title: Emmanuel Levinas

text: Emmanuel Levinas (; ; 12 January 1906 – 25 December 1995) was a French philosopher of Lithuanian Jewish ancestry who is known for his work within Jewish philosophy, existentialism, and phenomenology, focusing on the relationship of ethics to metaphysics and ontology.


title: Emmanuel Levinas

text: Emmanuelis Levinas (later adapted to French orthography as Emmanuel Levinas) was born in 1906 into a middle-class Litvak family in Kaunas, in present-day Lithuania, then Kovno district, at the Western edge of the Russian Empire. Because of the disruptions of World War I, the family moved to Charkow in Ukraine in 1916, where they stayed during the Russian revolutions of February and October 1917. In 1920 his family returned to the Republic of Lithuania. Levinas's early education was in secular, Russian-language schools in Kaunas and Charkow. Upon his family's return to the Republic of Lithuania, Levinas spent two years at a Jewish gymnasium before departing for France, where he commenced his university education.


title: Emmanuel Levinas

text: Levinas began his philosophical studies at the University of Strasbourg in 1923, and his lifelong friendship with the French philosopher Maurice Blanchot. In 1928, he went to the University of Freiburg for two semesters to study phenomenology under Edmund Husserl. At Freiburg he also met Martin Heidegger, whose philosophy greatly impressed him. Levinas would in the early 1930s be one of the first French intellectuals to draw attention to Heidegger and Husserl by translating, in 1931, Husserl's "Cartesian Meditations" (with the help of Gabrielle Peiffer and with advice from Alexandre Koyré) and by drawing on their ideas in his own philosophy, in works such as ' ("The Theory of Intuition in Husserl's Phenomenology"; his 1929/30 doctoral thesis), ' ("From Existence to Existents"; 1947), and "" ("Discovering Existence with Husserl and Heidegger"; first edition, 1949, with additions, 1967). In 1929 he was awarded his doctorate ("Doctorat d'université" degree) by the University of Strasbourg for his thesis on the meaning of intuition in the philosophy of Husserl, published in 1930.


title: Emmanuel Levinas

text: Levinas became a naturalized French citizen in 1939. When France declared war on Germany, he reported for military duty as a translator of Russian and French. During the German invasion of France in 1940, his military unit was surrounded and forced to surrender. Levinas spent the rest of World War II as a prisoner of war in a camp near Hanover in Germany. Levinas was assigned to a special barrack for Jewish prisoners, who were forbidden any form of religious worship. Life in the Fallingbostel camp was difficult, but his status as a prisoner of war protected him from the Holocaust's concentration camps. Other prisoners saw him frequently jotting in a notebook. These jottings were later developed into his book "De l'Existence à l'Existant" (1947) and a series of lectures published under the title "Le Temps et l'Autre" (1948). His wartime notebooks have now been published in their original form as "Œuvres: Tome 1, Carnets de captivité: suivi de Écrits sur la captivité; et, Notes philosophiques diverses" (2009).


title: Emmanuel Levinas

text: Meanwhile, Maurice Blanchot helped Levinas's wife and daughter spend the war in a monastery, thus sparing them from the Holocaust. Blanchot, at considerable personal risk, also saw to it that Levinas was able to keep in contact with his immediate family through letters and other messages. Other members of Levinas's family were not so fortunate; his mother-in-law was deported and never heard from again, while his father and brothers were killed by the SS in Lithuania. After the Second World War, he studied the Talmud under the enigmatic Monsieur Chouchani, whose influence he acknowledged only late in his life.


title: Emmanuel Levinas

text: Levinas's first book-length essay, "Totality and Infinity" (1961), was written as his "Doctorat d'État" primary thesis (roughly equivalent to a Habilitation thesis). His secondary thesis was titled "Études sur la phénoménologie" ("Studies on Phenomenology"). After earning his habilitation, Levinas taught at a private Jewish High School in Paris, the , eventually becoming its director. He began teaching at the University of Poitiers in 1961, at the Nanterre campus of the University of Paris in 1967, and at the Sorbonne in 1973, from which he retired in 1979. He published his second major philosophical work, "Autrement qu'être ou au-delà de l'essence", in 1974. He was also a professor at the University of Fribourg in Switzerland. In 1989 he was awarded the Balzan Prize for Philosophy.


title: Emmanuel Levinas

text: According to his obituary in "The New York Times", Levinas came to regret his early enthusiasm for Heidegger, after the latter joined the Nazis. Levinas explicitly framed several of his mature philosophical works as attempts to respond to Heidegger's philosophy in light of its ethical failings.


title: Emmanuel Levinas

text: His son is the composer Michaël Levinas, and his son-in-law is the French mathematician . Among his most famous students is Rabbi Baruch Garzon from Tetouan (Morocco), who learned Philosophy with Levinas at the Sorbonne, and later went on to become one of the most important Rabbis of the Spanish-speaking world.


title: Emmanuel Levinas

text: In the 1950s, Levinas emerged from the circle of intellectuals surrounding the philosopher Jean Wahl as a leading French thinker. His work is based on the ethics of the Other or, in Levinas's terms, on "ethics as first philosophy". For Levinas, the Other is not knowable and cannot be made into an object of the self, as is done by traditional metaphysics (which Levinas called "ontology"). Levinas prefers to think of philosophy as the "wisdom of love" rather than the "love of wisdom" (the usual translation of the Greek "φιλοσοφία"). In his view, responsibility towards the Other precedes any "objective searching after truth".


title: Emmanuel Levinas

text: Levinas derives the primacy of his ethics from the experience of the encounter with the Other. For Levinas, the irreducible relation, the epiphany, of the face-to-face, the encounter with another, is a privileged phenomenon in which the other person's proximity and distance are both strongly felt. "The Other precisely "reveals" himself in his alterity not in a shock negating the I, but as the primordial phenomenon of gentleness." At the same time, the revelation of the face makes a demand, and this demand is before one can express or know one's freedom to affirm or deny. One instantly recognizes the transcendence and heteronomy of the Other. Even murder fails as an attempt to take hold of this otherness.


title: Emmanuel Levinas

text: While critical of traditional theology, Levinas does require that a "trace" of the Divine be acknowledged within an ethics of Otherness. This is especially evident in his thematization of debt and guilt. "A face is a trace of itself, given over to my responsibility, but to which I am wanting and faulty. It is as though I were responsible for his mortality, and guilty for surviving." The moral "authority" of the face of the Other is felt in my "infinite responsibility" for the Other. The face of the Other comes towards me with its infinite moral demands while emerging out of the trace.


title: Emmanuel Levinas

text: Apart from this morally imposing emergence, the Other’s face might well be adequately addressed as "Thou" (along the lines proposed by Martin Buber) in whose welcoming countenance I might find great comfort, love and communion of souls—but not a moral demand bearing down upon me from a height. "Through a trace the irreversible past takes on the profile of a ‘He.’ The beyond from which a face comes is in the third person." It is because the Other also emerges from the "illeity" of a He ("il" in French) that I instead fall into infinite debt vis-à-vis the Other in a situation of utterly asymmetrical obligations: I owe the Other everything, the Other owes me nothing. The trace of the Other is the heavy shadow of God, the God who commands, "Thou shalt not kill!" Levinas takes great pains to avoid straightforward theological language. The very metaphysics of signification subtending theological language is suspected and suspended by evocations of how traces work differently than signs. Nevertheless, the divinity of the trace is also undeniable: "the trace is not just one more word: it is the proximity of God in the countenance of my fellowman." In a sense, it is divine commandment without divine authority.


title: Emmanuel Levinas

text: Following "Totality and Infinity", Levinas later argued that responsibility for the other is rooted within our subjective constitution. The first line of the preface of this book is "everyone will readily agree that it is of the highest importance to know whether we are not duped by morality." This idea appears in his thoughts on recurrence (chapter 4 in "Otherwise than Being"), in which Levinas maintains that subjectivity is formed in and through our subjection to the other. Subjectivity, Levinas argued, is primordially ethical, not theoretical: that is to say, our responsibility for the other is not a derivative feature of our subjectivity, but instead, "founds" our subjective being-in-the-world by giving it a meaningful direction and orientation. Levinas's thesis "ethics as first philosophy", then, means that the traditional philosophical pursuit of knowledge is secondary to a basic ethical duty to the other. To meet the Other is to have the idea of Infinity.


title: Emmanuel Levinas

text: The elderly Levinas was a distinguished French public intellectual, whose books reportedly sold well. He had a major influence on the younger, but more well-known Jacques Derrida, whose seminal "Writing and Difference" contains an essay, "Violence and Metaphysics", that was instrumental in expanding interest in Levinas in France and abroad. Derrida also delivered a eulogy at Levinas's funeral, later published as "Adieu à Emmanuel Levinas", an appreciation and exploration of Levinas's moral philosophy. In a memorial essay for Levinas, Jean-Luc Marion claimed that "If one defines a great philosopher as someone without whom philosophy would not have been what it is, then in France there are two great philosophers of the 20th Century: Bergson and Lévinas."


title: Emmanuel Levinas

text: His work has been a source of controversy since the 1950s, when Simone de Beauvoir criticized his account of the subject as being necessarily masculine, as defined against a feminine other. While other feminist philosophers like Tina Chanter and the artist-thinker Bracha L. Ettinger have defended him against this charge, increasing interest in his work in the 2000s brought a reevaluation of the possible misogyny of his account of the feminine, as well as a critical engagement with his French nationalism in the context of colonialism. Among the most prominent of these are critiques by Simon Critchley and Stella Sandford. However, there have also been responses which argue that these critiques of Levinas are misplaced.


title: Emmanuel Levinas

text: For three decades, Levinas gave short talks on Rashi, a medieval French rabbi, every Shabbat morning at the Jewish high school in Paris where he was the principal. This tradition strongly influenced many generations of students.


title: Emmanuel Levinas

text: Jean-Pierre and Luc Dardenne, renowned Belgian filmmakers, have referred to Levinas as an important underpinning for their filmmaking ethics.


title: Emmanuel Levinas

text: In his book "Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine", author Sam B. Girgus argues that Levinas has dramatically affected films involving redemption.


title: Emmanuel Levinas

text: A full bibliography of all Levinas's publications up until 1981 is found in Roger Burggraeve "Emmanuel Levinas" (1982).


title: Emmanuel Levinas

text: A list of works, translated into English but not appearing in any collections, may be found in Critchley, S. and Bernasconi, R. (eds.), "The Cambridge Companion to Levinas" (Cambridge UP, 2002), pp. 269–270.


title: Kim Joon

text: Kim Joon (born Kim Hyung-joon on February 3, 1984 in Gwacheon, Gyeonggi, South Korea) is a South Korean rapper and actor who rose to stardom with his portrayal of one of the famous F4 members in the 2009 hit drama "Boys Over Flowers".


