the suspect is a 1998 hong kong action film written and directed by ringo lam and starring louis koo , julian cheung , simon yam , ray lui , ada choi and eric moo

the suspect ( 1998 film )

david denby has been a staff writer and film critic at the new yorker since 1998 .
visual anthropology review 14 , no . 1 ( spring / summer 1998 ) , 45 - 57 .
the last broadcast ( 1998 ) , a cult horror
found footage
film , was notable as the first feature - length video shot and edited entirely on personal , consumer - level digital video equipment ( for a reported $ 900 ) - without the use of celluloid film . it was the first feature to be theatrically - released digitally via satellite to theaters across the united states , on october 23 , 1998 .
a computer scientist running a virtual reality simulation of 1937 becomes the primary suspect when his colleague and mentor is murdered .
a man begins to suspect his neighbors are not what they appear to be and their secrets could be deadly .
roland emmerich ' s 1998 godzilla was many things ( most of them bad ) , but it wasn ' t really a godzilla movie .
taylor has also been the subject of continuing creative analysis and self - analysis : his autobiography , private domain , published in 1987 ; matthew diamond’s 1998 film dancemaker . now comes another . it’s very good .
after a simple jewelry heist goes terribly wrong , the surviving criminals begin to suspect that one of them is a police informant .
the whole film feels superimposed , while the story underneath remains frozen and lifeless .
we don ' t have enough data to suggest any movies based on the suspect . you can help by rating movies you ' ve seen .
some interpreted the film as an adaptation of the tragic greek myth about orpheus and eurydice .
winston , brian 1995 claiming the real : the documentary film revisited . london : bfi .
a triumphant accomplishment stemming from the danish dogme 95 movement , vinterberg’s stripped down , intensely emotional 1998 film , mixes comedy and misery as it navigates the story of a family gathering in which disturbing truths emerge about the respected family patriarch . winner of the top prize at the cannes film festival , the celebration , is unquestionably one of the most influential films of the last few decades . 105 minutes .
bordwell , david 1985 narration in the fiction film . madison : university of wisconsin press .
gene hackman and willem dafoe in the 1988 film mississippi burning . photograph : allstar / cinetext collection
who needs subtitles when a film has as much slam - bang action as the suspect , the second south korean spy thriller to arrive here in as many months . reflecting the heavy influence of the bourne movies , this hyperkinetic pulp entertainment features enough car chases , shootouts and fight sequences to please genre aficionados of all ethnicities .
crew : camera ( cinevex color ) , simon duggan ; editor , suresh ayyar ; music , david hirschfelder ; production designer , richard bell ; costume designer , jeanie cameron ; sound ( dolby ) , john wilkinson ; technical adviser , davie ; assistant director , karan monkhouse ; casting , greg apps . reviewed at uip screening room , sydney , march 2 , 1998 . ( in melbourne film festival - opening night ; montreal film festival - competing ; london film festival . ) running time : 101 min .
after reappearing , laura herself became a prime suspect in the murder case , since it was possible that laura killed diane redfern out of jealousy for her association with shelby . another suspect was anne treadwell ( judith anderson ) , laura ' s wealthy , amoral spinster aunt who was neurotically in love with shelby and decidedly defensive and jealous of the younger laura , her engagement , and her possible forthcoming marriage to carpenter .
first - rate performances from hugo weaving and tony martin distinguish
the interview ,
a taut , consistently intelligent drama about the grilling of a murder suspect by a tenacious , though flawed , law officer . basically a three - hander , debut film from director craig monahan is a rich cinematic experience despite its claustrophobic settings .
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 .
this solid action thriller from ringo lam is more competent than spectacular , which registers the film as an eventual disappointment .
barnouw , erik 1974 documentary : a history of the non - fiction film . new york : oxford university press .
this film is not currently playing on mubi but 30 other great films are . see what’s now showing
now granted , emmerich and devlin obviously know their b - film history , and that being the case may well have been aware beast from 20 , 000 fathoms ( along with king kong ) was a fundamental inspiration for 1954’s gojira , but that doesn’t change the fact that , despite their use of the name , what they made was a reboot of the 1953 film , not the 1954 film or any of the godzilla films that followed .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
barsam , richard meran 1973 nonfiction film : a critical history . new york : e . p . dutton .
first - rate performances from hugo weaving and tony martin distinguish “the interview , ” a taut , consistently intelligent drama about the grilling of a murder suspect by a tenacious , though flawed , law officer . basically a three - hander , debut film from director craig monahan is a rich cinematic experience despite its claustrophobic settings . pic had a generally enthusiastic launch as [ … ]
crew : camera ( color ) , joey forstyte ; editor , william mercer ; original music , shark ; music supervision , pajama party prods . ; production design , robert harbour ; costumes , shanna gold ; sound , dwayne dell ; casting , mary margiotta , karen margiotta . reviewed at sundance film festival ( american spectrum ) , jan . 24 , 1998 . running time : 90 min .
first - rate performances from hugo weaving and tony martin distinguish “the interview , ” a taut , consistently intelligent drama about the grilling of a murder suspect by a tenacious , though flawed , law officer . basically a three - hander , debut film from director craig monahan is a rich cinematic experience despite its claustrophobic settings . pic had a generally enthusiastic launch as the opening night attraction of the melbourne film festival , and is about to embark on the international fest circuit . it should perform solidly in arthouses in australia and , if carefully handled , in other key territories .
the set - up to this film is elaborate , and there was an obvious expense in the film’s locale and cast of hundreds . still , the result is more bland than anything else , as there is a distinct lack of passion in the film . though ringo lam has never been an emotional character director , his ability to craft gripping , intense situations is unparalleled in hk . that ability escapes him here , as the story is interesting but ultimately uninspired .
` ` deceiver ' ' is a chinese box of a movie , in which we learn less and less about more and more . it ' s centered in a police interrogation room , where a rich kid undergoes a lie detector test in connection with the murder of a prostitute . did he do it ? at first it seems he did . then he turns the tables on the two cops running the polygraph exam , and by the end of the film everyone is a suspect .
jayne heitmeyer and jacob tierney play mother and son in the film even though in real life , she is only 9 years older than him .
out of jail after serving 12 years for murder , ex - assassin don ( louis koo ) is asked to kill a presidential frontrunner by his buddies max ( julian cheung ) and chan hung ( simon yam ) . when don refuses the job , they made him the obvious suspect after the candidate is assassinated .
one of the reasons the godzilla films seem so silly to american audiences is that this self - consciousness and the deep , specifically japanese roots were often excised by american distributors or were simply missed by american audiences . most attempts to americanize godzilla end up stripping away everything he represents to his original audience , and in the case of the 1998 movie , that left us with nothing more than a big mutated dinosaur .
known in the uk as ' liar ' . great film , clever story , good twists and totally original , probably the best part i ' ve seen tim roth play
ginsburg , faye 1995
the parallax effect : the impact of aboriginal media on ethnographic film ,
visual anthropology review 11 ( 2 ) : 64 - 76 , fall .
