title: Mustard oil

text: Mustard oil can mean either the pressed oil used for cooking, or a pungent essential oil also known as volatile oil of mustard. The essential oil results from grinding mustard seed, mixing the grounds with water, and extracting the resulting volatile oil by distillation. It can also be produced by dry distillation of the seed. Pressed mustard oil is used as cooking oil in some cultures, but sale is restricted in some countries due to high levels of erucic acid. Varieties of mustard seed also exist that are low in erucic acid.


title: Mustard oil

text: Oil makes up about 30% of mustard seeds. It can be produced from black mustard ("Brassica nigra"), brown mustard ("B. juncea"), and white mustard ("B. alba").


title: Mustard oil

text: Having a distinctive pungent taste, the oil is used for cooking in India, Pakistan, Nepal and Bangladesh. Its pungent flavor is due to allyl isothiocyanate, a phytochemical of plants in the mustard family, Brassicaceae (for example, cabbage, horseradish or wasabi). Mustard oil has about 60% monounsaturated fatty acids (42% erucic acid and 12% oleic acid); it has about 21% polyunsaturated fats (6% the omega-3 alpha-linolenic acid and 15% the omega-6 linoleic acid), and it has about 12% saturated fats.


title: Mustard oil

text: Mustard oil has high levels of erucic acid. Erucic acid may have toxic effects on the heart at high doses. An association between the consumption of dietary erucic acid and increased myocardial lipidosis, or heart disease, has not been established for humans, although given what is known about erucic acid, it can be a reason to expect that humans would be susceptible to this. Mustard oil is not allowed to be imported or sold in the U.S. for use in cooking, except for those products with exceptionally low erucic acid content.


title: Mustard oil

text: According to the USDA, 100 grams of mustard oil contains 884 calories of food energy, and is 100% fat. The fat composition is 11% saturated fat, 59% monounsaturated fat, and 21% polyunsaturated fat.


title: Mustard oil

text: The pungency of the condiment mustard results when ground mustard seeds are mixed with water, vinegar, or other liquid (or even when chewed). Under these conditions, a chemical reaction between the enzyme myrosinase and a glucosinolate known as sinigrin from the seeds of black mustard ("Brassica nigra") or brown Indian mustard ("Brassica juncea") produces allyl isothiocyanate. By distillation one can produce a very sharp-tasting essential oil, sometimes called volatile oil of mustard, containing more than 92% allyl isothiocyanate. The pungency of allyl isothiocyanate is due to the activation of the TRPA1 ion channel in sensory neurons. White mustard ("Brassica hirta") does not yield "allyl" isothiocyanate, but a different and milder isothiocyanate degraded from sinalbin rather than sinigrin.


title: Mustard oil

text: Allyl isothiocyanate serves the plant as a defense against herbivores. Since it is harmful to the plant itself, it is stored in the harmless form of a glucosinolate, separate from the enzyme myrosinase. Once the herbivore chews the plant, the noxious allyl isothiocyanate is produced. Allyl isothiocyanate is also responsible for the pungent taste of horseradish and wasabi. It can be produced synthetically, sometimes known as synthetic mustard oil.


title: Boehringer Ingelheim

text: C.H. Boehringer Sohn AG & Co. is the parent company of the Boehringer Ingelheim group, which was founded in 1885 by Albert Boehringer in Ingelheim am Rhein, Germany. As of 2018, Boehringer Ingelheim is one of the world's largest pharmaceutical companies, and the largest private one. Headquartered in Ingelheim, it operates globally with 146 affiliates and more than 47,700 employees. Unlike most large pharmaceutical companies which are listed, the company is private and fully owned by the Boehringer, Liebrecht and von Baumbach families. The company's key areas of interest are: respiratory diseases, metabolism, immunology, oncology and diseases of the central nervous system. Boehringer Ingelheim is a full member of the European Federation of Pharmaceutical Industries and Associations (EFPIA). The corporate logo of Boehringer Ingelheim depicts a stylized rendition of the central section of the imperial palace of Charlemagne.


title: Boehringer Ingelheim

text: In 2004 the company acquired STEAG microParts GmbH. In December of the same year the company announced the acquisition of the outstanding shares of Boehringer Ingelheim Shionogi Vetmedica.


title: Boehringer Ingelheim

text: In June 2008, the company announced its intention to acquire Actimis Pharmaceuticals for $515 million, depending on the performance of Actimis' leading asthma compound AP768.


title: Boehringer Ingelheim

text: In 2009 through its US subsidiary, Boehringer Ingelheim Vetmedica Inc., acquired a significant portion of the Fort Dodge Animal Health business from Pfizer.


title: Boehringer Ingelheim

text: In 2010 BI, through its Boehringer Ingelheim Japan Investment GK subsidiary, acquired all outstanding shares of SSP CO., Ltd, with Nippon Boehringer Ingelheim Co., Ltd already holding 60.2% of SSP CO's shares.


title: Boehringer Ingelheim

text: In August 2012 the company acquired FX125L and the somatotaxin programme from Funxional Therapeutics for an undisclosed sum.


title: Boehringer Ingelheim

text: In May 2015, the company acquired the investigational drug PXS4728A from Pharmaxis’. In July, the company sold its Roxane business to Hikma Pharmaceuticals Plc for $2.65 billion ($1.18 billion in cash and issue 40 million new Hikma shares). The company also agreed to make cash payments of up to $125 million based on performance milestones. On the same day the company announced it would partner with Hanmi Pharmaceutical to develop and commercialise HM61713, a third generation treatment for EGFR mutation-positive lung cancer. Boehringer also terminated its collaboration with Vitae Pharmaceuticals on a new BACE program for Alzheimer's.


title: Boehringer Ingelheim

text: In July 2016 the company sold the commercialisation rights to BI 655066 (Risankizumab), to AbbVie for $595 million upfront as well as undisclosed milestone payments and royalties. BI 655066 is a drug in late-stage testing for psoriasis, and in earlier testing for Crohn's disease, psoriatic arthritis and asthma. In September of the same year the company announced it would acquire ViraTherapeutics for €210 million ($230 million), a developer of oncolytic virus therapies, dependent on the success of Phase I trials.


title: Boehringer Ingelheim

text: In June 2016, the company announced it had struck an asset-swap deal with Sanofi, Boehringer would sell its consumer health division (valuing it at €6.7 billion) and €4.7 billion in cash, whilst acquiring the Merial animal health division (valuing it at €11.4 billion / $12.4 billion). The deal could mean that Boehringer is now one of the animal healthcare global leaders. In September of the same year, Amgen announced it would purchase the rights to Boehringer Ingelheims Phase I bispecific T-cell engager compound (BI 836909, now AMG 420) for use in the treatment of multiple myeloma. As part of the asset swap, Boehringer and Merial sold a number of assets to Ceva Santé Animale - namely some animal health vaccines and pharmaceuticals from the Merial portfolio for swine, bovine and companion animals, as well as some intellectual property, manufacturing processes and R&D activities. In October 2016 the company sold its US pet vaccines business and a manufacturing plant for $885 million, to Eli Lilly Cos Elanco Animal Health division.


title: Boehringer Ingelheim

text: In April 2018 the company announced that it would launch an immuno-oncology partnership with OSE Immunotherapeutics worth up-to-$1.4 billion, focussing on developing OSE's late-preclinical-stage candidate OSE-172, a checkpoint inhibitor antibody designed to treat solid tumors. In the same month Boehringer announced a partnership with Topas Therapeutics and their virus-based vectors. In mid-September the company exercised its option to acquire viral cancer therapy developer, ViraTherapeutics, for €210 million ($245 million).


title: Boehringer Ingelheim

text: In March 2019 Boehringer announced it would acquire ICD Therapeutics. In July, subsidiary company Boehringer Ingelheim Pharmaceuticals, Inc. announced it had acquired Amal Therapeutics SA, boostings the business' focus on cancer immunotherapy and vaccine treatments.


title: Boehringer Ingelheim

text: In May 2020, the business announced it would acquire Northern Biologics Inc. which focuses on therapeutic antibodies targeting tumours. In June, the business announced it would sell off part of its stake in London-listed Hikma Pharmaceuticals (28 million out of a 40 million share holding) for around $800 million. In July, the company announced it would acquire Global Stem cell Technology, boosting its animal health business. In December, Boehringer announced it would acquire Labor Dr. Merk & Kollegen, boosting its immuno-oncology therapy range including Vesicular Stomatitis Virus and cancer vaccines platforms and Swiss-based NBE Therapeutics, adding drug candidates including a treatment being used in early trials against triple-negative breast cancer and lung cancer, for $1.5 billion.


title: Boehringer Ingelheim

text: In June 2020, Boehringer and G1 Therapeutics announced a co-promotion agreement for trilaciclib (Cosela), a CDK4/6 inhibitor designed to prevent chemotherapy-induced myelosuppression. The agreement targets small cell lung cancer, will initially run for three years, and covers the United States and Puerto Rico.


title: Boehringer Ingelheim

text: In September 2021, the company announced it would acquire Abexxa Biologics, boosting its cancer immunotherapy research.


title: Boehringer Ingelheim

text: Boehringer Ingelheim works in human pharmaceuticals, animal health, and biopharmaceuticals. The group consists of 145 affiliated companies with around 50,000 employees in 2017 in all continents. Research and development facilities were in five sites and 20 production plants in 13 countries. The research and development facilities are located in Biberach (Germany), Ridgefield (Connecticut), Vienna, Kobe, and Milan (closed in 2017). Over 8,000 employees work for Boehringer Ingelheim in research and development.


title: Boehringer Ingelheim

text: Boehringer Ingelheim is a globally operating company, with 146 subsidiaries around the globe. The company's largest site and corporate headquarters is in Ingelheim am Rhein near Mainz and Frankfurt, Germany. Their main business regions are Europe, North America and Asia. The Research Institute of Molecular Pathology in Vienna (Austria), founded in 1985, has had Boehringer Ingelheim as its main sponsor since 1993.


title: Boehringer Ingelheim

text: In 2011 Ben Venue Laboratories in Bedford, Ohio, a division of Boehringer Ingelheim, voluntarily shut down after a U.S. Food and Drug Administration inspectors' report that found the plant had rusty tools, mold, and a barrel of 'unknown liquid', later found to be urine. The company invested to upgrade the drug manufacturing plant, and limited production resumed in October 2012. However, on 3 October 2013, Ben Venue announced that it would be ceasing production by the end of 2013 due to being unable to "return to sustainable production."