title: Kim Joon

text: Kim Joon made his entertainment debut with the boyband T-Max in 2007, as a rapper and a songwriter for the group. In 2009, Kim became popular after playing the role of F4 member "Song Woo-bin" in the hit Korean drama "Boys Over Flowers". Together with his band, their song entitled "Paradise" was featured in the first edition of the "Boys Over Flowers" soundtrack. Other songs of T-Max that were featured in the subsequent editions of the "Boys Over Flowers" soundtrack were "Say Yes," "Wish You're My Love", "Fight The Bad Feeling," and "Bang Bang Boom".


title: Kim Joon

text: As a solo artist, Kim also had a single in the soundtrack titled "To Empty Out," which featured Kim Jo-han. He also released another song he had written himself, "Jun Be O.K.," and Kim Hyun-joong made a cameo appearance in the music video of the song.


title: Kim Joon

text: From April 2009 to December 2010, Kim was a cast member of "Invincible Baseball Team", a variety-reality show that aired during "Saturday Challenges"; he was chosen as MVP for several weeks. In June 2009, he took part in another reality show "Mnet Scandal", where a celebrity dates a non-celebrity for a week. In July 2009, he made his stage debut in the musical "Youthful March" (젊음의 행진), along with his T-Max co-member Park Yun-hwa. Kim tested positive for H1N1 in November 2009 and had to cancel a fan meeting event in the Philippines.


title: Kim Joon

text: In March 2010, Kim starred in mobile drama alongside Nao Minamisawa titled "Pygmalion's Love", a Korea-Japanese co-production that aired on Japanese mobile TV station BeeTV. In May 2010, T-Max returned to performing with "Don't Be Rude", the first single for their studio album "Born to the Max" (new members Park Han-bi and Joo Chan-yang replaced Park Yun-hwa after the latter's departure for mandatory military service). The second single was "Words That I Can Say", and Kim appeared alongside actors Oh Ji-ho and Yoon So-yi in the music video.


title: Kim Joon

text: In March 2011, he starred in the police procedural "Detectives in Trouble" where he played a detective who specialized in cyber-investigations, but has trouble dealing with real-life cases because of his fear of corpses. He also began studying for a master's degree in Global Culture Content at the Hankuk University of Foreign Studies. A representative from his agency Planet05 commented, "Kim Joon has taken an interest in spreading Korean culture after he was able to meet with various international fans and after being named as an honorary ambassador of Global Tourism Etiquette. He wants to study the production of Hallyu culture content and its spread on a deeper level." On May 16, 2011, the T-Max members appeared on the game show "1 vs. 100" to raise funds for the establishment of an "invincible baseball" team; Kim advanced to the final 2, but did not win.


title: Kim Joon

text: Kim enlisted for his mandatory military service on September 29, 2011 for four weeks of basic training, followed by duty as a conscripted policeman. He was discharged on June 28, 2013.


title: Kim Joon

text: In June 2018 it was reported Kim has been married for three years to a non-celebrity and was a father of a child. Kim had got married in 2015 to his then girlfriend whom he has been dating for nine years even before he debuted in the entertainment industry.


title: Lisa Origliasso

text: Lisa Marie Huffman (née Origliasso; born 25 December 1984) is an Australian singer-songwriter. Born and raised in Albany Creek, Queensland, Lisa and her identical twin sister, Jessica Origliasso, performed in show business at a young age. Origliasso rose to fame in the 2000s when she and her sister formed the pop duo The Veronicas.


title: Lisa Origliasso

text: Prior to The Veronicas, the Origliassos had a small career in acting. In 2001, she had a recurring role alongside her sister in the children's television series "Cybergirl" as Sapphire Buxton. In 2007, she co-designed a fashion line with her sister, called "The Veronicas", aimed at girls aged 7 to 14, for Target. Origliasso has been endorsed by Nu:U, Calvin Klein, Keds and Estée Lauder.


title: Lisa Origliasso

text: In late 2011, Origliasso started a group called the Dead Cool Dropouts with Tyler Bryant, mostly done using GarageBand on a Macintosh computer. They have released an EP of songs, titled "Write You Off", "Green Eyes Make Me Blue", and "Criminal Heart".


title: Lisa Origliasso

text: Lisa Marie Origliasso was born in Albany Creek, Queensland, Australia, to Italian-Australians Joseph and Colleen Origliasso. Lisa is the youngest child, being slightly younger than her twin sister, Jessica, who was born one minute before her. Their older brother, Julian Origliasso, is a music manager who manages their duo The Veronicas. The family was raised in Albany Creek, Queensland, and attended both Ferny Grove State High School and Wavell State High School.


title: Lisa Origliasso

text: The Origliasso sisters began their career at the age of five, performing at awards shows and sporting events as the Origliasso Twins, changing their name to "Lisa & Jessica" in their teen years, under which they released three albums. At age sixteen, Lisa and Jessica ventured into acting, being cast in a small role in the children's television series "Cybergirl", as villains Emerald and Sapphire Buxton, respectively. In 2003, they formed another band with two of their friends called Teal and released a single called "Baby It's Over".


title: Lisa Origliasso

text: Lisa and Jessica impressed music executive Hayden Bell with their demo tracks and were signed to Excalibur Productions Australia as songwriters in 2004. After being signed to Sydney-based independent record label Engine Room Recordings, they received funding to travel around the world to write and record demos with other songwriters. During this trip, they co-wrote songs that would go on to be released by other artists, including: "What's Going On?" by Casey Donovan, "All About Us" by t.A.T.u. and "Faded" by Kate DeAraugo (also covered by Cascada). By the end of 2004 they travelled to America and signed with Sire Records, a subsidiary of Warner Music for a deal worth $2 million. Taking their name from a line in the film "Heathers" (1988), they called themselves The Veronicas. However the name was also connected to the Archie Comics character Veronica Lodge, leading to the owners suing them for trademark infringement, but resulted in a settlement which included the sisters appearing in the comics.


title: Lisa Origliasso

text: The following year, they released their debut album, "The Secret Life of..." (2005), which spawned their first major hit, "4ever", peaking at number two on the ARIA Singles Chart and being certified platinum, denoting 70,000 copies shipped in Australia. The album sold almost half a million copies worldwide and earned them an ARIA Award for Best Pop Release. In 2007, they released their second album, "Hook Me Up", and its eponymous single scored them their first number one hit on the ARIA Charts and was certified platinum. The following single, "Untouched", became their global breakthrough song, reaching the top twenty of the "Billboard" Hot 100 charts, and the top twenty in seven other countries, including number one in Ireland. It went on to be certified platinum in the United States, with over one million digital downloads. They embarked on the Revenge Is Sweeter tour, their first to go global, which began in February 2009 and ended December.


title: Lisa Origliasso

text: After concluding the tour, Lisa and Jessica decided to take a six-month hiatus from the duo. Having promoted their second album since 2007, they were "ready to move on" and wanting to "discover whether they could create separately as well as individually." Lisa spent her time listening to blues music and eventually travelled to Nashville to write, teaming up with American singer Tyler Bryant to form the Dead Cool Dropouts. They posted songs on their Tumblr account, which included "Green Eyes Make Me Blue", "Criminal Heart", "Write You Off", "Blame it on Me", "Playing for Keeps" and "Ju Ju Ya Ya".


title: Lisa Origliasso

text: Lisa reunited with her sister after their break in 2010 to begin working on the Veronicas third studio album. Their record label, Warner Music, went through major restructuring during this time which caused delays in releasing new music. Wanting to keep fans updated with the progress of their new work, they performed a set at The Viper Room in 2011. Months after this performance, in 2012, the Veronicas finally revealed that they would release a new song called "Lolita" for their new album, which was known as "Life on Mars" at the time. The single reached number twenty three on the ARIA Singles Chart and was certified gold. "Life on Mars" was to be released by the end of 2012; however, Warner Music pushed the date back to early 2013, and eventually the record was shelved altogether. Because of this, Lisa and Jessica hired a lawyer in a bid to get out of their contractual obligations with the label and were successful, so by 2013 the Veronicas became an independent act.


title: Lisa Origliasso

text: In April 2014, the Veronicas were signed to Sony Music Australia and began putting the finishing touches on their third album, which was renamed "The Veronicas". The first single from the album, "You Ruin Me", debuted atop the ARIA Singles Chart, becoming their first number-one hit in the country since "Hook Me Up" in 2007. It stayed at the apex of the chart for three consecutive weeks and was certified double platinum. The Veronicas released various singles through 2016 to 2020, "In My Blood", "On Your Side", "The Only High", "Think of Me", and "Biting My Tongue". During 2021, they released two albums: "Godzilla" and "Human". Lisa released her half of The Solo Project in September 2022 called "Cruisin' On My Own". The Veronicas signed with Big Noise in 2022


title: Lisa Origliasso

text: In 2006, Lisa and Jessica Origliasso joined Steve Irwin's Wildlife Warriors Worldwide, a charity that deals with the protection of animals and their natural environments.


title: Lisa Origliasso

text: Lisa and Jessica also joined a "Wear it with Pride" campaign to reform same-sex laws in Australia for the 85 legislative changes made in 2010 to overturn discrimination against same-sex couples and their families. The campaign involved them wearing numbered T-shirts representing each legislative change.


title: Lisa Origliasso

text: In 2010, the twins were honoured as Wildlife Warriors of the year for their efforts in publicizing animal protection and conservation on a worldwide scale.


title: Savage Model 99

text: The Savage Model 99, Model 1899, and their predecessor the model 1895 are a series of hammerless lever action rifles created by the Savage Arms Company in Utica, New York. The Model 99 family featured a unique rotary magazine, and later added some detachable magazine models.


title: Savage Model 99

text: The rifle was extremely popular with big game hunters and was even issued to the Montreal Home Guard during the First World War.


title: Savage Model 99

text: The earliest predecessor of the Model 1895 was the Model 1892, and it was one of the contending rifle models offered to the U.S. Army when they were looking to replace the Springfield Model 1873 trapdoor rifle. The Krag–Jørgensen was chosen over the Savage and other models. The Model 1892 was never put into production (and indeed pre-dated the actual establishment of the Savage Repeating Arms Company; the Model 1892 was a collaborative venture between Arthur Savage and probably the E.W. Bliss Company. Followed by the Model 1893 prototypes, that evolved into the Model 1895 whose prototypes and design was done by Colt's Manufacturing Company and production rifles made by Marlin Firearms. A Model 1895 musket possibly in .30-40 Krag was the winner of an 1896 competition for a New York National Guard rifle contract, beating out the Winchester Model 1895 and several other rifles. Political controversy and the offer of free rifles from the US Army led to the cancellation of the contract, and the New York National Guard was therefore equipped with obsolete single-shot Trapdoor Springfield rifles during the Spanish–American War. Similarly, the Model 1895 musket won a contract for arming the Mexican Army in 1897, but again had to cancel - this time due to lack of a factory to produce the rifles. Later refinements to the Model 1895 design led to the Model 1899, whose name was changed to the Model 99 with the introduction of the 300 Savage cartridge in 1921. In 1899, Savage offered to convert any existing Model 1895 rifle or carbine to Model 1899 configuration for a $5 fee. After changes to the Model 1899 receiver and internals in 1908, Savage would no longer work on 1895's or pre-1909 1899's and would instead offer to sell a new rifle at discounted price.