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
bordwell , david , and kristin thompson 1993 film art : an introduction . fourth edition . new york : mcgraw hill , inc .
in the film , celebrated , snippy gossip columnist waldo lydecker ( clifton webb ) functioned as laura ' s svengali - like mentor and protective confidant in a platonic relationship , when he helped her become a successful advertising executive . womanizing , effete southern playboy shelby carpenter ( vincent price ) , whose marriage to laura had been recently called off , was also a prime suspect ( he confessed later to being present at the murder scene when the off - screen shooting occurred ) .
ellis , jack c . 1989 the documentary idea : a critical history of english - language documentary film and video . englewood cliffs , nj : prentice hall .
after krishna sets fire to his brother’s motorbike , his mother abandons him at the apollo circus and tells him not to return home until he can afford 500 rupees to pay for the bicycle . he takes a train to bombay where he finds a job selling tea , but the streets aren’t kind to krishna as he struggles to survive among seedy individuals in hope of one day returning home . the film earned an oscar nomination for best foreign language film and won the golden camera and prix de publique awards at the 1988 cannes film festival . 113 minutes .
plans for those two sequels were quickly scrapped . toho snatched the licensing rights back from sony , and immediately began damage control by pushing ahead with their own godzilla 2000 in an effort to get the true series back on track . there’s even a sly , snide jab at the emmerich / devlin film at the beginning of 2001 ' s godzilla , mothra , king ghidorah : giant monsters all out attack . upon hearing about a monster attacking the east coast of the us in 1998 , a student asks ,
that was godzilla , right ?
a fellow student responds ,
the americans say it was , but the guys over here have their doubts . ”
claims that he and john ad - libbed most of their dialogue . this may be true , due to the fact that they often interrupt their own lines and stutter in the film .
though most of the film is set in the drab interview room , cinematographer simon duggan pulls out all the stops to make “the interview” a potent visual experience . occasional flashbacks are hardly necessary , but do succeed in lightening the claustrophobic mood at key intervals .
production : a globe films ( australia ) release of an australian film finance corp . presentation of a pointblank picture / interview films production , with the assistance of the australian film commission . ( international sales : southern star films , sydney . ) produced by bill hughes . directed by craig monahan . screenplay , monahan , gordon davie .
kelman , ken 1978 las hurdes . in the essential cinema . ed . p . adams sitney . new york : anthology film archives . pp . 122 - 126 .
in this enigmatic , cinematically puzzling , allegorical and ambiguous new wave film - a black and white , slow - moving , expressionistic film and fragmented tale from director alain resnais - it mixed time ( past and present ) , and reality ( fantasy vs . memory ) . it was about dreamy seduction , memory , the past and the present , the reconstruction of reality , and time . [ note : in the original screenplay by alain robbe - grillet , there was an explicit forceful rape , but it was not fully pictured in the film . ] many critics have regarded the film as having a strong influence on stanley kubrick ' s the shining ( 1980 ) , david lynch ' s mulholland dr . ( 2001 ) and inland empire ( 2006 ) .
after the ritual sacrifice of a rooster in the opening sequence - - not unlike the slitting of the eye at the opening of an andalousian dog , which , in buñuel ' s words ,
moves the spectator into the cathartic state necessary to accept the subsequent events of the film
( edwards 1982 : 59 ) - - we are primed to enter las hurdes .
when buñuel ' s film went into commercial release in 1937 , the british film director basil wright praised it as an important work of non - fiction , while criticizing the inappropriate voice - over commentary and poor choice of music . wright was one of the most respected documentary filmmakers of his generation ; as much as anyone , he helped define the parameters of the form . he concludes his enthusiastic 1937 review of land without bread with the following comment ,
unfortunately ,
of course , those subtitles will come handy when it comes to discerning the complexities of the exposition - heavy , flashback laden narrative . with a bloated running time of 137 minutes , the film threatens at times to wear out its welcome .
in london , steven grlscz helps the suicidal maria vaughan in the subway and seduces her . after a period living with maria , steven kills her in his apartment drinking her blood and dumps her body in the sea . steven becomes a suspect for the londoner police and is chased by inspector healey . meanwhile steven meets the structure engineer anne labels and she falls in love with him . however , she discovers a dark secret about her lover that needs to survive .
in the fictional republic of zubrowka , a legendary concierge , gustave h . ( ralph fiennes ) and his lobby boy turned personal assistant , zero ( tony revolori ) run a popular alpine resort well known for providing wealthy clientele with “exceptional services . ” when one of gustave’s lovers , an elderly hotel guest , dies mysteriously , gustave finds himself the owner of a priceless artifact and the primary suspect of her murder . nominated for 9 academy awards including best picture , wes anderson’s latest film has earned widespread critical acclaim for its unique style , charm and elegance . 100 minutes .
land without bread marshals a host of devices conventionally associated with non - fiction film , for example , the introductory intertitle that proclaims ,
this is a filmed essay in human geography made in spain in 1932 .
the film appropriates the style of an
illustrated lecture
to introduce viewers to the secluded region of las hurdes . it explores with apparent scientific rigor the way of life of a people . it is worth recalling what many consider the canonical work in this genre , robert flaherty ' s popular first feature nanook of the north ( 1922 ) , the most famous ethnographic film of the pre - world war ii era . as critic ken kelman first noted , land without bread bears important stylistic similarities with nanook of the north ( 1978 : 125 ) .
after his ex - wife dies in a fall from her balcony , police sgt . henry smovinsky gets custody of his troubled teenage son . smovinsky soon finds out that his ex - wife was a high - class hooker , her death was not a suicide and that the police have chosen him as their prime suspect . maggie furness is the only cop willing to help him protect his son and track down the real killer .
mission accomplished , tweaky tim doesn’t let it rest . indeed , he encourages the police to suspect chris of foul play , seduces latter’s girlfriend emma ( keri russell ) , and finds other ways to “have a little fun . ” mean - while , natalie commits suicide — for real . loyalties between remaining trio grow ever more uneasy , leading to inevitable cliff - side finale .
in another sequence , we are informed , in words taken almost verbatim from legendre ' s book ( 1927 : 126 ) , that
one eats goat meat only when one of the animals is killed accidentally . this happens sometimes when the hills are steep and there are loose stones on the footpath .
a remarkable two - shot sequence ironically illustrates this claim . in the first image , at the moment the goat slips in the distance , a puff of smoke appears in the lower right - hand side of the frame . a reverse angle match - on - action shot then shows the animal falling from above . from one image to the next , the camera shifts from one side of the mountain to the other . to fabricate an illusion of continuity , the film crew shot the goat , hauled its carcass up the side of the mountain , and threw it off again . by leaving the traces of this process in the film , however , the director undermines the illusion and exposes the artifice of montage .
when a prisoner transport plane crashes , one prisoner , mark sheridan , skillfully escapes and saves lives at the same time . deputy sam gerard and his team of u . s . marshals pursue relentlessly , but gerard begins to suspect that there is more to the exceptional fugitive than what he has been told . meanwhile , sheridan struggles to avoid capture while seeking answers of his own . until the final scene , both gerard and sheridan are in jeopardy of the unknown .
the film ' s message was that there were different archetypal roles to be played by the talents of various apartment tenants to assist story in getting home , but they needed to be matched up correctly during her departure ceremony . heep received assistance from film critic harry farber ( bob balaban ) , but was misled in the match - ups , and then story was mortally wounded by the scrunt . eventually , heep succeeded in identifying the four proper roles , to assist story in returning safely to her world :
in the film ' s forward , intrigued local documentary film - maker and reporter david leigh ( david beard ) explained ( to the camera ) his motivation for studying a recent series of ritualistic homicides of tv show hosts and crew , allegedly committed by one of their team members , jim suerd . the convicted murderer suerd ( who had died in prison after sentencing -
under mysterious causes
) was thought to be troubled and emotionally - disturbed .
a thousand feet beneath the sea , the blackest holes are in the mind . . .
