's aristocratic position.
Theatrical release poster by Jouineau Bourduge
The Luck of Barry Lyndon
by William Makepeace Thackeray
Ryan O'Neal
Marisa Berenson
Hardy Kruger
Diana Körner
Gay Hamilton
John Alcott
Hawk Films
Peregrine Productions
Warner Bros. (United States)
Columbia-Warner Distributors (United Kingdom)[1]
187 minutes[1]
$12 million[2]
$20.2 million[3]
Kubrick began production on Barry Lyndon after his 1971 film A Clockwork Orange. He had originally intended to direct a biopic on Napoleon, but lost his financing because of the commercial failure of the similar 1970 Dino De Laurentiis-produced Waterloo. Kubrick eventually directed Barry Lyndon, set partially during the Seven Years' War, utilising his research from the Napoleon project. Filming began in December 1973 and lasted roughly eight months, taking place in England, Ireland, East Germany and West Germany.
The film's cinematography has been described as ground-breaking. Especially notable are the long double shots, usually ended with a slow backwards zoom, the scenes shot entirely in candlelight, and the settings based on William Hogarth paintings. The exteriors were filmed on location in Ireland, England and West Germany, with the interiors shot mainly in London.[4] The production had problems related to logistics, weather,[4] and politics (Kubrick feared that he might be an IRA hostage target).[5][6]
Barry Lyndon won four Oscars at the 48th Academy Awards: Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation; Best Costume Design; Best Art Direction; and Best Cinematography. Although some critics took issue with the film's slow pace and restrained emotion, its reputation, like that of many of Kubrick's works, has grown over time.
1.1 Part I: By What Means Redmond Barry Acquired the Style and Title of Barry Lyndon
1.2 Part II: Containing an Account of the Misfortunes and Disasters Which Befell Barry Lyndon
3.1 Development
3.2 Principal photography
3.3 Cinematography
3.4 Music
3.4.1 Charts
3.4.2 Certifications
4 Box office and reception
4.1 Contemporaneous
4.2 Re-evaluation
4.3 Awards and nominations
4.4 Cinematic analysis
5 Source novel
9 Further reading
PlotEdit
Part I: By What Means Redmond Barry Acquired the Style and Title of Barry LyndonEdit
An omniscient (though possibly unreliable)[7] narrator relates that in 1750s Ireland, Redmond Barry's father is killed in a duel over a sale of some horses. The widow devotes herself to her only son. Barry becomes infatuated with his older cousin, Nora Brady. Nora and her family plan to improve their finances through marriage to a well-off British Army captain, John Quin. Barry shoots Quin in a duel, then flees. He is robbed by highwayman Captain Feeney. Penniless and dejected, Barry joins the British Army. Later, family friend Captain Grogan informs him that his dueling pistol had been loaded with tow, and Quin is not dead: the duel was staged by Nora's family to get rid of Barry.
Barry's regiment fights in Germany in the Seven Years' War. Grogan is fatally wounded in a skirmish. Fed up with the war, Barry deserts. En route to neutral Holland, he encounters Frau Lieschen. The two briefly become lovers. Later, Barry encounters Prussian Captain Potzdorf, who, seeing through his disguise, offers him the choice of being handed over to the British to be shot or enlisting in the Prussian Army. Barry enlists and later receives a special commendation from Prussian King Frederick II for saving Potzdorf's life in a battle.
Two years later, after the war ends in 1763, Barry is employed by Captain Potzdorf's uncle in the Prussian Ministry of Police. The Prussians suspect the Chevalier de Balibari, a professional gambler, of spying for the Austrians, and have Barry become his servant. Barry reveals everything to the Chevalier, a fellow Irishman. They become confederates. After they cheat the Prince of Tübingen at cards, the Prince accuses the Chevalier of cheating and demands satisfaction. Barry's Prussian handlers, still suspecting that the Chevalier is a spy, arrange for the Chevalier to be expelled from the country. Alerted by Barry, the Chevalier flees in the night. The next morning, Barry, disguised as the Chevalier, is escorted from Prussia.
Over the next few years, Barry and the Chevalier travel across Europe, perpetrating gambling scams, with Barry forcing payment from reluctant debtors with sword duels. In Spa, he encounters the beautiful and wealthy Countess of Lyndon. He seduces and later marries her after the death of her elderly husband, Sir Charles Lyndon (caused by Barry's goading and verbal repartee).
Part II: Containing an Account of the Misfortunes and Disasters Which Befell Barry LyndonEdit
In 1773, Barry takes the Countess's last name and settles in England. Lord Bullingdon, Lady Lyndon's ten-year-old son by Sir Charles, quickly comes to despise Barry. Barry retaliates by physically abusing Bullingdon. The Countess bears Barry a son, Bryan Patrick, but the marriage is unhappy: Barry is openly unfaithful and enjoys spending his wife's money, while keeping her in seclusion.
Barry's mother comes to live with him. She warns him that if Lady Lyndon were to die, Lord Bullingdon would inherit everything, and advises him to obtain a noble title to protect himself. Toward this goal, he cultivates the acquaintance of the influential Lord Wendover and spends large sums of money to ingratiate himself to high society. However, a now adult Lord Bullingdon crashes a lavish birthday party Barry throws for Lady Lyndon. He publicly explains why he detests his stepfather and declares he will leave the family estate for as long as Barry remains there and married to his mother. Barry viciously assaults Bullingdon until he is physically restrained. This causes him to be cast out of polite society.
