violent cop ( その男 、 凶暴につき sono otoko , kyōbō ni tsuki , lit . ' that man , being violent ' ) , also known as warning : this man is wild and so no otoko kyobo ni tsuki , is a 1989 japanese film directed by and starring takeshi kitano .

it was kitano 's directorial debut , and marked the beginning of his career as a filmmaker .

violent cop ( 1989 film )

sono otoko , kyobo ni tsuki ( violent cop , takeshi kitano , japan 1989 ) .
a film that lives up to it ' s title : takeshi kitano is definitely one violent cop .
chris , t those covers for violent cop and boiling point are absolutely awful .
availability : violent cop is available on dvd , which can be obtained through netflix .
' ' violent cop ' ' is not for the squeamish . but for fans of unsentimental police action rooted in commentary on a society , ' ' violent cop ' ' packs a punch .
violent cop ,
a hard - surfaced 1989 japanese film now getting its west coast premiere , was renaissance man takeshi kitano ' s first as star and director . it manages to be grim and exhilarating at the same time .
( nb : although released in some territories the year before , we ' ve gone by this film ' s us release , which was 1989 . )
violent cop , the debut directorial effort from beat kitano , has that nostalgic quality which shines beautifully in the kitano oeuvre .
some might argue that violent cop’ s too celebrated to count as an underappreciated film , but we’d counter that , as the film recedes into history , now’s a good time to remind younger readers of the brilliance of kitano’s 80s and 90s output - boiling point , sonatine and hana - bi are all worth tracking down . violent cop , meanwhile , is quite possibly kitano’s finest film .
in short : violent cop is a great film . kitano plays a cold , dirty harry style cop well . the film is very well - paced and uses its screen time adequately . violent cop is kitano’s first film as a director and it does not disappoint . watch it for an enjoyable hour and forty minutes , and enjoy the climax that will leave you with your mouth wide open while experiencing an ending that you kind of knew would happen .
from a crazy early nic cage role to a lesser - known film starring robert de niro , here ' s our pick of 25 underappreciated films from 1989 . . .
violent cop : police drama . starring and directed by takeshi kitano . ( not rated . 103 minutes . at the roxie . )
in the 1990s , quentin tarantino took part in placing japanese cinema into more of a spotlight , more specifically the yakuza ( gangster ) genre . his extremely popular gangster film pulp fiction ( usa 1994 ) was reminiscent of takeshi ‘beat’ kitano’s sono otoko , kyobo ni tsuki ( violent cop , japan 1989 ) , a film that had a very similar approach to violence :
as much as there are certain things here i appreciate and think work more than in any other kitano directorial effort , i just didn’t need to watch a portrait of a violent cop being violent in 2018 . too soon .
i rather wait for a third window release for
violent cop
and
boiling point
because those covers are some of the ugliest i ' ve ever seen .
through april 28 , filmstruck subscribers have access to four of takeshi kitano’s earliest films including boiling point ( 1990 ) , sonatine ( 1993 ) , the blind swordsman : zatoichi ( 2003 ) and my personal favorite of the bunch , violent cop ( 1989 ) . violent cop was the first feature film kitano directed and its impact should not be underestimated . as he continues to gain new admirers around the world , i thought i would revisit the movie that launched kitano’s filmmaking career and transformed his public persona from a fun - loving clown into a cinematic powerhouse in japan and abroad .
kitano is also a very good director and actor , but his directorial debut violent cop isn ' t a perfect film . some key scenes are left out of the film for the viewer to fill in the blanks for , which is kinda annoying when the scenes are pivotal to the climatic finale .
in haskell’s
i walk alone
, lancaster is the defying muscle in an organisation lead by douglas’ brain . in boorman’s
point blank
, marvin is the defying muscle taking on a crime syndicate . the same in
violent cop
. kitano is the defying cop , who relies on brute force to get justice done , while the police force is more concerned about its image than law and order . its this sensation of transition , that makes
violent cop
such a strong and dark film .
the violent cop poster is one of the 5 best movie posters ever . visually incredibly succinct and beautifully laid out . i often try to rip it off . i am always unsuccessful .
slow - paced to point that there’s an extended slow - motion fight scene , takeshi kitano waltzes through the film as the titular violent cop , slapping , punching , kicking , and beating in deadpan fashion , with little enjoyment , empty and nihilistic .
violent cop marked the directorial debut of “ beat ” takeshi kitano and i still find it an intriguing film . it ' s very violent and azuma ( as beat takeshi ) is an intense character . i ' m glad i finally got to see it is a reasonable digital presentation - as i said , far from demo , but still very watchable . fans of the film or director should definitely consider indulging . another competent technical blu - ray transfer from film movement !
when the original psycho cop movie was released in 1989 the slasher film was on life support and psycho cop ' s underwhelming reception did little to help it but in 1992 the genre had one last gasp of air with psycho cop ' s lone sequel , psycho cop returns where robert r . shafer reprises his role as officer vickers the killer ex - cop who stalks a group of a office workers who have planned an after hours party in their office complex complete with all the booze your liver can ' t handle and strippers . why a bunch of grown men need to party in their place of employment instead of at one of their homes or a hotel room or anywhere that would be more comfortable is beyond me but it makes for an interesting slasher film setting .
the original title
sono otoko , kyobo ni tsuki
means
watch out , this man is dangerous
. the common known title
violent cop
is the 1998 us rename .
so if there were an award for truth in titling , ' ' violent cop , ' ' the sharp , shocking , cynical account of his conflict with corruption , would surely be a contender - - if it were not a 10 - year - old film .
ah , 1989 . the year the berlin wall came down and yugoslavia won the eurovision song contest . it was also a big year for film , with indiana jones and the last crusade topping the box office and batman dominating the summer with its inescapable marketing blitz .
the versatile , prolific takeshi kitano is one of the best and most celebrated actor - filmmakers in japan , and violent cop ’s one of his masterpieces . as its title implies , violent cop’ s about a brutally amoral law enforcer who seems to be careening towards self - destruction . in some ways , it’s japan’s answer to bad lieutenant , and kitano’s performances is on a par with harvey keitel ' s here .
violent cop
is actually a quiet impressive debut . its simple and static compositions match the stark simplistic nature of both the characters and the plot , even though it lacks discipline and at times are somewhat rigid .
with boiling point , his follow - up to violent cop , takeshi kitano planted his stake in the ground and announced himself as a serious filmmaker worthy of paying attention to . boiling point was kitano’s second film , released only one year after violent cop , but it was his first as a screenwriter rather than a hired gun , and the difference in tone and execution from one film to the next is quite startling . whereas violent cop is a relatively straight forward story told with some unusual acting and scripting choices that make it feel like a special entry in a firmly established genre , boiling point is something else altogether . this follow - up is a statement from kitano that he had his own views of what makes a film successful , and that he would not be beholden to expectation in delivering his own version of a story from the lower levels of organized crime .
toraro , d . , 2004 . ‘sono otoko , kyobo ni tsuki / violent cop’ . in : j . bowyer , ed . the cinema of japan and korea . london : wallflower press , pp . 129 - 136 .
2 . develop an awareness of the history of japanese cinema follow the career of three film artists whose careers span virtually the whole of japanese film history .
detective azuma is a dirty - harry style rogue cop who often uses violence and unethical methods to get results .
it doesn ' t matter that the first psycho cop film hasn ' t been released on dvd or blu - ray because psycho cop returns is a fucking blast . vinegar syndrome gives this unsung hero of early 90s horror a home in hd and i ' m calling a must own for slasher fans .
film : merry christmas mr . lawrence ( senjo no merii kurisumasu , 1983 )
violent cop ( その男、凶暴につき ) is a film about azuma ( kitano ) , who is a cold detective that doesn’t care how he treats others . there is no basic plot , just one scene after another of violence , kitano style . normally i wouldn’t give praise to a film like this , but it is so well - done that it deserves it . camerawork is superb , acting is equally good , and the music , though minimal , comes in at just the right times . kitano , who had this film handed over to him after fukasaku kinji left it , establishes himself as a top - notch director with violent cop . there are many familiar faces that will appear in later kitano films , such as terajima susumu .
film movement include a 20 - minute video entitled that man is dangerous : the birth of takeshi kitano that has colleagues discuss their awareness and relationships with him , and his persona and style . there is both an original violent cop trailer and new hd re - release trailer , as well as 6 other film movement trailers . the package contains a , liner notes , collector ' s booklet , featuring film essay by tom vick , the asian film curator for the freer and sackler galleries ( the smithsonian ' s museums of asian art ) ; cast and crew credits .
another very good release of a very good film from film movement , boiling point on blu - ray is an upgrade that kitano fans will want in their collections .
police detective azuma ( kitano ) is loose cannon dirty harry - like cop who is constantly in hot water with his superiors .