however , it was also criticized for its blatant similarities to the blair witch project ( 1999 ) , although it was actually made first . this inventive mock - documentary horror film took the approach of re - creating the events by a sleuthing documentarian , while blair witch favored the approach of watching unexplained recovered footage .
geis , cinematographer tom hurwitz , and executive producer robert aberlin have done a superb job . aside from the hero - worship , the only other criticism is why it took so long to put this film together . taylor created three dubious memories in 2010 ; it premiered in early 2011 . the work did not receive strong reviews , and is already , at least temporarily , out of the repertory . but it’s the creation of the dance , not the dance itself or its critical reception , which is the film’s subject , so the length of time it took is only a somewhat irrelevant observation . and as for that hero - worship – this is paul taylor . it goes with the territory .
jasmin münchgstettner , a german tourist from rosenheim , finds herself stranded in the middle of the california desert after quarrelling with her husband on their travels . she stops at the bagdad cafe , a truckstop run by the brawny and tenacious , c . c . h . pounder , a woman going through marital problems of her own . the unlikely pair gradually become friends as the film tracks their transformative journey through a colorful cast of cafe regulars . nominated for an oscar , percy adlon’s english - speaking debut film is a heartwarming and humorous celebration of unlikely relationships and the unpredictable directions our lives take . 95 minutes .
' character , was also the name of a real - life chemist and physicist who did pioneering work in the field of electromagnetism . michael faraday is also the name of a street in reston , virginia , in which the film takes place . faraway made a cage of copper , faraday cage , it cuts off electronic signals
grim , gritty , smart , and full of surprises , tim roth plays a very rich , very smart young man being questioned by two detectives who aren ' t all that they seem on the surface . the detectives ( chris penn and michael rooker ) are investigating a gruesome murder for which they have few leads . tim roth ' s character , wayland , becomes the prime suspect although the evidence is weak . we are never sure who is in charge of the interrogation , as wayland is very manipulative and the detectives are not squeaky clean , either . this one had the viewer hooked from start to finish .
in addition , the future of anthropological cinema must be nurtured by greater understanding of past endeavors . visual anthropologists need to re - examine the rich history of ethnographic film , including not only forgotten works such as the smithsonian - funded by aeroplane to pygmyland , stirling new guinea expedition ( 1927 ) , but also the extensive research footage stored in archives . ethnographic filmmakers , like their literary counterparts , should return to the scenes of earlier works . we need , for example , a film on the making of robert gardner ' s dead birds ( 1963 ) which also explores the remarkable transformations in the highlands of western new guinea after decades of indonesian rule .
as clyde pressed the send button on the phone to the bomb - attached cellphone , rice quickly exited the cell and locked the door behind him . he repeated :
after the daughter of a prominent businessman is brutally murdered , high profile defense attorney kitt devereux takes the case of the accused murderer , rising rapper bobby medina . with a history of drugs and violence , medina is a likely suspect , but devereux suspects there ' s more to the case as she locks horns with her ex - husband , d . a . jack campioni , and a wealthy woman whose son is a presidential candidate . dealing with her own tainted past and the unreliable medina , devereux struggles to prove her client ' s innocence even to herself .
balakian , anna 1959 surrealism : the road to the absolute . new york : the noonday press .
14 . i agree wholeheartedly with sitney ' s concluding remarks on land without bread ,
although the film does present a devastating image of the wretchedness of hurdane life , it even more powerfully indicts the documentary genre itself and urbane audiences who respond to it
( 1985 : 203 ) . ( back )
someone ( presumably not buñuel ) has added to the film a wearisome american commentary , plus the better part of a brahms symphony . as a result , picture and sound never coalesce
( 1971 : 146 ) . while mistaken , wright ' s comments hint at the central tension of buñuel ' s work .
conley , tom 1987 documentary surrealism : on land without bread . in dada and surrealist film . ed . rudolf e . kuenzli . new york : willis , locker & owens . pp . 176 - 198 .
death hangs over every frame of land without bread , just as the skulls over the church door
preside over the destiny
of the albercans in the opening sequence . for example , the film asks us to believe that shortly before the expedition arrived in las hurdes ,
three men and eleven mules
were killed by honey bees . ( the weight of convention remains so powerful that many viewers accept this ludicrous statement as fact . ) having seen an itinerary of how death visits the hurdanos - - whether by accident , starvation , or infection - - we begin to wonder how there is anyone left for the film to record . nevertheless , in flagrant contradiction , the narrator matter of factly informs us , after the death of a baby , that
a death is a rare event which can be recorded in this miserable village .
the rush of village women
in crowds to the dead ' s house
similarly contradicts the earlier , outrageous , neglect of the child lying in the
lonely street .
( 1995 : 84 - 5 ) . macdougall notes the documentary ' s
provocatively surrealist
nature in a footnote to his essay on voice in ethnographic film ,
whose story is it ?
( 1992 : 39 ) . ( back )
' ' deceiver ' ' is similar to ' ' the usual suspects ' ' in the way it coils around its central facts , looking at them first one way and then another . it also has a less obvious parallel with quentin tarantino ' s practice of working arcane knowledge into the dialogue of his characters . carefully polished little set pieces are spotted through the film ; the action stops for well - informed discussions about vincent van gogh , the dangers of absinthe , the symptoms of epilepsy and the relative intelligence of the two cops .
in a dance of seduction , the two unnamed ' lovers ' recounted a fragmented tale of their perceived reality and unrealized ( ? ) love affair . the puzzling film never clearly ascertained whether x ' s claim of a relationship was true or false . what really happened
last year
?
oh , and fun digression time , because the 20th century fox film was very r - rated , fox had to hold off the debut of the first teaser for star wars episode one : the phantom menace and instead timed it with paramount ' s the rugrats movie two weeks later . but theaters had no problem running it with walt disney ' s r - rated will smith thriller enemy of the state , which opened on the same weekend as rugrats . a similar situation occurred when universal pulled their mummy returns teaser from prints of the grinch out of fears that the pg - 13 movie ' s teaser would scare young moviegoers . fair enough , but i remember a number of pg - 13 trailers from other studios playing before that opening weekend showing of the grinch . now the grinch became the highest - grossing film of 2000 anyway , but i would imagine the siege could have used a boost on its opening weekend via star wars fans buying tickets to the siege and then sneaking into the waterboy after the trailer had played .
this film reminded me strongly of all of the student films i was forced to watch and participate in during college . the dialogue is inane , the acting more wooden than charlie mccarthy , and the cinematography and editing reminiscent of that done by young men in their twenties who want to be steven spielberg when they grow up . the editing often cuts too late or too quickly . the cinematography tries way too hard to be avante garde , and instead looks like something sam raimi would have done in the 1970s . dropping in on this film makes me feel like ed wood is still alive , or at least was in 1997 to make this picture . this is bad , people . . . very bad .
in the film ' s conclusion , lydecker attempted to kill laura a second time with a shotgun ( hidden in the base of a grandfather clock ) in a murder / suicide , rather than leave her to the
vulgar pawing of a second - rate detective
- - but she was saved in the nick of time by mcpherson as lydecker was mortally wounded in an exchange of gunfire with the police .
explores some of the varied faces of lying and deception in our society from the inconsequential to the deeply harmful .
injured but surviving officer white ( sitting mute in the back seat ) departed with veronica lake - look - alike prostitute lynn bracken ( kim basinger ) , on her way home to arizona after quitting the high - class whore business . as lynn departed and kissed him , she told exley ( in the film ' s last line ) :
macdougall , david 1992 whose story is it ? in ethnographic film : aesthetics and narrative traditions . eds . peter i . crawford and jan k . simonsen . aarhus , denmark : intervention press . pp . 25 - 42 .