Barry proves an overindulgent father to Bryan and gives him a full-grown horse for his ninth birthday. Bryan is thrown from the horse and dies a few days later. The grief-stricken Barry turns to alcohol, while Lady Lyndon seeks solace in religion, assisted by the Rev. Samuel Runt, who had been tutor to Lord Bullingdon and Bryan. Barry's mother dismisses Runt, both because the family no longer needs (nor can afford, due to Barry's spending debts) a tutor and for fear that his influence will worsen Lady Lyndon's condition. Lady Lyndon later attempts suicide. Runt and Graham, the family's accountant, then seek out Lord Bullingdon, who returns and challenges Barry to a duel.
A coin toss gives Bullingdon the first shot, but he nervously misfires his pistol. Barry magnanimously fires into the ground, but Bullingdon refuses to let the duel end. In the second round, Bullingdon shoots Barry in the leg. The leg has to be amputated below the knee. While Barry is recovering, Bullingdon takes control of the Lyndon estate. He offers Barry 500 guineas a year provided he leave England forever. With his credit exhausted, Barry accepts. The narrator states that Barry resumes his former profession of gambler (though without his former success). In December 1789, a middle-aged Lady Lyndon signs Barry's annuity cheque as her son looks on.
CastEdit
Suits worn in Barry Lyndon
Michael Hordern (voice) as Narrator
Ryan O'Neal as Redmond Barry (later Redmond Barry Lyndon)
Marisa Berenson as Lady Lyndon
Patrick Magee as the Chevalier de Balibari
Hardy Krüger as Captain Potzdorf
Gay Hamilton as Nora Brady
Godfrey Quigley as Captain Grogan
Steven Berkoff as Lord Ludd
Marie Kean as Belle, Barry's mother
Murray Melvin as Reverend Samuel Runt
Frank Middlemass as Sir Charles Reginald Lyndon
Leon Vitali as Lord Bullingdon
Dominic Savage as young Bullingdon
Leonard Rossiter as Captain John Quin
André Morell as Lord Wendover
Anthony Sharp as Lord Hallam
Philip Stone as Graham
David Morley as Bryan Patrick Lyndon
Diana Koerner as Lieschen (German Girl)
Arthur O'Sullivan as Captain Feeney
Billy Boyle as Seamus Feeney
Jonathan Cecil as Lt. Jonathan Fakenham
Peter Cellier as Sir Richard Brevis
Geoffrey Chater as Dr Broughton
Wolf Kahler as Prince of Tübingen
Liam Redmond as Mr Brady
Roger Booth as King George III
Ferdy Mayne as Colonel Bulow
John Sharp as Doohan
Pat Roach as Corporal Toole
Hans Meyer as Schulffen
Critic Tim Robey suggests that the film "makes you realise that the most undervalued aspect of Kubrick's genius could well be his way with actors."[8] He adds that the supporting cast is a "glittering procession of cameos, not from star names but from vital character players."[8]
The cast featured Leon Vitali as the older Lord Bullingdon, who then became Kubrick's personal assistant, working as the casting director on his following films, and supervising film-to-video transfers for Kubrick. Their relationship lasted until Kubrick's death. The film's cinematographer, John Alcott, appears at the men's club in the non-speaking role of the man asleep in a chair near the title character when Lord Bullingdon challenges Barry to a duel. Kubrick's daughter Vivian also appears (in an uncredited role) as a guest at Bryan's birthday party.
Other Kubrick featured regulars were Leonard Rossiter (2001: A Space Odyssey), Steven Berkoff, Patrick Magee, Godfrey Quigley, Anthony Sharp, and Philip Stone (A Clockwork Orange). Stone went on to feature in The Shining.
ProductionEdit
DevelopmentEdit
After completing post production on 2001: A Space Odyssey, Kubrick resumed planning a film about Napoleon. During pre-production, Sergei Bondarchuk and Dino De Laurentiis' Waterloo was released, and failed at the box office. Reconsidering, Kubrick's financiers pulled funding, and he turned his attention towards an adaptation of Anthony Burgess's 1962 novel A Clockwork Orange. Subsequently, Kubrick showed an interest in Thackeray's Vanity Fair but dropped the project when a serialised version for television was produced. He told an interviewer, "At one time, Vanity Fair interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film ... as soon as I read Barry Lyndon I became very excited about it."[9]
Having earned Oscar nominations for Dr. Strangelove, 2001: A Space Odyssey and A Clockwork Orange, Kubrick's reputation in the early 1970s was that of "a perfectionist auteur who loomed larger over his movies than any concept or star".[8] His studio—Warner Bros.—was therefore "eager to bankroll" his next project, which Kubrick kept "shrouded in secrecy" from the press partly due to the furore surrounding the controversially violent A Clockwork Orange (particularly in the UK) and partly due to his "long-standing paranoia about the tabloid press."[8]
Having felt compelled to set aside his plans for a film about Napoleon Bonaparte, Kubrick set his sights on Thackeray's 1844 "satirical picaresque about the fortune-hunting of an Irish rogue," Barry Lyndon, the setting of which allowed Kubrick to take advantage of the copious period research he had done for the now-aborted Napoleon.[8] At the time, Kubrick merely announced that his next film would star Ryan O'Neal (deemed "a seemingly un-Kubricky choice of leading man"[8]) and Marisa Berenson, a former Vogue and Time magazine cover model,[10] and be shot largely in Ireland.[8] So heightened was the secrecy surrounding the film that "Even Berenson, when Kubrick first approached her, was told only that it was to be an 18th-century costume piece [and] she was instructed to keep out of the sun in the months before production, to achieve the period-specific pallor he required."[8]
Principal photographyEdit
Principal photography lasted 300 days, from spring 1973 through to early 1974, with a break for Christmas.[11] The crew arrived in Dublin, Ireland in May 1973. Jan Harlan recalls that Kubrick "loved his time in Ireland – he rented a lovely house west of Dublin, he loved the scenery and the culture and the people". [5]
Many of the exteriors were shot in Ireland, playing "itself, England, and Prussia during the Seven Years' War."[8] Kubrick and cinematographer Alcott drew inspiration from "the landscapes of Watteau and Gainsborough," and also relied on the art direction of Ken Adam and Roy Walker.[8] Alcott, Adam and Walker were among those who would win Oscars for their work on the film.[8][12]