title: Savage Model 99

text: During World War I, the Montreal Home Guard was issued Model 1899 rifles in "musket" form, which incorporated a bayonet lug and military-style stock. While similar to the earlier catalogued 1899 military muskets, it has several differences and is thus known as the Montreal Home Guard Musket. The Montreal Home Guard contract was for a total of 2,500 rifles, though according to the Savage ledgers only 803 were delivered. These rifles were chambered in .303 Savage, as altering the design for the Canadian standard .303 British Mk VII cartridge would have resulted in an unacceptable delay in delivery. Guardsmen were responsible for purchasing their own rifles and had the option of having their names stamped on the stock. Many also chose to have their names engraved on the left side of the receiver.


title: Savage Model 99

text: Initially the Model 1895 was available only chambered in the 303 Savage, a similar cartridge to Winchester's 30-30 but usually loaded with heavier bullets of 185gr or 190gr. The Model 1899 was also only available in 303 Savage initially, but in 1900 they added the 30-30 and in 1903 they added the 25-35, the 32-40, and 38-55. Charles Newton worked with Savage Arms to introduce the 22HP in 1912, the 250-3000 in 1915, and finally the 300 Savage in 1921. In 1956 the 243 Win, 308 Win and 358 Win were added, and later the 284 Win, 375 Win, 22-250 and 7mm08 would all make appearances.


title: Savage Model 99

text: Originally incorporated as the Savage Repeating Arms Company from 1894 to 1897 in Utica, NY (present on the barrel address of Model 1895's), the company reincorporated as the Savage Arms Company in 1898. This lasted until 1917 when the company changed to the Savage Arms Corporation after being bought by Driggs-Seabury, and they've kept that name since then. The company produced Model 1899's and Model 99's in Utica, NY from 1899 to 1946, Model 99's in Chicopee Falls, MA from 1947 to 1959, and in Westfield, MA from 1960 to 2003.


title: Savage Model 99

text: The Model 99 and Model 1899 were preceded by the Model 1895, which was the first hammerless lever-action rifle. The 1895, as well as the later Model 1899 and early Model 99, used a five-shot rotary magazine to hold the cartridges. The rotating magazine uses a spring-loaded spool with grooves to hold the cartridges. The Savage 1899 took advantage of the spool to include a counter to indicate how many rounds are left in the magazine. The Model 99 continued using this system for many years, except for later models which had a detachable magazine.


title: Savage Model 99

text: The rotating magazine design allowed the rifle to be one of the first lever-action rifles to use spitzer bullets. Previous lever-action rifles used tubular magazines, which placed cartridges of ammunition end to end. The pointed tips of a spitzer bullet would touch the primer of the cartridge in front of it, possibly causing an accidental discharge. Another novel safety feature was a cocking indicator. On the Model 1895 this was a hole on top of the bolt through which a C (Cocked) or S (Safe) could be seen. On early Model 1899's this changed to a tab on top of the bolt which raised up when the rifle was cocked and could be visually seen or easily felt by touch; and in 1908 it changed to a small pin which would protrude above the top of the receiver to indicate the rifle was cocked and ready to fire.


title: Savage Model 99

text: A number of special option features were available for Model 1895's, 1899's and 99's through the 1930's including multiple grades of engraving, several different checkering styles, pistol grips, a takedown option, better sights and peep sights, special order buttplates, and even having parts of the rifle silver or gold plated.The Model 1899 had a number of special grades available which came with sets of special order features, such as the Leader Grade, Rival Grade, Excelsior Grade, Monarch Grade, etc. By the end of production, Savage had sold the 99 family in 58 different models and special grade configurations.


title: Slacker

text: According to different sources, the term "slacker" dates back to about 1790 or 1898. "Slacker" gained some recognition during the British Gezira Scheme in the early to mid 20th century, when Sudanese labourers protested their relative powerlessness by working lethargically, a form of protest known as "slacking".


title: Slacker

text: In the United States during World War I, the word "slacker" was commonly used to describe someone who was not participating in the war effort, specifically someone who avoided military service, equivalent to the later term "draft dodger". Attempts to track down such evaders were called "slacker raids". During World War I, U.S. Senator Miles Poindexter discussed whether inquiries "to separate the cowards and the slackers from those who had not violated the draft" had been managed properly. A "San Francisco Chronicle" headline on 7 September 1918, read, "Slacker is Doused in Barrel of Paint". The term was also used during the World War II period in the United States. In 1940, "Time" quoted the U.S. Army on managing the military draft efficiently: "War is not going to wait while every slacker resorts to endless appeals."


title: Slacker

text: The shift in the use of "slacker" from its draft-related meaning to a more general sense of the avoidance of work is unclear. In April 1948, "The New Republic" referred to "resentment against taxes levied to aid slackers". An article tracking the evolution of the meaning of the term "Slacker" in defamation lawsuits between World War I and 2010, entitled "When Slacker Was a Dirty Word: Defamation and Draft Dodging During World War I," was written by Attorney David Kluft for the Trademark and Copyright Law Blog.


title: Slacker

text: The term achieved renewed popularity following its use in the 1985 film "Back to the Future" in which James Tolkan's character Mr. Strickland chronically refers to Marty McFly, his father George McFly, Biff Tannen, and a group of teenage delinquents in "Part II" as "slackers". It gained subsequent exposure from the 1989 Superchunk single "Slack Motherfucker", and the 1990 film "Slacker". The television series "Rox" has been noted for its "depiction of the slacker lifestyle ... of the early '90s".


title: Slacker

text: "Slacker" became widely used in the 1990s to refer to a type of apathetic youth who were cynical and uninterested in political or social causes and as a stereotype for members of Generation X. Richard Linklater, director of the aforementioned 1990 film, commented on the term's meaning in a 1995 interview, stating that "I think the cheapest definition [of a slacker] would be someone who's just lazy, hangin' out, doing nothing. I'd like to change that to somebody who's not doing what's expected of them. Somebody who's trying to live an interesting life, doing what they want to do, and if that takes time to find, so be it."


title: Slacker

text: The term has connotations of "apathy and aimlessness". It is also used to refer to an educated person who avoids work, possibly as an anti-materialist stance, who may be viewed as an underachiever.


title: Slacker

text: "Slackers" have been the subject of many films and television shows, particularly comedies. Notable examples include the films "Slacker", "Slackers", "Clerks", "Hot Tub Time Machine", "Bio-Dome", "You, Me and Dupree", "Bachelor Party", "Stripes", "Withnail and I", "Old School", "Ferris Bueller's Day Off", "Trainspotting," "Animal House", and "Bill and Ted" as well as the television shows "Freaks and Geeks", "Spaced", and "The Royle Family".


title: Slacker

text: "The Idler", a British magazine founded in 1993, represents an alternative to contemporary society's work ethic and aims "to return dignity to the art of loafing".


title: Web platform

text: The Web platform is a collection of technologies developed as open standards by the World Wide Web Consortium and other standardization bodies such as the Web Hypertext Application Technology Working Group, the Unicode Consortium, the Internet Engineering Task Force, and Ecma International. It is the umbrella term introduced by the World Wide Web Consortium, and in 2011 it was defined as "a platform for innovation, consolidation and cost efficiencies" by W3C CEO Jeff Jaffe. Being built on The evergreen Web (where rapid, automatic software updates, vendor co-operation, standardization, and competition take place) has allowed for the addition of new capabilities while addressing security and privacy risks. Additionally, developers are enabled to build interoperable content on a cohesive platform.


title: Web platform

text: The Web platform includes technologies—computer languages and APIs—that were originally created in relation to the publication of Web pages. This includes HTML, CSS, SVG, MathML, WAI-ARIA, ECMAScript, WebGL, Web Storage, Indexed Database API, Web Components, WebAssembly, WebGPU, Web Workers, WebSocket, Geolocation API, Server-Sent Events, DOM Events, Media Fragments, XMLHttpRequest, Cross-Origin Resource Sharing, File API, RDFa, WOFF, HTTP, TLS 1.2, and IRI.


title: Franz Winkelmeier

text: Franz Winkelmeier (27 April 1860 – 24 August 1887) was an Austrian man who was promoted as the worlds tallest man at 8 ft 6 in (2.59 m), however he was measured by well known physician Rudolf Virchow at only 2.28 m (7 ft 6 in). He was known as the Giant (German: Riese) of Friedburg-Lengau.


title: Franz Winkelmeier

text: He was born as a son of a family of smallholding farmers in Lengau, Upper Austria. Two years later, his parents bought the Schöscharngut between Friedburg and Lengau. In Friedburg, Franz Winkelmeier attended elementary school. Until the age of fourteen years, his growth was normal.


title: Franz Winkelmeier

text: Franz Winkelmeier made his first public appearance as an anomaly on 6 October 1881 in Braunau. He was promoted by an efficient tailor from Friedburg, and appeared in Lower Austria, Steiermark, Carinthia, Görz, Triest, Fiume, Hungaria and Siebenbürgen.


title: Franz Winkelmeier

text: In the summer of 1885 he was in Tyrol, and from 1 September until 30 November he was seen in the Concordia-Theater in Berlin. Even the tall soldiers of Emperor Wilhelm seemed to be dwarves beside him.


title: Franz Winkelmeier

text: After appearing in more German cities, he went to Paris at the Folies Bergère theater. On 9 November 1886 he was hired by R. Rosingky to go to London. On 22 June 1887 he was presented to Queen Victoria.


title: Franz Winkelmeier

text: As soon as he finished his tours, Franz Winkelmeier died of tuberculosis. He was buried in the cemetery in Lengau. In the restaurant Zum Riesen there are a lot of mementos of Franz Winkelmeier.


title: Chloralkali process

text: The chloralkali process (also chlor-alkali and chlor alkali) is an industrial process for the electrolysis of sodium chloride (NaCl) solutions. It is the technology used to produce chlorine and sodium hydroxide (caustic soda), which are commodity chemicals required by industry. Thirty five million tons of chlorine were prepared by this process in 1987. The chlorine and sodium hydroxide produced in this process are widely used in the chemical industry.