the vigilante film opened in 1999 ( a flashback actually ) during the philadelphia home invasion of intelligent engineer - inventor clyde alexander shelton ( gerard butler ) . clyde was watching as his 10 year - old daughter heather ( ksenia hulayev ) was making him a letter cube - beaded bracelet with the word
daddy .
two intruders broke in :
in the film , mrs pell ( frances mcdormand ) , wife of sheriff ' s deputy and lynch mob leader clinton pell ( brad dourif ) , reveals a police conspiracy . this leads anderson and ward to another of the guilty men , who they soon intimidate into a confession . all of these characters are fictional . in place of mrs pell , there was a
mr x
, who has subsequently been named by journalists as highway patrolman maynard king . rather than resorting to the vigilante tactics used by anderson in the film , the fbi allegedly paid cash for information to crack the case . seven men ( out of 18 accused ) were convicted on relatively minor conspiracy charges . the only man convicted of the manslaughter of the three activists was edgar ray killen , who was finally prosecuted in 2005 .
an image in a government briefing book helped a state department official see “the forest for the trees” in the west bank—and then was shared with the president .
in the small town of cherry falls , a psychotic murderer is killing off the virgins of the local high school .
saving private ryan
is a powerful experience . i ' m sure a lot of people will weep during it . spielberg knows how to make audiences weep better than any director since chaplin in
city lights .
but weeping is an incomplete response , letting the audience off the hook . this film embodies ideas . after the immediate experience begins to fade , the implications remain and grow .
though deceiver sometimes confuses being manipulative with being clever , it has enough twists and turns to make it an interesting ride . to say it ' s smart would be a bit of a stretch , the plot is a bit outlandish , but it is unique enough to give the film a fresh feel . one might become easily frustrated by its non - traditional narrative , but its not meant as such , instead focusing on the characters , and their role in this mind game , almost in the style of a lynch film . this emphasis on character succeeds largely due to the underrated tim roth , who owns almost every scene he ' s in . 3 . 5 / 5 stars
wright , basil 1971 land without bread and spanish earth . in the documentary tradition : from nanook to woodstock . ed . lewis jacobs . new york : hopkinson and blake . pp . 146 - 147 . [ originally published in film news ( london ) , december 1937 . ]
8 . tom conley ' s 1987 essay includes a shot - by - shot description of the film along with numerous photographs . conley breaks the film down into fourteen sections :
credits ,
la alberca ,
the countryside and abandoned churches ,
the first hurdano village scenes ,
school and writing ,
the lower depths : extreme hurdano town and country ,
scaped goats ,
daily economy and tribulation : beehives ,
cultivation and gathering of food ,
mosquitoes and death ,
dwarfs ,
death : a child ' s funeral ,
home life : interior scenes and the death knell ,
and
the end
( 1987 : 189ff ) . ( back )
by film ' s end , x ' s ambiguous allegations about what had happened were completely uncertain , although it appeared that the protagonist had gradually succeeded in readying a to leave the hotel one night for an unknown destination , as m watched them depart from a staircase . however , x ' s voice - over account was unreliable and described in the past tense :
one of the ways it undermines its characters is by upstaging them with the plot . we get several theories about the death of the prostitute , and lots of flashbacks in which wayland ' s tortured childhood offers explanations for actions he may or may not have taken . facts are established , only to be shot down . having seen the film twice , i am prepared to accept that its paradoxes are all answered and its puzzles solved , although unless you look closely and remember the face of an ambulance driver , you may miss the explanation for one of the big surprises .
this visually captivating and eerie masterpiece follows the journey of an extraterrestrial ( scarlett johansson ) who is obsessed with luring unsuspecting men into a dangerous and intriguing web . one of the most thought provoking films of 2014 , this sci - fi horror combines erotic energy with an unsettling and enigmatic plot . nominated for best international film at the 2015 independent spirit awards . 108 minutes .
dan followed jack to the sf international airport terminal and into an off - limits airplane maintenance hangar for a deadly stand - off . the film ended with allayne , who had flown to sf , shooting jack to death as he was poised to kill her husband - and then in another shocking twist , she admitted her involvement with jack :
and then in one of the film ' s most surprising moments set in a getaway airport hotel room , jack suddenly shot partner vickie in the stomach - his plan was to pin vickie ' s death on dan and have the diamonds all to himself ; but things went awry when a bloodied , still - alive vickie stumbled out into the hotel corridor where jack had to pursue and kill her , allowing dan to escape .
check out highlights from some of the best recent trailers including mandy , the predator , zoe , and the king of thieves .
the turning point in the film comes , i think , when the squadron happens upon a german machinegun nest protecting a radar installation . it would be possible to go around it and avoid a confrontation . indeed , that would be following orders . but they decide to attack the emplacement , and that is a form of protest : at risk to their lives , they are doing what they came to france to do , instead of what the top brass wants them to do .
the film could somewhat simplistically be described as good willing hunting ( which i also like quite a bit , save for its
responsibility is for losers !
ending ) in the navy with denzel washington in the proverbial robin williams role . and yes we do get a story about a troubled young man and the psychiatrist who heals himself while attempting to heal his patient , along with a token love interest who helps the young man come out of his shell . but antwone fisher doesn ' t have the gimmick of making its protagonist into a boy genius , and thus is by default a more realistic film . mr . fisher ( derek luke ) is simply the victim of an endless stream of societal failures , as parental abandonment leads to abuse in the foster care system and homelessness . already prone to violence and with a bad temper , fisher sees the navy as the last chance to make something of his life , but an altercation puts that in jeopardy .
as story was about to be rescued by the giant eagle , the tartutic monkeys in the trees attacked the wolfish - scrunt and killed it , and she was safely taken .
if there is one single living legend among american choreographers , it is paul taylor . his body of work over a sixty - plus year career needs no elaboration . like balanchine , graham , and cunningham , each of whom he danced for , and tharp , who danced for him , his name alone is sufficient to spark adulation , and to rekindle memories . his was the first modern dance performance that i loved as much as appreciated . the first time i saw his company , i flew out of the theater on an aureole - induced euphoric cloud , while wondering how that piece could have sprung from the same mind that gave us big bertha . and i suspect that everyone remembers their first esplanade .
the film flows seamlessly from rehearsal to interview to commentary to rehearsal , back and forth until the dance’s premiere . gradually , without undue fanfare , the choreographic creation yields to the finished product . jennifer tipton’s lighting design is made to look almost an afterthought , but its impact is apparent and requires no elaboration . while there are some unfortunate fade - outs as the premiere performance progresses , three dubious memories appears indeed rashomon - like as taylor originally described it . the three memories are not of the same event , but rather demonstrate how malleable memories , like taylor’s creative process , can be .
go behind the scenes of the mission : impossible movies , check out the latest videos and trailers , and see which spy movies topped the box office in our mission : impossible guide .
at the execution of ames , clyde had replaced the potassium chloride in the execution drip canister with skin - boiling acid that made the criminal painfully bleed through his skin . authorities investigated the incident as ' cruel and unusual punishment . '
monahan and his co - writer , gordon davie , cleverly create a kafkaesque atmosphere in which questionable authority figures may be persecuting a perfectly innocent man . on the other hand , these cops may just be trying to do their job in the most difficult circumstances , attempting to extract a confession from a cunning and dangerous killer . davie , who also acted as technical adviser on the film , is a former police officer who worked for 16 years with the victorian crime squad .