Several of the interior scenes were filmed in Powerscourt House, an 18th-century mansion in County Wicklow, Republic of Ireland. The house was destroyed in an accidental fire several months after filming (November 1974), so the film serves as a record of the lost interiors, particularly the "Saloon" which was used for more than one scene. The Wicklow Mountains are visible, for example, through the window of the saloon during a scene set in Berlin. Other locations included Kells Priory (the English Redcoat encampment)[13] Blenheim Palace, Castle Howard (exteriors of the Lyndon estate), Huntington Castle, Clonegal (exterior), Corsham Court (various interiors and the music room scene), Petworth House (chapel), Stourhead (lake and temple), Longleat, and Wilton House (interior and exterior) in England, Lavenham Guildhall at Lavenham in Suffolk (amputation scene), Dunrobin Castle (exterior and garden as Spa) in Scotland, Dublin Castle in Ireland (the chevalier's home), Ludwigsburg Palace near Stuttgart and Frederick II of Prussia's Neues Palais at Potsdam near Berlin (suggesting Berlin's main street Unter den Linden as construction in Potsdam had just begun in 1763). Some exterior shots were also filmed at Waterford Castle (now a luxury hotel and golf course) and Little Island, Waterford. Moorstown Castle in Tipperary also featured. Several scenes were filmed at Castletown House outside Carrick-on-Suir, Co. Tipperary, and at Youghal, Co. Cork.
The filming took place in the backdrop of some of the most intense years of the Troubles in Ireland, during which the Provisional Irish Republican Army (Provisional IRA) was waging an armed campaign in order to bring about a United Ireland.
On 30 January 1974, while filming in Dublin City's Phoenix Park, shooting had to be cancelled due to the chaos caused by 14 bomb threats.[14]
One day a phone call was received and Kubrick was given 24 hours to leave the country; he left within 12 hours. The phone call alleged that the Provisional IRA had him on a hit list and Harlan recalls "Whether the threat was a hoax or it was real, almost doesn't matter ... Stanley was not willing to take the risk. He was threatened, and he packed his bag and went home" [6][5]
CinematographyEdit
Special ultra-fast lenses were used for Barry Lyndon to allow filming using only natural light.
Marriage à-la-mode, Shortly After the Marriage (scene two of six).
Hogarth's Country Dance (c.1745) illustrates the type of interior scene that Kubrick sought to emulate with Barry Lyndon.
The film, as with "almost every Kubrick film", is a "showcase for [a] major innovation in technique."[8] While 2001: A Space Odyssey had featured "revolutionary effects," and The Shining would later feature heavy use of the Steadicam, Barry Lyndon saw a considerable number of sequences shot "without recourse to electric light."[8] The film's cinematography was overseen by director of photography John Alcott (who won an Oscar for his work), and is particularly noted for the technical innovations that made some of its most spectacular images possible. To achieve photography without electric lighting "[f]or the many densely furnished interior scenes… meant shooting by candlelight," which is known to be difficult in still photography, "let alone with moving images."[8]
Kubrick was "determined not to reproduce the set-bound, artificially lit look of other costume dramas from that time."[8] After "tinker[ing] with different combinations of lenses and film stock," the production obtained three super-fast 50mm lenses (Carl Zeiss Planar 50mm f/0.7) developed by Zeiss for use by NASA in the Apollo Moon landings, which Kubrick had discovered.[8][15] These super-fast lenses "with their huge aperture (the film actually features the lowest f-stop in film history) and fixed focal length" were problematic to mount, and were extensively modified into three versions by Cinema Products Corp. for Kubrick to gain a wider angle of view, with input from optics expert Richard Vetter of Todd-AO.[8][15] The rear element of the lens had to be 2.5 mm away from the film plane, requiring special modification to the rotating camera shutter.[16] This allowed Kubrick and Alcott to shoot scenes lit in candlelight to an average lighting volume of only three candela, "recreating the huddle and glow of a pre-electrical age."[8] In addition, Kubrick had the entire film push-developed by one stop.[15]
Although Kubrick and Alcott sought to avoid electric lighting where possible, most shots were achieved with conventional lenses and lighting, but were lit to deliberately mimic natural light rather than for compositional reasons. In addition to potentially seeming more realistic, these methods also gave a particular period look to the film which has often been likened to 18th-century paintings (which of course depict a world devoid of electric lighting), in particular owing "a lot to William Hogarth, with whom Thackeray had always been fascinated."[8]
The film is widely regarded as having a stately, static, painterly quality,[8] mostly due to its lengthy, wide-angle long shots. To illuminate the more notable interior scenes, artificial lights called "Mini-Brutes" were placed outside and aimed through the windows, which were covered in a diffuse material to scatter the light evenly through the room rather than being placed inside for maximum use as most conventional films do. In some instances, the natural daylight was allowed to come through, which when recorded on the film stock used by Kubrick showed up as blue-tinted compared to the incandescent electric light.[17]
Despite such slight tinting effects, this method of lighting not only gave the look of natural daylight coming in through the windows, but it also protected the historic locations from the damage caused by mounting the lights on walls or ceilings and the heat from the lights. This helped the film "fit… perfectly with Kubrick's gilded-cage aesthetic – the film is consciously a museum piece, its characters pinned to the frame like butterflies."[8][17]
MusicEdit
Soundtrack album by
Classical, folk
The film's period setting allowed Kubrick to indulge his penchant for classical music, and the film score uses pieces by Bach, Vivaldi, Paisiello, Mozart, and Schubert.[a] The piece most associated with the film, however, is the main title music, Handel's Sarabande from the Keyboard suite in D minor (HWV 437). Originally for solo harpsichord, the versions for the main and end titles are performed with strings, timpani and continuo. The score also includes Irish folk music, including Seán Ó Riada's song "Women of Ireland", arranged by Paddy Moloney and performed by The Chieftains. "The British Grenadiers" also features in scenes with Redcoats marching.