title: Chloralkali process

text: Usually the process is conducted on a brine (an aqueous solution of NaCl), in which case sodium hydroxide (NaOH), hydrogen, and chlorine result. When using calcium chloride or potassium chloride, the products contain calcium or potassium instead of sodium. Related processes are known that use molten NaCl to give chlorine and sodium metal or condensed hydrogen chloride to give hydrogen and chlorine.


title: Chloralkali process

text: The process has a high energy consumption, for example around of electricity per tonne of sodium hydroxide produced. Because the process yields equivalent amounts of chlorine and sodium hydroxide (two moles of sodium hydroxide per mole of chlorine), it is necessary to find a use for these products in the same proportion. For every mole of chlorine produced, one mole of hydrogen is produced. Much of this hydrogen is used to produce hydrochloric acid, ammonia, hydrogen peroxide, or is burned for power and/or steam production.


title: Chloralkali process

text: The chloralkali process has been in use since the 19th century and is a primary industry in the United States, Western Europe, and Japan. It has become the principal source of chlorine during the 20th century. The diaphragm cell process and the mercury cell process have been used for over 100 years but are environmentally unfriendly through their use of asbestos and mercury, respectively. The membrane cell process, which was only developed in the past 60 years, is a superior method with its improved energy efficiency and lack of harmful chemicals.


title: Chloralkali process

text: Although the first formation of chlorine by the electrolysis of brine was attributed to chemist William Cruikshank in 1800, it was 90 years later that the electrolytic method was used successfully on a commercial scale. Industrial scale production began in 1892. In 1833, Faraday formulated the laws that governed the electrolysis of aqueous solutions, and patents were issued to Cook and Watt in 1851 and to Stanley in 1853 for the electrolytic production of chlorine from brine.


title: Chloralkali process

text: Three production methods are in use. While the mercury cell method produces chlorine-free sodium hydroxide, the use of several tonnes of mercury leads to serious environmental problems. In a normal production cycle a few hundred pounds of mercury per year are emitted, which accumulate in the environment. Additionally, the chlorine and sodium hydroxide produced via the mercury-cell chloralkali process are themselves contaminated with trace amounts of mercury. The membrane and diaphragm method use no mercury, but the sodium hydroxide contains chlorine, which must be removed.


title: Chloralkali process

text: The most common chloralkali process involves the electrolysis of aqueous sodium chloride (a brine) in a membrane cell. A membrane, such as one made from Nafion, Flemion or Aciplex, is used to prevent the reaction between the chlorine and hydroxide ions.


title: Chloralkali process

text: Saturated brine is passed into the first chamber of the cell where the chloride ions are oxidised at the anode, losing electrons to become chlorine gas (A in figure):


title: Chloralkali process

text: At the cathode, positive hydrogen ions pulled from water molecules are reduced by the electrons provided by the electrolytic current, to hydrogen gas, releasing hydroxide ions into the solution (C in figure):


title: Chloralkali process

text: The ion-permeable ion-exchange membrane at the center of the cell allows the sodium ions (Na) to pass to the second chamber where they react with the hydroxide ions to produce caustic soda (NaOH) (B in figure). The overall reaction for the electrolysis of brine is thus:


title: Chloralkali process

text: In the diaphragm cell process, there are two compartments separated by a permeable diaphragm, often made of asbestos fibers. Brine is introduced into the anode compartment and flows into the cathode compartment. Similarly to the membrane cell, chloride ions are oxidized at the anode to produce chlorine, and at the cathode, water is split into caustic soda and hydrogen. The diaphragm prevents the reaction of the caustic soda with the chlorine. A diluted caustic brine leaves the cell. The caustic soda must usually be concentrated to 50% and the salt removed. This is done using an evaporative process with about three tonnes of steam per tonne of caustic soda. The salt separated from the caustic brine can be used to saturate diluted brine. The chlorine contains oxygen and must often be purified by liquefaction and evaporation.


title: Chloralkali process

text: In the mercury-cell process, also known as the Castner–Kellner process, a saturated brine solution floats on top of a thin layer of mercury. The mercury is the cathode, where sodium is produced and forms an amalgam with the mercury. The amalgam is continuously drawn out of the cell and reacted with water which decomposes the amalgam into sodium hydroxide, hydrogen and mercury. The mercury is recycled into the electrolytic cell. Chlorine is produced at the anode and bubbles out of the cell. Mercury cells are being phased out due to concerns about mercury poisoning from mercury cell pollution such as occurred in Canada (see Ontario Minamata disease) and Japan (see Minamata disease).


title: Chloralkali process

text: Without a membrane, the OH ions produced at the cathode are free to diffuse throughout the electrolyte. As the electrolyte becomes more basic due to the production of OH, less Cl emerges from the solution as it begins to disproportionate to form chloride and hypochlorite ions at the anode:


title: Chloralkali process

text: The more opportunity the Cl has to interact with NaOH in the solution, the less Cl emerges at the surface of the solution and the faster the production of hypochlorite progresses. This depends on factors such as solution temperature, the amount of time the Cl molecule is in contact with the solution, and concentration of NaOH.


title: Chloralkali process

text: This reaction is accelerated at temperatures above about 60 °C. Other reactions occur, such as the self-ionization of water and the decomposition of hypochlorite at the cathode, the rate of the latter depends on factors such as diffusion and the surface area of the cathode in contact with the electrolyte.


title: Chloralkali process

text: If current is interrupted while the cathode is submerged, cathodes that are attacked by hypochlorites, such as those made from stainless steel, will dissolve in unpartitioned cells.


title: Chloralkali process

text: If producing hydrogen and oxygen gases is not a priority, the addition of 0.18% sodium or potassium chromate to the electrolyte will improve the efficiency of producing the other products.


title: Chloralkali process

text: Due to the corrosive nature of chlorine production, the anode (where the chlorine is formed) must be non-reactive and has been made from materials such as platinum metal, graphite (called plumbago in Faraday's time), or platinized titanium. A mixed metal oxide clad titanium anode (also called a dimensionally stable anode) is the industrial standard today. Historically, platinum, magnetite, lead dioxide, manganese dioxide, and ferrosilicon (13–15% silicon) have also been used as anodes. Platinum alloyed with iridium is more resistant to corrosion from chlorine than pure platinum. Unclad titanium cannot be used as an anode because it anodizes, forming a non-conductive oxide and passivates. Graphite will slowly disintegrate due to internal electrolytic gas production from the porous nature of the material and carbon dioxide forming due to carbon oxidation, causing fine particles of graphite to be suspended in the electrolyte that can be removed by filtration. The cathode (where hydroxide forms) can be made from unalloyed titanium, graphite, or a more easily oxidized metal such as stainless steel or nickel.


title: Chloralkali process

text: The interests of chloralkali product manufacturers are represented at regional, national and international levels by associations such as Euro Chlor and The World Chlorine Council.


title: Arthur Read

text: Arthur Timothy Read is a fictional anthropomorphic aardvark created by American author Marc Brown. He is in the third grade and lives in the fictional city of Elwood City.


title: Arthur Read

text: Arthur is an anthropomorphic aardvark. In Brown's first "Arthur" book, "Arthur's Nose" (1976), Arthur is shown with a long nose and resembles an actual aardvark, though as the books progressed (as seen in the first season of "Reading Rainbow" in its 13th episode, "Arthur's Eyes") and eventually became an animated TV series. The character's most recognizable form is a light brown, slanted face with small ears and nostrils with signature round brown-rimmed eyeglasses. Arthur wears a yellow V-neck sweater over a white dress shirt, blue jeans, and red and white sneakers. He also occasionally wears a red rugby-style sweater. In the series finale "All Grown Up", Arthur's 28-year-old appearance features him with straight hair, slight facial hair, a green vest with a hood, and a red and yellow shirt with a Dark Bunny insignia.


title: Arthur Read

text: The tensions between Arthur and his 4-year-old sister, Dora Winifred "D.W." Read, are a common theme in the "Arthur" series. Arthur is constantly pestered by D.W., who goes out of her way to get Arthur into trouble, which often causes Arthur to retaliate, by getting into quarrels with his friends.


title: Arthur Read

text: Arthur's parents are his mother, Jane Read, who is a work-at-home accountant, and his father, David L. Read, who runs a catering business.


title: Arthur Read

text: Appearances from Arthur's extended family include Grandma Thora (David's mother), Grandpa Dave (Jane's father), Uncle Fred (Jane's brother), Uncle Richard, Uncle Bud, Uncle Sean, Aunt Jessica, Aunt Loretta, Aunt Lucy, and his cousins Cora, Monique, Ricky, George, and other unnamed relatives. However, the only two members of Arthur's extended family who have appeared more than once are Grandma Thora and Grandpa Dave.


title: Arthur Read

text: Grandma Thora lives in a house not too far from Arthur's in Elwood City and is known to be a bad cook, but a loving grandmother and a world-class marbles player. She loves to play bingo every Friday night, and in some episodes has to watch over Arthur and D.W. She is good friends with Mrs. McGrady, the school cafeteria monitor. Grandpa Dave lives in a convalescent home and has a roommate who was a ship captain.


title: Arthur Read

text: Arthur was originally voiced by Michael Yarmush for the first five seasons. Due to reaching puberty, Yarmush was replaced with Justin Bradley for the 6th Season. After that, he was replaced with Mark Rendall who started voicing Arthur in Season 7. After Season 8 ended, Rendall redubbed all of Bradley's dialogue in Season 6. Starting with the 9th Season until the 11th Season, he was replaced with Cameron Ansell. Soon after, Ansell was replaced by Dallas Jokic starting with Season 12 and ending with Season 15. From Seasons 16–17, Drew Adkins replaced Jokic for the role of Arthur. After Adkins got too old to play the character, William Healy replaced him for the role for Season 18 and Season 19. Healy was later replaced by Jacob Ursomarzo in the 20th Season.


title: Arthur Read

text: After Ursomarzo ended his role of Arthur after the 21st Season, Roman Lutterotti replaced him for the last four seasons. Michael Yarmush reprised his role in the series finale "All Grown Up", voicing the adult Arthur.


title: Arthur Read

text: Since "Arthur" is shown in more than 80 countries, Arthur is dubbed by these voice actors shown here:


title: Arthur Read

text: Arthur Read was listed as number 26 in the TV Guide article, 50 Greatest Cartoon Characters of All Time.


title: Polow da Don

text: Jamal Fincher Jones (born October 15, 1977, or 1978), professionally known as Polow da Don, is an American record producer and rapper.