title: Boehringer Ingelheim

text: Boehringer Ingelheim is involved in publicly funded collaborative research projects with other industrial and academic partners. One example in the area of non-clinical safety assessment is the InnoMed PredTox. The company is expanding its activities in joint research projects within the framework of the Innovative Medicines Initiative of EFPIA and the European Commission. On January 11th, 2021 Boehringer Ingelheim announced a collaborative agreement with Google Quantum AI (Google), focusing on researching and implementing cutting-edge use cases for quantum computing in pharmaceutical research and development (R&D), specifically including molecular dynamics simulations. Boehringer Ingelheim is the first pharmaceutical company worldwide to join forces with Google in quantum computing in a newly established Quantum Lab of Boehringer Ingelheim. Boehringer Ingelheim is also a founding member of the Quantum Technology and Application Consortium (QUTAC).


title: Boehringer Ingelheim

text: In October 2012 Boehringer Ingelheim settled a "qui tam" (whistleblower) case with the U.S. government for $95 million alleging "off-label" marketing of the drugs Aggrenox, Atrovent, Combivent, and Micardis for uses that weren't approved by the US Food and Drug Administration and were not covered by federal health care programs.


title: Boehringer Ingelheim

text: In August 2012, Pradaxa claims filed in the federal court were consolidated in a multi-district litigation in the Southern District of Illinois before Chief Judge David R. Herndon. On 28 May 2014, a $650 million settlement was announced on behalf of approximately 3,900 claimants who were injured by the drug Pradaxa made by Boehringer Ingelheim Pharmaceuticals, Inc. The drug is alleged to cause severe bleeding events and/or hemorrhaging to those who were taking the drug.


title: Boehringer Ingelheim

text: As a private company, Boehringer Ingelheim (BI) is not required to disclose detailed financial information publicly; the owners have considered an IPO and ruled it out. In 2006, the Chairman of the Shareholders’ Committee Dr Heribert Johann retired and Christian Boehringer took over the position as chairperson of the board of directors. As of 2018 Christian Boehringer remains in this position. In 2015, then-CFO Hubertus von Baumbach took over the position of Chairman of the Board of Managing Directors, a CEO position, to replace Andreas Barner who took the position in 2009.


title: Queen of Heaven

text: Queen of Heaven () is a title given to the Virgin Mary, by Christians mainly of the Catholic Church and, to a lesser extent, in Anglicanism, Lutheranism, and Eastern Orthodoxy.


title: Queen of Heaven

text: The Catholic teaching on this subject is expressed in the papal encyclical "Ad Caeli Reginam", issued by Pope Pius XII in 1954. It states that Mary is called Queen of Heaven because her son, Jesus Christ, is the king of Israel and the heavenly king of the universe; indeed, the Davidic tradition of Israel recognized the mother of the king as the queen mother of Israel.


title: Queen of Heaven

text: The title "Queen of Heaven" has long been a Catholic tradition, included in prayers and devotional literature and seen in Western art in the subject of the Coronation of the Virgin from the High Middle Ages, long before it was given a formal definition status by the Church.


title: Queen of Heaven

text: Queen of Heaven () is one of many Queen titles used of Mary, mother of Jesus. The title derived in part from the ancient Catholic teaching that Mary, at the end of her earthly life, was bodily and spiritually assumed into heaven, and that she is there honored as Queen.


title: Queen of Heaven

text: Pius XII explained on the theological reasons for her title of Queen in a radio message to Fatima of May 13, 1946, "Bendito seja": He, the Son of God, reflects on His heavenly Mother the glory, the majesty and the dominion of His kingship, for, having been associated to the King of Martyrs in the ... work of human Redemption as Mother and cooperator, she remains forever associated to Him, with a practically unlimited power, in the distribution of the graces which flow from the Redemption. Jesus is King throughout all eternity by nature and by right of conquest: through Him, with Him, and subordinate to Him, Mary is Queen by grace, by divine relationship, by right of conquest, and by singular choice [of the Father].


title: Queen of Heaven

text: In his 1954 encyclical "Ad caeli reginam" ("To the Queen of Heaven"), Pius XII asserts that Mary deserves the title because she is Mother of God, because she is closely associated as the New Eve with Jesus' redemptive work, because of her preeminent perfection and because of her intercessory power. "Ad caeli reginam" states that the main principle on which the royal dignity of Mary rests is her Divine Motherhood. ... So with complete justice St. John Damascene could write: "When she became Mother of the Creator, she truly became Queen of every creature."


title: Queen of Heaven

text: In the Hebrew Bible some Davidic kings had in their court a "gebirah" ("Great Lady") who was often their mother, and held great power as his advisor and an advocate to him. In 1 Kings 2:20, Solomon said to his mother Bathsheba, seated on a throne at his right, "Make your request, Mother, for I will not refuse you." William G. Most sees here a sort of type of Mary.


title: Queen of Heaven

text: In the New Testament, the title has several biblical sources. At the Annunciation, the archangel Gabriel announces that [Jesus] "... will be great, and will be called the Son of the Most High; and the Lord God will give to him the throne of his father David. He will rule over the house of Jacob forever and his reign will be without end."(Luke 1:32) The biblical precedent in ancient Israel is that the mother of the king becomes the queen mother. Mary's queenship is a share in Jesus’ kingship.


title: Queen of Heaven

text: Theologians view Woman of the apocalyse in Revelation 12:1–3 as a foresight to the Virgin Mary, both the mother of God and the mother of church; taking Revelation 12 as a reference to Mary, Israel, and the Church as a threefold symbolism through the Book of Isaiah and affirms Mary as the mother of Jesus Christ as the prophetic fulfilment described in Revelation 12 (cf. Isaiah 7:14, 26:17, 54:1, 66:7). However, the 1954 papal encyclical "Ad Caeli Reginam" on the queenship of Mary made no reference to Revelation 12.


title: Queen of Heaven

text: In the fourth century, St. Ephrem called Mary "Lady" and "Queen". Later Church fathers and doctors continued to use the title. A text probably coming from Origen (died ) gives her the title domina, the feminine form of Latin dominus, Lord. That same title also appears in many other early writers, e.g., Jerome, and Peter Chrysologus. The first Mariological definition and basis for the title of "Mary Queen of Heaven" developed at the Council of Ephesus, where Mary was defined to be the Mother of God. The Council fathers specifically approved this version against the opinion, that Mary is "only" the mother of Jesus. Nobody had participated in the life of her son more, than Mary, who gave birth to the Son of God.


title: Queen of Heaven

text: The word "Queen" is common during and after the sixth century. Hymns of the 11th to 13th centuries address Mary as queen: “Hail, Holy Queen,” “Hail, Queen of Heaven,” “Queen of Heaven”. The Dominican rosary and the Franciscan crown, as well as numerous invocations in Mary’s litany, celebrate her queenship. For centuries she has been invoked as the Queen of Heaven.


title: Queen of Heaven

text: The four ancient Marian antiphons of the Liturgy of the Hours express the queenship of Mary: the "Salve Regina", the "Ave Regina caelorum", the "Alma Redemptoris Mater", and the "Regina Caeli". These are prayed at different times of the year, at the end of Compline.


title: Queen of Heaven

text: Mary as Queen of Heaven is praised in the "Salve Regina" "(Hail Queen)", which is sung in the time from Trinity Sunday until the Saturday before the first Sunday of Advent. A German Benedictine monk, Hermann of Reichenau (1013–1054), allegedly composed it and it originally appeared in Latin, the prevalent language of the Catholic Church until Vatican II. Traditionally it has been sung in Latin, though many translations exist. In the Middle Ages, "Salve Regina" offices were held every Saturday. In the 13th century, the custom developed to greet the Queen of Heaven with the "Salve Regina", which is considered the oldest of the four Marian antiphons. As a part of the Catholic Reformation, the "Salve Regina" was prayed every Saturday by members of the Sodality of Our Lady, a Jesuit Marian association. The "Hail Holy Queen" is also the final prayer of the Rosary.


title: Queen of Heaven

text: The "Ave Regina caelorum" (Hail, Queen of Heaven) is an early Marian antiphon, praising Mary, the Queen of Heaven. It is traditionally said or sung after each of the canonical hours of the Liturgy of the Hours. The prayer was once used after Compline, the final canonical hour of prayer before going to sleep, from the Feast of the Presentation (February 2) through the Wednesday of Holy Week. It is now used in the Liturgy of the Hours on the feast of the Assumption of Mary. The "Ave Regina caelorum" dates back in a different musical intonation to the 12th century. Today's version is slightly different from a 12th-century intonation. The "Ave Regina caelorum" has four parts: "Ave", "Salve", "Gaude" and "Vale" (in English: hail, rejoice, farewell). It was used for processions in honour of the "Queen of Heaven." The "Ave Regina caelorum" received numerous musical versions, a famous one of which was composed in 1773 by Joseph Haydn.


title: Queen of Heaven

text: The "Alma Redemptoris Mater" (Loving Mother of our Savior) is recited in the Catholic Church at Compline only from the first Sunday in Advent until the Feast of the Purification (February 2). Continuing theological discussions exist as to the origin and exact timing of this Marian antiphon. It has two equal parts: The Virgin Mary is the loving Mother of the Savior, the ever-virgin with a very high position in heaven. May she listen to her people with mercy in their need for her help.


title: Queen of Heaven

text: The "Regina Caeli" (Queen of Heaven) is an anthem of the Catholic Church which replaces the "Angelus" during Eastertide, the fifty days from Easter Sunday to Pentecost Sunday. It is named for its opening words in Latin. Different musical settings of the words were composed throughout the centuries by known and unknown composers. Not all attributions are correct, as an often quoted "Regina Caeli" by Joseph Haydn was not by him. The anthem is of unknown authorship, and was in Franciscan use in the first half of the 13th century. Together with three other Marian anthems, it was incorporated in the Minorite Roman Curia Office, which the Franciscans soon popularized everywhere, and which by order of Pope Nicholas III (1277–1280) replaced all the older breviaries in the churches of Rome.