Performer/conductor/arranger
"Sarabande–Main Title" George Frideric Handel National Philharmonic Orchestra 2:38
"Women of Ireland" Peadar Ó Doirnín, Seán Ó Riada The Chieftains 4:08
"Piper's Maggot Jig" traditional The Chieftains 1:39
"The Sea-Maiden" traditional The Chieftains 2:02
"Tin Whistles" Ó Riada Paddy Moloney & Seán Potts 3:41
"The British Grenadiers" traditional Fifes & Drums 2:12
"Hohenfriedberger March" Frederick II of Prussia Fifes & Drums 1:12
"Lillibullero" traditional Fifes & Drums 1:06
"Women of Ireland" Ó Riada Derek Bell 0:52
"March from Idomeneo" Wolfgang Amadeus Mozart National Philharmonic Orchestra 1:29
"Sarabande–Duel" Handel National Philharmonic Orchestra 3:11
"Lillibullero" traditional Leslie Pearson 0:52
"German Dance no. 1 in C major" Franz Schubert National Philharmonic Orchestra 2:12
"Film Adaptation of the Cavatina from Il barbiere di Siviglia" Giovanni Paisiello National Philharmonic Orchestra 4:28
"Cello Concerto in E minor (third movement)" Antonio Vivaldi Lucerne Festival Strings/Pierre Fournier/Rudolf Baumgartner 3:49
"Adagio from Concerto for two harpsichords in C minor" Johann Sebastian Bach Münchener Bach-Orchester/Hedwig Bilgram/Karl Richter 5:10
"Film Adaptation of Piano Trio in E-flat, Op. 100 (second movement)" Schubert Moray Welsh/Anthony Goldstone/Ralph Holmes 4:12
"Sarabande–End Title" Handel National Philharmonic Orchestra 4:07
ChartsEdit
Chart (1976)
Australia (Kent Music Report)[18] 99
CertificationsEdit
Certified units/sales
France (SNEP)[19]
Platinum 300,000*
* Sales figures based on certification alone.
Box office and receptionEdit
ContemporaneousEdit
The film "was not the commercial success Warner Bros. had been hoping for" within the United States,[8] although it fared better in Europe. In the US it earned $9.1 million.[2] Ultimately, the film grossed a worldwide total of $31.5 million on an $11 million budget.[20]
This mixed reaction saw the film (in the words of one retrospective review) "greeted, on its release, with dutiful admiration – but not love. Critics… rail[ed] against the perceived coldness of Kubrick's style, the film's self-conscious artistry and slow pace. Audiences, on the whole, rather agreed…"[8]
Roger Ebert gave the film three and a half stars out of four and wrote that it "is almost aggressive in its cool detachment. It defies us to care, it forces us to remain detached about its stately elegance." He added, "This must be one of the most beautiful films ever made."[21] Vincent Canby of The New York Times called the film "another fascinating challenge from one of our most remarkable, independent-minded directors."[22] Gene Siskel of the Chicago Tribune gave the film three and a half stars out of four and wrote "I found 'Barry Lyndon' to be quite obvious about its intentions and thoroughly successful in achieving them. Kubrick has taken a novel about a social class and has turned it into an utterly comfortable story that conveys the stunning emptiness of upper-class life only 200 years past."[23] He ranked the film fifth on his year-end list of the best films of 1975.[24] Charles Champlin of the Los Angeles Times called it "the motion picture equivalent of one of those very large, very heavy, very expensive, very elegant and very dull books that exist solely to be seen on coffee tables. It is ravishingly beautiful and incredibly tedious in about equal doses, a succession of salon quality still photographs—as often as not very still indeed."[25] The Washington Post wrote, "It's not inaccurate to describe 'Barry Lyndon' as a masterpiece, but it's a deadend masterpiece, an objet d'art rather than a movie. It would be more at home, and perhaps easier to like, on the bookshelf, next to something like 'The Age of the Grand Tour,' than on the silver screen."[26] Pauline Kael of The New Yorker wrote that "Kubrick has taken a quick-witted story" and "controlled it so meticulously that he's drained the blood out of it," adding, "It's a coffee-table movie; we might as well be at a three-hour slide show for art-history majors."[27]
This "air of disappointment"[8] factored into Kubrick's decision for his next film, an adaption of Stephen King's The Shining, a project that would not only please him artistically, but was more likely to succeed financially.