title: Polow da Don

text: Jones has produced a variety of singles for a multitude of artists including "Anaconda" by Nicki Minaj (2014), "Love In This Club" by Usher (2008), "Buttons" by the Pussycat Dolls (2006), "Forever" by Chris Brown (2008), "Baby By Me" by 50 Cent (2009), "Throw Some D's" by Rich Boy (2007), "Promise" by Ciara (2006), and "John" by Lil Wayne (2011), among others. In addition, Jones served as a producer for artists on his own label imprint under Interscope Records, Zone 4. Jones is also known for being a charismatic hype man for his records, with his vocals present on most of his productions.


title: Polow da Don

text: Jones began his career as a rapper in the late 90s, leaving college to pursue a rap career with the group Jim Crow. The group signed to Sony Music Entertainment in 1999 where they released two albums—"Crow's Nest" (1999) and "Right Quick" (2001)—before being dropped. Although disappointed, Jones formed a Southern hip hop group with Bubba Sparxxx, Sean P, Pastor Troy, G Rock, and Timbaland. However, they split up without any releases. Jones started making beats around 2001. His first beat tape made its way to Interscope Records president Jimmy Iovine. The beats were eventually used for the tracks "Runaway Love" by Ludacris, "Buttons" by the Pussycat Dolls, and "This Is the Life" by Tru-Life, among others.


title: Polow da Don

text: In September 2020, then-U.S. President Donald Trump gave Jones a shout-out at a rally in Atlanta. Jones later substantiated his support for the President with a video posted on Instagram.


title: Polow da Don

text: In 2019, via his company Young Country Holdings, Jones entered the broadcasting industry by purchasing the Nashville-area radio station WYCZ and its FM translator for $100,000. On June 6, 2019, the station launched a new hybrid country/pop/urban format curated by Jones, "YoCo 96.7".


title: Sulpiride

text: Sulpiride, sold under the brand name Dogmatil among others, is an atypical antipsychotic (although some texts have referred to it as a typical antipsychotic) medication of the benzamide class which is used mainly in the treatment of psychosis associated with schizophrenia and major depressive disorder, and sometimes used in low dosage to treat anxiety and mild depression. Sulpiride is commonly used in Asia, Central America, Europe, South Africa and South America. Levosulpiride is its purified levo-isomer and is sold in India for similar purpose. It is not approved in the United States, Canada, or Australia. The drug is chemically and clinically similar to amisulpride.


title: Sulpiride

text: Sulpiride's primary use in medicine is in the management of the symptoms of schizophrenia. It has been used as both a monotherapy and adjunctive therapy (in case of treatment-resistance) in schizophrenia. It has also been used in the treatment of dysthymia. There is evidence, although low quality, that Sulpiride could accelerate antidepressant response in patients with major depressive disorder. There is also evidence of its efficacy in treating panic disorder. Sulpiride is indicated for the treatment of vertigo in some countries. In Japan, Sulpiride is both approved as a treatment for schizophrenia and for major depressive disorder (low dose).


title: Sulpiride

text: Sulpiride has a relatively low order of acute toxicity. Substantial amounts may cause severe but reversible dystonic crises with torticollis, protrusion of the tongue, and/or trismus. In some cases all the classical symptoms typical of severe Parkinson's disease may be noted; in others, over-sedation/coma may occur. The treatment is largely symptomatic. Some or all extrapyramidal reactions may respond to the application of anticholinergic drugs such as biperiden or benzatropine. All patients should be closely monitored for signs of long QT syndrome and severe arrhythmias.


title: Sulpiride

text: Sulpiride neither inhibits nor stimulates cytochrome P450 family (CYP) of oxidizing enzymes in human, thus would not cause clinically significant interactions with other drugs, which are metabolized by CYPs. However, the risk or severity of adverse effects can be increased when sulpiride is combined with other drugs, but this is not related to substrates, inducers and inhibitors of CYPs.


title: Sulpiride

text: Sulpiride is a selective antagonist at dopamine D, D and 5-HT receptors. Antagonism at 5-HT dominates in doses exceeding 600 mg daily. In doses of 600 to 1,600 mg sulpiride shows mild sedating and antipsychotic activity. Its antipsychotic potency compared to chlorpromazine is only 0.2 (1/5). In low doses (in particular 50 to 200 mg daily) its prominent feature is antagonism of presynaptic inhibitory dopamine and serotonin receptors, accounting for some antidepressant activity and a stimulating effect. Additionally, it alleviates vertigo.


title: Sulpiride

text: The benzamide neuroleptics (including sulpiride, amisulpride, and sultopride) have been shown to activate the endogenous gamma-hydroxybutyrate receptor in vivo at therapeutic concentrations. Sulpiride was found in one study in rats to upregulate GHB receptors. GHB has neuroleptic properties and it is believed binding to this receptor may contribute to the effects of these neuroleptics.


title: Sulpiride

text: Sulpiride, along with clozapine, and valproate has been found to activate DNA demethylation in the brain.


title: Sulpiride

text: Sulpiride was discovered in 1966 as a result of a research program by Justin-Besançon and C. Laville at Laboratoires Delagrange who were working to improve the anti-dysrhythmic properties of procainamide; the program led first to metoclopramide and later to sulpiride. Laboratoires Delagrange was acquired by Synthelabo in 1991 which eventually became part of Sanofi.


title: Sulpiride

text: Sulpiride is marketed under the brand names Dogmatil (DE, HK, SG, PH), Dolmatil (IE, UK), Eglonyl (RU, ZA, SloveniaSI), Espiride (ZA), Modal (IL), Prometar (UY), Equilid (BR) and Sulpor (UK), among many others.


title: Sulpiride

text: Some individuals from the Caribbean region may have an aversion to taking the medication due to the association with the brand name of Dogmatil. Dogmatil has been associated with dog medication.


title: Sulpiride

text: Sulpiride has been studied for use as a hormonal contraceptive in women in whom conventional oral contraceptives are contraindicated and to potentiate progestogen-only contraceptives. The contraceptive effects of sulpiride are due to its prolactin-releasing and antigonadotropic effects and the hyperprolactinemia–amenorrhea state that it induces.


title: Sulpiride

text: Since the use of psychotropic drugs is efficient in treating irritable bowel syndrome (IBS), sulpiride is studied as potential sole maintenance therapy in the treatment of IBS.


title: Rocinha

text: Rocinha (, "little farm") is the largest favela in Brazil, located in Rio de Janeiro's South Zone between the districts of São Conrado and Gávea. Rocinha is built on a steep hillside overlooking Rio de Janeiro, and is located about one kilometre from a nearby beach. Most of the favela is on a very steep hill, with many trees surrounding it. Around 200,000 people live in Rocinha, making it the most populous favela in Brazil.


title: Rocinha

text: Although Rocinha is officially classified as a neighbourhood, many still refer to it as a favela. It developed from a shanty town into an urbanized slum. Today, almost all the houses in Rocinha are made from concrete and brick. Some buildings are three and four storeys tall and almost all houses have basic sanitation, plumbing and electricity. Compared to simple shanty towns or slums, Rocinha has a better developed infrastructure and hundreds of businesses such as banks, medicine stores, bus routes, cable television, including locally based channel TV ROC (TV Rocinha), and, at one time, a McDonald's franchise. These factors help classify Rocinha as a "favela bairro", or favela neighborhood.


title: Rocinha

text: There are a number of community organizations at work in Rocinha, including neighbourhood associations and numerous NGOs and non-profit educational and cultural institutions. Rocinha is home to most of the service workers in Zona Sul (the South Zone of Rio).


title: Rocinha

text: In recent years, due to its relative safety in comparison to other favelas, Rocinha has developed tourism-oriented activities such as hostels, nightclubs and guided tours. In September 2017, between 150 and 600 tourists were estimated to visit the slum per day, despite foreign governments' and the Rio police's safety warnings recommending against it. In October 2017, a Spanish tourist died after being shot by the police while visiting Rocinha during a turf war.


title: Rocinha

text: The slum is controlled by Amigos dos Amigos, although it is often caught in violent disputes among (and within) different criminal organizations.


title: Rocinha

text: In November 2011, a security operation was undertaken where hundreds of police and military patrolled the streets of Rocinha to crack down on rampant drug dealers and bring government control to the neighbourhood.


title: Rocinha

text: In December 2017, drug kingpin Rogério da Silva, known as Rogério 157, was arrested in Rocinha, in an operation involving 3,000 members of the Brazilian military and police forces. Rogério was wanted on charges of homicide, extortion, and drug trafficking.


title: Rocinha

text: Rocinha is the largest favela in Brazil and one of the most developed. Rocinha's population was estimated at between 150,000 and 300,000 inhabitants during the 2000s; but the IBGE Census of 2010 counted only 69,161 people. In 2017, "The Economist" reported a population of 100,000 in an area of 1 km (250 acres).


title: Rocinha

text: Robert Neuwirth discusses Rocinha in his book entitled "Shadow Cities". Rio de Janeiro was made the setting for the animation film "Rio", where many scenes take place in Rocinha.


title: Rocinha

text: Also, Rocinha is the setting of the book "Nemesis: One Man and the Battle for Rio" by Misha Glenny in which he describes the rise and fall of Antônio Francisco Bonfim Lopes.


title: Rocinha

text: In 1998, Philip Glass wrote an orchestral piece titled "Days and Nights in Rocinha". It was meant as a reference to Ravel's Boléro, written for Dennis Russell Davies, to thank him for putting Glass' works on stage. He was inspired by dance music that he heard during the carnival, resulting in a samba-like rhythmical structure with a lot of time signature changes and varieties, such as 14/8, 15/8 and 9/8+4/4.


title: Rocinha

text: The 2008 film "The Incredible Hulk" featured aerial footage of Rocinha, showing the large number of intermodal containers repurposed as housing, and included an extensive chase scene filmed in the favela on the ground and across rooftops. It was also featured in the 2011 film "Fast Five".


title: Rocinha

text: Many celebrities have visited Rocinha, including Mikhail Gorbachev (during the Earth Summit of 1992) and actor Christopher Lambert. Some episodes of the Brazilian television series "Cidade dos Homens" ("City of Men") were filmed there.


title: Aducanumab

text: Aducanumab, sold under the brand name Aduhelm, is a medication designed to treat Alzheimer's disease (AD). It is a monoclonal antibody that targets aggregated forms (plaque) of amyloid beta (Aβ) found in the brains of people with Alzheimer's disease to reduce its buildup. It was developed by Biogen and Eisai.


title: Aducanumab

text: Aducanumab was approved for medical use in the United States by the Food and Drug Administration (FDA) in June 2021, in a controversial decision that led to the resignation of three advisers to the FDA in the absence of evidence that the drug is effective. The FDA stated that it represents a first-of-its-kind treatment approved for Alzheimer's disease and that it is the first new treatment approved for Alzheimer's since 2003. Aducanumab's approval is controversial due to ambiguous clinical trial results surrounding its efficacy.