title: Queen of Heaven

text: The Catholic faith states, as a dogma, that Mary was assumed into heaven and is with Jesus Christ, her divine son. Mary should be called Queen, not only because of her Divine Motherhood of Jesus Christ, but also because God has willed her to have an exceptional role in the work of eternal salvation. Catholicism employs the liturgical Latin phrase "Ora Pro Nobis", meaning "pray for us", and does not teach adherents to worship saints, but rather ask (asking is a form of prayer) those saints to pray for them. The encyclical "Ad Caeli Reginam" maintains that Christ as redeemer is Lord and King. The Blessed Virgin is Queen, because of the unique manner in which she assisted in our redemption, by giving of her own substance, by freely offering Him for us, by her singular desire and petition for, and active interest. Mary was chosen Mother of Christ so she might help fulfill God's plan in the redemption of humankind; The Catholic Church from the earliest times venerated the Queen of Heaven, according to Pius XII:


title: Queen of Heaven

text: The Queenship of Mary is commemorated in the last of the Glorious Mysteries of the Holy Rosary—the Coronation of the Virgin as Queen of Heaven and Earth.


title: Queen of Heaven

text: Parishes and private groups often process and crown an image of Mary with flowers. This often is referred to as a "May Crowning". This rite may be done on solemnities and feasts of the Blessed Virgin Mary, or other festive days, and offers the Church a chance to reflect on Mary’s role in the history of salvation.


title: Queen of Heaven

text: The Virgin has been called "Queen of France" since 1638 when, partly in thanksgiving for a victory over the Huguenots and also in hope of the birth of an heir after years of childless marriage, Louis XIII officially gave her that title. Siena, Tuscany, hails the Virgin as Queen of Siena, and annually observes the race and pageant called the "palio" in her honor.


title: Queen of Heaven

text: Mary was declared "Queen of Poland" by king John II Casimir during the Lwów Oath in the 17th century. Since then she is believed to save the country miraculously during Deluge, Partitions of Poland, Polish-Soviet War, World War II and the Polish People's Republic. The solemnity of Our Lady Queen of Poland is celebrated on 3 May.


title: Queen of Heaven

text: "Queenship of Mary" is a Marian feast day in the liturgical calendar of the Catholic Church, created by Pope Pius XII. On 11 October 1954, the pontiff pronounced the new feast in his encyclical "Ad caeli reginam". The feast was celebrated on May 31, the last day of the Marian month. The initial ceremony for this feast involved the crowning of the "Salus Populi Romani" icon of Mary in Rome by Pius XII as part of a procession in Rome.


title: Queen of Heaven

text: In 1969, Pope Paul VI moved the feast day to August 22, the former Octave day of the Assumption in order to emphasize the close bond between Mary's queenship and her glorification in body and soul next to her Son. The Second Vatican Council's Constitution on the Church states that "Mary was taken up body and soul into heavenly glory, and exalted by the Lord as Queen of the universe, that she might be the more fully conformed to her Son" ("Lumen gentium", 59).


title: Queen of Heaven

text: The movement to officially recognise the Queenship of Mary was initially promoted by several Catholic Mariological congresses in Lyon, France; Freiburg, Germany; and Einsiedeln, Switzerland. Gabriel Roschini founded in Rome, Italy, an international society to promote the Queenship of Mary, "Pro Regalitate Mariae". Several popes had described Mary as Queen and Queen of Heaven, which was documented by Gabriel Roschini. Pope Pius XII repeated the title in numerous encyclicals and apostolic letters, especially during World War II.


title: Queen of Heaven

text: In Los Angeles, California, a Marian procession took place annually for roughly the first 100 years following the founding of the city. In an attempt to revive the custom of religious processions, in September 2011 the Queen of Angels Foundation, founded by Mark Anchor Albert, inaugurated an annual "Grand Marian Procession" in the heart of Downtown Los Angeles' historic core. This yearly procession, intended to coincide with the anniversary of the founding of the City of Los Angeles, begins outside of the parish of La Iglesia de Nuestra Señora Reina de los Angeles which is part of the Los Angeles Plaza Historic District, better known as "La Placita". By way of city streets, the procession eventually terminates at the Cathedral of Our Lady of the Angels where a public Rosary and Mass in honour of the Blessed Virgin Mary are offered. Subsequent years have seen the involvement and participation of numerous chivalric, fraternal, and religious orders, parishes, lay groups, political figures, as well as other religious and civic organizations.


title: Queen of Heaven

text: Early Christian art shows Mary in an elevated position. She carries her divine son in her hands, or holds him. After he ascended into heaven, he reigns in divine glory. Mary, his mother, assumed into heaven by her son, participates in his heavenly glory.


title: Queen of Heaven

text: The earliest known Roman depiction of "Santa Maria Regina" depicting Mary as a queen dates to the 6th century and is found in the modest church of Santa Maria Antiqua (i.e., ancient St. Mary) built in the 5th century in the Forum Romanum. Here Mary is unequivocally depicted as an empress. As one of the earliest Roman Catholic Marian churches, this church was used by Pope John VII in the early 8th century as the "see of the bishop of Rome". Also in the 8th century, the Second Council of Nicaea decreed that such pictures of Mary should be venerated.


title: Queen of Heaven

text: In the early 16th century, Protestant reformers began to discourage Marian art, and some like John Calvin or Zwingli even encouraged its destruction. But after the Council of Trent in the mid-16th century confirmed the veneration of Marian paintings for Catholics, Mary was often painted as a Madonna with crown, surrounded by stars, standing on top of the world or the partly visible moon. After the victory against the Turks at Lepanto, Mary is depicted as the Queen of Victory, sometimes wearing the crown of the Habsburg empire. National interpretations existed in France as well, where Jean Fouquet painted the Queen of Heaven in 1450 with the face of the mistress of King Charles VII. Statues and pictures of Mary were crowned by kings in Poland, France, Bavaria, Hungary and Austria, sometimes apparently using crowns previously worn by earthly monarchs. A surviving small crown presented by Margaret of York seems to have been that worn by her at her wedding to Charles the Bold in 1463. A recent coronation was that of the picture of the "Salus Populi Romani" in 1954 by Pius XII. The veneration of Mary as queen continues into the 21st century, but artistic expressions do not have the leading role as in previous times.


title: Queen of Heaven

text: Artworks, including paintings, mosaics and carvings of the coronation of Mary as Queen of Heaven, became increasingly popular from the 13th century onward. Works follow a set pattern, showing Mary kneeling in the heavenly court, and being crowned either by Jesus alone, or else by Jesus and God the Father together, with the Holy Spirit, usually in the form of a dove, completing the Trinity. The Coronation of Mary is almost entirely a theme of Western art. In the Eastern Orthodox Church, although Mary is often shown wearing a crown, the coronation itself never became an accepted artistic subject.


title: Cinematic style of Christopher Nolan

text: Christopher Nolan is a British-American filmmaker known for using aesthetics, themes and cinematic techniques that are instantly recognisable in his work. Regarded as an auteur and postmodern filmmaker, Nolan is partial to elliptical editing, documentary-style lighting, hand-held camera work, natural settings, and real filming locations over studio work. Embedded narratives and crosscutting between different time frames is a major component of his work, and his films often feature experimental soundscapes and mathematically inspired images and concepts. Nolan prefers shooting on film to digital video and advocates for the use of higher-quality, larger-format film stock. He also favours practical effects over computer-generated imagery, and is a proponent of theatrical exhibition.


title: Cinematic style of Christopher Nolan

text: His work explores existential and epistemological themes such as subjective experience, materialism, distortion of memory, human morality, the nature of time, causality, and the construction of personal identity. His characters are often emotionally disturbed, obsessive, and morally ambiguous, facing the fears and anxieties of loneliness, guilt, jealousy, and greed. Nolan also uses his real-life experiences as an inspiration in his work. His most prominent recurring theme is the concept of time; questions concerning the nature of existence and reality also play a major role in his body of work.


title: Cinematic style of Christopher Nolan

text: Nolan's wife, Emma Thomas, has co-produced all of his features, and he has co-written several of his films with his younger brother, Jonathan Nolan. Other frequent collaborators include editor Lee Smith, cinematographers Wally Pfister and Hoyte van Hoytema, composer Hans Zimmer, sound designer Richard King, production designer Nathan Crowley, and casting director John Papsidera. Nolan's films feature many recurring actors, most notably Michael Caine, having appeared in eight (including a cameo in "Dunkirk").


title: Cinematic style of Christopher Nolan

text: Regarded as an auteur and postmodernist, Nolan's visual style often emphasises urban settings, men in suits, muted colours, dialogue scenes framed in wide close-up with a shallow depth of field, inserts, and modern locations and architecture. Aesthetically, the director favours deep, evocative shadows, documentary-style lighting, hand-held camera work, natural settings, and real filming locations over studio work. His colour palettes have been influenced by his red-green colour blindness. Nolan has noted that many of his films are heavily influenced by film noir, and he is particularly known for exploring various ways of "manipulating story time and the viewer's experience of it." He has continuously experimented with metafictional elements, temporal shifts, elliptical cutting, solipsistic perspectives, nonlinear storytelling, labyrinthine plots, genre hybridity, and the merging of style and form.


title: Cinematic style of Christopher Nolan

text: Drawing attention to the intrinsically manipulative nature of the medium, Nolan uses narrative and stylistic techniques (notably mise en abyme and recursions) to stimulate the viewer to ask themselves why his films are put together the way they are and why they provoke particular responses. Nolan's preoccupation with recursive narratives and images first appear in his 1997 short film, "Doodlebug", and can be seen in many of his features. Some examples include the infinity mirrors created by Ariadne in "Inception", and "Memento"s poster design, inspired by the Droste effect, in which a picture appears within itself. His films often explore mathematically inspired ideas such as the Möbius strip, impossible objects, visual paradoxes and tessellations. He frequently uses these ideas as foundation for creating narrative form, such as the palindrome structure of "Tenet". Notable examples of "mathematical beauty" in his work include the Penrose stairs in "Inception", and the tesseract in "Interstellar", "a three-dimensional representation of our four-dimensional reality (three physical dimensions plus time) inside the five-dimensional (four dimensions plus time) hyperspace". The logo for Nolan's production company, Syncopy, is a centreless maze.


title: Cinematic style of Christopher Nolan

text: Nolan sometimes uses editing as a way to represent the characters' psychological states, merging their subjectivity with that of the audience. For example, in "Memento" the fragmented sequential order of scenes is to put the audience into a similar experience of Leonard's defective ability to create new long-term memories. In "The Prestige", the series of magic tricks and themes of duality and deception mirror the structural narrative of the film. His writing style incorporates a number of storytelling techniques such as flashbacks, shifting points of view, and unreliable narrators. Scenes are often interrupted by the unconventional editing style of cutting away quickly from the money shot (or nearly cutting off characters' dialogue) and crosscutting several scenes of parallel action to build to a climax.