Re-evaluationEdit
Over time, the film has gained a more positive reaction.[28] On review aggregator Rotten Tomatoes, the film holds an approval rating of 89% based on 79 reviews, with an average rating of 8.30/10. The website's critical consensus reads, "Cynical, ironic, and suffused with seductive natural lighting, Barry Lyndon is a complex character piece of a hapless man doomed by Georgian society."[29] On Metacritic, the film has a weighted average score of 89 out of 100 based on reviews from 21 critics, indicating "universal acclaim".[30] Roger Ebert added the film to his 'Great Movies' list on 9 September 2009 and increased his original rating from three and a half stars to four, writing, "Stanley Kubrick's Barry Lyndon, received indifferently in 1975, has grown in stature in the years since and is now widely regarded as one of the master's best. It is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness."[28]
The Village Voice ranked the film at number 46 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics.[31] Director Martin Scorsese has named Barry Lyndon as his favourite Kubrick film,[32] and it is also one of Lars von Trier's favourite films.[33] Barry Lyndon was included on Time's All-Time 100 best movies list.[34] In the 2012 Sight & Sound Greatest Films of All Time poll, Barry Lyndon placed 19th in the directors' poll and 59th in the critics' poll.[35] The film ranked 27th in BBC's 2015 list of the 100 greatest American films.[36]
In a list compiled by The Irish Times critics Tara Brady and Donald Clarke in 2020, Barry Lyndon was named the greatest Irish film of all time.[37]
The Japanese filmmaker Akira Kurosawa cited this movie as one of his 100 favorite films.[38]
Awards and nominationsEdit
Academy Awards[39]
Best Picture Stanley Kubrick Nominated
Best Director Nominated
Best Screenplay – Based on Material from Another Medium Nominated
Best Art Direction Art Direction: Ken Adam and Roy Walker
Set Decoration: Vernon Dixon Won
Best Costume Design Milena Canonero and Ulla-Britt Söderlund Won
Best Cinematography John Alcott Won
Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation Leonard Rosenman Won
British Academy Film Awards[40]
Best Film Nominated
Best Director Stanley Kubrick Won
Best Art Direction Ken Adam Nominated
Best Costume Design Milena Canonero and Ulla-Britt Söderlund Nominated
Golden Globe Awards[41]
Best Motion Picture – Drama Nominated
Best Director Stanley Kubrick Nominated
National Board of Review Awards[42]
Top Ten Films Won[b]
Best Film Won[b]
Best Director Stanley Kubrick Won[c]
Cinematic analysisEdit
The main theme explored in Barry Lyndon is one of fate and destiny. Barry is pushed through life by a series of key events, some of which seem unavoidable. As Roger Ebert says, "He is a man to whom things happen."[43] He declines to eat with the highwayman Captain Feeney, where he would most likely have been robbed, but is robbed anyway farther down the road. The narrator repeatedly emphasizes the role of fate as he announces events before they unfold on screen, like Bryan's death and Bullingdon seeking satisfaction. This theme of fate is also developed in the recurring motif of the painting. Just like the events featured in the paintings, Barry is participating in events which always were.
Another major theme is between father and son. Barry lost his father at a young age and throughout the film he seeks and attaches himself to father-figures. Examples include his uncle, Grogan, and the Chevalier. When given the chance to be a father, Barry loves his son to the point of spoiling him. This contrasts with his role as a father to Lord Bullingdon, whom he disregards and punishes.[43][44][45]
Source novelEdit
Kubrick based his adapted screenplay on William Makepeace Thackeray's The Luck of Barry Lyndon (republished as the novel Memoirs of Barry Lyndon, Esq.), a picaresque tale written and published in serial form in 1844.
The film departs from the novel in several ways. In Thackeray's writings, events are related in the first person by Barry himself. A comic tone pervades the work, as Barry proves both a raconteur and an unreliable narrator. Kubrick's film, by contrast, presents the story objectively. Though the film contains voice-over (by actor Michael Hordern), the comments expressed are not Barry's, but those of an omniscient narrator. Kubrick felt that using a first-person narrative would not be useful in a film adaptation:[46]
I believe Thackeray used Redmond Barry to tell his own story in a deliberately distorted way because it made it more interesting. Instead of the omniscient author, Thackeray used the imperfect observer, or perhaps it would be more accurate to say the dishonest observer, thus allowing the reader to judge for himself, with little difficulty, the probable truth in Redmond Barry's view of his life. This technique worked extremely well in the novel but, of course, in a film you have objective reality in front of you all of the time, so the effect of Thackeray's first-person story-teller could not be repeated on the screen. It might have worked as comedy by the juxtaposition of Barry's version of the truth with the reality on the screen, but I don't think that Barry Lyndon should have been done as a comedy.
Kubrick made several changes to the plot, including the addition of the final duel.[47]
List of American films of 1975
Overlord – the 1975 Stuart Cooper WWII film John Alcott also worked on
Cinema of Ireland
^ The soundtrack album attributes the composition of the Hohenfriedberger March to Frederick II of Prussia; the origin of this attribution is uncertain.
^ a b Tied with Nashville.
^ Tied with Robert Altman for Nashville.
^ a b "Barry Lyndon (A)". British Board of Film Classification. 26 November 1975. Retrieved 26 February 2022.