like violent cop , boiling point gets a making - of featurette ( okinawa days : takeshi’s second debut ) with the participation of the producer , who provides great stories about kitano’s directing style and the genesis of the project . this set also includes a booklet with an essay from tom vick , who further explores the film’s unusual structure and place in kitano’s career .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
violent cop is the explosive and critically acclaimed directorial debut from japanese master film maker ' beat ' takeshi kitano . kitano is azuma - a vicious detective who deals out harsh justice with an iron fist - dirty harry style . investigating a drug dealer ' s murder , azuma and rookie detective kikuchi find fellow officers are on the take . when azuma is caught for beating a gangster he is forced to quit the force . after the gang kidnaps his sister as retribution , azuma goes on a merciless rampage of revenge . with kitano ' s zen like direction violent cop is a stylish , smart and skull shattering reinvention of the japanese yakuza genre .
much more visually and thematically restrained than his later works , violent cop is a typical debut for a director who ' s bread - and - butter is the crime genre , almost completely comprised of noir elements and setting the stage for much more experimentation later in his career .
now , this is how you make a nihilistic , minimalistic action flick . there are moments in violent cop where the images and editing are so stark and the characters are so still ( stilted ? ) that it borders on bressonian . yet , somehow , there is also humor .
definitely not your average
rogue - cop
picture . . . especially when azuma decides to take his brutality with him off duty .
readings : oshima nagisa . “is it a breakthrough ? ( the modernists of japanese film ) ”
richie , d . 2001 . a hundred years of japanese film . london : kodansha international .
in order to add a bit of context to the film , film movement commissioned a new behind the scenes featurette titled , that man is dangerous : the birth of takeshi kitano . the featurette brings together several key players on the film , with kitano being noticeably absent , to tell the story of violent cop from different perspectives . it’s an interesting look at the film’s production , cramming numerous anecdotes about kitano’s directing style as well as the daily struggles of the performers to keep up with him on set into a 20 minute overview . i would’ve loved even more , but i’m happy with this . also included is a booklet with a nice essay from tom vick that further contextualizes not only the film , but also kitano’s unique place in japanese culture for fans unfamiliar with his work and history .
1989 was clearly the year for movie stars to go to prison , after their absolute innocence had been established . so it is that the script to lock up makes it abundantly clear that sylvester stallone has done nothing wrong , before promptly sticking him in chokey and basically throwing away the key .
this film is not currently playing on mubi but 30 other great films are . see what’s now showing
balmain , c . , 2008 . introduction to japanese horror film . edinburgh : edinburgh university press .
perfect it is not but psycho cop returns is a damn entertaining slasher film that makes me upset they didn ' t role with more sequels for officer vickers to appear in . robert shafer did sign a contract for five pictures after all . . .
a selection of trailers for other tokyo bullet releases including
violent cop
, plus a small production stills gallery and a takeshi biography and filmography . subtitles are offered for both 16 : 9 and 4 : 3 formats , but the problem is that chunks of dialogue have been missed out in some scenes .
notebook is a daily , international film publication . our mission is to guide film lovers searching , lost or adrift in an overwhelming sea of content . we offer text , images , sounds and video as critical maps , passways and illuminations to the worlds of contemporary and classic film . notebook is a mubi publication .
as was the case with film movement’s blu - ray of violent cop , this edition of boiling point is not exactly reference material , rather a solid upgrade from the previously available discs . boiling point improves on visual clarity and color fidelity , but not in a way that will make fans drop their jaws . audio is similarly improved , leaving this release as the best presently available , which is good enough for me .
to fully understand the impact of violent cop on the gangster genre and in particular its brusque , laconic treatment of violence , one must remember that the film was made five years before pulp fiction [ … ] . much was made of the way tarantino deployed violence in an offhand manner [ … ] the template for this type of ‘off the cuff’ violence may certainly have been influenced by kitano ( toraro 2004 : 135 ) .
azuma slaps a guy in a bathroom repeatedly 23 times . he beats up a kid . he stops a knife with his hand and chases a criminal for a lengthy period of time , eventually running him over with a car . he also takes care of his mentally deficient sister and visits an art gallery . he shows no emotion , except anger when he interrogates a guy that slept with his sister . azuma is an interesting character that is played brilliantly by kitano . watch violent cop to discover kitano’s roots and to enjoy a good dirty cop / yakuza - style film . recommended .
' ' violent cop , ' ' opening today at cinema village , 22 east 12th street , is being released here now because it was the first film by takeshi ( beat ) kitano , the japanese renaissance man who is an actor , stand - up comic , director , film editor , painter , poet , essayist , journalist , author , television personality and tough guy who has won international renown in recent years for films like ' ' hana - bi ' ' ( ' ' fireworks ' ' ) and ' ' sonatine . ' '
violent cop was originally conceived as a comedy , before it was re - written as a drama , with kitano reportedly unhappy with the reaction from test screenings , wanting less laughs and more gasps . i ' m not convinced it was thoroughly re - written though - kitano plays said violent cop , azuma , and accompanied by a theme tune that sounds like something out of laurel and hardy , he deadpans his way through acts of casual violence , defying you to take it seriously . from head - butting a teenager in his bedroom , to repeatedly slapping a drug dealer in the toilets of a bar ( this scene had me on the floor : …
violent cop , or as its delirious japanese title says , sono otoko , kyōbō ni tsuki ( that man , he is dangerous ) , is the story of a renegade cop who goes off the rails in his single - minded pursuit of a particular kind of justice . crazy cop stories had already been a staple of western genre films for decades , but japanese films seemed to have been a bit more staid in their portrayal of the men and women ( mostly men ) committed to maintaining order . when cops did go rogue , for the most part , it’s because the story was focused on the villain and their redemption or revenge . violent cop turns the tables and makes the protagonist a largely unsympathetic , but strangely relatable , hot - head determined to gain vengeance for wrongs committed against himself and his family . it’s a bold move , from a script largely rewritten day by day when kitano came on board , that creates an unforgettable central performance from the actor and his capable supporting cast .
so here are all 14 of kitano’s features to date , in their best graphic interpretations . from top to bottom , left to right , glory to the filmmaker ( 2007 ) , a turkish poster for takeshis’ ( 2005 ) , achilles and the tortoise ( 2008 ) , getting any ? ( 1994 ) , violent cop ( 1989 ) , brother ( 2000 ) , hana - bi ( 1997 ) , dolls ( 2002 ) , sonatine ( 1993 ) , kids return ( 1996 ) , a french poster for a scene at the sea ( 1991 ) , kikujiro ( 1999 ) , boiling point ( 1990 ) , and a uk quad for zatoichi ( 2003 ) .
even though he’s on the proper side of the law in violent cop , kitano was already crafting his iconic on - screen persona with this performance . kitano has made an acting career of portraying stone - faced villains who bottle up their rage until it reaches a level that can no longer be contained , usually erupting in spectacularly bloody violence . in violent cop , his officer - on - the - edge portrayal of azuma is one of carefully moderated madness . he is constantly needled throughout the film by villains and his own bosses alike , leading him to explode in all directions while attempting to make things right in his own extremely vicious way . it’s a role that kitano would later layer into his performances as yakuza bosses and underlings in the years after , and it’s one that he’s very nearly perfected .
however , one thing that should be noted is that this is the only one of kitano’s films that isn’t actually written by him . violent cop was originally being developed by kinji fukasaku and when he couldn’t finish the project , the studio asked kitano if he was interested in directing it . having done comedy all his life , he agreed but demanded rights to rewrite parts of the story . that might be the reason why this film does seem somewhat uneven at times .
as the film ' s main theme . it sounds beautiful in the uncompressed and there are optional english subtitles . the
ezra , e . and t . rowden , 2006 . transnational cinema : the film reader . london : routledge .
in ' ' violent cop , ' ' azuma , partnered with an eager rookie , becomes part of an investigation of a drug - related murder . the trail will pit azuma against a sadistic killer and his smooth overlord , bare the corruption of a friend and reduce azuma ' s unstable sister to a victim of kidnapping , gang rape and narcotics addiction .
beat takeshi , a prominent actor , meets a lookalike named kitano , who is a struggling actor , but after the meeting , kitano ' s dreams take a violent , surreal turn .
to get it out of the way , the plot of this film concerns azuma ( takeshi kitano ) , the violent cop of the title . the opening scene is a pretty good indicator of what’s to come . as the film opens , a group of schoolboys beat and humiliate an old man . after they are finished and the old man is lying on the ground motionless , azuma , who has been watching at a distance , follows one of the boys home . after the boy goes up to his room , azuma knocks on the door of the house . the mother tells azuma that the boy is in his room , so he jogs up to the room , forces the boy to let him in , and proceeds to smack the shit out of the kid . he then tells the kid to turn himself in in the morning . this scene illustrates azuma’s character pretty well . he’s not the kind of cop to try to thwart a crime . he likes to let the criminals do their job so that he can do his . he’s also very brutal . shouting “rodney king” isn’t going to get you out of a beatdown with this guy . he probably wouldn’t even know who you’re talking about anyways ( the film was made in 1989 ) .
violent cop on blu - ray is not the kind of visual feast or auditory revelation that we see from bigger , more expensive restorations , but it is a good upgrade from other presently available options that adds context to a film that holds up very nicely 27 years down the road . i wish the cover art weren’t so awful , but it’s a small price to pay ( besides , i’ll only ever see the spine on my shelf , so all is well ) . recommended .
at some point , we ' re going to have to get around to looking at the directorial work of the late michael crichton in a lot more detail . having made runaway with tom selleck ' s moustache five years ' earlier , 1989 ' s physical evidence saw him recruit burt reynolds ' facial hair . we ' ll never know which he preferred .
i guarantee you at least six minutes of this film is literally just walking sequences . that’s why it loses a star !