title: Cinematic style of Christopher Nolan

text: Embedded narratives and crosscutting between different time frames is a major component of Nolan's auteurship. "Following" contains four timelines and intercuts three; "Memento" intercuts two timelines, with one moving backward; "The Prestige" contains four timelines and intercuts three; "Inception" intercuts four timelines, all of them framed by a fifth. In "Dunkirk", Nolan structured three different timelines to emulate a Shepard tone in such a way that it "provides a continual feeling of intensity". Noted film theorist and historian David Bordwell wrote, "For Nolan, I think, form has centrally to do with the sorts of juxtapositions you can create by crosscutting. You could say he treats crosscutting the way Ophüls treats tracking shots or Dreyer treats stark decor: an initial commitment to a creative choice, which in turn shapes the handling of story, staging, performance and other factors." Bordwell further added, "It's rare to find any mainstream director so relentlessly focused on exploring a particular batch of storytelling techniques... Nolan zeroes in, from film to film, on a few narrative devices, finding new possibilities in what most directors handle routinely. He seems to me a very thoughtful, almost theoretical director in his fascination with turning certain conventions this way and that, to reveal their unexpected possibilities." The director has also stressed the importance of establishing a clear point of view in his films, and makes frequent use of "the shot that walks into a room behind a character, because... that takes [the viewer] inside the way that the character enters". On narrative perspective, Nolan has said, "You don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side."


title: Cinematic style of Christopher Nolan

text: In collaboration with composer David Julyan, Nolan's films feature slow and atmospheric scores with minimalistic expressions and ambient textures. In the mid-2000s, starting with "Batman Begins" (2005), Nolan began working with Hans Zimmer, who is known for integrating electronic music with traditional orchestral arrangements. With Zimmer, the soundscape in Nolan's films evolved into becoming increasingly more exuberant, kinetic and experimental. An example of this is the main theme from "Inception" (2010), which is derived from a slowed down version of Édith Piaf's song "Non, je ne regrette rien" (1960). For "Interstellar" (2014), Zimmer and Nolan wanted to move in a new direction: "The textures, the music, and the sounds, and the thing we sort of created has sort of seeped into other people's movies a bit, so it's time to reinvent." The score for "Dunkirk" (2017) was written to accommodate the auditory illusion of a Shepard tone. It was also based on a recording of Nolan's own pocket watch, which he sent to Zimmer to be synthesised. Ludwig Göransson, the composer for "Tenet" (2020), researched retrograde music to generate tunes that would sound the same forward and backward. Part of the soundscape for the villainous character in "Tenet" was based on Nolan breathing through a microphone, and later manipulated and turned into uncomfortable, raspy sounds by Göransson. He called working with the director an "eye-opening experience", saying: "I know from watching his films how savvy he is with music, how much he understands it, but I didn't fully know that he could speak about it almost like a trained musician."


title: Cinematic style of Christopher Nolan

text: Responding to criticism over his experimental sound mix for "Interstellar", Nolan remarked: "I've always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster ... I don't agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions — I try to achieve that in a very layered way using all the different things at my disposal — picture and sound." The mix for "Tenet" received similar attention, with some deeming it "infuriating", while others found it "inspiring". Peter Albrechtsen, a sound designer who worked on "Dunkirk", commented that Nolan rarely uses ADR (Automated Dialogue Replacement), so the dialogue in his films are mostly based on production sound. He also noted that the way Nolan uses sound is "very visceral ... It is a physical experience. It's a very intense sonic experience, and I can see why, for some, that's quite overwhelming."


title: Cinematic style of Christopher Nolan

text: Nolan's work explores existential, ethical, and epistemological themes such as subjective experience, distortion of memory, human morality, the nature of time, causality, and construction of personal identity. On subjective point of view, Nolan said: "I'm fascinated by our subjective perception of reality, that we are all stuck in a very singular point of view, a singular perspective on what we all agree to be an objective reality, and movies are one of the ways in which we try to see things from the same point of view". His films contain a notable degree of ambiguity and often examine the similarities between filmmaking and architecture. The director avoids divulging the ambiguities of his work so that audiences can come up with their own interpretations.


title: Cinematic style of Christopher Nolan

text: Film critic Tom Shone described Nolan's oeuvre as "epistemological thrillers whose protagonists, gripped by the desire for definitive answers, must negotiate mazy environments in which the truth is always beyond their reach." In an essay titled "The rational wonders of Christopher Nolan", film critic Mike D'Angelo argues that the filmmaker is a materialist dedicated to exploring the wonders of the natural world. "Underlying nearly every film he's ever made, no matter how fanciful, is his conviction that the universe can be explained entirely by physical processes." In his book, "Out of Time: Desire in Atemporal Cinema", author and film theorist Todd McGowan claims that many of Nolan's films break from linear chronology in order to emphasize the repetition of "the psychoanalytic drive". He writes, "the future does not provide the promise of desire's realization but rather a repeated failure to attain its object. By scrambling chronology, atemporal films make evident this failure for the spectator and thus encourage the spectator to embrace the repetition of the drive rather than put their faith in a different future." In 2020, Richard Newby of "The Hollywood Reporter" wrote that Nolan's concept of "balancing scales" has become less focused on the individual and "more innately aware of the communal and global." He noted that the filmmaker is concerned with the notions of legacy and justice, as well as "the preservation of the future, ensuring that there is one for the next generations, even if that means sacrifice in the here and now."


title: Cinematic style of Christopher Nolan

text: Nolan often grounds his stories in broader societal issues, such as corruption, surveillance, economic inequality and climate change, and his characters are usually emotionally disturbed, obsessive, and morally ambiguous, facing the fears and anxieties of loneliness, guilt, jealousy, and greed. By exploring "everyday neurosisour everyday sort of fears and hopes for ourselves" in a heightened reality, Nolan makes them more accessible to a universal audience. The protagonists of Nolan's films are often driven by philosophical beliefs, and their fate is ambiguous. In some of his films, the protagonist and antagonist are mirror images of each other, a point which is made to the protagonist by the antagonist. Through the clashing of ideologies, Nolan highlights the ambivalent nature of truth. In his book, "The Traumatic Screen: The Films of Christopher Nolan" (2020), film scholar Stuart Joy builds on contemporary psychoanalytic film theory to consider "the function and presentation of trauma" across Nolan's work, arguing that the complexity, thematic consistency, and fragmentary nature of his films mimic the structural operation of trauma. He writes that, "Nolan's films highlight cinema's ability to probe the nature of human consciousness while commenting on the relationship between spectator and screen."


title: Cinematic style of Christopher Nolan

text: The director uses his real-life experiences as an inspiration in his work, saying, "From a creative point of view, the process of growing up, the process of maturing, getting married, having kids, I've tried to use that in my work. I've tried to just always be driven by the things that were important to me." Writing for "The Playlist", Oliver Lyttelton singled out parenthood as a signature theme in Nolan's work, adding: "[T]he director avoids talking about his private life, but fatherhood has been at the emotional heart of almost everything he's made, at least from "Batman Begins" onwards (previous films, it should be said, pre-dated the birth of his kids)."


title: Cinematic style of Christopher Nolan

text: Nolan's most prominent recurring theme is the concept of time. The director has identified that all of his films "have had some odd relationship with time, usually in just a structural sense, in that I have always been interested in the subjectivity of time." Writing for "Film Philosophy", Emma Bell commented that the characters in "Inception" "escape time by being stricken in itbuilding the delusion that time has not passed, and is not passing now. They feel time grievously: willingly and knowingly destroying their experience by creating multiple simultaneous existences." In "Interstellar", Nolan explored the laws of physics as represented in Einstein's theory of general relativity, identifying time as the film's antagonist. With "Tenet", Nolan used entropy and the second law of thermodynamics to explore temporal paradoxes such as the grandfather paradox and the causal loop, as well as ideas about retrocausality, fatalism, infinity, the one-electron universe, and Maxwell's demon. Siddhant Adlakha of IGN called "Tenet" a culmination of the director's career and his obsession with "time as a moving fabric imprinted on film." Brandon Katz of "The Observer" wrote that "time isn't just a narrative gimmick in Nolan's filmography nor are his settings mere window dressing for the action. Instead, they are integral elements of the story that interact with both the characters and the viewers to elicit an emotional and psychological response both consciously and subconsciously."


title: Cinematic style of Christopher Nolan

text: Ontological questions concerning the nature of existence and reality also play a major role in his body of work. Alec Price and M.Dawson of "Left Field Cinema" noted that the existential crisis of conflicted male figures "struggling with the slippery nature of identity" is a prevalent theme in Nolan's films. The actual (or objective) world is of less importance than the way in which we absorb and remember, and it is this created (or subjective) reality that truly matters. "It is solely in the mind and the heart where any sense of permanency or equilibrium can ever be found." According to Todd McGowan, these "created realities" also reveal the ethical and political importance of creating fictions and falsehoods. Nolan's films typically deceive spectators about the events that occur and the motivations of the characters, but they do not abandon the idea of truth altogether. Instead, "They show us how truth must emerge out of the lie if it is not to lead us entirely astray." McGowan further argues that Nolan is the first filmmaker to devote himself entirely to the illusion of the medium, calling him a Hegelian filmmaker.


title: Cinematic style of Christopher Nolan

text: In "Inception", Nolan was inspired by lucid dreaming and dream incubation. The film's characters try to embed an idea in a person's mind without their knowledge, similar to Freud's theory that the unconscious influences one's behaviour without one's knowledge. Most of the film takes place in interconnected dream worlds; this creates a framework where actions in the real (or dream) worlds ripple across others. The dream is always in a state of emergence, shifting across levels as the characters navigate it. Like "Memento" and "The Prestige", "Inception" uses metaleptic storytelling devices and follows Nolan's "auteur affinity of converting, moreover, converging narrative and cognitive values into and within a fictional story".


title: Cinematic style of Christopher Nolan

text: Nolan's work has often been the subject of extensive social and political commentary. Slovenian philosopher Slavoj Žižek said Nolan's "The Dark Knight Rises" shows that Hollywood blockbusters can be "precise indicators of the ideological predicaments of our societies". "The Dark Knight" trilogy explored themes of chaos, terrorism, escalation of violence, financial manipulation, utilitarianism, mass surveillance, and class conflict.<ref name="Post-9/11"></ref> Batman's arc of rising (philosophically) from a man to "more than just a man" is similar to the Nietzschian Übermensch. The films also explore ideas akin to Jean-Jacques Rousseau's philosophical glorification of a simpler, more primitive way of life and the concept of general will. Theorist Douglas Kellner saw the series as a critical allegory about the Bush–Cheney era, highlighting the theme of government corruption and failure to solve social problems, as well as the cinematic spectacle and iconography related to 9/11.