title: Aducanumab

text: In November 2020, a panel of outside experts for the FDA concluded that a pivotal study of aducanumab failed to show strong evidence that the drug worked, citing questionable efficacy and multiple red flags found with the data analysis. There were also significant health risks associated with the drug; brain swelling or brain bleeding was found in 41% of patients enrolled in the studies. Nevertheless, the drug was approved under the FDA's accelerated approval pathway, and the FDA requires Biogen to perform follow-up reviews to assure the drug is a safe and effective treatment for Alzheimer's disease. The Office of Inspector General, U.S. Department of Health and Human Services was asked to investigate interaction between the drug company and the FDA prior to the drug's approval.


title: Aducanumab

text: In the U.S., Aducanumab is indicated for the treatment of Alzheimer's disease. In July 2021, the U.S. Food and Drug Administration (FDA) limited the indication to people with mild cognitive impairment or mild dementia stage of disease, the population in which treatment was initiated in clinical trials.


title: Aducanumab

text: Aducanumab is a monoclonal IG1 antibody that binds to the amyloid beta protein at amino acids 3–7, which is posited to result in slowing the progression of Alzheimer's disease.


title: Aducanumab

text: Amyloid-related imaging abnormalities (ARIA) are monitored by magnetic resonance imaging of the brain one to two times per year.


title: Aducanumab

text: Aducanumab was developed by Biogen Inc., which licensed the drug candidate from Neurimmune, who discovered it with the University of Zurich.


title: Aducanumab

text: A Phase Ib study was published in August 2016, based on one year of "monthly intravenous infusions" of aducanumab, with brain scans to measure amyloid plaques.


title: Aducanumab

text: Phase II trials were not required by the FDA and were not conducted by Biogen for aducanumab, a decision that received criticism from some experts. Phase III trials followed the conclusion of Phase I studies.


title: Aducanumab

text: Phase III clinical trials were ongoing in September 2016, but were canceled in March 2019 after "an independent group's analysis show[ed] that the trials were unlikely to 'meet their primary endpoint.'"


title: Aducanumab

text: Biogen halted development of the drug in March 2019, after preliminary data from two phase III trials suggested it would not meet the primary endpoint.


title: Aducanumab

text: On 22 October 2019, Biogen announced that it would be restarting the FDA approval process for aducanumab stating that analysis of a larger dataset claimed that the drug reduced clinical decline in patients with early Alzheimer's disease when given at higher doses. In the first trial, "EMERGE",(NCT02484547), an analysis split by dose indicated that high doses reduced rate of decline by 23% versus placebo. A second identical trial, "ENGAGE", failed to replicate this, with a non-significant 2% reduction in decline compared to placebo. The FDA accepted Biogen's aducanumab Biologics License Application (BLA) on 7 August 2020 with a Priority Review.


title: Aducanumab

text: In November 2020, a panel of outside experts on the FDA's Peripheral and Central Nervous System Advisory Committee concluded that a pivotal study of aducanumab failed to show "strong evidence" that the drug worked, along with potential safety issues, and suggested that the FDA not approve aducanumab, citing questionable efficacy and multiple "red flags" found with the data analysis.


title: Aducanumab

text: The Center for Medicare and Medicaid Services (CMS) finalized a coverage decision for Aduhelm (Aducanumab) on April 7, 2022. Aduhelm coverage will be limited to individuals participating in randomized controlled trials to confirm the efficacy and safety for the Medicare population.


title: Aducanumab

text: Aducanumab was rejected for medical use in Europe on 17 December 2021 by the European Medicines Agency (EMA) but it will be left pending as Biogen will be allowed to ask for a re-examination.


title: Aducanumab

text: The June 2021 approval of the drug by the U.S. Food and Drug Administration (FDA) is considered controversial because clinical trials gave conflicting results on its effectiveness. Specific criticisms of the approval included: insufficient evidence of efficacy, that the drug offers false hope, and that the high cost will adversely impact patient finances and Medicare budget.


title: Aducanumab

text: Ten of the eleven outside experts that had served on the FDA's Peripheral and Central Nervous System Advisory Committee voted in November 2020 against approving aducanumab. Soon after the approval was announced in early June 2021, three of the panelists who had voted against aducanumab's approval—Joel S. Perlmutter, MD, David S. Knopman, MD, and Aaron Kesselheim, MD, JD, MPH—resigned in protest. Kesselheim said that the FDA move was "probably the worst drug approval decision in recent U.S. history".


title: Aducanumab

text: Senator Joe Manchin heavily criticized the decision and said that the acting director of the FDA, Janet Woodcock, "should be quickly replaced." According to "The New York Times", the review process for the drug "took several unusual turns, including a decision for the FDA to work far more closely with Biogen than is typical in a regulatory review."


title: Aducanumab

text: A 29 June 2021 "STAT" article reported that in the months prior to Aducanumab's FDA approval, FDA officials had met with "Biogen executives" using "back channels".


title: Aducanumab

text: On 9 July 2021, the FDA's Acting Commissioner, Janet Woodcock, requested that the Office of Inspector General, U.S. Department of Health and Human Services conduct an independent review of interactions between FDA officials and Biogen representatives prior to the FDA's 27 June approval of aducanumab. It was reported in August that the OIG will also investigate the "accelerated approval pathway, the regulatory mechanism" the FDA used to approve Aducanumab in spite of "conflicting data over whether it could actually slow Alzheimer's patients' mental decline."


title: Aducanumab

text: Patient advocacy groups had lobbied heavily for the approval of the drug for a debilitating condition with very few therapy choices. Advocacy groups such as Alzheimer's Association, Alzheimer Society of Canada, and Alzheimer's Foundation of America were also in favor of the decision. Alzheimer's Association denies their support for aducanumab was influenced by the at least $1.4 million they received since 2018 from Biogen and Eisai.


title: Aducanumab

text: Drug treatment is estimated to cost per year, and Biogen's CEO stated that they would maintain this price for at least four years. In their 10 June 2021 article, Kaiser Family Foundation (KFF) researchers said that a conservative estimate of the cost to Medicare would be $USD29 billion in one year. This is based on 500,000 Medicare patients potentially receiving Aduhelm. To put this in perspective—in 2019, "total Medicare spending for all doctor-administered drugs reached $37bn." For patients with applicable health insurance and/or Medicare, the drug is a Tier 5 Specialty drug and the copayment for such therapy would be about $11,500 annually. An initial brain positron emission tomography (PET scan) is required to detect the presence of amyloid beta; since 2013, it has not been covered by Medicare, and as of 2018, can cost $2,250 – $10,700. In November 2021, the Centers for Medicare and Medicaid Services (CMS), announced a 14% increase in Medicare Part B premiums for 2022 in response to the expected cost of Aduhelm. A 15 July 2021 article in "The Economist" reported that the annual price of Aduhelm and the controversial 2021 FDA approval process resulted in the launch of an investigation by the United States House of Representatives, the Committee on Oversight and Reform, and the Committee on Energy and Commerce, making Aduhelm the "poster-child" for the Elijah Cummings Lower Drug Costs Now Act (H.R.3) campaign. By December 2021, Biogen announced a 50% price cut for Aduhelm, from $56,000 to $28,200; this would have no impact on the cost of brain scans.


title: Aducanumab

text: Sales of the drug have been far lower than analyst's predictions. As of September 2021, only about 100 patients had received the drug, far short of the 10,000 that would be needed by the end of 2021 to meet Wall Street expectations for Biogen's revenue.


title: Luciana Paluzzi

text: Luciana Paluzzi (born 10 June 1937) is an Italian actress. She is perhaps best known for playing SPECTRE assassin Fiona Volpe in the fourth James Bond film, "Thunderball", but she had important roles in notable films of the 1960s and 1970s in both the Italian film industry and Hollywood, including "Chuka", "The Green Slime", "99 Women", "Black Gunn", "The Klansman" and "The Sensuous Nurse".


title: Luciana Paluzzi

text: Paluzzi was born in Rome and was brought up there. She went to Milan and studied naval engineering for two years at the Scientific Academy of Milan, being the only woman in her class.


title: Luciana Paluzzi

text: One of her first roles was an uncredited walk-on part in "Three Coins in the Fountain" (1954), which she got by chance through a friend of her father's who was invited for dinner and happened to be looking for a young actress doing a very short two-line role for director Jean Negulesco, thinking Paluzzi might be a fit. Negulesco had not been satisfied with the other actresses so far, but when Paluzzi, who did not plan to become an actress, recited the English line the next day (it was the only English she spoke at that time) she got the role.


title: Luciana Paluzzi

text: Paluzzi went on to appear in many movies, most of which were made in her native Italy. In her early films, she is credited as Luciana Paoluzzi.


title: Luciana Paluzzi

text: In 1957, she came to England to appear in the British war film "No Time To Die" (also known as "Tank Force") alongside Victor Mature where she was directed by Terence Young. She was then cast in the British action drama "Sea Fury" as the Spanish-born Josita, who is fought over by Stanley Baker and Victor McLaglen's characters.


title: Luciana Paluzzi

text: In 1959, Paluzzi went to Hollywood under contract with Twentieth Century Fox Television to star as a regular in the 20th Century Fox Television series "Five Fingers", which was cancelled after three months. Paluzzi then played Rafaella, the wife of Brett Halsey's character Ted Carter, in 1961's "Return to Peyton Place".


title: Luciana Paluzzi

text: In 1965, Paluzzi was cast as SPECTRE villainess, Fiona Volpe, "volpe" is "fox" in Italian, in Terence Young's "Thunderball" (1965), for which she is best known. She had auditioned for the part of the lead Bond girl, Dominetta "Domino" Petacchi, but producers instead cast Claudine Auger, changing the character's name from an Italian to a Frenchwoman, renaming her Dominique Derval. Initially crestfallen when informed she did not get the part, Paluzzi rejoiced when told her consolatory prize was the part of Fiona Volpe, originally planned to be Fiona Kelly, which she said was "more fun" to play. Paluzzi later claimed being a Bond girl was a double-edged sword. In the documentary "Bond Girls Are Forever", Paluzzi expressed amazement at the level of fame, publicity, and recognition she received from "Thunderball"; but as a result of being in such an outlandish film, she felt she was taken less seriously as an actress when returning to the Italian film industry.


title: Luciana Paluzzi

text: Paluzzi appeared in such films as "Muscle Beach Party" (1964) and "Chuka" (1967). She co-starred in the 1969 women in prison film "99 Women", and as a Southern belle in the 1974 Hollywood drama "The Klansman" (with her voice dubbed by American actress Joanna Moore), again for Terence Young.