3 . develop an awareness of the history of film studies study the debate over authorship from the 1950s to the 1990s .
most of these features came to us by way of uk specialist label third window films , who ' ve previous released hana - bi , kikujiro , dolls , and a scene at the sea , and continue their winning record with kids return . however , now there ' s another label helping to fill in the gaps , film movement with their recent releases of kitano ' s first two directorial features , violent cop and boiling point . are they worth the upgrade ? check out our thoughts below .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
violent cop
opens with a gang of kids beating up an old man . azuma tracks the gang leader right to the door of his room in a middle - class family ' s home . he does not pound on the boy ' s door . he raps twice , matter - of - factly but firmly . when the kid opens the door , azuma slugs him .
i had to fight with my crew to get the scenes shot with very little movement
, kitano says and continues ,
as the film came out , everyone told me , that i didn ' t knew how to make a film .
outside the top 10 highest - grossing list , which included back to the future ii , dead poets society and honey i shrunk the kids , 1989 also included a plethora of less commonly - appreciated films . some were big in their native countries but only received a limited release in the us and uk . others were poorly received but have since been reassessed as cult items .
while kitano is reluctant to talk about his style and motifs , there are elements visible ( in hindsight ) : the duality of emotions ( the emotional pendulum ) , the duality towards pretending and the kitano fatalism . possibly the need to be taken serious made kitano write things for him important into the script : if so ,
violent cop
may well be a blueprint for kitano motifs .
such depravity also eventually consumes kitano’s sister , a mentally handicapped innocent whose violation is the final straw for the violent cop . as a director , kitano employs long takes to heighten his protagonist’s isolation . the tension reaches a fever pitch during a final confrontation in which the eponymous antihero finds even his own extreme measures ineffectual against the spread of degenerate corruption . a forlorn saga about the futility of fighting crime and sin , violent cop oozes with despondency . and yet despite this bleakness , there’s a deadpan quality to kitano’s tragedy . that black comedy is felt not just in more straight - faced punchlines , but also in the action’s periodic blasts of bloodshed , none better than a prolonged chase sequence that ends with kitano repeatedly running over a junkie perp with his car and then kicking him for good measure .
this list collects every film from the starting list that became they shoot pictures don ' t they ' s 1000 greatest films . this…
director takeshi kitano ' s unflinching début is a poignant practice in violence and nihilism . the plot ( though initially slightly slow ) follows the titular ' violent cop ' azuma as he commits elevating acts of brutality in a fashion similar to that of ' dirty harry ' in order to solve a case . where azuma distinguishes himself from harry callaghan , however , is in his ethos , and the deep existentialism running throughout ' violent cop ' allows it to become a more thought provoking character study then ' dirty harry ' ever was . in a directorial sense ' vc ' is poetically beautiful and minimalistic , with shots lingering on both small moments of beauty and extreme violence , reminding viewers that both inhabit the same existence and that ( for our protagonist ) neither one is more shocking then the other . azuma ' s acts of violence are often linked to those of the film ' s primary antagonist and assassin kiyohiro , with the two even sharing dialogue throughout . in a sense ' violent cop ' presents itself as a study of oppressed , traditional masculinity in 20th century japan , and the untameable nature of those men who haven ' t given in to the confinement of modern existence , azuma ' s regard to the rules and those around him ( his disabled sister especially ) act as testament to this , and the outstanding final confrontation is a natural amalgamation of the brooding violence that preceded it . outstanding .
glory to the filmmaker indeed . as reported on the auteurs yesterday , takeshi kitano is currently the toast of paris , prompting movie poster of the week to take a look at kitano’s career in one - sheets . starting as a stand - up comedian in 1972 , “beat” takeshi soon became one of japan’s most popular entertainers and television personalities . he started acting in movies in the early ’80s , most notably in oshima’s merry christmas , mr . lawrence ( 1983 ) but it was almost by accident that he started making his own films , when the original director of 1989’s violent cop fell ill . since then he has written and directed 14 movies in the past 20 years , though his reception in america has veered wildly from adulation to indifference . his first film to be picked up in the states , 1993’s sonatine , was held back for years by miramax until it was finally released five years later , hot on the heels of his 1997 venice golden lion winner hana - bi ( fireworks ) .
violent cop remains a stunning debut feature . it must have genuinely stunned , being as it is a fierce and destabilizing portrait of cold and cruel gangland warfare , as good as if not better than anything by kinji fukasaku ( who was originally meant to direct it ) , directed by an ever - present comedian and tv personality . and of course it is funny , gleefully so ( if nonetheless resolutely deadpan ) . a master arrives .
to the best of our knowledge , the only western film based on the zatoichi series , blind fury stars rutger hauer as the swordsman of the title . the fights are outlandish ( and nicely choreographed by director philip noyce ) , but hauer plays it straight , delivering a charismatic and excitingly physical performance . interestingly , blind fury was one of two movies directed by noyce and released in 1989 ; the thriller dead calm , starring sam neill , nicole kidman and billy zane , was the slightly higher - profile of the two , though neither was exactly a huge hit .
fox lorber - region 1 - ntsc vs . mia - region 2 - pal vs . film movement - region ' a ' - blu - ray
the film works either way because of the strong direction and acting from kitano , but it would be bland without him . he makes the movie .
the transition extends and is completed with the death of azuma . while the ending of
violent cop
notes upon a cyclic reading - kikuchi , azuma’s apprentice , walks over the bridge in the exact same framing as azuma did in the beginning of the film - it is an illusion , as kikuchi walks up to the new yakuza boss , who shot azuma , and is paid off . quiet ambiguous , one has to ask : was kikuchi corrupt all along ? did he become corrupt after the death of azuma ? was azuma’s death in vain ? the ending stands open , as it is ambiguous .
sound mono is mono , but at least this 2 . 0 mix is clear and lacks annoying hiss or other distortions that can render a film miserable .
' beat ' takeshi kitano directs and stars in this cult japanese thriller as a cop waging war on the yakuza . given that even the yakuza think him dangerously brutal , it ' s worth noting that the title of the film is well deserved . released on the new dvd only tokyo bullet label from mia , here ' s what we thought of the disc . . .
robert de niro was still at the top of his game when he made this relatively obscure drama about a traumatised vietnam veteran struggling to come to terms with his past . the 80s saw no shortage of films examining the psychological fallout of the vietnam war on the american psyche - brian de palma’s casualties of war also came out in 1989 - and it’s possible that the sheer number of them left audiences a little fatigued by their number . but jacknife is , unlike many other ' nam films of the era , a quiet , unshowy film , with de niro at his restrained best as the haunted protagonist .
pas le meilleur kitano . on aime les personnages , on aime retrouver ce personnage hirsute , qui emmerde tout , violent mais avec une droiture bien à lui . mise en scène rien de folichon et un scénario qui s ' emmêle un peu .
this is a cop who keeps slapping a dope dealer he confronts in a men ' s room until he bleeds . azuma is not above the dirty trick of leaving a knife where a suspect he wants to nail can grab it - - if he is foolish enough . when a fellow cop tells the story of azuma ' s accidentally shooting a
punk
with a wild shot , azuma straightens him out .
i aimed for him .
obviously influenced by alien and the thing , leviathan’s pure schlock , seemingly rushed into production as an answer to james cameron’s expensive the abyss , which also came out in 1989 . the creature effects , devised by stan winston , are variable at best , but some of them - like the bit where daniel stern gets attacked by a toothsome tentacle - are really effective . best enjoyed with a beer and some unhealthy snacks , leviathan’ s perfect for an evening’s trashy entertainment .
independent us distributor film movement , mostly known until now for their monthly dvd club that shares under - the - radar indie films with fans at home , has taken up the challenge of releasing this film , along with kitano’s follow - up boiling point on blu - ray for the first time anywhere . the result is a solid presentation that represents a demonstrable step up in quality from the available dvd versions of violent cop . the presentation isn’t exactly reference quality , but there is a noticeable bump in image quality both in terms of fine detail clarity and color fidelity . the audio presentation is similarly improved with an uncompressed lpcm stereo track that delivers clear , sharp dialogue , and does what it can with one of kitano’s least compelling background scores . overall , it’s a definite upgrade from any of the dvd versions previously available .
the look of the film is sharp - edged and detached . the violence is first presented slightly off - camera , but that changes as the stakes get higher .
we miss you , patrick swayze . next of kin was the film he made that was sandwiched between road house and ghost . it ' s also a blast .
describing the plot of boiling point ( re - titled for international markets from the far more obtuse ３－４ｘ１０月 or 3 – 4x october ) , is a bit tricky as the film is far more free flowing and less linear that violent cop . the story focuses largely on masaki ( yurei yanagi ) , an inept member of a local baseball team , whose boss is threatened and attacked by a local yakuza . masaki travels to okinawa to purchase some guns to take his revenge on the yakuza and along the way meets up with uehara ( kitano ) , a hot - tempered , ill - mannered yakuza who hops along for the ride , inciting all kinds of madness along the way . as the film progresses , masaki approaches the titular boiling point from which he cannot turn back , and a trail of bodies seems to impede his path at every step .