title: Cinematic style of Christopher Nolan

text: In 2018, the conservative magazine "The American Spectator" published an article, "In Search of Christopher Nolan", writing, "All of Nolan's films, while maintaining a strong patriotism, plunges below the surface into the murky waters of philosophy, probing some of the deepest human struggles in our unfortunately postmodern age." The article further argues that "Dunkirk" echoes the work of absurdist playwrights like Samuel Beckett and the bleak, existential novels of Albert Camus and Jean-Paul Sartre. Nolan has said that none of his films are intended to be political.


title: Cinematic style of Christopher Nolan

text: Nolan has described his filmmaking process as a combination of intuition and geometry. "I draw a lot of diagrams when I work. I do a lot of thinking about etchings by Escher, for instance. That frees me, finding a mathematical model or a scientific model. I'll draw pictures and diagrams that illustrate the movement or the rhythm that I'm after." Caltech physicist and Nobel Laureate Kip Thorne compared Nolan's intuition to forward-thinking scientists, saying the filmmaker intuitively grasped things non-scientists rarely understand. Regarding his own decision-making of whether to start work on a project, Nolan has proclaimed a belief in the sincerity of his passion for something within the particular project in question as a basis for his selective thought.


title: Cinematic style of Christopher Nolan

text: When working with actors, Nolan prefers giving them the time to perform as many takes of a given scene as they want. "I've come to realize that the lighting and camera setups, the technical things, take all the time, but running another take generally only adds a couple of minutes... If an actor tells me they can do something more with a scene, I give them the chance, because it's not going to cost that much time. It can't all be about the technical issues." He prohibits the use of phones on set, and favours working in close coordination with his actors, avoiding the use of a video village. Cillian Murphy said, "he creates this environment where it's just you and the actor or actors, there's Wally [Pfister], the camera man, and he stands beside the camera with like his little monitor but he's watching it in real time. And for him the performance is paramount. It's the connection between the actors. He allows room for spontaneity." Gary Oldman praised the director for giving the actors space to "find things in the scene" and not just give direction for direction's sake. Kenneth Branagh also recognised Nolan's ability to provide a harmonious work environment, comparing him with Danny Boyle and Robert Altman: "These are not people who try to trick or cajole or hector people. They sort of strip away the chaos."


title: Cinematic style of Christopher Nolan

text: Nolan chooses to minimise the amount of computer-generated imagery for special effects in his films, preferring to use practical effects whenever possible, and only using CGI to enhance elements which he has photographed in camera. For instance, his films "Batman Begins", "Inception", and "Interstellar" featured 620, 500, and 850 visual-effects shots, respectively, which is considered minor when compared with contemporary visual-effects epics, which may have upwards of 1,500 to 2,000 VFX shots. Nolan explained: I believe in an absolute difference between animation and photography. However sophisticated your computer-generated imagery is, if it's been created from no physical elements and you haven't shot anything, it's going to feel like animation. There are usually two different goals in a visual effects movie. One is to fool the audience into seeing something seamless, and that's how I try to use it. The other is to impress the audience with the amount of money spent on the spectacle of the visual effect, and that, I have no interest in. Nolan shoots the entirety of his films with one unit, rather than using a second unit for action sequences. That way, he keeps his personality and point of view in every aspect of the film. "If I don't need to be directing the shots that go in the movie, why do I need to be there at all? The screen is the same size for every shot... Many action films embrace a second unit taking on all of the action. For me, that's odd because then why did you want to do an action film?" He uses multi-camera for stunts and single-camera for all the dramatic action. He then watches dailies every night, saying, "Shooting single-camera means I've already seen every frame as it's gone through the gate because my attention isn't divided to multi-cameras." Nolan deliberately works under a tight schedule during the early stages of the editing process, forcing himself and his editor to work more spontaneously. "I always think of editing as instinctive or impressionist. Not to think too much, in a way, and feel it more." He also avoids using temp music while cutting his films.


title: Cinematic style of Christopher Nolan

text: Nolan’s wife, Emma Thomas, has co-produced all of his films (including "Memento", in which she is credited as an associate producer). He regularly works with his brother, Jonathan Nolan (creator of "Person of Interest" and "Westworld"), who describes their working relationship in the production notes for "The Prestige": "I've always suspected that it has something to do with the fact that he's left-handed and I'm right-handed, because he's somehow able to look at my ideas and flip them around in a way that's just a little bit more twisted and interesting. It's great to be able to work with him like that". When working on separate projects the brothers always consult each other.


title: Cinematic style of Christopher Nolan

text: The director has worked with screenwriter David S. Goyer on all of his comic-book adaptations. Wally Pfister was the cinematographer for all of Nolan's films from "Memento" to "The Dark Knight Rises". Embarking on his own career as a director, Pfister said: "The greatest lesson I learned from Chris Nolan is to keep my humility. He is an absolute gentleman on set and he is wonderful to everyonefrom the actors to the entire crew, he treats everyone with respect." With "Interstellar" Nolan began collaborating with cinematographer Hoyte van Hoytema.


title: Cinematic style of Christopher Nolan

text: Lee Smith has edited seven of Nolan's films, while Dody Dorn has cut two. David Julyan composed the music for Nolan's early work, while Hans Zimmer and James Newton Howard provided the music for "Batman Begins" and "The Dark Knight". Zimmer scored "The Dark Knight Rises" and worked with Nolan on many of his subsequent films. Zimmer said his creative relationship with Nolan was highly collaborative, and that he considers Nolan a "co-creator" of the music. The director has worked with sound designer Richard King and re-recording mixer Gary Rizzo since "The Prestige". Nolan has frequently collaborated with special-effects supervisor Chris Corbould, stunt coordinator Tom Struthers first assistant director Nilo Otero, and visual effects supervisor Paul Franklin. Otero regards Nolan as a throwback to old-school Hollywood directors for his proficiency in all aspects of production instead of specializing. Production designer Nathan Crowley has worked with him since "Insomnia" (except for "Inception"). Nolan has called Crowley one of his closest and most inspiring creative collaborators. Casting director John Papsidera has worked on all of Nolan's films, except "Following" and "Insomnia".


title: Cinematic style of Christopher Nolan

text: Christian Bale, Michael Caine, Gary Oldman, Cillian Murphy, and Tom Hardy have been frequent collaborators since the mid-2000s, each appearing in upwards of 3 films.


title: Cinematic style of Christopher Nolan

text: The filmmaker has often cited Dutch graphic artist M. C. Escher as a major influence on his own work. "I'm very inspired by the prints of M.C. Escher and the interesting connection-point or blurring of boundaries between art and science, and art and mathematics." Another source of inspiration is Argentine writer Jorge Luis Borges. The director has called "Memento" a "strange cousin" to "Funes the Memorious", and has said, "I think his writing naturally lends itself to a cinematic interpretation because it is all about efficiency and precision, the bare bones of an idea."


title: Cinematic style of Christopher Nolan

text: Filmmakers Nolan has cited as influences include: Stanley Kubrick, Michael Mann, Terrence Malick, Orson Welles, Fritz Lang, Nicolas Roeg, Sidney Lumet, David Lean, Ridley Scott, Terry Gilliam, and John Frankenheimer. He has also praised David Lynch and Jacques Tourneur. Nolan's personal favourite films include "Blade Runner" (1982), "Star Wars" (1977), "The Man Who Would Be King" (1975), "Lawrence of Arabia" (1962), "Chinatown" (1974), "" (1968), "Withnail and I" (1987), and "Chariots of Fire" (1981). In 2013 Criterion Collection released a list of Nolan's ten favourite films from its catalogue, which included "The Hit" (1984), "12 Angry Men" (1957), "The Thin Red Line" (1998), "The Testament of Dr. Mabuse" (1933), "Bad Timing" (1980), "Merry Christmas Mr. Lawrence" (1983), "For All Mankind" (1989), "Koyaanisqatsi" (1982), "Mr. Arkadin" (1955), and Erich von Stroheim's "Greed" (1924) (unavailable on Criterion). He is also a fan of the "James Bond" films, citing them as a "a huge source of inspiration" and has expressed his admiration for the work of composer John Barry.


title: Cinematic style of Christopher Nolan

text: Nolan's habit of employing non-linear storylines was particularly influenced by the Graham Swift novel "Waterland", which he felt "did incredible things with parallel timelines, and told a story in different dimensions that was extremely coherent". He was also influenced by the visual language of the film "Pink Floyd – The Wall" (1982) and the structure of "Pulp Fiction" (1994), stating that he was "fascinated with what Tarantino had done". "Inception" was partly influenced by Dante's "Inferno", Max Ernst's "Forest" series, and the films "Orpheus" (1950), "La Jetée" (1962), "On Her Majesty's Secret Service" (1969), and "Zabriskie Point" (1970). For "Interstellar", he mentioned a number of literary influences, including "Flatland" by Edwin Abbott Abbott, "The Wasp Factory" by Iain Banks, and "A Wrinkle in Time" by Madeleine L'Engle. For "Dunkirk", Nolan said he was inspired by the work of Robert Bresson, silent films such as "Intolerance" (1916) and "" (1927), as well as by "The Wages of Fear" (1953). Other influences Nolan has credited include figurative painter Francis Bacon, architects Frank Lloyd Wright, Walter Gropius, Ludwig Mies van der Rohe, poet T. S. Eliot ("Four Quartets", in particular), and authors Raymond Chandler ("The Big Sleep" influenced Nolan's first films), James Ellroy, Jim Thompson, and Charles Dickens ("A Tale of Two Cities" was a major influence on "The Dark Knight Rises").


title: Cinematic style of Christopher Nolan

text: Nolan is a vocal proponent of the continued use of film stock and prefers it over digital recording and projection formats, summing up his belief as, "I am not committed to film out of nostalgia. I am in favor of any kind of technical innovation but it needs to exceed what has gone before and so far nothing has exceeded anything that's come before". Nolan's major concern is that the film industry's adoption of digital formats has been driven purely by economic factors as opposed to digital being a superior medium to film, saying, "I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo." He opposes the use of digital intermediates and digital cinematography, which he feels are less reliable than film and offer inferior image quality. In particular, the director advocates for the use of higher-quality, larger-format film stock such as Panavision anamorphic 35mm, VistaVision, Panavision Super 70mm, and IMAX 70mm film. Rather than use a digital intermediate, Nolan uses photochemical colour timing to colour grade his films, which results in less manipulation of the filmed image and higher film resolution. Seeking to maintain high resolution from an analogue workflow, Nolan has at times edited and created release prints for his films optically rather than though digital processes. On occasion he has even edited sequences for his films from the original camera negative. When digital processes are used, Nolan will use high resolution telecine based on a photochemical film print, striving to maintain a "film look".