title: Luciana Paluzzi

text: In 1959–60, Paluzzi appeared with David Hedison in the short-lived espionage television series, "Five Fingers". She appeared with Tab Hunter in an episode of "The Tab Hunter Show" in 1960. In 1962 she played a murderous wife in an episode of "Thriller" titled "Flowers of Evil". In 1964 she played the villainess in an episode of "The Man from U.N.C.L.E.", as the seductive THRUSH agent Angela in the first-season episode "The Four Steps Affair" and in the movie version of the show's pilot episode, "To Trap a Spy". In 1966 she played Baroness Carla Montaglia in Season 3, Episode 3 "Face of a Shadow" in "Twelve O'Clock High". Also in 1966, she played Greek bar owner Tuesday Hajadakis in the premiere episode of "The Girl from U.N.C.L.E." . In 1967 she played the seductive foreign agent Marla Valemska in "Matchless," the premiere episode of "Mr. Teriffic". In 1971 Paluzzi appeared as a special guest star in "Powderkeg," the pilot movie for the CBS TV series, "Bearcats!". In 1978 she portrayed journalist Liana Labella in the "Hawaii Five-O" episode "My Friend, the Enemy".


title: Luciana Paluzzi

text: In 1960, Paluzzi married actor Brett Halsey, who had just left his marriage with Renate Hoy, an actress and Miss Germany of 1954. The two co-starred as a newlywed couple in the film, "Return to Peyton Place". The couple had one son, Christian, and after they divorced in 1962 Halsey married Heidi Brühl.


title: Luciana Paluzzi

text: During the 1960s and 1970s, Paluzzi had a long-term relationship with Tony Anthony, with whom she appeared in the films "Wounds of Hunger" and "Come Together". Her work in Japan on "The Green Slime" inspired Anthony to write and produce the hybrid Spaghetti Western-jidaigeki film "The Silent Stranger".


title: Luciana Paluzzi

text: In 1979, Paluzzi married her current husband, American media mogul Michael Jay Solomon, who had founded Michael Jay Solomon Film International in 1977, co-founded Telepictures Corporation in 1978 and in 1985 became president of Warner Bros. International Television, and she moved to New York to live with her husband. The marriage caused her to end her film career. In 1980, she became sales representative of Canale 5 and in the United States, which she characterized as a very quiet job, and followed her husband on his international travels.


title: Luciana Paluzzi

text: Paluzzi and her husband also resided at an exclusive clifftop estate on the Pacific Ocean in Jalisco, Mexico, known as "Casa Dos Estrellas". The couple sold that estate in about 2005 to live in New York and Rome, to be close to family.


title: Anne Weying

text: She-Venom (Anne Weying) is a fictional character appearing in American comic books published by Marvel Comics. She is the ex-wife of Eddie Brock. She is the first character who goes by the She-Venom identity, and she is also colloquially referred to as the Bride of Venom.


title: Anne Weying

text: Michelle Williams portrays the character in Sony's Spider-Man Universe films "Venom" (2018) and "" (2021).


title: Anne Weying

text: Anne Weying first appeared in "The Amazing Spider-Man" #375 (March 1993), and was created by writer David Michelinie and artist Mark Bagley.


title: Anne Weying

text: She-Venom first made a cameo appearance in "" #2 (September 1995), and her first full appearance was in "Venom: Sinner Takes All" #3 (October 1995). She was created by writer Larry Hama and artist Greg Luzniak.


title: Anne Weying

text: Anne Weying was a successful lawyer, and Eddie Brock's ex-wife. In her first appearance, she is a brunette with glasses. In later appearances, she loses the glasses and goes blonde. Weying assisted Spider-Man by sharing some of Eddie's history. She later followed Spider-Man to the amusement park where Venom had Peter Parker's (fake) parents. She confronted her insane ex-husband, and managed to convince Eddie to give up this vendetta. Later, Sin-Eater shot Anne to which the Venom symbiote temporarily bonded with her to save her life. She-Venom then lashed out against the men who had hurt her with such violence that Eddie was afraid for her and compelled the Venom symbiote back. Anne retched upon seeing the pile of bodies she had left behind, claiming that the Venom symbiote had made her kill her victims, but Eddie told her that the Venom symbiote wouldn't force its host to do something they did not want to.


title: Anne Weying

text: Weying is later incarcerated by the police on a false charge (unrelated to Anne's previous rampage) in order to trap Venom. Anne used her one phone call to warn Eddie and to promise not to come. Eddie agreed not to rescue her himself, and instead sent the Venom symbiote through the phone lines to her. After the Venom symbiote bonded with her, She-Venom was able to break herself out of prison, heading to the amusement park where she and Spider-Man had confronted Venom, only to intercept a raid on a gang of drug dealers. During the fight, Eddie was badly injured by a flamethrower, prompting Anne to release the Venom symbiote to heal him, but also to leave Eddie in disgust at his dependence on the Venom symbiote.


title: Anne Weying

text: Still reeling from the experience of bonding with the Venom symbiote months earlier and unable to deal with Eddie's return into her life, coupled with her ex-husband's transformation directly in front of her as Venom ran off to kill Spider-Man, sent her over the edge. Weying commits suicide after spotting Spider-Man webslinging in an older black costume at a time when the regular red and blue suit had been stolen. She leapt from her high rise apartment to her death. Her death is later confirmed when her tombstone is shown.


title: Anne Weying

text: In a flashback, it is revealed that she got pregnant with Eddie's child after bonding to Venom. After giving birth to their son Dylan, she left him in the care of , with the promise that she would return eventually. She instead committed suicide, after which Carl raised Dylan. It is later established that Anne was already pregnant with Eddie's child when she last bonded with the Venom symbiote, with the codex that was left inside Anne by Venom (apparently) being absorbed by the fetus.


title: Anne Weying

text: During the "Secret Wars" storyline taking place in King James' England (which is based on the "Marvel 1602" reality), Anne Weying is a "village beauty" who is brainwashed by printer's apprentice Edwin Brocc into loving with powers and potions supplied by the Enchantress. Anne is freed after Brock is slain by Angela.


title: Anne Weying

text: During the "Venom Beyond" storyline in Donny Cates' Venom run, Eddie and Dylan are transported to a different universe where the villainous Codex has been conquering the Earth in the name of Knull. While on the run from symbiote-possessed Avengers, the two run into a group of symbiote heroes led by Agent Venom, who reveals herself to be this world's version of Anne. Unlike the 616 universe, Eddie goes through with committing suicide at the church. Anne was shocked and distraught at her husband's death and eventually goes to the same church to mourn him, where her rage attracted the symbiote and transformed her into this world's version of Venom. She eventually gives birth to Dylan, who was eventually swayed by Knull and became the villainous Codex. To counter Codex's threat towards the planet, President Eugene Thompson recruits Anne into the Sym-Soldier program, where she leads a group of symbiote heroes consisting of Peter Parker, Wade Wilson, a reformed Cletus Kasady, and Andi Benton.


title: Anne Weying

text: Anne Weying appears in live-action films set in Sony's Spider-Man Universe, portrayed by Michelle Williams.


title: Alain Resnais

text: Alain Resnais (; 3 June 19221 March 2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included "Night and Fog" (1956), an influential documentary about the Nazi concentration camps.


title: Alain Resnais

text: Resnais began making feature films in the late 1950s and consolidated his early reputation with "Hiroshima mon amour" (1959), "Last Year at Marienbad" (1961), and "Muriel" (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave ("la nouvelle vague"), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers previously unconnected with the cinema such as Jean Cayrol, Marguerite Duras, Alain Robbe-Grillet, Jorge Semprún and Jacques Sternberg.


title: Alain Resnais

text: In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song.


title: Alain Resnais

text: His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies.


title: Alain Resnais

text: Resnais was born in 1922 at Vannes in Brittany, where his father was a pharmacist. An only child, he was often ill with asthma in childhood, which led to his being withdrawn from school and educated at home. He was an eager reader, in a range that extended from classics to comic books, but from the age of 10 he became fascinated by films. For his twelfth birthday his parents gave him a Kodak 8mm camera with which he began to make his own short films, including a three-minute version of "Fantômas". Around the age of 14, he discovered surrealism and through that an interest in the works of André Breton.


title: Alain Resnais

text: Visits to the theatre in Paris gave Resnais the desire to be an actor, and in 1939 he moved to Paris to become an assistant in Georges Pitoëff's company at the Théâtre des Mathurins. From 1940 to 1942 he studied acting in the Cours René-Simon (and one of his small jobs at this time was as an extra in the film "Les Visiteurs du soir"), but he then decided in 1943 to apply to the newly formed film school IDHEC to study film editing. The filmmaker Jean Grémillon was one of the teachers who had the most influence on him at that period.


title: Alain Resnais

text: Resnais left in 1945 to do his military service which took him to Germany and Austria with the occupying forces, as well as making him a temporary member of a travelling theatre company, Les Arlequins. He returned to Paris in 1946 to start his career as a film editor, but also began making short films of his own. Finding himself to be a neighbour of the actor Gérard Philipe, he persuaded him to appear in a 16mm surrealist short, "Schéma d'une identification" (now lost). A more ambitious feature-length work, "Ouvert pour cause d'inventaire", has also vanished without trace.


title: Alain Resnais

text: After beginning with a series of short documentary films showing artists at work in their studios, as well as a few commercial commissions, Resnais was invited in 1948 to make a film about the paintings of Van Gogh, to coincide with an exhibition that was being mounted in Paris. He filmed it at first in 16mm, but when the producer Pierre Braunberger saw the results, Resnais was asked to remake it in 35mm. "Van Gogh" received a prize at the Venice Biennale in 1948, and also won an Oscar for Best 2-reel Short in 1949. (Braunberger went on to act as producer for several of Resnais's films in the following decade.) Resnais continued to address artistic subjects in "Gauguin" (1950) and "Guernica" (1950), which examined the Picasso painting based on the 1937 bombing of the town, and presented it to the accompaniment of a text written by Paul Éluard. A political perspective on art also underpinned his next project (co-directed with Chris Marker), "Les statues meurent aussi" ("Statues Also Die", 1953), a polemic about the destruction of African art by French cultural colonialism.


title: Alain Resnais

text: "Nuit et Brouillard" ("Night and Fog", 1956) was one of the first documentaries about the Nazi concentration camps, but it deals more with the memory of the camps than with their actual past existence. Realising that standard documentary techniques would be incapable of confronting the enormity of the horror (and even risked humanising it), Resnais chose to use a distancing technique by alternating historical black-and-white images of the camps with contemporary colour footage of the sites in long tracking shots. The accompanying narration (written by Jean Cayrol, himself a survivor of the camps) was intentionally understated to add to the distancing effect. Although the film encountered censorship problems with the French government, its impact was immense and it remains one of the director's most admired works.