17 . in the same review , basil wright discusses joris ivens ' spanish earth ( 1937 ) , for which ernest hemingway wrote , and read , the voice - over commentary . having described the voice - over to land without bread as
wearisome ,
wright contends that hemingway provided spanish earth with
the best commentary in the history of the sound film
( 1971 : 147 ) . from my perspective sixty years later , buñuel and unik ' s multi - layered commentary in land without bread is far superior . predictably , the first word wright uses to describe spanish earth is
sincere
( 1971 : 146 ) . a detailed comparison of the two films would be instructive in understanding the range of documentary approaches in the 1930s . ( back )
on december 16 , 1995 at 11 : 57 am , suerd made a confused and shocked pay phone call to 911 about his missing team members ( he said that he had
a really bad feeling about it
) . the mutilated bodies of two of them ( wheeler and clackin ) were found in the new jersey pine lands , with blood in the snow and the hat of the third individual ( avkast ) . leigh covered the subsequent investigation and trial of suerd beginning in june of 1996 . suerd was accused , charged and tried as a major suspect ( there was blood evidence from all three on his shirt ) . suerd was found guilty ( in mid - july 1996 ) of two counts of first - degree murder , and sentenced to two consecutive life terms . then , in early january 1997 , suerd died in prison of questionable causes .
the name of the character played by renée zellweger ,
elizabeth loftus
is a reference to the distinguished psychologist of the same name , noted for her studies in clinically created false memories .
this
cited by
count includes citations to the following articles in scholar . the ones marked
flaherty ' s documentary on the struggle for survival of one inuit family opens with a series of intertitles that introduce the
barren lands
and
sterile
environment of northern canada . against this harsh background , nanook of the north celebrates the nobility of the inuit . as arthur calder - marshall noted , the definitive experience of flaherty ' s career was
the discovery of people who in the midst of life were always so close to death that they lived in the moment nobly
( 1963 : 67 ) . the second intertitle of land without bread reads ,
las hurdes is a sterile and inhospitable area where man is obliged to fight , hour by hour , for his subsistence .
like flaherty , buñuel frames his work as a conflict of man against nature . but this drama is not fulfilled by the account he provides . nature is not the principal adversary of the hurdanos . the film inverts the epic heroism characteristic of flaherty ' s work ; though the hurdanos also live close to death , buñuel refuses to grant them a comparable noble savagery .
widely considered one of the most influential films of the 90s , pulp fiction tells the story of two hit men , a boxer , a gangster’s wife , and a pair of diner bandits as their lives intertwine in four tales of violence and redemption . nominated for 7 academy awards including an oscar win for best writing , the film has become a cult classic with spectacular performances from uma thurman , john travolta , and samuel l . jackson . 154 minutes . begins at 6 : 30pm !
performance chronicles the story of chas , a violent and erratic east london gang member , who hides out in washed - up ex rockstar turner’s london flat . lifestyles and cultural values collide as the two men embark on a journey filled with sex , violence and , ultimately , transformation . directed by donald cammell and nicolas roeg , this cult film from the 70s is renown for its bold , shocking visuals and mick jagger’s stunning performance . 105 minutes .
basically the story of a man forced to finally see the injustice around him . riley’s movie is designed to do the same thing to you . …
sobchack , vivian 1981
synthetic vision : the dialectical imperative of buñuel ' s las hurdes ,
millennium film journal 7 - 9 : 140 - 150 , fall / winter . 1988 no lies : direct cinema as rape . in new challenges for documentary . ed . alan rosenthal . berkeley : university of california press . pp . 332 - 344 .
boldly shifting from a first - person to a third - person perspective , leigh burst in to michelle ' s studio , struggled with her and slowly smothered her with plastic sheeting . he then faced his own video camera and announced that he was going to continue staging his re - enactment of the original killings - to prove suerd was innocent of the murders . he bundled up michelle ' s body in his back of his van , and drove out to the pine barrens camp site . he continued videotaping himself at the woodsy site as the film concluded .
a man must survive a prison where hardened criminals battle to the death for the wardens ' entertainment .
the following articles are merged in scholar . their combined citations are counted only for the first article .
response to , and even critique of , the much - publicized anthropological expedition . at a time when griaule was collecting artifacts in africa , buñuel recognized that anthropology could find subjects in europe as well . the twenty - seven - minute film is distributed in two different english - language versions , land without bread and unpromised land , as well as french and spanish versions . there are small but significant variations among these versions . for the sake of clarity , i am limiting my discussion to the version of land without bread with the american voice - over commentary . 3
renton , deeply immersed in the edinburgh drug scene , tries to clean up and get out , despite the allure of the drugs and influence of friends .
when the nihilists are ordering pancakes in the restaurant , the female nihilist orders
heidelbeer pfannkuchen
( blueberry pancakes ) which one of the other nihilists incorrectly translates to the waitress as
lingonberry pancakes .
( this may be because the nihilists don ' t care enough to get her order right . )
when the tables were turned , exley shot lapd capt . smith in the back as he walked away , with his hands in the air . the killing recalled capt . smith ' s earlier advice to exley , that a detective should be willing to shoot a guilty man in the back for the greater good .
his cinematographer , janusz kaminski , who also shot
schindler ' s list ,
brings a newsreel feel to a lot of the footage , but that ' s relatively easy compared to his most important achievement , which is to make everything visually intelligible . after the deliberate chaos of the landing scenes , kaminski handles the attack on the machinegun nest , and a prolonged sequence involving the defense of a bridge , in a way that keeps us oriented . it ' s not just men shooting at one another . we understand the plan of the action , the ebb and flow , the improvisation , the relative positions of the soldiers .
q : how do i solve the
to shell beach . . .
game on the dvd ?
a spaceship is discovered under three hundred years ' worth of coral growth at the bottom of the ocean .
a law - abiding family man , after an atrocious murder of his family , became a crime victim - the lone survivor of his family ' s massacre and a man with a score to settle . he planned to conduct an elaborate personal vendetta against his family ' s killers - a mission which became highly irrational , uncredible , uncontrollable and implausible by film ' s end .
paul taylor : creative domain , directed by kate geis , is not a fly - on - the - wall film like the recent ballet 422 , which allowed the viewer to sit in on the creation of new york city ballet’s 422nd ballet by justin peck . rather , it’s a documentary that’s part intrusive camera , part cinéma vérité , and part interviews and narrative , all assembled creatively and coherently . unlike ballet 422 , where nycb’s grand scale is broken down to its component parts to illustrate the evolution of one new ballet , paul taylor : creative doman is small scale and intimate . its focus is not on the ingredients that go into creating a new ballet ( although they’re included ) , but on the ‘how’ and the ‘why’ of taylor’s creative process .
john dahl ' s modern - day dark noir featured lethal , sexy , amoral , cold - blooded and brainy femme fatale bridget gregory ( linda fiorentino ) , who used her sexual wiles to manipulate a dumb , love - struck boyfriend to murder her husband . [ she followed in the footsteps of two other great femme fatales in film noir - jane greer and barbara stanwyck . ]
the
st . louis federal building
discussed at 21 : 00 in the classroom is actually showing the 25 june 1996 aftermath of the khobar towers in saudi arabia . 19 us military were killed in this attack .