title: Cinematic style of Christopher Nolan

text: Nolan is credited for popularising the use of IMAX film cameras in commercial filmmaking, and has used his influence in Hollywood to showcase the IMAX format, warning other filmmakers that unless they continued to assert their choice to use film in their productions, movie studios would begin to phase out the use of film in favour of digital. In 2014, Nolan, along with directors J. J. Abrams, Quentin Tarantino and Judd Apatow, successfully lobbied for major Hollywood studios to continue to fund Kodak to produce and process film stock, following the company's emergence from Chapter 11 bankruptcy, as Kodak is currently the last remaining manufacturer of film stock worldwide. At the 2016 Sundance Film Festival, Nolan attended a panel entitled "Power of Story", where he discussed the importance of allowing filmmakers the continued artistic choice of shooting on film. Nolan argued for the artistic merits of film on the grounds of "medium specificity", which highlights the importance that a work shot on film be presented in its original format, and "medium resistance", that the artist's choice of what medium is used to create a work will further effect choices in how a work is made. Nolan is also a proponent of film preservation and is a member of the National Film Preservation Board, as well as the board of Martin Scorsese's non-profit Film Foundation.


title: Cinematic style of Christopher Nolan

text: Nolan is an advocate for the importance of films being shown in large-screen cinema theatres as opposed to home video formats, as he believes that, "The theatrical window is to the movie business what live concerts are to the music businessand no one goes to a concert to be played an MP3 on a bare stage." In 2014, Nolan wrote an article for "The Wall Street Journal" where he expressed concern that as the film industry transitions away from photochemical film towards digital formats, the difference between seeing films in theatres versus on other formats will become trivialised, leaving audiences no incentive to seek out a theatrical experience. Nolan further expressed concern that with content digitised, theatres of the future will be able to track best-selling films and adjust their programming accordingly, a process that favours large heavily marketed studio films, but will marginalise smaller innovative and unconventional pictures. To combat this, Nolan believes the industry needs to focus on improving the theatrical experience with bigger and more beautiful presentation formats that cannot be accessed or reproduced in the home, as well as embracing the new generation of aspiring young innovative filmmakers. Nolan assisted in the 2019 renovation of the DGA theatre in Los Angeles.


title: Cinematic style of Christopher Nolan

text: During the COVID-19 pandemic, Nolan emerged as "a fierce advocate" for movie theaters and film industry workers. He wrote about the social and cultural importance of movie theaters in an article published by "The Washington Post" on 21 March 2020. He described cinemas as "the most affordable and democratic of our community gathering places" and urged Congress to include struggling theater chains and their employees in the federal bailout. "I hope that people are seeing our exhibition community for what it really is: a vital part of social life, providing jobs for many and entertainment for all. These are places of joyful mingling where workers serve up stories and treats to the crowds that come to enjoy an evening out with friends and family. As a filmmaker, my work can never be complete without those workers and the audiences they welcome." On 30 September 2020, he signed a letter to Washington lawmakers calling on the federal government to provide support for the industry. On 18 January 2021, he signed his name to a petition calling for the UK Chancellor, Rishi Sunak, to provide funding for struggling movie theaters. Owen Gleiberman of "Variety" deemed Nolan "the film industry's most dynamic public advocate for the movie-theater experience."


title: Cinematic style of Christopher Nolan

text: Nolan, whose relationship with Warner Bros. has been described as "one of the most successful working relationships in modern show business history", publicly criticised the studio for their lack of transparency when they announced they would release their 2021 theatrical slate day-and-date on HBO Max. In an interview with NPR, he explained: "When a company starts devaluing the individual assets by using them as leverage for a different business strategy without first figuring out how those new structures are going to have to work, it's a sign of great danger for the ordinary people who work in this industry."


title: Cinematic style of Christopher Nolan

text: Nolan has been critical of 3D film and dislikes that 3D cameras cannot be equipped with prime (non-zoom) lenses. In particular, Nolan has criticised the loss of brightness caused by 3D projection, which can be up to three foot-lamberts dimmer. "You're not that aware of it because once you're 'in that world,' your eye compensates, but having struggled for years to get theaters up to the proper brightness, we're not sticking polarized filters in everything." Nolan has also argued against the notion that traditional film does not create the illusion of depth perception, saying, "I think it's a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it's three dimensional ... You know 95% of our depth cues come from occlusion, resolution, color and so forth, so the idea of calling a 2D movie a '2D movie' is a little misleading."


title: Cinematic style of Christopher Nolan

text: He also opposes motion interpolation, commonly referred to as the "soap opera effect", as the default setting on television. In 2018, Nolan, Paul Thomas Anderson and other filmmakers reached out to television manufacturers in an attempt to "try and give directors a voice in how the technical standards of our work can be maintained in the home." A TV setting called "Filmmaker Mode" was announced by UHD Alliance a year later.


title: Continuum hypothesis

text: In mathematics, the continuum hypothesis (abbreviated CH) is a hypothesis about the possible sizes of infinite sets. It states that


title: Continuum hypothesis

text: In Zermelo–Fraenkel set theory with the axiom of choice (ZFC), this is equivalent to the following equation in aleph numbers: formula_1, or even shorter with beth numbers: formula_2.


title: Continuum hypothesis

text: The continuum hypothesis was advanced by Georg Cantor in 1878, and establishing its truth or falsehood is the first of Hilbert's 23 problems presented in 1900. The answer to this problem is independent of ZFC, so that either the continuum hypothesis or its negation can be added as an axiom to ZFC set theory, with the resulting theory being consistent if and only if ZFC is consistent. This independence was proved in 1963 by Paul Cohen, complementing earlier work by Kurt Gödel in 1940.


title: Continuum hypothesis

text: Cantor believed the continuum hypothesis to be true and for many years tried in vain to prove it. It became the first on David Hilbert's list of important open questions that was presented at the International Congress of Mathematicians in the year 1900 in Paris. Axiomatic set theory was at that point not yet formulated.


title: Continuum hypothesis

text: Kurt Gödel proved in 1940 that the negation of the continuum hypothesis, i.e., the existence of a set with intermediate cardinality, could not be proved in standard set theory. The second half of the independence of the continuum hypothesis – i.e., unprovability of the nonexistence of an intermediate-sized set – was proved in 1963 by Paul Cohen.


title: Continuum hypothesis

text: Two sets are said to have the same "cardinality" or "cardinal number" if there exists a bijection (a one-to-one correspondence) between them. Intuitively, for two sets "S" and "T" to have the same cardinality means that it is possible to "pair off" elements of "S" with elements of "T" in such a fashion that every element of "S" is paired off with exactly one element of "T" and vice versa. Hence, the set {banana, apple, pear} has the same cardinality as {yellow, red, green}.


title: Continuum hypothesis

text: With infinite sets such as the set of integers or rational numbers, the existence of a bijection between two sets becomes more difficult to demonstrate. The rational numbers seemingly form a counterexample to the continuum hypothesis: the integers form a proper subset of the rationals, which themselves form a proper subset of the reals, so intuitively, there are more rational numbers than integers and more real numbers than rational numbers. However, this intuitive analysis is flawed; it does not take proper account of the fact that all three sets are infinite. It turns out the rational numbers can actually be placed in one-to-one correspondence with the integers, and therefore the set of rational numbers is the same size ("cardinality") as the set of integers: they are both countable sets.


title: Continuum hypothesis

text: Cantor gave two proofs that the cardinality of the set of integers is strictly smaller than that of the set of real numbers (see Cantor's first uncountability proof and Cantor's diagonal argument). His proofs, however, give no indication of the extent to which the cardinality of the integers is less than that of the real numbers. Cantor proposed the continuum hypothesis as a possible solution to this question.


title: Continuum hypothesis

text: The continuum hypothesis states that the set of real numbers has minimal possible cardinality which is greater than the cardinality of the set of integers. That is, every set, "S", of real numbers can either be mapped one-to-one into the integers or the real numbers can be mapped one-to-one into "S". As the real numbers are equinumerous with the powerset of the integers, formula_3 and the continuum hypothesis says that there is no set formula_4 for which formula_5.


title: Continuum hypothesis

text: Assuming the axiom of choice, there is a unique smallest cardinal number formula_6 greater than formula_7, and the continuum hypothesis is in turn equivalent to the equality formula_8.


title: Continuum hypothesis

text: The independence of the continuum hypothesis (CH) from Zermelo–Fraenkel set theory (ZF) follows from combined work of Kurt Gödel and Paul Cohen.


title: Continuum hypothesis

text: Gödel showed that CH cannot be disproved from ZF, even if the axiom of choice (AC) is adopted (making ZFC). Gödel's proof shows that CH and AC both hold in the constructible universe L, an inner model of ZF set theory, assuming only the axioms of ZF. The existence of an inner model of ZF in which additional axioms hold shows that the additional axioms are consistent with ZF, provided ZF itself is consistent. The latter condition cannot be proved in ZF itself, due to Gödel's incompleteness theorems, but is widely believed to be true and can be proved in stronger set theories.


title: Continuum hypothesis

text: Cohen showed that CH cannot be proven from the ZFC axioms, completing the overall independence proof. To prove his result, Cohen developed the method of forcing, which has become a standard tool in set theory. Essentially, this method begins with a model of ZF in which CH holds, and constructs another model which contains more sets than the original, in a way that CH does not hold in the new model. Cohen was awarded the Fields Medal in 1966 for his proof.


title: Continuum hypothesis

text: The independence proof just described shows that CH is independent of ZFC. Further research has shown that CH is independent of all known "large cardinal axioms" in the context of ZFC. Moreover, it has been shown that the cardinality of the continuum can be any cardinal consistent with König's theorem. A result of Solovay, proved shortly after Cohen's result on the independence of the continuum hypothesis, shows that in any model of ZFC, if formula_9 is a cardinal of uncountable cofinality, then there is a forcing extension in which formula_10. However, per König's theorem, it is not consistent to assume formula_11 is formula_12 or formula_13 or any cardinal with cofinality formula_14.


title: Continuum hypothesis

text: The continuum hypothesis is closely related to many statements in analysis, point set topology and measure theory. As a result of its independence, many substantial conjectures in those fields have subsequently been shown to be independent as well.