title: Alain Resnais

text: A different kind of collective memory was considered in "Toute la mémoire du monde" (1956), in which the seemingly endless spaces and bibliographic riches of the Bibliothèque nationale were explored in another compendium of long travelling shots. In 1958 Resnais undertook a commission from the Pechiney company to make short film, in colour and wide-screen, extolling the merits of plastics, "Le Chant du styrène". Poetry was brought to the project, literally, by Raymond Queneau who wrote the narration for the film in rhyming couplets.


title: Alain Resnais

text: In his decade of making documentary short films, Resnais established his interest in and talent for collaboration with leading figures in other branches of the arts: with the painters who were the subjects of his early works; with writers (Eluard in "Guernica", Cayrol in "Nuit et Brouillard", Queneau in "Le Chant du styrène"); with musicians (Darius Milhaud in "Gauguin", Hanns Eisler in "Nuit et Brouillard", Pierre Barbaud in "Le Chant du styrène"); and with other filmmakers (Resnais was the editor of Agnès Varda's first film, "La Pointe courte", and co-directed with Chris Marker "Les statues meurent aussi"). Similar collaborations underpinned his future work in feature films.


title: Alain Resnais

text: Resnais's first feature film was "Hiroshima mon amour" (1959). It originated as a commission from the producers of "Nuit et Brouillard" (Anatole Dauman and Argos Films) to make a documentary about the atomic bomb, but Resnais initially declined, thinking that it would be too similar to the earlier film about the concentration camps and that it presented the same problem of how to film incomprehensible suffering. However, in discussion with the novelist Marguerite Duras a fusion of fiction and documentary was developed which acknowledged the impossibility of speaking "about" Hiroshima; one could only speak about the impossibility of speaking about Hiroshima. In the film, the themes of memory and forgetting are explored via new narrative techniques which balance images with narrated text and ignore conventional notions of plot and story development. The film was shown at the 1959 Cannes Film Festival, alongside Truffaut's "Les Quatre Cents Coups" ("The 400 Blows"), and its success became associated with the emerging movement of the French New Wave.


title: Alain Resnais

text: Resnais's next film was "L'Année dernière à Marienbad" ("Last Year at Marienbad", 1961), which he made in collaboration with the novelist Alain Robbe-Grillet. The fragmented and shifting narrative presents three principal characters, a woman and two men, in the opulent setting of a grand European hotel or château where the possibility of a previous encounter a year ago is repeatedly asserted and questioned and contradicted. After winning the Golden Lion at the Venice Film Festival, the film attracted great attention and provoked many divergent interpretations of how it should be understood, encouraged by interviews in which Robbe-Grillet and Resnais themselves appeared to give conflicting explanations of the film. There was little doubt however that it represented a significant challenge to the traditional concept of narrative construction in cinema.


title: Alain Resnais

text: At the beginning of the 1960s France remained deeply divided by the Algerian War, and in 1960 the Manifesto of the 121, which protested against French military policy in Algeria, was signed by a group of leading intellectuals and artists who included Resnais. The war, and the difficulty of coming to terms with its horrors, was a central theme of his next film "Muriel" (1963), which used a fractured narrative to explore the mental states of its characters. It was among the first French films to comment, even indirectly, on the Algerian experience.


title: Alain Resnais

text: A contemporary political issue also formed the background for "La guerre est finie" ("The War Is Over", 1966), this time the clandestine activities of left-wing opponents of the Franco government in Spain. Resnais's scriptwriter on this film was the Spanish author Jorge Semprún, himself an ex-member of the Spanish Communist Party now in voluntary exile in France. Both men denied that the film was "about" Spain, but when it was entered for the official competition at the Cannes Film Festival in 1966, an objection from the Spanish government caused it to be withdrawn and it was shown out of competition. In 1967 Resnais participated with six other directors, including Chris Marker and Jean-Luc Godard, in a collective work about the Vietnam war, "Loin du Vietnam" ("Far from Vietnam").


title: Alain Resnais

text: From 1968 onwards, Resnais's films no longer addressed, at least directly, big political issues in the way that a number of his previous ones had done, and his next project seemed to mark a change of direction. "Je t'aime, je t'aime" (1968) drew upon the traditions of science-fiction for a story of a man sent back into his past, a theme which enabled Resnais again to present a narrative of fragmented time. Alain Resnais's scriptwriter on this film was the author Jacques Sternberg. The film was unlucky in its release (its planned screening at Cannes was cancelled amid the political events of May 1968), and it was almost five years before Resnais was able to direct another film.


title: Alain Resnais

text: Throughout the 1960s, Resnais was attached to direct an international production called "Les Aventures de Harry Dickson", based on the stories by Jean Ray, with Anatole Dauman as producer. The project was intended to star either Dirk Bogarde or Laurence Olivier as the titular detective, with André Delvaux attached as the production designer, and the composer Karlheinz Stockhausen attached for the score. Resnais and Dauman worked towards the project for a decade before finally giving up. The screenplay for the film by Frédéric de Towarnicki was published in 2007.


title: Alain Resnais

text: Resnais spent some time in America working on various unfulfilled projects, including one about the Marquis de Sade. He also published "Repérages", a volume of his photographs, taken between 1948 and 1971, of locations in London, Scotland, Paris, Nevers, Lyon, New York and Hiroshima; Jorge Semprun wrote the introductory text. Some of the photographs relate to his unfulfilled Harry Dickson film.


title: Alain Resnais

text: After contributing an episode to "L'An 01 (The Year 01)" (1973), a collective film organised by Jacques Doillon, Resnais made a second collaboration with Jorge Semprun for "Stavisky" (1974), based on the life of the notorious financier and embezzler whose death in 1934 provoked a political scandal. With glamorous costumes and sets, a musical score by Stephen Sondheim, and Jean-Paul Belmondo in the title role, it was seen as Resnais's most commercial film to date, but its complex narrative structure showed clear links with the formal preoccupations of his earlier films.


title: Alain Resnais

text: With "Providence" (1977), Resnais made his first film in English, with a screenplay written by David Mercer, and a cast that included John Gielgud and Dirk Bogarde. The story shows an ageing, maybe dying, novelist grappling with alternative versions of his own past as he adapts them for his fiction. Resnais was eager that the dark subject should remain humorous, and he described it as "a macabre divertissement". Formal innovation characterised "Mon oncle d'Amérique" ("My American Uncle", 1980) in which the theories of the neurobiologist Henri Laborit about animal behaviour are juxtaposed with three interwoven fictional stories; and a further counterpoint to the fictional characters is provided by the inclusion of film extracts of the classic French film actors with whom they identify. The film won several international awards including the Grand Prix at the Cannes Film Festival, and it also proved to be one of Resnais's most successful with the public.


title: Alain Resnais

text: From the 1980s onwards Resnais showed a particular interest in integrating material from other forms of popular culture into his films, drawing especially on music and the theatre. In almost all of his remaining films he chose to work repeatedly with a core group of actors comprising Sabine Azéma, Pierre Arditi, and André Dussollier, sometimes accompanied by Fanny Ardant or Lambert Wilson. The first four of these were among the large cast of "La vie est un roman" ("Life Is a Bed of Roses", 1983), a comic fantasy about utopian dreams in which three stories, from different eras and told in different styles, are interwoven within a shared setting. The action is punctuated by episodes of song which develop towards the end into scenes that are almost operatic; Resnais said that his starting point had been the desire to make a film in which dialogue and song would alternate.


title: Alain Resnais

text: Music, very differently used, was a major component of "L'Amour à mort" ("Love unto Death", 1984). For this intense chamber work with four principal actors (Azéma, Arditi, Ardant and Dussollier), Resnais asked Hans Werner Henze to compose musical episodes which would act as a "fifth character", not an accompaniment but a fully integrated element of the drama with which the speech of the actors would interact. In subsequent years, Resnais gave his attention to music of more popular styles. He made "Gershwin" (1992), an innovative TV documentary in which the American composer's life and works were reviewed through the testimonies of performers and filmmakers, juxtaposed with commissioned paintings by Guy Peellaert. In "On connaît la chanson" ("Same Old Song", 1997), his tribute to television works of Dennis Potter, the characters express their key emotions or private thoughts by bursting into snatches of well-known (recorded) popular songs without interrupting the dramatic situation. A long-neglected operetta from the 1920s was the unexpected basis for Resnais's next film "Pas sur la bouche" ("Not on the Lips", 2003), in which he sought to reinvigorate an unfashionable form of entertainment by recreating its theatricality for the camera and entrusting most of its musical numbers to actors rather than to trained singers.


title: Alain Resnais

text: There are many references to the theatre throughout Resnais's filmmaking ("Marienbad", "Muriel", "Stavisky", "Mon oncle d'Amérique"), but he first undertook the challenge of taking a complete stage work and giving it new cinematic life in "Mélo" (1986), an adaptation of Henri Bernstein's 1929 play of the same name. Resnais remained entirely faithful to the play (apart from shortening it) and he emphasised its theatricality by filming in long takes on large sets of evidently artificial design, as well as by marking off the acts of the play with the fall of a curtain. After an excursion into the world of comic books and cartoons in "I Want to Go Home" (1989), an ambitious theatrical adaptation followed with the diptych of "Smoking/No Smoking" (1993). Resnais, having admired the plays of Alan Ayckbourn for many years, chose to adapt what appeared the most intractable of them, "Intimate Exchanges", a series of eight interlinked plays which follow the consequences of a casual choice to sixteen possible endings. Resnais slightly reduced the number of permuted endings and compressed the plays into two films, each having a common starting point, and to be seen in any order. Sabine Azéma and Pierre Arditi played all the parts, and the theatricality of the undertaking was again emphasised by the studio set designs for a fictional English village. Resnais returned to Ayckbourn in the following decade for his adaptation of "Private Fears in Public Places" to which he gave the film title of "Cœurs" (2006). Among the stage/film effects which contribute to its mood of "cheerful desolation" is the artificial snow which is continually seen through set windows until eventually it falls on the studio interior as well.


title: Alain Resnais

text: Speaking in 1986, Resnais said that he did not make a separation between cinema and theatre and refused to make enemies of them. He preferred working with "people of the theatre", and he said that he would never want to film a novel. It was therefore something of a departure when he chose "L'Incident", a novel by Christian Gailly, as the basis for "Les Herbes folles" ("Wild Grass", 2009). He explained however that what initially attracted him to the book was the quality of its dialogue, which he retained largely unchanged for the film. When "Les Herbes folles" was shown at the Cannes Film Festival, it was the occasion for a special jury award to Resnais "for his work and exceptional contribution to the history of cinema".