10 . during the spanish civil war , unik and buñuel worked together again on a film supporting the republican cause . according to helen schawlow , this archival documentary , españa leal , en armas ! ( 1937 ) , also features a
maddeningly detached and ironic
voice - over commentary ( 1989 : 86 ) . unik spent five years in german labor camps during wwii only to die of exposure in 1945 after having escaped from the schmiedberg camp ( schawlow 1989 : 123 ) . ( back )
viewers with long memories may compare monahan’s film to a trio of other famous examples of the police - interview subgenre – robert siodmak’s berlin - made “preliminary investigation” ( 1931 ) , french director claude miller’s “garde a vue” ( 1983 ) and giuseppe tornatore’s “a pure formality” ( 1994 ) . like those thrillers , “the interview” is confined in scope and marked by fluid direction and camerawork , and its seemingly cut - and - dried case develops in unexpected ways .


joot ( tamil : ஜுட் ) is a 2004 tamil action film directed by azhagam perumal , starring srikanth and meera jasmine the music is by vidyasagar .

joot

joot , manu , this is it ( beat by . beatmaster k ) by joot
this website and its content is copyright of joot - © joot 2015 . all rights reserved .
joot concept does not reference jooq in any way . you can use jooq without joot and you should be able to use joot with no jooq .
1 .
show us ya joot !
2 .
she had a tight little joot
a list of words that start with joot ( words with the prefix joot ) . we search a large scrabble dictionary for scrabble words starting with joot - we take the letter or word you enter , and generate all words starting with joot . in addition there is a list of words that end with joot , words that contain joot .
that woman is one find piece of joot oh dear ive got some joot on my shoe that guy plays some good joot . look at that joota across the road . . . . . twoot twoot aw that car is jooted
listen to joot : are you ready ( original motion picture soundtrack ) now .
joot & apos ; s original meaning was a qualifying term for bodily fluid . then it became joota , used to describe a good looking woman . now joot can be used to describe anything .
william morris ' s the tables turned ; or , nupkins awakened ( performed march 2014 ) photos are available on the joot theatre dundee facebook group .
join the joot theatre facebook group to view photographs from our most recent production , the tables turned ; or , nupkins awakened ( performed march 2014 ) .
john pikeryng ' s horestes , a political allegory about mary queen of scots ( march 2012 ) . photos are available from the joot theatre dundee facebook group .
movie title - - - joot untold stories complete report imdb rating - - 4 cast - - shyam ganesh as eashwarans brother srikanth as eashwaran suvarna mathew vivek as siva below actors passed away - - murali died on 06 - aug - 2009 movie details - - music by - vidyasagar produced by - ajaykumar review - - balaji b wrote azhagamperumal too takes the masala route with joot after dum dum dum his first movie .
a survey number is a unique number given to an unambiguous piece of durga joot village land in order to maintain a record of the location , size , shape and proprietorship information of the property . the land survey number works as a record of information relating to a specific plot of durga joot property in uttar pradesh state . it is beneficial when registering plots , selling plots , resolving legal disputes , for planning the development of neighbouring areas and so on .
siddharthnagar is the nearest statutory town of the village durga joot , which is 20 kilometres away from the village . siddharthnagar is the nearest statutory town of this village lies within the state of uttar pradesh and situated with the distance 20 kilometres away from village .
two plays and a dramatised reading on sin and morality : oscar wilde ' s a florentine tragedy and r . browning ' s ' my last duchess ' and ' a woman taken in adultery ' ( march 2013 ) . photos are available on the joot theatre dundee facebook group .
the durga joot village is located in the state uttar pradesh having state code 09 and having the village code 178182 . the siddharthnagar is the district of this village with district code 184 . the total geographical area in which this village is expanded in 11 . 36 hectares / 0 . 1136 square kilometers ( km 2 ) / 28 . 071171334671 acres . the content of this page is for your general information and use only .
the joot theatre company was established in 1992 as the mediaeval drama group , changing name in 2003 . under the direction of dr jodi - anne ( jo ) george of the english programme , the company has undertaken many well - received performances and participates actively in a series of festivals funded by the international society for mediaeval theatre . in 1998 , they performed in denmark , in 2001 they staged a play in the netherlands , and in 2008 they performed in france .
village is situated in the siddharthnagar district with district code number 184 . domariyaganj is the subdistrict ( tehsil / mandal ) , is a low - level administrative division of a district , of this village , having the sub district code is 00936 . bhanwapur is the community development block ( c . d . block ) of this village with c . d . block code number 0591 . the gram panchayat for this village is bevam mustakam . the district headquarters ' name is siddharthnagar and as per distance concern it is 70 kilometres from the durga joot village .
, his first movie . but one wishes he hadn ' t followed lingusamy this closely .
thrown in ) without the handling that made the original a first - class entertainer .
eeswaran ( srikanth ) , a villager , travels to chennai for his father ' s medical treatment . another item on his agenda is to unite his father with eeswaran ' s younger brother , who married a girl against his father ' s wishes . he stays with his brother in s . s . colony and falls in love with meera ( meera jasmine ) , a law graduate . aditya ( ' pepsi ' vijayan ) , a powerful rowdy , wants to raze the colony to the ground for a client of his and this forces eeswaran to stand up to him .
' s storyline to the letter . srikanth ' s move to the city ( though the reason is a little different ) , his romance and his clashes with a local , powerful rowdy all give rise to a feeling of
. the fact that we have the same heroine in meera jasmine and a separate comedy track with vivek further increase the similarities . but azhagamperumal has fashioned a fast screenplay and handles key individual sequences with enough
to keep boredom away . the catchy songs and superbly choreographed stunt sequences also do their part in keeping us in our seats .
azhagamperumal proves to be quite competent whether handling romance , family relations or action . and this is definitely important in
which relies on all three to keep things moving . meera ' s posing as srikanth ' s sister - in - law is a wonderful and jolly start to their romance though the level of fun takes a dive in their subsequent meetings . srikanth ' s relationship with his father is also handled well with the strength and stubbornness of the father ' s character adding a nice touch . as far action goes , the railway track sequence that marks the intermission point is the pick of the lot . it is picturised thrillingly and is on par with the sequence in
takes an unwarranted turn into sentiments that affects the pace of the movie and decreases its entertainment factor . there are a few unnecessary deaths that don ' t fit in with the tone of the rest of the movie . but barring this , the movie is kept on a fairly balanced route . srikanth ' s plans to deal with ' pepsi ' vijayan and the police inspector show some clever thinking instead of relying simply on brawn . the climax fight is suitably extravagant and well - staged in the container yard .
srikanth fits the bill in his first ' action ' role and his look and dresses aid him well in being convincing as an action hero . meera gets to do a little bit more than the heroines in such action films . she looks cute and is earns a few points with the way she tackles the police inspector when taking srikanth away . vivek ' s comedy track , while separate from the main story , still has its own story as he repeatedly injures family members with a scooter . it is very funny but is also quite vulgar in some places . malayalam actor murali is dignified as usual while ' pepsi ' vijayan is suitably menacing . azhagiya koondhal . . . is a melodious number though kattabomma kattabomaa . . . has a better chance of earning fans with its catchy beats . vedi veesuraan . . . and theemtharikita . . . also have catchy folksy tunes .
a sweaty scrotum resulting from a hard day & apos ; s work . in particular , the odour produced by said scrotum .
another batch of beautiful gifts ready for our lovely clients . styling by our adorable @ meimei meimei
we aim to stage at least one production annually and students are recruited from all years . normally , about 10 - 12 students ( and at least two university staff members ) are involved in each show .
british premier of bahram beyza’i’s the marionettes ( 2004 ) . a generous grant from the carnegie trust for the universities of scotland has been awarded to edit the marionettes and publish it with photographs from our production . publisher : poetry salzburg , salzburg university press .
the marriage of wit and wisdom ( 2001 – scotland & groningen , the netherlands ) * . the groningen production received funding from the groningen city council .
everyman ( 1996 - scotland ; 1998 - odense , denmark ) * . the odense production received funding from the odense city council and the university of dundee .