title: Continuum hypothesis

text: The independence from ZFC means that proving or disproving the CH within ZFC is impossible. However, Gödel and Cohen's negative results are not universally accepted as disposing of all interest in the continuum hypothesis. Hilbert's problem remains an active topic of research; see Woodin and Peter Koellner for an overview of the current research status.


title: Continuum hypothesis

text: The continuum hypothesis was not the first statement shown to be independent of ZFC. An immediate consequence of Gödel's incompleteness theorem, which was published in 1931, is that there is a formal statement (one for each appropriate Gödel numbering scheme) expressing the consistency of ZFC that is independent of ZFC, assuming that ZFC is consistent. The continuum hypothesis and the axiom of choice were among the first mathematical statements shown to be independent of ZF set theory.


title: Continuum hypothesis

text: Gödel believed that CH is false, and that his proof that CH is consistent with ZFC only shows that the Zermelo–Fraenkel axioms do not adequately characterize the universe of sets. Gödel was a platonist and therefore had no problems with asserting the truth and falsehood of statements independent of their provability. Cohen, though a formalist, also tended towards rejecting CH.


title: Continuum hypothesis

text: Historically, mathematicians who favored a "rich" and "large" universe of sets were against CH, while those favoring a "neat" and "controllable" universe favored CH. Parallel arguments were made for and against the axiom of constructibility, which implies CH. More recently, Matthew Foreman has pointed out that ontological maximalism can actually be used to argue in favor of CH, because among models that have the same reals, models with "more" sets of reals have a better chance of satisfying CH.


title: Continuum hypothesis

text: Another viewpoint is that the conception of set is not specific enough to determine whether CH is true or false. This viewpoint was advanced as early as 1923 by Skolem, even before Gödel's first incompleteness theorem. Skolem argued on the basis of what is now known as Skolem's paradox, and it was later supported by the independence of CH from the axioms of ZFC since these axioms are enough to establish the elementary properties of sets and cardinalities. In order to argue against this viewpoint, it would be sufficient to demonstrate new axioms that are supported by intuition and resolve CH in one direction or another. Although the axiom of constructibility does resolve CH, it is not generally considered to be intuitively true any more than CH is generally considered to be false.


title: Continuum hypothesis

text: At least two other axioms have been proposed that have implications for the continuum hypothesis, although these axioms have not currently found wide acceptance in the mathematical community. In 1986, Chris Freiling presented an argument against CH by showing that the negation of CH is equivalent to Freiling's axiom of symmetry, a statement derived by arguing from particular intuitions about probabilities. Freiling believes this axiom is "intuitively true" but others have disagreed.


title: Continuum hypothesis

text: A difficult argument against CH developed by W. Hugh Woodin has attracted considerable attention since the year 2000. Foreman does not reject Woodin's argument outright but urges caution. Woodin proposed a new hypothesis that he labeled the , or "Star axiom". The Star axiom would imply that formula_11 is formula_16, thus falsifying CH. The Star axiom was bolstered by an independent May 2021 proof showing the Star axiom can be derived from a variation of Martin's maximum. However, Woodin stated in the 2010s that he now instead believes CH to be true, based on his belief in his new "ultimate L" conjecture.


title: Continuum hypothesis

text: Solomon Feferman has argued that CH is not a definite mathematical problem. He proposes a theory of "definiteness" using a semi-intuitionistic subsystem of ZF that accepts classical logic for bounded quantifiers but uses intuitionistic logic for unbounded ones, and suggests that a proposition formula_17 is mathematically "definite" if the semi-intuitionistic theory can prove formula_18. He conjectures that CH is not definite according to this notion, and proposes that CH should, therefore, be considered not to have a truth value. Peter Koellner wrote a critical commentary on Feferman's article.


title: Continuum hypothesis

text: Joel David Hamkins proposes a multiverse approach to set theory and argues that "the continuum hypothesis is settled on the multiverse view by our extensive knowledge about how it behaves in the multiverse, and, as a result, it can no longer be settled in the manner formerly hoped for". In a related vein, Saharon Shelah wrote that he does "not agree with the pure Platonic view that the interesting problems in set theory can be decided, that we just have to discover the additional axiom. My mental picture is that we have many possible set theories, all conforming to ZFC".


title: Continuum hypothesis

text: The generalized continuum hypothesis (GCH) states that if an infinite set's cardinality lies between that of an infinite set "S" and that of the power set formula_19 of "S", then it has the same cardinality as either "S" or formula_19. That is, for any infinite cardinal formula_21 there is no cardinal formula_9 such that formula_23. GCH is equivalent to:


title: Continuum hypothesis

text: The beth numbers provide an alternate notation for this condition: formula_26 for every ordinal formula_25. The continuum hypothesis is the special case for the ordinal formula_28. GCH was first suggested by Philip Jourdain. For the early history of GCH, see Moore.


title: Continuum hypothesis

text: Like CH, GCH is also independent of ZFC, but Sierpiński proved that ZF + GCH implies the axiom of choice (AC) (and therefore the negation of the axiom of determinacy, AD), so choice and GCH are not independent in ZF; there are no models of ZF in which GCH holds and AC fails. To prove this, Sierpiński showed GCH implies that every cardinality n is smaller than some aleph number, and thus can be ordered. This is done by showing that n is smaller than formula_29 which is smaller than its own Hartogs number—this uses the equality formula_30; for the full proof, see Gillman.


title: Continuum hypothesis

text: Kurt Gödel showed that GCH is a consequence of ZF + V=L (the axiom that every set is constructible relative to the ordinals), and is therefore consistent with ZFC. As GCH implies CH, Cohen's model in which CH fails is a model in which GCH fails, and thus GCH is not provable from ZFC. W. B. Easton used the method of forcing developed by Cohen to prove Easton's theorem, which shows it is consistent with ZFC for arbitrarily large cardinals formula_31 to fail to satisfy formula_32. Much later, Foreman and Woodin proved that (assuming the consistency of very large cardinals) it is consistent that formula_33 holds for every infinite cardinal formula_9. Later Woodin extended this by showing the consistency of formula_35 for every formula_9. Carmi Merimovich showed that, for each "n" ≥ 1, it is consistent with ZFC that for each κ, 2 is the "n"th successor of κ. On the other hand, László Patai proved that if γ is an ordinal and for each infinite cardinal κ, 2 is the γth successor of κ, then γ is finite.


title: Continuum hypothesis

text: For any infinite sets A and B, if there is an injection from A to B then there is an injection from subsets of A to subsets of B. Thus for any infinite cardinals A and B, formula_37 . If A and B are finite, the stronger inequality formula_38 holds. GCH implies that this strict, stronger inequality holds for infinite cardinals as well as finite cardinals.


title: Continuum hypothesis

text: Although the generalized continuum hypothesis refers directly only to cardinal exponentiation with 2 as the base, one can deduce from it the values of cardinal exponentiation formula_39 in all cases. GCH implies that:


title: Continuum hypothesis

text: Where, for every γ, GCH is used for equating formula_50 and formula_51; formula_52 is used as it is equivalent to the axiom of choice.


title: Scandal (Japanese band)

text: Formed in August 2006 by four high school girls, Scandal played live street performances until they were noticed and signed to the indie label Kitty Records. In 2008, they released three singles and a mini-album while simultaneously touring the United States, France, and Hong Kong. That October, Scandal released their major debut single, "Doll", on Epic Records Japan. The band has performed the theme songs for several anime series, including "Shōjo S" and "Harukaze" for "Bleach", "Shunkan Sentimental" for "," "Pride" for ""Star Driver"" and "A.M.D.K.J." for ""GeGeGe no Kitarō"." During their "Best Xmas 2018 Concert" at Akasaka Blitz, they announced that they would establish their own private record label named "her" in 2019.


title: Scandal (Japanese band)

text: Scandal was formed in August 2006 by four high school girls. The girls, Haruna, Mami, Tomomi, and Rina, met in an Osaka vocal and dance school called Caless. Shortly thereafter, they started performing live performances every weekend at Shiroten in Osaka Castle Park. Soon, they started getting offers from clubs in Osaka and Kyoto. The band's name originates from a sign near Studio Brotherz, a studio where they practiced in their early days. The studio was on the sixth floor of a building shared with other businesses, namely adult shops. The girls decided to choose the biggest sign among the shops, , as the name for their band.


title: Scandal (Japanese band)

text: In 2008, Scandal signed with indie label Kitty Records and released three singles exclusive to Tower Records. The first, "Space Ranger", ranked #2 on the Tower indie charts and the other two, "Koi Moyō" and "Kagerō", ranked #1. "Koi Moyō" was also used as the theme song for the movie "Corazon de Melon". On April 29, they performed at Show-Ya's all-female music festival Naon no Yaon. In March, they embarked on the Japan Nite tour, touring six major cities in the United States, including an appearance at SXSW. They also performed at the Sakura-Con anime convention. In July, they performed in front of 10,000 people at France's Japan Expo and also at Hong Kong's Animation-Comic-Game Hong Kong in August. Scandal concluded their indie career with the release of their first mini-album, "Yah! Yah! Yah! Hello Scandal: Maido! Scandal Desu! Yah Yah Yah!".


title: Scandal (Japanese band)

text: In October 2008, Scandal made their major debut on Epic Records Japan with the single "Doll". It gave them increased exposure, including appearances on mainstream music television shows like "Music Station". The band released their second major single "Sakura Goodbye" in March 2009 to commemorate Mami and Tomomi's high school graduation. The song was a new version of their indie song, "Sakura", which had previously only been performed live. The following month, their third major single "Shōjo S" was used as the tenth opening theme for the anime "Bleach". The single ranked #6 on the Oricon charts when it was released two months later in June.


title: Scandal (Japanese band)

text: On October 14, Scandal released their fourth major single, "Yumemiru Tsubasa" which was followed with their major debut album, "Best Scandal", the next week. The album ranked #5 on the Oricon weekly chart, making them the first girl band since Zone to have a debut album chart in the top five. In December, Scandal embarked on their "Scandal First Live: Best Scandal" tour in 2009. Concluding the year, the band won a New Artist Award at the 51st Japan Record Awards, but lost the Best New Artist Award to Korean boy group Big Bang.


title: Scandal (Japanese band)

text: 2010 began with Scandal's fifth major single in February, "Shunkan Sentimental". It was used as the fourth ending theme for the anime "". The following month, they embarked on a spring tour, "Scandal: Shunkan Sakura Zensen Tour 2010 Spring". Prior to its start, the band conducted a Twitter poll to choose a song to cover for the tour. The winner was "Secret Base (Kimi ga Kureta Mono)", which was chosen out of over 600 candidates. In June, Scandal released a pop tune for summer, "Taiyō to Kimi ga Egaku Story", followed by their first original ballad, "Namida no Regret", in July.