^ a b SECOND ANNUAL GROSSES GLOSS Byron, Stuart. Film Comment; New York Vol. 13, Iss. 2, (Mar/Apr 1977): 35-37, 64.
^ "Barry Lyndon, Box Office Information". The Numbers. Retrieved 22 January 2012.
^ a b "Marisa Berenson on the making of Barry Lyndon: Kubrick wasn't a 'difficult ogre – he was a perfectionist'". The Independent. 13 July 2016. Retrieved 20 June 2020.
^ a b c Whitington, Paul (22 March 2015). "Kubrick in Ireland: the making of Barry Lyndon". The Independent. Retrieved 12 January 2019.
^ a b "Ryan O'Neal tells TEN about Kubrick's IRA fears". RTÉ.
^ Miller, Mark Crispin (1976). "Barry Lyndon Reconsidered". The Georgia Review. XXX (4).
^ a b c d e f g h i j k l m n o p q r s t u v w x Robey, Tim (27 July 2016). "Kubrick by candlelight: how Barry Lyndon became a gorgeous, period-perfect masterpiece". The Telegraph. ISSN 0307-1235. Archived from the original on 26 August 2019. Retrieved 12 May 2020.
^ Ciment, Michel. "Kubrick on Barry Lyndon". Archived from the original on 5 May 2007. Retrieved 31 May 2007.
^ Saner, Emine (30 October 2019). "'I did the first nude in Vogue': Marisa Berenson on being a blazing star of the 70s and beyond: Interview". The Guardian. Retrieved 25 November 2019.
^ Pramaggiore, Maria (18 December 2014). Making Time in Stanley Kubrick's Barry Lyndon: Art, History, and Empire. Bloomsbury Academic. ISBN 9781441167750.
^ John Alcott winning the Oscar® for Cinematography for "Barry Lyndon" – Oscars on YouTube
^ "Barry Lyndon film locations". Movie-locations.com. Archived from the original on 16 July 2017. Retrieved 6 May 2012.
^ Pramaggiore, Maria (18 December 2014). Making Time in Stanley Kubrick's Barry Lyndon: Art, History, and Empire. Bloomsbury Publishing USA. ISBN 9781441125545 – via Google Books.
^ a b c Two Special Lenses for "Barry Lyndon", Ed DiGiulio (President, Cinema Products Corp.), American Cinematographer
^ Ciment, Michel. "Three Interviews with Stanley Kubrick". The Kubrick Site.
^ a b Herb A. Lightman (16 March 2018). "Photographing Stanley Kubrick's Barry Lyndon". American Cinematographer. In some instances, I let the natural blue daylight come through in the background without correcting it.
^ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. p. 282. ISBN 0-646-11917-6.
^ "French album certifications – B.O.F. – Barry Lindon" (in French). Syndicat National de l'Édition Phonographique.
^ "Barry Lyndon". IMDb. 18 December 1975.
^ Ebert, Roger (20 September 1975). "Barry Lyndon". RogerEbert.com. Retrieved 17 December 2018.
^ Canby, Vincent (19 December 1975). "Screen: Kubrick's 'Barry Lyndon' Is Brilliant in Its Images". The New York Times. ISSN 0362-4331. Retrieved 11 May 2020.
^ Siskel, Gene (26 December 1975). "'Barry Lyndon': Beauty and grace outweigh pace in a Kubrick classic". Chicago Tribune. Section 3, p. 1.
^ Siskel, Gene (4 January 1976). "Ten films outclass the publicity pitch". Chicago Tribune. Section 6, p. 2.
^ Champlin, Charles (19 December 1975). "A Rake's Lack of Progress". Los Angeles Times. Part IV, p. 1.
^ "'Barry' Is All Dressed Up, but Going Where?" The Washington Post. 25 December 1975. H14.
^ Kael, Pauline (29 December 1975). "The Current Cinema". The New Yorker. 49.
^ a b Roger Ebert (9 September 2009). "Technically awesome, emotionally distant, and classically Kubrick". RogerEbert.com. Retrieved 11 September 2021.
^ "Barry Lyndon (1975)". Rotten Tomatoes. Retrieved 12 September 2022.
^ "Critic Reviews for Barry Lyndon (1975)". Metacritic. Retrieved 24 October 2021.
^ "Take One: The First Annual Village Voice Film Critics' Poll". The Village Voice. 1999. Archived from the original on 26 August 2007. Retrieved 27 July 2006.
^ Ciment, Michel; Adair, Gilbert; Bononno, Robert (1 September 2003). Kubrick: The Definitive Edition. Macmillan. p. vii. ISBN 9780571211081. Retrieved 19 April 2015. I'm not sure if I can have a favourite Kubrick picture, but somehow I keep coming back to Barry Lyndon.
^ "It was like a nursery – but 20 times worse". The Guardian. 11 January 2004. Retrieved 29 March 2017.
^ Schickel, Richard (13 January 2010). "Barry Lyndon". Time.
^ "Votes for Barry Lyndon (1975) | BFI". British Film Institute. Retrieved 11 May 2020.
^ "The 100 Greatest American Films". BBC. 20 July 2015.
^ Brady, Tara; Clarke, Donald. "The 50 best Irish films ever made, in order". The Irish Times.
^ Thomas-Mason, Lee. "From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time". Far Out Magazine. Retrieved 23 January 2023.
^ "The 48th Academy Awards | 1976". Academy of Motion Picture Arts and Sciences. Retrieved 11 May 2020.
^ "Film in 1976 | BAFTA Awards". awards.bafta.org. Retrieved 11 May 2020.