[ please note : videos of productions marked with an * are available for sale . if you wish to place an order please contact dr jodi - anne george ]
each of you should use whatever gift you have received to serve others . . .
hello everyone ! i am bibik…when i was younger , they used to call me girlie . . . read more
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jooq is the superb database library . however , as of now it lacks transaction management . it is not so bad , because there are many ways to handle transactions in java world . one example is the ejb container . it has transactions built - in , so everything you need is to get the datasource resource and use it with jooq , plain jdbc , querydsl or what - else .
not everyone likes to use ejb or spring container , though . some developers want or need something ultra lightweight .
i don ' t know why , but instead of creating something ultra lightweight for transaction management , all the java database libraries chose to implement transactions by adding extra methods here and there to the libraries itself . imho this is bad . not only we have to dig through all the api in different libraries , but also we cannot use those libraries together across single transactions . also , when we have separated transaction management , we have bunch of methods we are no allowed to use .
as i said previously , jooq chose to go that way as well , see : urltoken this project is supposed to support me fighting the stereotypes that creating a transaction manager is an option to be seriously considered . with this , i can show that the simple transaction manager does not mean :
does not mean using complicated things , aspects , annotations ( but can be used to build such a framework ) .
well , that ' s true . it does not exist . . . yet . i hope this stub and example will make it happen .
see how simple the api can be . notice : it is standalone library , not tied to jooq or any of the alternatives .
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ella mai – boo ' d up ( remix ) ft . nicki minaj & quavo
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clear [ f , r ] f [ r _ ] : = 4 r / ( 1 - r ) ^ 2 i [ r _ , delta _ ] : = 1 / ( 1 + f [ r ] sin [ delta / 2 ] ^ 2 ) show [ table [ plot [ i [ r , delta ] , { delta , 0 , 4 pi } , plotrange - > { 0 , 1 } ] , { r , { 0 . 1 , 0 . 3 , 0 . 6 , 0 . 97 } } ] ]
but i ' d like to label each of the curves with the value of the parameter ( r = 0 . 1 , r = 0 . 3 , . . . ) . i can do this manually inserting labels with the graphics controls , but figured there ' s got to be a better way .
it would certainly be nice if there were some way to use tooltip for this sort of thing .
needs [
plotlegends `
] plot [ evaluate @ table [ i [ r , delta ] , { r , { 0 . 1 , 0 . 3 , 0 . 6 , 0 . 97 } } ] , { delta , 0 , 4 pi } , plotrange - > { 0 , 1 } , plotlegend - > { 0 . 1 , 0 . 3 , 0 . 6 , 0 . 97 } , legendposition - > { 0 . 95 , 0 . 05 } ]
@ peeter , evaluate [ ] forces the first argument of plot [ ] to be an explicit list of functions , which are then plotted with different colors . execute plot [ table [ x ^ k , { k , 0 , 2 } ] , { x , 0 , 1 } ] and plot [ evaluate @ table [ x ^ k , { k , 0 , 2 } ] , { x , 0 , 1 } ] to see the difference .
@ peeterjoot without the evaluate plot only sees one function and thus will not get the coloring and the legend right . just try and look at the result . just as an aside , there is also an undocumented option evaluated - > true which does the same thing , but is preferable as it also results in correct scoping .
instead of plotlegends , consider using the code in this excellent answer : urltoken . it gives much much nicer legends .
i made a function that could be used for labeling plots interactively , adding labeled bezier arrows , preserve your labels from session to session , and a few more goodies .
clear [ f , r ] f [ r _ ] : = 4 r / ( 1 - r ) ^ 2 i [ r _ , delta _ ] : = 1 / ( 1 + f [ r ] sin [ delta / 2 ] ^ 2 ) s = plot [ evaluate @ table [ i [ r , d ] , { r , { . 1 , . 3 , . 6 , . 97 } } ] , { d , 0 , 4 pi } , plotrange - > { 0 , 1 } ] ; lblplot [ s , { fontfamily - >
xkcd
, 16 } ]
@ belisarius - may i ask how you compressed the code into a png ? it ' s very neat .
row [ plot [ evaluate @ table [ i [ r , delta ] , { r , { 0 . 1 , 0 . 3 , 0 . 6 , 0 . 97 } } ] , { delta , 0 , 4 pi } , plotrange - > { automatic , { 0 , 1 } } , plotstyle - > ( directive [ thick , # ] & / @ { red , green , blue , orange } ) , plotrangepadding - > . 05 , frame - > true , imagesize - > 400 , epilog - > { table [ ( style [ text [ r , { # , i [ r , # ] } ] , 12 , background - > white ] & ) / @ ( # ) , { r , { 0 . 1 , 0 . 3 , 0 . 6 , 0 . 97 } } ] } ] & / @ { { pi } , { 3 pi } , { pi / 2 , 3 pi / 2 , 5 pi / 2 , 7 pi / 2 } } , spacer [ 5 ] ]
excellent . that ' s much more like what i was thinking . if i try modifying the text to text [
r =
r , . . . then strangely it displays as
0 . 1 r =
,
0 . 3 r =
, . . . ? is there a way to concatonate multiple text objects at the location specified by one ?
@ peeter , try text [ row [ {
r =
, r } ] , { # , i [ r , # ] } ] .
. . or text [
r =
< > tostring [ r ] , { # , i [ r , # ] } ] .
f [ r _ ] : = 4 r / ( 1 - r ) ^ 2 i [ r _ , delta _ ] : = 1 / ( 1 + f [ r ] sin [ delta / 2 ] ^ 2 ) place = { scaled [ r ] , after } ; show [ table [ plot [ i [ r , delta ] , { delta , 0 , 4 pi } , plotrange - > { 0 , 1 } , frame - > true , plotlabels - > placed [ { tostring [ r ] } , place ] ] , { r , { 0 . 1 , 0 . 3 , 0 . 6 , 0 . 97 } } ] ]
one can use different placements , i . e . different location specifications instead of place ; i chose scaled [ r ] because for this particular plot it works fine and after because in my opinion it looks best .
my question was old ( mathematica 8 days ) . this new better labelling option was mentioned in a comment referring to : urltoken also note that mathematica11 appears to have further refined its labelling methods , but i haven ' t purchased the upgrade to try that out .
i get it all , i just stumbled upon this question acidentally , so to speak , and thought it might be useful for future users to point them toward some update .