goldberg , r . 2004 . ‘demons in the family : tracking the japanese “uncanny mother film” from a page of madness to ringu ’ . in : b . k . grant and c . sharrett , eds . planks of reason : essays on the horror film . revised edition . oxford : scarecrow press , pp . 370 - 383 .
still , even though i do consider this film to be somewhat flawed , it’s still a pretty decent film . not one of kitano’s best works ( i’d say that this is one of his worst , but that’d be ignoring the crapness of his godawful getting any . nothing else kitano has ever done comes even near that piece of shit when it comes to bad films . ) , but still a film worth checking out . but if you’re new to kitano , i’d suggest seeing sonatine or hana - bi first .
although rarely cited as vintage ridley scott , we ' ve got a lot of time for black rain . it ' s a film that brings together michael douglas and andy garcia as a pair of cops who are tasked with arresting a member of the japanese yakuza , and escorting him back to his home country . what follows is a very hard - edged cop movie , where the shift in locale means a shift in rules .
violent cop . so , this was originally supposed to be filmed by kinji fukasaku ( battle royale , graveyard of honor , yakuza papers ) who dropped out , thankfully . takeshi kitano , who was only starring in the film , took over and japanese films haven ' t been the same for me since . unlike other yakuza films , kitano ' s violence is quick and cold - blooded . different from american vigilante cops such as dirty harry , who care so much for their victims , kitano ' s character azuma doesn ' t seem to care about anything but personal revenge . if you ' re a fan of beat takeshi ( and you should be ) don ' t pass up this directorial debut .
were horrible . this may have been one of the first comparisons we did - way back in 2001 - ish and i ' m unaware of newer digital releases . the film movement
japanese films are our primary texts . one film will be screened each week at the time and place noted above . one ( free ! ) booklet will be distributed in class .
the fact that genre films from distant cultures have nowadays become so accessible to popular understanding is a sign of the increased transnationalism of film culture . as elizabeth ezra and terry rowden explain :
as if in illustration , ' ' violent cop , ' ' written by hisashi nozawa , begins with a casual , brutal nighttime assault by a group of adolescents on a homeless man . but it isn ' t long before azuma appears on the doorstep of the fine home of one of these punks , talks his way past the boy ' s mother and goes upstairs and into the youngster ' s room . there he proceeds to punch , slap , kick and head - butt before leaving the bloodied boy with four words of advice : ' ' give yourself up tomorrow . ' '
it ' s a shame , then , that the harder - edged lean on me tends to get overlooked . notwithstanding the fact that it earned morgan freeman a lot of acclaim ( although not an oscar nod ) , john g avildsen ' s film does veer into hollywood sugar coating from time to time , but its leading man is utterly magnetic in the starring role . freeman plays joe clark , in a film based on a real story . the film then tells how clark transformed his approach to a troublesome collection of students , and in turn , began to clean up their school .
a shallow description would refer to this as a japanese version of dirty harry . and it does bear some resemblance to that film , but while dirty harry broke the rules in order to get a criminal at any cost , kitano ' s character azuma seems to seek vengeance due not only to his lust for revenge but because he ' s psychotic . there ' s a sense that azuma won ' t rest until he gets his man not out of duty but out of madness . kitano gives what might be his best performance in this film ; he is absolutely riveting . and the film itself is beautifully shot , and the score is especially good . but the best part of this is perhaps the end - the film ends on a perfectly cynical note that couldn ' t be topped . seek this out .
streamline is the official blog of filmstruck , a new subscription service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house , indie , foreign and cult films .
vojković , s . , 2009 . ‘reformulating the symbolic universe : kill bill and tarantino’s transcultural imagery’ . in : w . buckland , ed . film theory and contemporary hollywood movies . new york : routledge .
“beat” takeshi kitano has been making headlines recently . late last year the 70 - year - old japanese filmmaker , actor , author and entertainer was awarded france’s coveted legion of honor for his contribution to contemporary arts while film retrospectives in new york and rio de janeiro , along with a spate of fresh blu - ray releases from film movement and third window films , have spawned renewed interest in his work . kitano is also wrapping up production on his latest directorial effort , the third film in his lauded crime trilogy outrage : final chapter ( 2017 ) , and we can look forward to seeing him in the highly anticipated live - action adaptation of ghost in the shell ( 2017 ) soon . as a longtime admirer , it has been a joy to see the arc of his career take shape from popular television comedian to celebrated film auteur and beloved cultural figure .
azuma has a double in the underworld , a sadistic assassin for a big - shot drug boss . the cop has a sadistic streak of his own . investigating policemen discover the killer in bed with a boy , and it ' s no accident when azuma sticks a gun barrel into the man ' s mouth .
in conclusion , this review is long and rambling and does not do the film justice . see it . this is one of those movies that really gets to you and has you feeling shitty after watching it . while i don’t like feeling shitty , i never forget when i feel shitty , and as a result , i’ll never forget this film . this film stays with you long after you have seen it , and that is as good a reason as any to see it . very few films affect me in any way these days , but this one sure as hell did , and by doing so it gets my full recommendation . so there .
as vicious as its title suggests , violent cop nonetheless boasts a wit typical of its director / star takeshi “beat” kitano , a former stand - up comedian who laces his behind - the - camera debut—which he took the reins of after the initial director backed out—with a dry humor that enhances its bleak brutality . boasting a classical sense of composition and camera movement , the film concerns kitano’s rogue police officer—who almost never speaks or emotes , preferring to let his hands do the talking . slapping criminals about with uninhibited malice , kitano is a robotic dirty harry tolerated by his superiors only because they too recognize the cesspool in which they work . filth and misery are all - encompassing , and as kitano stalks the city’s streets , he comes across as a granite slab of quietly righteous fury , wielding his swinging fists and kicking feet to combat a rising tide of drug - fueled vice .
kitano is nothing if not a filmmaker willing to stretch his films to meet his own desires and challenge his audience . in kids return he does just that . while the film is a middling effort among his oeuvre , it maintains the sense of freedom that makes kitano’s work stand out . the film maintains two largely independent storylines without much trouble at all , and in the instances in which the storylines intersect , it always feels quite natural .
the end of this film can be described in one word : brutal . this is one of those films that slowly rises in intensity until it explodes in an orgy of violence . yes , i know , that sounds like something you would read on a box cover a b - grade action pic , but hey , i lost my thesaurus . this is a hard film for me to describe . the best comparison i can make with this movie is to the radiohead song “exit music ( for a film ) ” , off of their 1997 album ok computer . both the film and the song start slow and quietly , build up slowly in intensity , and then culminate in an outburst of all of the repressed and muted emotion that came before it . if you’ve never heard the song , then that will mean nothing to you . don’t let that stop you from seeing the movie , though .
it doesn ' t take long for officer vickers to make his presence felt at the party , with a gruesome pencil to the eye murder almost as soon as the booze starts flowing . it immediately lets us know that writer dan povenmire has written a screenplay that isn ' t fucking around and that director adam rifkin under his rif coogan moniker , is going to let loose and show us the goods in this picture . psycho cop returns is a gleefully violent and gory film letting robert r . shafer really sink his teeth into the officer vickers role and run with it . shafer comes up with some great one liners and memorable quotes and his charisma sets him apart from the traditional mute stalk and slash villain . shafer is perfectly campy which fits the tone of the film to a t . the filmmakers understood the movie they were making and in the special features even admitted they weren ' t expecting it to be nearly as good as it turned out to be but the outcome was a success when you have a cast that is putting their all in to it , a solid script that flows well and a director who understands that he needs to create a fun film . in 1992 there was really no room for dreadfully serious and dead pan slasher movies , but this one proves that the formula could still work if you create something fun and light .
psycho cop returns is precisely that . we may be dealing with grown adults in their late 30s and 40s but this is every bit the exact same movie as the teen summer camp slasher film just replacing the jerky frat boy for a jerky middle aged man and the sexy co - ed who gets hacked up after having sex with someone for a slightly older but no less sexy stripper , including former penthouse magazine pet of the month julie strain . the tropes and formula are exactly the same but we ' ve traded in our tents for cubicles and dark wooded trails for elevator shafts and it works . adam rifkin even gets a bit of social commentary in at the end with a reverse take on the rodney king beating which is a great scene for the final act of the film .
despite this film having some issues , and wearing it ' s dirty harry love too much on its sleeve , i did enjoy myself . kitano ' s poker faced bulldog violence is so hilariously deadpan , and some of the antagonists in this film were quite memorable . there are a few highly memorable scenes here , shot with invention and studious influence . kitano is that most extreme form of silent violence , which give his films several feelings all at once .


patterns of evidence : exodus is a 2014 documentary film directed by tim mahoney .

the film presents the theory that the biblical story of the exodus of the hebrew slaves from egypt really happened during the middle kingdom of egypt .

it was released in theaters by thinking man film on january 19 , 2015 .