title: Scandal (Japanese band)

text: Between the end of July and the beginning of August, Scandal traveled to Hong Kong. The band performed for the third consecutive year at the Animation-Comic-Game Hong Kong convention and held their first one-man live concert in Hong Kong, which sold out. Scandal was also featured on the cover of the Hong Kong magazine "re:spect music magazine", and their previously released single "Taiyō to Kimi ga Egaku Story" reached #1 on the Radio Television Hong Kong J-pop chart. Earlier in the year, they were awarded a bronze newcomer award by RTHK, similar to the Hong Kong Grammys.


title: Scandal (Japanese band)

text: After returning to Japan, Scandal released their second album, "Temptation Box", on August 11. The album debuted at #3 on the Oricon weekly chart, making them the first girl band to have an album chart in the top three in over a year since Chatmonchy's "Kokuhaku". The album was also released in 42 other countries worldwide.


title: Scandal (Japanese band)

text: Later in August, Scandal provided the theme, insert, and ending songs for the animated film "Loups=Garous", which premiered on the 28th in most of Japan. The songs were "Midnight Television", "Koshi-Tantan", and "Sayonara My Friend", respectively. The band also appeared as themselves, marking their big-screen debut as a band. They were shown in a musical performance scene that was created with the help of motion capture, providing a realistic representation of the band's movements. Each member also had a role voicing a minor character.


title: Scandal (Japanese band)

text: Two months following "Temptation Box", Scandal released their eighth major single, "Scandal Nanka Buttobase", on October 6, 2010. The title track was written and composed by the husband-and-wife duo Yoko Aki and Ryudo Uzaki, who are known for creating many songs for Momoe Yamaguchi. The limited edition DVDs contains performances from the band's first television show, "Shiteki Ongaku Jijō", which ran for 13 episodes from July to September 2010. In November, Scandal released a cover mini-album called "R-Girl's Rock!". It features songs by female artists that they respect from the last three decades, including their cover of "Secret Base (Kimi ga Kureta Mono)" from May. Rina undertook her first lead vocal on the song "Sunny Day Sunday".


title: Scandal (Japanese band)

text: Scandal continued into 2011 with their ninth major single on February 9. Titled "Pride", the song was used as the second ending theme for the anime "". The single also includes the tracks "Cute!", a collaboration with Sanrio's Cinnamoroll, and "Emotion", their first song that was written solely by a band member. Their tenth major single, "Haruka", was released on April 20. The title track was used as the theme song for the animated film "Tofu Kozou", while the song "Satisfaction" was later used as the promotional song for the release of Windows 8. This was followed by their eleventh major single, "Love Survive", as well as their third studio album "Baby Action". They also embarked on their first Asian Tour, performing to sold-out crowds in Hong Kong, Taiwan and Singapore.


title: Scandal (Japanese band)

text: 2012 proved to be a year of firsts for Scandal. The title track of their twelfth single, "Harukaze", was used as the 15th and final (at the time) opening theme for the anime "Bleach". The following month, they released their first compilation album, "Scandal Show", as well as holding their first concert at the Nippon Budokan. In July, they released their thirteenth major single, "Taiyō Scandalous". This single marked the first official release of their subunits, Dobondobondo (Mami x Tomomi) and Almond Crush (Haruna x Rina). This was followed by their fourteenth major single, "Pin Heel Surfer", and their fourth major album, "Queens Are Trumps: Kirifuda wa Queen". With this release, they became the first girl band to achieve four consecutive top 5 positions in the Oricon Weekly charts. They also held a concert in Malaysia in December, becoming the first Japanese band to hold a solo concert there.


title: Scandal (Japanese band)

text: Scandal started 2013 by performing in their hometown at the Osaka-jō Hall in March. The tickets sold out in just five minutes. Later that month they also performed to sellout crowds on their 2nd Asian Tour in Indonesia, Singapore and Thailand. During this period they also announced their fourteenth major single "Awanai Tsumori no, Genki de ne" released in May, with the title track being used as the theme song for the movie "Ore wa Mada Honki Dashitenai Dake". They also took part in some music festivals like Kawaii!! Matsuri 2013 at Tokyo Metropolitan Gymnasium, and Rock in Japan Festival 2013 at Hitachi Seaside Park. Then they performed their summer live tour "Ska wa Mada Houki Dashitenai Dake". In August, they released their 16th single "Kagen no Tsuki", with the song "Kimi to Mirai to Kanzen Douki" being used as part of a collaboration with a robot project called "Robot Scandal". Their fifth studio album, "Standard", was released on October 2, 2013.


title: Scandal (Japanese band)

text: 2014 was a milestone in Scandal's career. Their sixth studio album released on December 3, 2014, "Hello World", was the first album fully written by the band members themselves, and their first released internationally by label JPU Records. It debuted at #3 on the Oricon chart, selling over 35,000 copies in its first week, and spawned the singles "Departure" and "Image". Their eighteenth major single, "Yoake no Ryuuseigun", was used as the ending theme to "" and reached #1 on Billboard Japan Hot Animation.


title: Scandal (Japanese band)

text: From April to May 2015, the band completed their first major Scandal World Tour 2015 "Hello World", selling out concerts in major cities across the world including Paris, London, Essen, Singapore, Taipei, Chicago, Los Angeles, Anaheim, Mexico City and Hong Kong. They followed this up with the Scandal Arena Tour 2015-2016 "Perfect World" in Japan from December 2015 to January 2016, during which they recorded their sixth live DVD at Nippon Budokan, Tokyo.


title: Scandal (Japanese band)

text: "Yellow", Scandal's seventh album, was released on March 2, 2016 and spawned the singles "Stamp!" (including B-side sleeper hit "Flashback No. 5") and "Sisters". The band released the single "Take Me Out" on July 27, 2016, in celebration of their tenth anniversary. The band also held their Scandal 10th Anniversary Festival "2006-2016" at Osaka Izumiotsu Phoenix, where they played to over 20,000 fans. The event was recorded and released later that year as their 7th concert DVD "Scandal 10th Anniversary Festival 2006-2016". They then embarked on their second major world tour, Scandal Tour 2016 "Yellow", performing in 14 countries.


title: Scandal (Japanese band)

text: On February 15, 2017, Scandal released their fourth compilation album, "Scandal", which peaked at number 2 on the Oricon weekly charts. In support of this album, Scandal embarked on their longest tour to date at the time, the Scandal 47-Prefecture tour, which saw them sell out 53 performances across all 47 prefectures of Japan over four months. Scandal's eleventh anniversary concert on August 21, 2017, was recorded for the October 21 episode of the television show "Storytellers". On October 7, Scandal was invited to Hamburg to perform at the 40th anniversary show of German artist Nena, who described herself as a fan of Scandal's. The band covered Nena's hit single "Willst du mit mir gehn" by singing the title phrase in German and the rest of the song in Japanese. On August 21, the band released a digital single, "Koisuru Universe".


title: Scandal (Japanese band)

text: Their eighth studio album "Honey" was released in Japan on February 14, 2018, and in Europe on March 2. "Honey" peaked at number 3 on the Oricon weekly charts, extending their streak of being the only girl band to consecutively have their albums reach the top 5 of the charts to 8. The album also topped nine charts across Europe, and reached the top 10 in three more. Later that year, the band embarked on yet another world tour, SCANDAL TOUR 2018 "HONEY", which included two debut concerts in Beijing and Guangzhou, China.


title: Scandal (Japanese band)

text: On Christmas Eve 2018 during their "Best Xmas 2018 Concert" at Akasaka Blitz, Scandal announced the formation of their own band-run music label "her". They describe the label as a platform for them to "freely explore" themselves and their artistry. The band released its first double-A-side CD single on the "her" label with the songs “Masterpiece” and “Mabataki” on March 27, 2019. On August 7, 2019, Scandal released the digital single "Fuzzy". This was followed by the digital single "Saishūheiki, kimi" on November 5, 2019. During this time, the band's official YouTube channel earned the 25th spot on Nikkei Entertainment's "most subscribed-to Japanese performer/entertainer channels in 2019" ranking.


title: Scandal (Japanese band)

text: In January 2020, the song "A.M.D.K.J." was announced as the ending theme song for the anime "GeGeGe no Kitarō", while "Tonight" was announced as the theme song for the Japanese drama "Raise de wa Chanto Shimasu (I'll be fine in the afterlife)". On February 12, 2020, the band released their ninth studio album, "Kiss from the Darkness", which included all the songs that had been released on the "her" label. The album peaked at number five on the Oricon weekly charts, extending Scandal's streak of having all nine of their albums reach the top 5 of the charts upon release. The album also charted on iTunes in four other countries, peaking at #21, #33, #33, and #60 in Australia, United States, Canada, and France respectively. On March 9, the band also launched a radio program hosted by themselves, "Scandal Catch Up supported by Meiji Apollo", aired weekly on Spotify Podcasts and Japanese commercial radio network JFN Park.


title: Scandal (Japanese band)

text: On May 30, 2020 the band announced the cancellation of the Japan leg of their Scandal World Tour 2020 “Kiss from the Darkness” due to Japan's strict COVID-19 precautionary measures prohibiting large public events (including concerts) and concerns for the safety of their fans and staff. Over the course of the next several months, they also announced the cancellations and postponements of their international legs. On June 3, the band released a digital single, "Living in the City", which they recorded from their respective homes during Japan's COVID-19 stay-home measures. On July 15, they released the digital single "Spice" in collaboration with Xflag and their animated film "Xpice", which premiered on the official Xflag Anime YouTube channel the same day. Scandal also livestreamed a commemoration talk show on their official YouTube channel in support of "Xpice".


title: Scandal (Japanese band)

text: On the 14th anniversary of Scandal's formation on August 21, the band performed their first paid livestream concert, "“Kiss from the Darkness” Livestream", from Katsushika Symphony Hills. Footage from the livestream was released later that year as their 8th concert DVD, "SCANDAL WORLD TOUR 2020 "Kiss from the darkness"". On October 18, the band appeared as guests on "「project STAY HOPE」", a special program hosted by fellow rock band supporting the reconstruction of Kumamoto. Scandal's one and only live performance with an audience in 2020, ""SCANDAL『SEASONS』collaborated with NAKED"" was held on December 24 at Toyosu PIT, Tokyo. The concert was later also released as a paid stream.