^ "Winners & Nominees 1976". Golden Globe Awards. Retrieved 11 May 2020.
^ "1975 Archives". National Board of Review. Retrieved 11 May 2020.
^ a b Ebert, Roger (9 September 2009). "Technically awesome, emotionally distant, and classically Kubrick". Chicago Sun-Times. RogerEbert.com.
^ Charlie Graham-Dixon (8 August 2016). "Why Barry Lyndon is Stanley Kubrick's secret masterpiece". Dazed.
^ Bradshaw, Peter (28 July 2016). "Barry Lyndon review – Kubrick's intimate epic of utter lucidity". The Guardian.
^ "Visual memory" (interview). UK. Archived from the original on 10 February 2010. Retrieved 7 March 2010.
^ "All hail Kubrick's 'Barry Lyndon,' a masterclass in bringing a unique filmmaker's vision to life • Cinephilia & Beyond". Cinephilia & Beyond. 9 April 2015. Retrieved 22 July 2021.
Further readingEdit
Tibbetts, John C., and James M. Welsh, eds. The Encyclopedia of Novels into Film (2nd ed. 2005) pp 23–24.
Wikiquote has quotations related to Barry Lyndon.
Barry Lyndon at IMDb
Barry Lyndon at the BFI's Screenonline
Barry Lyndon: Time Regained an essay by Geoffrey O'Brien at the Criterion Collection
Screenplay of Barry Lyndon (18 February 1973) at Daily script.
Barry Lyndon Press Kit at Indelible Inc.
The Kubrick Site, a "non-profit resource archive for documentary materials", including essays and articles.
Stanley Kubrick's letter to projectionists on Barry Lyndon at Some Came Running.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Barry_Lyndon&oldid=1136503646"


What is the SiriusDecisions Demand Waterfall? Josh Mueller, Senior Vice President of Global Marketing at Dun & Bradstreet, speaks with CXOTalk about how B2B companies can measure marketing success and use data to determine which activities yield the best results.
As SVP at Dun & Bradstreet, Mueller has global responsibility for demand generation, digital, operations, marketing technology, creative and content. His organization is pivotal to Dun & Bradstreet's transformation to a modern company with a focus on providing an amazing customer experience and scaling demand generation.
Michael Krigsman: I'm Michael Krigsman, an industry analyst and the host of CxOTalk. We're speaking with Josh Mueller, who is the Senior Vice President of Global Marketing at Dun & Bradstreet. And, we're talking about the Sirius Decisions Demand Waterfall.
So Josh, tell us about the Sirius Decisions Demand Waterfall.
Josh Mueller: The Sirius Decisions Demand Waterfall has been around for over a decade. And, essentially what it is is a framework that B2B companies can use to determine how well their marketing activities are working. I've targeted a million people; a hundred thousand of them engaged with me; ten thousand of them went to our sales team; five thousand of those became opportunities, and maybe I closed a thousand of those. And, you're able to track what's working at every stage so that you can have a better yield over time.
Michael Krigsman: So, it gives you a greater precision in terms of understanding what's happening with your marketing spend.
Josh Mueller: That's absolutely right. It's a standard methodology that many of the biggest and best brands in the world adopted.
Michael Krigsman: And maybe, this is an obvious question, but why should we use it?
Josh Mueller: It allows you to see which marketing activities are actually yielding the results that you want. There's a lot of discipline in the system, there are a lot of definitions and best practices where you're able to see, "Okay. If I launched these campaigns against these personas, and with this much time that passes, what am I actually yielding from that … from that Close-Won perspective — not just an engagement perspective?" The pipeline doesn't pay the bills. Ultimately, Close Won revenue pays the bills.
Michael Krigsman: Right now, marketing is all about data. So, how has it evolved to address what's happening in marketing today?
Josh Mueller: What it's done is it's taking the framework that was really historically marketing-focused and has expanded that to be marketing, sales, and product. And, it treats those as equal seats at the table that collectively create demand and ultimately, close that demand. The other thing I really like about the framework: it's gone from the concept of individual buyers (individual lead), to the concept of buying groups and buying committees within complex accounts.
Michael Krigsman: It's really interesting how the master data kind of underpins the collaboration elements of doing this type of marketing.
Josh Mueller: Even if you have a list of accounts, and you know who you're going after, you may have sales talking to one group, and marketing talking to another group, not even realizing 1) They're part of the same company family, or 2) They're even within the same company and you're having different conversations. A clear master data strategy ensures that that doesn't happen.
Michael Krigsman: Would it be correct to say that it links master data to collaboration; to account-based marketing?
Josh Mueller: It's absolutely correct. I mean, the role of data has really changed the way the waterfall works.
Michael Krigsman: So, you're using the data, then, to build up, shall we say, a 3-D picture of who you should be talking with; who the team should be talking with.
Josh Mueller: I mean, leveraging clean, integrated, organized data is what makes that possible. The complexity of accounts is often lost in an organization, and having that clear master data strategy ensures that you don't do that.
Michael Krigsman: What advice do you have for implementation?
Josh Mueller: I think the first thing is to ensure that you really do have that alignment. It's something that's easy to talk about but really hard to do.
I think the second piece is ensuring you do have a really clear data strategy. How are you using data and analytics to know who to go after and who within those accounts to go after? Start with a pilot; start with a test and learn approach. Maybe, it's a particular product; maybe, it's a particular line of business or persona. Get with your product teams and your sales teams. Agree on what you're going to go after. Agree on the timeframe of the test. Be open to failing and failing forward and learning over time. And then, once you accomplish it for that one thing, you'll build a lot of credibility, you'll build a lot of success, and you can scale from there.