patterns of evidence

patterns of evidence : the exodus and millions of other books are available for amazon kindle . learn more
the official trailer for patterns of evidence : the exodus . purchase the film now . click on the shop tab above .
on monday evening i went to see the much anticipated documentary film , patterns of evidence : exodus by filmmaker tim mahoney and thinking man films .
but perhaps that was mahoney’s point . we do have evidence for the historical exodus , but there is not a consensus among conservative scholars on the exact nature of that evidence and which evidence is most reliable for defending a historical exodus . christians should consider the evidence for themselves and decide .
there was some great archeological evidence that was presented . much of it was amazing !
filmmaker tim mahoney calls into question hundreds of years of archeological discoveries that suggest there is no evidence of the biblical exodus . the film , patterns of evidence : exodus , was screened in select theaters across the u . s . via fathom events followed by a q & a with an all - star panel .
near the end of the film , mahoney made a statement along the lines of “scholars disagree about the dating and the evidence for the biblical exodus , but we do have evidence for it . ”
there is much evidence that the egypt time lines needs correction . if such corrections are made according to the evidence from new discoveries in archaeological digs in egypt . . .
patterns of evidence : exodus is a movie starring charles aling , manfred bietak , and john bimson . what is the validity of history found in the bible ? is it fact or fiction ? what does the hard evidence really have to say about the foundational story of the old testament : the exodus out . . . see full summary »
last night i viewed patterns of evidence : exodus . it’s a well done film that goes carefully through the biblical account and shows the archaeological evidence for the exodus . interviews show archaeological and biblical experts on all sides of the issue concerning this critical historical and spiritual event , as told in the book of exodus . i think the evidence presented by filmmaker tim mahoney is fair and leaves you the viewer to decide what you believe .
there is evidence that receipt of sre impacts positively on sexual behaviour and is associated with positive sexual health outcomes .
excellent book . who says there is no evidence for the exodus . really enlightening and interesting .
filmmaker timothy mahoney faces a crisis of faith , “is this foundational event of the bible really just a myth ? ” he embarks on a 12 - year journey around the world to search for answers . patterns of evidence : the exodus unlocks the mystery of this ancient saga , combining a scientific investigation with a retelling of the exodus story to reveal an amazing pattern of evidence matching the biblical account that may challenge our understanding of history .
the apparent strong archaeological evidence which appeared as a solid dam of doubt for the exodus now has substantial holes in it . thanks to mr . mahoney’s work the truth is coming to light . mr . mahoney is only showing us scientific archaeological evidence . as more evidence is discovered i predict the dam of doubt will fall .
excellent scholarly expose of the evidence supporting the exodus . does a good job exposing the weaknesses of modern biased views and clarifies the interpretation of the data .
mahoney doesn’t call for a leap of faith , but proposes that the evidence warrants and honest re - evaluaton of the “scientific consensus . ”
overall , great film . tim stated at end of film that there was no evidence of exodus . ron wyatt saw evidence in red sea , chariot wheels , etc . there are markers at each side of sea showing the crossing site . on east side ( arabia ) there is physical evidence of israel camps , etc . tim needs to check history at the sea area .
after twelve years of work , filmmaker tim mahoney is finally releasing , for one night only ( tonight ) his documentary , “patterns of evidence , ” about the archaeological and historical evidence for the biblical exodus . i had the opportunity to view a pre - released version of the film back in november and can attest to the production value that twelve years of work creates . the film has already won awards for its craftsmanship .
archeological evidence can support historical events but can’t deny them . in other words , if there is archeological evidence that matches an historical event , it can prove its occurrence , but lacking it can’t prove that it didn’t happen . the written material is the evidence that should lead our ability to decide which events are considered as historical .
i was shocked that at the end of the documentary where he stated there was “no evidence” for the red sea crossing ? ? i just recently did an extensive research study on ron wyatt’s findings as well as others who have indeed found numerous evidence as you stated above , so i’m honestly clueless as to how he says there’s no evidence . either he didn’t do enough research , or didn’t want to open that can of worms , but i believe the evidence would make for a great part 2 .
yesterday i posted an article titled navigating “patterns of evidence for the biblical exodus which essentially outlined where the film would focus most of its attention . that focus was on the dating of the exodus or the chronology ( or when it happened ) , and that was correct . more on this in a moment , but first some positive observations of the film .
astrophysicist and author hugh ross , ph . d . offers evidence that the earth is billions of years old , which he believes . . .
) . self - organized , regular vegetation patterns have been studied extensively in the past decade in water - limited systems ( e . g . , refs .
a film cannot function like a term paper and can only serve to be an introduction to these important issues . more depth will be found in the upcoming book . patterns of evidence : the exodus presents one intriguing explanation for the pattern of evidence that exists earlier than expected . in my opinion this is an underreported proposal that deserves much stronger attention and research , especially by supporters of the bible . hopefully , many will be as open to considering these ideas as the reviewer in this article .
patterns begins with a straightforward enough concept : the bible describes an exodus event for which , according to many scholars , there is little to no extra - biblical corroborating archaeological or historical evidence . taking seriously the record of the biblical text , mahoney , a self - described “reluctant participant , ” engages in what he calls a “scientific method” of identifying the exodus in the historical record . this method attempts to match the chronological “pattern” of the exodus described in the biblical text to evidence of that same chronological pattern in the archaeological and historical record .
but if the arrival of the hebrews was 1500 it would mean that the moses hebrews pre - dated the philistines by couple of hundred year . however , i don’t think the evidence supports this .
don’t expect mahoney or patterns to get accolades from scientists or fellow documentarians as the film turns the “accepted facts” on their head and challenge conventional dates and theories surrounding the biblical event .
this illustration used in patterns of evidence : the exodus ( also in the book , see below ) shows the upper wall of time as the traditional view of egyptian chronology and the “late exodus” view , which places the exodus at about 1250 bc , during the reign of ramses the great . the colored blocks indicate events analyzed in the film as archaeological evidence for these events has “not found , ” but if the timeframe is shifted backward ( white arrow ) about two centuries toward egypt’s middle kingdom , and the exodus is placed around 1450 bc , archaeology tells another story – the biblical story .
ultimately , “patterns of evidence” will leave viewers with the erroneous impression that the bible can be proven true by archaeology , but the historicity of the biblical text is not dependent upon the vicissitudes of historical preservation . archaeology will not prove the veracity of the bible . archaeology informs our understanding of the biblical text and the biblical text informs our understanding of the archaeological record . while we cannot fully understand one without the other , neither “proves” nor negates the other . and really , we shouldn’t ask them to .
i found it fascinating that the interviews of most of the detracting expert archeologist showed their incredible arrogant nonbelief of the biblical exodus . as more evidence comes to light i think many of these doubters will look back with embarrassment at the strong stand they took against the truth .
the patterns film crew is in israel now ! they are filming numerous biblical sites and also conducting various interviews and re - creations . the most recent visit was with scott stripling at shiloh .
please do research and put out a documentary regarding all this evidence that supports the bible as not only god’s word and absolute truth – but a historical document .
) . here , using recent advances in time - series methods applied to a desert stream , we identified the spatial scales of drivers underlying observed patterns of solute concentrations , partitioned the relative influences of physical drivers and biological processes , quantified internal spatial feedbacks , and compared inferences over short - term succession and a long - term ecosystem regime shift . the observation that internal spatial feedbacks contribute to regulating biogeochemical patterns in rivers and streams is novel and could influence how stream ecosystems respond to environmental perturbations (
i like that mr . mahoney did not say we have proof that the biblical exodus occurred , but just presented a bunch of the evidence , and let the viewing audience draw their own conclusion .
rivers and streams are open , heterogeneous ecosystems . stream water chemistry is influenced by organisms and the physical environment , resulting in longitudinal ( upstream - downstream ) heterogeneity that can be analyzed with time - series methods . applying statistical techniques to longitudinal nutrient concentration data in a desert stream , we found evidence of substantial internal regulation of surface - water nutrient patterns , realized via spatial feedbacks . the strength of these feedbacks increased over succession . although inputs from subsurface zones ( a feature associated with the physical template ) remained a major factor in explaining nutrient patterns , by late succession , the effect size of internal feedbacks was equal to the effect size of major upwelling zones . our study demonstrates that multiple processes interact in a dynamic way to create ecosystem spatial heterogeneity .
thank you for your thoughtful review of the patterns of evidence : the exodus . i wanted to respond to a couple of the points you brought up . first , i believe the film firmly landed on an exodus date around 1450 bc as opposed to an approximately 1250 bc ramesses exodus date . this was the first of the two big wall shifts featured , when mahoney decided to leave the ramesses exodus theory behind and search earlier . after seeing more evidence against ramesses and the reviewing 1 kings 6 : 1 , the biblical date shifted back to 1450 bc and never moved again . many people who argue against david rohl’s ideas do not realize that he uses a rather orthodox exodus date .
mahoney wrote , directed and produced “patterns of evidence : the exodus” , his first feature length documentary film , an investigation that lasted twelve years . he has also authored the new book by the same title . after 25 years of experience in media production , mahoney created thinking man films , a production / distribution company that explores the world we live in and encourages people to question what they have been told about culture , science , history and religion .
drylands are important ecosystems with limited water resources , often subject to desertification . their ecological activities depend on spatial patterns formed by local vegetation , but the relation with vegetation growth remains unclear . using satellite images of a typical semiarid shrubland in southern spain , we gather vegetation data and argue that vegetation cover can be interpreted by means of a percolation process . we use a static analysis that compares patch statistics in different spatial scales to study the various patch patterns that occurs in drylands . our results indicate three distinct phases in the overall vegetation cover range . the spatial patterns of vegetation are separated by a first - and a second - order phase transition , in three different spatial scales . we measure the corresponding critical exponents and determine novel relations between scaling exponents . the results reconcile conflicting views about vegetation patterns in drylands and demonstrate that different phase transitions coexist in the phase diagram of dry shrublands in southern spain . in addition , our preliminary test with a distinct dryland supports the hypothesis of universality classes to sort different drylands .
the bible record is true . there is ample evidence to support its claims . it takes a fair and open minded approach to study and prove it to be the inspired word of god . it also takes some courage when you are confronted with the evidence , then make a decision to either accept its claim on our life , or to close the book and walk away unchanged .
) . one of the fundamental questions underlying the study of pattern–process relationships is to what extent patterns are determined by local environmental conditions ( e . g . , soil and climate in terrestrial ecosystems , salinity and currents in oceans ) and to what extent they are self - organized (
i spent 12 years asking the question , “is the bible true ? ” if it wasn’t then what should i put my faith in ? what i found was an amazing pattern of evidence that matched many of the events recorded in the bible . there was a real history that could be seen . for me that changed everything . i encourage you to join me in the ongoing investigation and see the bible affirming evidence for yourself . –timothy
read weekly updates on recent archaeological discoveries and ding into the artifacts being found . we continue to seek further evidence for the biblical accounts - read about it . . . absolutely free !
) . here , we used patterns of nutrient concentration in a desert stream as a model system to disentangle the relative influence of physical template and biological processes , evaluate the role of internal spatial feedbacks emerging from physical and / or biological processes , identify the spatial scales of underlying processes , and compare inferences over short - term succession and long - term ecosystem regime shifts .
two important findings emerge from our results . first , the physical template ( here , groundwater upwelling ) was a dominant factor influencing nutrient spatial patterns , about one order of magnitude higher than biological effects . the most visually obvious ( biological ) change in the system over the nearly two decades encompassed by the study , establishment of riverine wetlands , did not have a direct effect on nutrient spatial patterns . second , internal spatial feedbacks , feedbacks that indicate self - organization but have not been considered in stream biogeochemical research , became stronger over succession as a resource becoming increasingly limiting , and were as important as the physical template by late succession . we conclude that research on stream nutrient spatial patterns requires an explicit consideration of the interplay between the physical template and the system’s internal self - organization , as well as how this interplay may change over successional or greater time scales .
a debate rages over the credibility of the bible . most archaeologists today have concluded that there ' s no evidence that the exodus of israelite slaves from egypt ever happened . filmmaker timothy mahoney faces a crisis of faith , “is this foundational event of the bible really just a myth ? ” he embarks on a 12 - year journey around the world to search for answers .
the problem is that the evidence that was presented as supporting the exodus was conflicting . my concern is that christians may walk away from the film being even more agnostic about the exodus than certain that it happened .
what is the validity of history found in the bible ? is it fact or fiction ? what does the hard evidence really have to say about the foundational story of the old testament : the exodus out of egypt ? an in - depth investigation by documentary filmmaker tim mahoney searches for answers to these questions amid startling new finds that may change traditional views of history and the bible .
follows the book of acts . shows the complete message of christ and the transformation of saul to paul and how the high priest of judea does not believe in what has taken place after the crucifixion of christ .
the physical template can be defined as the relatively stable physical environment in which a pattern of interest develops ( 3 ) , and is considered an overriding organizer of ecological patterns . at large spatial scales , spatial zonation of vegetation pattern is a classic example of the environmental template determining plant pattern formation in action ( 6 ) . at smaller scales , microtopography significantly influences plant distribution ( 7 ) . in streams , the physical template influences stream surface - water nutrient patterns ( 8 ) . longitudinally , tributary junctions bring water with distinct biogeochemical signatures into a stream . laterally , streams are hydrologically connected to the riparian zone , the floodplain , and the upland portions of catchments ( 8 ) , with riparian zones acting as “nutrient filters” that remove various chemical constituents as water moves from uplands to the stream ( 9 ) . vertically , subsurface water from the hyporheic zone can also alter the biogeochemical signature of surface water ( 10 ) . at broader spatial scales , geomorphic features , such as slope breaks and canyons , determine the locations of upwelling and down - welling zones ( 11 ) . collectively , such connections among subsystems in the riverine landscape form the physical template that influences patterns of nutrient concentration in stream surface water .
i am not sure why this review did not address mahoney’s “pattern of evidence” motif because that was integral to his approach and it dominated the narrative . to me , it was a very powerful image – and , as the panel host said , kept you on the edge of your seat as you waited for evidence of each of the 6 phases in the pattern . mahoney also explained at the beginning of the film why he did not address the route of the exodus ( he ran into the fact that scholars doubted that israelites were ever in egypt in the first place , and so it was necessary to do that first ) . to be fair ( to this reviewer ) , i was a little surprised that there wasn’t definitive evidence to lock down the pattern into a specific time – but , after seeing the film , i appreciate the scope of the task . on balance , i would say there is great merit in taking rohl ‘s and mahoney’s hypotheses seriously . at least seriously enough to ask new questions .
wetlands are considered biogeochemical hotspots ( 40 ) , in the sense that riverine macrophyte patches exhibit significant nutrient retention ( 41 ) . however , studies quantifying biogeochemical influences of wetlands typically integrate large downstream distances ( or areas ) to calculate total nutrient uptake ; hence , the particular contribution of macrophytes to nutrient spatial patterns remains unresolved . in our study , although wetland plants covered ∼40 % of the stream in 2013 , we found no evidence of wetland patches affecting spatial patterns of no 3 − or srp concentrations directly . in contrast , algae had a significant negative effect on no 3 − ( but not on srp ; fig . 4 ) , even though the amount of n stored in algae is only about a third of the amount of n stored in vascular plants ( si appendix , si materials and methods ) . concentration of srp is additionally affected by physical adsorption / desorption and solubility processes , which may explain why srp concentration is not negatively associated with algae in this system . vascular macrophytes do assimilate these nutrients and , in fact , represent a much greater nutrient storage pool than algae . we suggest that local effects of wetlands on surface water nutrients are undetectable compared with local effects of algae because macrophytes obtain their nutrients via root uptake ( 42 ) , which is not reflected in surface - water concentration .
essentially three main dating options were presented in the film . the reasoning and the evidence for each dating option , however , was not clearly explained . in my view , that was really the crux of the matter . that is what people came to see and wanted to know .
the film focuses on the historical evidence of abraham’s great - grandson joseph’s descent into egypt as a slave , his rise to power as the pharaoh’s key advisor , the shift of wealth that occurred in egypt under joseph’s administration , avoiding the devastating famine , the emigration and establishment of joseph’s extended family in egypt , the enslavement of the hebrew people , the ten plagues and red sea miracle which destroyed egypt’s economy and army making the nation vulnerable to invasion by the hyksos , as well as the subsequent conquest of canaan by the nation of israel under the direction of joshua .
mahoney comes to a crisis when , as noted above , he finds there is little evidence of that “pattern” in the time periods normally associated with the exodus event . stymied by professional archaeologists , even those who are otherwise sympathetic to traditional interpretations of the biblical text , mahoney turns to the theories of david rohl and john bimson who , instead of accepting the normal dates associated with the reigns of egyptian kings , have argued for revising the traditional chronology of egyptian kings by pushing forward and expanding the king list by nearly 200 years .
hoffmeier is professor of old testament and near eastern archaeology at trinity evangelical divinity school ( deerfield , il ) . since 1994 he has been director of the north sinai archaeological project . hoffmeier has appeared in many tv programs and authored two books on evidence related to the exodus : israel in egypt ( 1999 ) and ancient israel in sinai ( 2011 ) .
q - what if there is an existence in the universe other than ours that we are unaware of ? a - we have no scientific evidence of any other universe . you can postulate anything thing you like but that is totally blind faith . what we cannot know does not help us deal with what we do know . we do know that the god of the bible created the universe we are in .
wavelet analysis revealed a strong influence of upwelling zones on no 3 − patterns ( fig . 2 ) . the global wavelet spectrum ( gws ) is the space - integrated version ( i . e . , across the entire stream length ) of the wavelet power spectrum , and it identifies the dominant scales of spatial variation ( by peaks in gws ) . the gws of no 3 − signals showed two distinct spectrum peaks at spatial scales of ∼1 km and 3 km , except during early succession , when the 1 - km peak was absent ( fig . 3 and si appendix , table s1 ) . for srp and conductivity , only one peak , between 1 . 5 and 1 . 8 km , was observed in the gws over successional time ( fig . 3 and si appendix , table s1 ) . wavelet analysis of wetland abundance distribution and its gws showed that the spectrum powers peaked at spatial scales of ∼700 m and ∼2 , 500 m at downstream distances of 5–7 km and 7–10 km , respectively ( figs . 2 and 3 ) . wavelet analysis for nutrient spatial heterogeneity and wetland distribution showed different patterns ( figs . 2 and 3 and si appendix , fig . s2 ) , suggesting different underlying contributing processes . by comparing the mean dissimilarities in the space - spatial scale plane ( i . e . , spatial locations on the x axis , spatial scale on the y axis ) for different solutes , we found that srp patterns varied most with successional stage , followed by no 3 − and then conductivity ( si appendix , fig . s3 a ) . differences in spatial patterns among solutes increased with successional stage ( si appendix , fig . s3 b ) .