Michael Krigsman: How does an organization know or measure themselves to know how they're doing?
Josh Mueller: What you're able to do is clearly identify who your addressable market is, and then follow the steps of the waterfall all the way through the Close Won revenue. And that works for kind of a traditional lead waterfall as well as account-based marketing. So, if I know that I'm going to after these ten accounts within this persona, I can see the won revenue from all of those marketing activities.
Michael Krigsman: So, much of this is really about the collaboration as much as the process itself.
Josh Mueller: We now have a mechanism in place where we meet monthly with our product and sales leaders. We meet quarterly; we predict pipeline eighteen months out. We work backward from that, and it's really changed the way we go to market.
Michael Krigsman: So, maybe we could even say that the process drives the collaboration that then must take place.
Josh Mueller: One of my favorite things about it is when we make a decision; it's no longer in a silo. The decisions we make happen across the company.
Michael Krigsman: Okay! Josh Mueller, thank you so much!
Programmatic advertising is a crucial tool for digital marketers. However, ensuring that marketing channels are trustworthy and accountable, eliminating fraud or abuse, remains a challenge. In this short video, two top experts explain how to ensure your programmatic advertising are spent wisely.
How is marketing and customer experience changing in an omnichannel world? Josh Mueller, Senior Vice President of Global Marketing at Dun and Bradstreet, and Rachel Richter, Senior Vice President of Customer Analytics and Insights at Dun and Bradstreet, tell CXOTalk about the "omnichannel customer experience," which uses data and complex analytics to identify customers' needs and optimize delivery.
How can we use data to make better business decisions? In this episode, we address this question with Anthony Scriffignano, the Chief Data Scientist at Dun & Bradstreet.


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Um, why did Facebook just donate $10,000 to an anti-gay rights politician?
By David Holmes , written on August 15, 2014
As Silicon Valley tech companies continue to aggregate more power and influence than ever before, it's only natural for them to start sticking their noses in local and national political campaigns.
We've reported extensively on some of the strange bedfellows these partnerships have created, from "trust-us-we're-not-evil" Google donating money to Koch-backed climate change deniers, to the Electronic Frontier Foundation partnering with rightwing extremists who want to dismantle eighty years of environmental, infrastructural, and social welfare programs, to Mark Zuckerberg's FWD.us bankrolling two anti-environmentalist ad campaigns.
Regardless of where you stand on these issues (well, climate change is less an "issue" and more of a reality, but I digress), throwing money at anti-science, anti-sustainability endeavors goes against the core values held by some of Silicon Valley's most powerful players -- the tech heavies whose support FWD.us lost in the aftermath of those ads included Elon Musk, Vinod Khosla, and David Sacks.
But the latest move from Facebook might be the most alienating high-profile show of political support by a tech company yet. According to documents filed with Utah's Lieutenant Governor, Facebook has donated $10,000 to the campaign of State Attorney General Sean Reyes, who recently filed an appeal to challenge a ruling that would have made gay marriage legal in Utah.
In one fell swoop, Facebook has somehow found a way to piss off both the true blue liberals in Silicon Valley and the techno-libertarians, for whom anti-gay marriage legislation is just another example of government overreach. It'd be almost impressive if it weren't so despicable.
For evidence of the tech world's unwillingness to put up with anti-gay bigotry, look no further than what happened to former Mozilla CEO Brandon Eich. Less than two weeks after Eich was hired as CEO, he resigned in the wake of public uproar over a $1000 donation he made in support of California's Proposition 8, which banned same-sex marriages. Granted, Proposition 8, being a California law, hit much closer to home to techies from the Golden State, and Eich, while a longtime Mozilla veteran, was brand new to the position. Nevertheless, it shows what happens when the leader of a supposedly progressive tech firm takes a stand against equal rights.
So what does Facebook have to say for itself?
A company spokesperson told the Utah-based LGBTQ magazine QSaltLake,
Facebook has a strong record on LGBT issues and that will not change, but we make decisions about which candidates to support based on the entire portfolio of issues important to our business, not just one. A contribution to a candidate does not mean that we agree with every policy or position that candidate takes. We made this donation for the same reason we've donated to Attorneys General on the opposite side of this issue – because they are committed to fostering innovation and an open Internet.
I get it -- the fight over net neutrality will be instrumental in keeping the Internet as open to as many creators and consumers as possible, which is pretty important. But there are plenty of pro-open-Internet politicians, and not all of them are famous for shitting on the equal rights of American citizens.
Not only does the donation go against the values of many of its Silicon Valley peers; it also goes against Facebook's own conscience, which on its Diversity page writes, "We value the impact that every individual can have. We are dedicated to creating an environment where people can be their authentic selves and share their own diverse backgrounds, experiences, perspectives and ideas."
That is, unless those diverse individuals are gay and want to get married?
Compromise is a natural part of American politics, and to expect to get anything done without giving up something to the opposition is naive. But equal rights for all Americans should not be up for discussion as a bargaining chip. And in the wake of the FWD.us controversy, Facebook should know by now what can happen when you strike a deal with the devil.
Bob Henline of QSaltLake has started a Change.org petition that asks Facebook to "publicly decry this bigotry and make an equal or greater contribution to the campaign of Charles Stormont who is also seeking the office of Utah Attorney General."