spatial patterns of nutrient concentration in sycamore creek over 10 km across four stages of postflood succession and two ecosystem states ( early succession in march 1997 , midsuccession in may 1995 , late succession in december 1995 , and mid - to late succession with wetlands present in may 2013 ) . in 2013 , we measured cl − concentration instead of conductivity . small and large red dots denote minor and major upwelling locations , respectively . data from dent et al . ( 10 ) .
in u . s . premiere of yiddish version , ‘the words have a lot of weight . ’
bimson’s special interests include the historical and archaeological background of the old testament and he has taken part in excavations in israel . he did doctoral research on the historicity and setting of the exodus and conquest . his book , redating the exodus ( 1978 ) , proposed that the end of the middle bronze age provides the best matching evidence for the biblical conquest and that the dates assigned to this period should be substantially revised .
another area that needs to be addressed is the biblical chronology itself . the work of edwin thiele , which is the accepted chronology of the kings of judah and israel , is 45 years shorter than the biblical chronology . also , most commentators assume that the 479 years between the israelites leaving the land of egypt and the laying of the foundation of solomon’s temple , as mentioned in 1 kings 6 : 1 , is marking the span from the exodus . my research shows that this marks the span from the end of the 40 years wandering and not the beginning . all of the evidence points to a date for the exodus of 1532 bc ( not the 1446 bc suggested in the film ) . the work of gerard gertoux , a scientific approach to biblical chronology , is a must read .
we observed no direct effect of wetlands on surface - water spatial patterns of nutrients , but wetlands indirectly affected nutrient spatial patterns through their influence on surface–subsurface hydrological exchange . after wetland establishment , the effect size of upwelling on no 3 − in 2013 was significantly lower than predicted by the amount of surface water ( fig . 6 ) and its effect on srp was no longer significant ( fig . 7 ) . this shift in the importance of upwelling is likely a result of biogeomorphic changes that occurred during wetland development . upwelling zones feature a high abundance of vascular plants ( 33 ) , which trap and accumulate fine sediments , leading to a reduced vertical hydrological gradient , and thus to a lower hydrological exchange than would otherwise occur ( 18 ) . in addition , wetlands may create a hypoxic hyporheic environment , which favors denitrification in hyporheic sediments , leading to low no 3 − ( 18 ) . reduced exchange and enhanced denitrification are consistent with the observed reduced effect of upwelling zones on no 3 − . as a consequence of reduced upwelling , nutrient dynamics associated with the plant rooting zone would be reflected in surface water concentrations even less , if at all .
the influence of upwelling ( physical template ) on no 3 − concentration was approximately one order of magnitude greater than the influence of upwelling of biological processes [ i . e . , the value of the coefficient for upwelling was at 10° ( fig . 5 ) , and it was at 10 −1 for biological processes ( fig . 4 ) ] . the upwelling effect on no 3 − and srp was significantly positive in three successional stages before wetland establishment , and its effect size increased from early to late succession ( fig . 5 ) . for no 3 − , before wetland establishment , the upwelling effect was negatively correlated with the amount of surface water in the stream ( fig . 6 ) . however , following wetland establishment , this effect size decreased , showing significantly lower values than predicted by the amount of surface water at the time the survey was conducted ( fig . 6 b ) . similarly , for srp patterns , after wetland establishment , the effect of upwelling zones became nonsignificant ( fig . 5 ) . other physical drivers , including water permanence and reach type , influenced nutrient spatial patterns in some surveys , but none of these physical drivers had an explanatory power as strong as the explanatory power of upwelling ( si appendix , tables s2 and s3 ) .
up - to - date evidence is needed about the range and relative importance of different information sources for young people , how well these sources meet their information needs , as well as their preferred sources and knowledge deficits , to ensure that young people are equipped with the knowledge they need to experience a happy and healthy sex life . this paper seeks to address this evidence gap using data reported by young people ( 16–24 years ) , in the third british national survey of sexual attitudes and lifestyles ( natsal - 3 ) , a probability sample survey conducted in 2010–2012 , as well as data from the previous two decennial natsal surveys to examine how learning about sex has changed over the past 20 years .
main outcome measures reported source of information about sexual matters , unmet information needs and preferred source of additional information .
i’m a scientist by training , although my field is biology , not archaeology . my take - aways were : the accepted chronology of egypt has a flimsy basis and there are scholars with a vested interest in this not being challenged ; furthermore , like the theory of evolution and the earlier epicycle theory of planetary motion , it requires a lot of propping up and exceptions to sustain it . by contrast , if you start with the bible and the pattern of events recorded there , it is possible to fit the evidence together in a way that coheres better than the existing schema .
probably my all - time favorite book . as a christian , this book blew me away . despite the claims of contemporary archeology , there is overwhelming evidence for the existence of a semitic people in egypt , living in slavery , then suddenly leaving - as well as compelling evidence for things like 1 . the conquest of jericho , 2 . biblical - type plagues on egypt , 3 . joseph ( i won ' t list anymore - i don ' t want to give away the whole book ! ) . the author , tim mahoney , spent over a decade researching , and he interviewed the experts . the amount of research and time devoted to this book ( and movie ) is exceptional . i don ' t think anything compares . my faith was increased ten - fold and plan to read this book again and again .
as i’ve admitted in my previous article , i believe that the evidence and arguments put forth for the early date ( 1446 b . c . ) , as articulated by dr . bryant wood make the most sense and solve the most problems for reconciling the biblical exodus and the archaeological and historical record .
it was very good to see such conservative christian scholars , such as james k . hoffmeier , charles ailing , bryant wood & john bimson given some air time to make the case for a historical exodus . rarely does the general public hear a conservative give a scholarly response on a historical documentary , and some of the evidence they presented was formidable and compelling .
jewish leaders such as rabbi david wolpe ( a jewish week columnist ) question the historical veracity of the passover story . are a growing number of jews skeptical of the story ?
franklin is a professor at the university of haifa , zinman institute of archaeology and co - director of the jezreel expedition at tel jezreel . franklin was formerly at tel aviv university , where she was the coordinator of the megiddo expedition .
to quantify the relationships between the putative drivers and nutrient heterogeneity , we used marss models . we fitted marss models using the “marss” r - package ( 62 ) , which provides support for fitting marss models to multivariate data via maximum likelihood , using an expectation - maximization algorithm . we constructed two different marss model structures : model i quantified the relative influences of biological processes and the physical template on nutrient spatial patterns , and model ii was used to quantify effects of the relative contribution by physical template and by internal spatial feedbacks .
correct . on the issue of the philistines of david’s time as an earlier migration and also the reference in genesis see the work of john j . bimson in “files” link at urltoken chronology
a study of cognitive ability in norwegian males born from 1962 to 1991 suggests that environmental factors rather than changing genetic composition of families likely account for most of the change in norwegian population iq .
this film comes as a refreshing antidote to the distorted story told by ridley scott in his recently released movie , exodus : gods and kings . mahoney doesn’t just refute that movie , but also shows the historical problems in cecil b . demille’s retelling of the exodus in the film classic the ten commandments . the evidence told in this new documentary will cause everyone familiar with the biblical account to reassess their understanding .
the life and toils of jesus christ , depicted as written in the gospel of john . narrated in english , following the new international version of the scripture , while the actors speak in aramaic .
it’s no surprise that the film is billed as “provocative” and “game - changing , ”mahoney opts to change everything we think we know about egyptian history in order to get it to match more closely with the biblical chronology . but , contrary to what the filmmakers would have you believe , there is nothing new here , just a dejected theory . indeed , most of the scholars interviewed in the film , even those who believe in a traditional biblical dating of the exodus , reject this revised chronology and opt for less - sensational , less provocative , less game changing , more accurate and more nuanced descriptions of the archaeological evidence of the exodus .
a larger proportion of young people in our study reported school as their primary information source than reported school as one of their three main sources in an internet - based survey of young people in the uk .
this is the problem with the documentary format . it is not the best format to put forth and test supposed “new” ideas and solutions no matter how much they are qualified by “perhaps’s” and “could’s . ” time constraints mean that creditable opposition is never addressed . in “patterns , ” all scholarship becomes flattened in a “them” vs . the revised chronology paradigm . the film lumps together traditional biblical maximilists and secular minimalists in a gang of “archaeological giants” that the revised chronology will take down with nothing but a sling and a prayer .
source for only a small proportion of young men and a very small proportion of women , and , despite the availability of the internet , young people still most frequently report more traditional sources of information about sex ( school , friends and parents ) . the increase in reporting of school as the principal source of information about sex is encouraging as school - based sex education has the potential to reduce inequalities in the provision of information . respondents reporting school as their main source were less likely to report wanting further information . in other analysis we found that reporting school as a main source of information about sex was associated with lower reporting of a broad range of sexual health outcomes , particularly among women .
recommending that teaching should also include the impact of pornography , safe use of technology , sexual consent , exploitation and abuse and violence in relationships .
the intensification of the internal spatial feedbacks means that the system became more responsive to changes in no 3 − concentration in late succession ( i . e . , a small fluctuation in concentration invoked a quick return to an equilibrium concentration ) . this responsiveness likely results from intensified n limitation in late succession in sycamore creek , as observed in previous empirical research on the system ( 15 ) . resource limitation increasing the strength of internal feedbacks has been described in arid terrestrial ecosystems , where water constitutes the constraining resource and gives rise to self - organized vegetation patterns ( e . g . , refs . 20 , 22 ) . sheffer et al . ( 49 ) showed that a semiarid shrub - grassland landscape exhibited self - organized vegetation patchiness only when water was limiting ; in contrast , the physical template determined vegetation patchiness under sufficiently high precipitation . although these regular patterns are formed via scale - dependent feedbacks , a mechanism different from the feedbacks we describe here , both studies demonstrate the role of broadly defined spatial self - organization ( 4 ) in forming spatial heterogeneity and show that the strength of self - organization intensifies with increasing resource limitation . concentration - dependent effects were also observed for srp , which suggests the existence of regulation mechanisms . however , no successional trend was observed for srp , likely because srp is subject to an additional control pathway ( 50 ) of sediment adsorption and desorption ( 51 ) that masks biological uptake .
billington is a professor of history at the university of northwestern , st . paul , minnesota . he is the past editor of artifax magazine and has over 30 published articles , book reviews , and scholarly presentations . his areas of specialty include ancient history , medieval history , church history and biblical archaeology .
in 2013 , the office for standards in education , children ' s services and skills ( ofsted ) were of the view that sre required improvement in over a third of english schools and in almost half of english secondary schools .
simply put , mahoney doesn’t consider a large enough data set . when trying to link the biblical chronology to the archaeological record we can’t just account for the pattern of the exodus : the arrival of the hebrews in egypt , their multiplication and enslavement , the eventual judgment of egypt and subsequent exodus and conquest of canaan . we also have to account for every period thereafter : the arrival of the philistines , and period of the judges , the united monarchy , civil war and shishak’s attack , and the divided kingdoms of israel and judah .
it would be great to see the experts get together and work at setting a new date , that works with this pattern of evidence . i always knew that exodus was a factual account , because i prayed when i read the bible , and interestingly due to god’s answers , i knew that rameses was a common point of recognition for people of the time when i read the bible , and i was excited to see tim mahoney point this out in the film although no historian , it is exciting to see this information , as some people need to have a little proof to bolster their faith . such as thomas , jesus’s disciple .
this film is not likely to change the mind of a skeptic . with the exception of possible changes in chronological dating of the exodus event it will only affirm the traditional judeo - christian account of the israelite sojourn in egypt . i expect most who are interested in this stuff will remain in their positions .
weeks is one of america’s top egyptologists who devised and launched the theban mapping project , which seeks to document every tomb and temple in the theban necropolis ( luxor area ) . in 1995 , weeks discovered the expansive kv5 , the tomb of the sons of ramesses ii in the valley of the kings . since 1988 he has been a professor of egyptology at the american university in cairo .
the nutrient data used in this study were from two sources : existing data ( 51 ) and new data collected on may 31 , 2013 , all from the same section of sycamore creek . we replicated field techniques of dent and grimm ( 54 ) , collecting duplicate samples of surface water in 60 - ml tubes from the stream’s thalweg . samples were taken at points 25 m apart , and were collected as simultaneously as possible by 14 people arrayed along the 10 - km stream segment . each person walked upstream as he or she collected samples over ∼700 m . all samples were filtered in the field within 2 h , between 0800 hours and 1000 hours . locations at each 700 - m overlap point were sampled at both the beginning and the end of the collection period to check for diel variation in nutrient concentrations . the magnitude of diel change was < 10 % of the range of concentrations observed and 2 . 5 - fold the average variation between replicates , so we are confident that the spatial patterns we report were not confounded by temporal variation .
upstream wetland abundance was not a significant factor in explaining the srp , no 3 − , or conductivity [ in 2013 , we measured chloride ( cl − ) , also a nonreactive metric ] spatial patterns . we explored wetland abundance across a variety of upstream distances ( scales : 25 m , 50 m , 75 m , 100 m , 125 m , and 150 m ) , but at none of these scales was a wetland effect statistically significant ( only results at 100 - m scales are shown in fig . 4 ) . algal communities showed a significant negative effect on no 3 − in 2013 ( fig . 4 ) . in late succession , the effect of cyanobacteria on no 3 − was positive and significant ( fig . 4 ) .
at the seder , i always take the role of an ancient egyptian who is invited to a seder and explain to the host his side of the story .
given the rapid evolution of technology , one limitation is that some of the natsal - 3 participants included in this analysis would have been learning about sex around the beginning of the 21st century and their experience will be different from those learning about sex today with respect to internet access , particularly through smart phones . another limitation is that we used a predefined list of topics to determine further information needs , which may not have reflected adequately the range of topics of interest to young people today . we also do not know about the quality of the information that young people received .
in chapter six of the book titled “towards a new chronology” rohl gives his main argument , which stems from a genealogy of egypt’s royal architects discovered in wadi hammamat .
our study demonstrates that over the past 20 years there have been substantial increases in the proportion of young people citing school as their primary source of information about sex .
describes how the concentration of a chemical species upstream influences the rate of concentration change of the same chemical species immediately downstream . this phenomenon is a “concentration - dependent effect” in space , analogous to the long known density - dependent effects over time . whereas
boraik , educated at zagazig university , is the second highest - ranking egyptologist in egypt . he oversees the area of luxor , considered to be the world’s greatest open - air museum . this location was home to the ancient egyptian capital of thebes and is filled with some of egypt’s most important archaeological sites such as the temple complexes of karnak , luxor , and the ramesseum , as well as the valley of the kings .
finkelstein is co - director of excavations at megiddo and professor of archaeology in the department of archaeology and ancient near eastern civilizations at tel aviv university . along with neil asher silberman , he authored the influential book , the bible unearthed ( 2001 ) , which argued that the early history of israel did not occur as described in the bible .
i encourage you to check it out . it is worth the price of admission .
we compare men who reported pornography as one of their sources of information about sex with those who did not , both in terms of their other and main sources , and their unmet information needs using univariate logistic regression . the number of women reporting pornography as an information source ( n = 53 ) is too small to permit detailed exploration .
and that large proportions of gay / lesbian , bisexual young people report inadequate sre .
start your journey to an island of calm , inner peace and joy with the magic of mindfulness and explore a new stress - free world . now is the time !
q - why does existence have to have a creator ? a – the scientific evidence shows the universe had a beginning , the “big bang” shows we had a starting place . the universe is also winding down , so it could not have existed forever , otherwise it would have already expanded to nothing . the second law of thermodynamics ( which implies that the universe has been “wound up” and will eventually die a heat death ) — demonstrates that the cosmos has not always been here . it could not have self - created without a cause , because we know that in our universe whatever begins to exist has a cause . a powerful first cause like the god of theism plausibly answers the question of the universe’s origin .
since 1990–1991 , there has been a large increase in the proportion of men and women citing school as their main source of information about sex ( figure 2 a ) , from around 30 % in 1990–1991 to around 40 % in 2010–2012 . there has been a corresponding decrease in the proportion of young men reporting friends and in the proportion of young women reporting their first sexual partner as their main source of information . while there has been no change in the proportion of men reporting a parent , there has been a decrease in the proportion of women reporting their mother ( but not their father ) since 2000 .
haven’t any of you guys read “following moses” by frank de ruyter . gets way on top of this topic , and more or less substantiates what this documentary also stumbles on .
we performed a wavelet analysis to decompose spatial scales of longitudinal variation in nutrient concentration , the results of which were used to infer putative environmental drivers . wavelet analysis does not require the data series to be stationary , and is therefore particularly attractive , given the nonstationary nature of most ecological data ( 57 ) . a full description of the wavelet technique can be found in an article by torrence and compo ( 58 ) . wavelet analyses were applied to all 12 nutrient series ( i . e . , three nutrient types × four surveys ) . a global assessment of the scale - specific properties of the decomposed signal was achieved by summing the mean of the squared wavelet coefficients across all locations to produce a scalogram or gws . after obtaining the corresponding wavelet spectra generated from wavelet analysis , we compared them using a multivariate method that defines an orthonormal basis maximizing the mutual covariance for each pair of wavelet spectra ( 59 ) . comparing the decomposition of the wavelet spectra onto this orthonormal basis enabled us to quantify the dissimilarity of space - and spatial - scale patterns ( i . e . , both the spatial scales and the spatial positions ) among different nutrient species and among successional stages . we then used the constructed 12 × 12 dissimilarity matrix to calculate the mean dissimilarity exhibited by the main factors [ i . e . , nutrient species ( no 3 − , srp , and cl − ) , successional stages ] , which allowed us to evaluate the relative importance of the main factors [ similar to the method of rouyer ( 59 ) ] . wavelet analyses were carried out using the “biwavelet” package ( 60 ) in r ( 61 ) .