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prof . eleftheriades desribed a chebychev antenna array design method that looks different than the one of the text [ 1 ] .
portions of that procedure are like that of the text . for example , if a side lobe level of \ ( 20 \ log _ { 10 } r \ ) is desired , a scaling factor
is used . given \ ( n \ ) elements in the array , a chebychev polynomial of degree \ ( m = n – 1 \ ) is used . that is
\ begin { equation } \ label { eqn : chebychevsecondmethod : 40 } t _ m ( x ) = \ cos \ lr { m \ cos ^ { - 1 } x } . \ end { equation }
the class notes use the negative sign , and number \ ( n = 1 , 2 , \ cdots , m \ ) . it is noted that the roots are symmetric with \ ( x _ 1′ = – x _ m’ \ ) , which can be seen by direct expansion
\ begin { equation } \ label { eqn : chebychevsecondmethod : 100 } \ begin { aligned } x _ { m - r } ’ & = \ cos \ lr { \ frac { \ pi } { 2 m } \ lr { 2 ( m – r ) – 1 } } \ \ & = \ cos \ lr { \ pi – \ frac { \ pi } { 2 m } \ lr { 2 r + 1 } } \ \ & = - \ cos \ lr { \ frac { \ pi } { 2 m } \ lr { 2 r + 1 } } \ \ & = - \ cos \ lr { \ frac { \ pi } { 2 m } \ lr { 2 ( r + 1 ) – 1 } } \ \ & = - x _ { r + 1 } ’ . \ end { aligned } \ end { equation }
\ begin { equation } \ label { eqn : chebychevsecondmethod : 120 } \ begin { aligned } u _ n’ & = 2 \ cos ^ { - 1 } \ lr { \ frac { x _ n’ } { x _ 0 } } \ \ z _ n & = e ^ { j u _ n’ } . \ end { aligned } \ end { equation }
this has a factor of two that does not appear in the balanis design method . it seems plausible that this factor of two was introduced so that the roots of the array factor \ ( z _ n \ ) are conjugate pairs . since \ ( \ cos ^ { - 1 } ( - z ) = \ pi – \ cos ^ { - 1 } z \ ) , this choice leads to such conjugate pairs
\ begin { equation } \ label { eqn : chebychevsecondmethod : 140 } \ begin { aligned } \ exp \ lr { j u _ { m - r } ’ } & = \ exp \ lr { j 2 \ cos ^ { - 1 } \ lr { \ frac { x _ { m - r } ’ } { x _ 0 } } } \ \ & = \ exp \ lr { j 2 \ cos ^ { - 1 } \ lr { - \ frac { x _ { r + 1 } ’ } { x _ 0 } } } \ \ & = \ exp \ lr { j 2 \ lr { \ pi – \ cos ^ { - 1 } \ lr { \ frac { x _ { r + 1 } ’ } { x _ 0 } } } } \ \ & = \ exp \ lr { - j u _ { r + 1 } } . \ end { aligned } \ end { equation }
when \ ( m \ ) is even , there will only be such conjugate pairs of roots . when \ ( m \ ) is odd , the remainding factor will be
\ begin { equation } \ label { eqn : chebychevsecondmethod : 160 } \ begin { aligned } z – e ^ { 2 j \ cos ^ { - 1 } \ lr { 0 / x _ 0 } } & = z – e ^ { 2 j \ pi / 2 } \ \ & = z – e ^ { j \ pi } \ \ & = z + 1 . \ end { aligned } \ end { equation }
however , with this factor of two included , the connection between the final array factor polynomial \ ref { eqn : chebychevsecondmethod : 180 } , and the chebychev polynomial \ ( t _ m \ ) is not clear to me . how does this scaling impact the roots ?
example : expand \ ( \ textrm { af } \ ) for \ ( n = 4 \ ) .
\ begin { equation } \ label { eqn : chebychevsecondmethod : 220 } \ begin { aligned } \ textrm { af } & = \ lr { z ^ 2 + z \ lr { 2 – \ frac { 3 } { x _ 0 ^ 2 } } + 1 } \ lr { z + 1 } \ \ & = z ^ 3 + 3 z ^ 2 \ lr { 1 – \ frac { 1 } { x _ 0 ^ 2 } } + 3 z \ lr { 1 – \ frac { 1 } { x _ 0 ^ 2 } } + 1 . \ end { aligned } \ end { equation }
with \ ( 20 \ log _ { 10 } r = 30 \ textrm { db } \ ) , \ ( x _ 0 = 2 . 1 \ ) , so this is
\ begin { equation } \ label { eqn : chebychevsecondmethod : 240 } \ textrm { af } = z ^ 3 + 2 . 33089 z ^ 2 + 2 . 33089 z + 1 . \ end { equation }
\ begin { equation } \ label { eqn : chebychevsecondmethod : 280 } \ textrm { af } = e ^ { j 3 k d \ cos \ theta + j 3 k u _ 0 } + 2 . 33089 e ^ { j 2 k d \ cos \ theta + j 2 k u _ 0 } + 2 . 33089 e ^ { j k d \ cos \ theta + j k u _ 0 } + 1 . \ end { equation }
this array function is highly phase dependent , plotted for \ ( u _ 0 = 0 \ ) in fig . 1 , and fig . 2 .
this can be directed along a single direction ( z - axis ) with higher phase choices as illustrated in fig . 3 , and fig . 4 .
fig 3 . plot with u _ 0 = 3 . 5 , d = 0 . 4 lambda
fig 4 . spherical plot with u _ 0 = 3 . 5 , d = 0 . 4 lambda
[ 1 ] constantine a balanis . antenna theory : analysis and design . john wiley \ & sons , 3rd edition , 2005 .
i ' m looking for the equivalent of mathematica ' s plotrange - > { 0 , pi } in a matlab plot . if i plot a function , for example :
i get a plot that over the [ 0 , 3 . 5 ] interval , instead of [ 0 , pi ] , as the following figure shows :
matlab will use regularly spaced ticks , so if the plot limits are not defined it will end in one of the regularly spaced tick . use xlim ( [ 0 pi ] ) to limit the x axis to end in pi .
t = linspace ( 0 , pi , 100 ) ; plot ( t , cos ( t ) ) % % change xaxis limits xlim ( [ 0 pi ] ) % % set current plot axis ( gca ) xtick and xticklabel to manually input data set ( gca , ' xtick ' , [ 0 , 0 . 25 * pi , . 5 * pi , 0 . 75 * pi , pi ] ) ; set ( gca , ' xticklabel ' , { ' 0 ' , ' \ pi / 4 ' , ' \ pi / 2 ' , ' 3 \ pi / 4 ' , ' \ pi ' } ) ; % % see matlab 2015 version help
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i emailed the professor a research idea , he responded :
just go ahead
. is this an ok ?
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a young man leaves his village to the city with his father seeking medical help for an ailment . in the city , they stay with his brother who is embroiled in a corruption scam involving a con .
december 24 , 2014 c / c + + development and debugging . no comments c style cast , c + + , cast , const _ cast , dynamic _ cast , reinterpret _ cast , static _ cast
i happen to maintain the db2 coding standards , which are mostly concerned with portability , and not style . i’ve joked that i was given that job since i had “broken the build” more than anybody else , so was most qualified to let others know how not to do so .
in our coding standards we have a prohibition against the use of exceptions . this is a historical restriction because we’ve built with compilation flags like - qnoeh ( no exception handling ) on some platforms to get a bit of additional performance . these days the compilers do much better at not degrading performance when exception handling is allowed and not used , but since our performance folks will sell their kids for a 1 % improvement , we’ve kept using flags like this and the associated restriction . components that must ( or want ) to use exception handling must “firewall” any exceptions , not letting them get thrown to external code ( and also explicitly enable exceptions for their code ) .
we had a note in the coding standards not to use rtti ( run time type identification ) , because exceptions are required . that was a confusing and incomplete statement to include in our standards . it was interpreted by one developer as meaning that none of :
were allowed . however , only the dynamic _ cast is a rtti operation , and only the dynamic _ cast will throw an exception when the cast doesn’t match the underlying type .
i’ve now fixed up our coding standards . it now references dynamic _ cast instead of rtti .
the db2 code is still very c’ish , compiled with a c + + compiler . i’d say the bulk of the casts in our code are old style c casts , and that most of our developers ( including myself ) don’t even know when to use the “new” cast operations . here’s some thoughts on these :
i’ve seen a fair amount of const _ cast use in our code , and i know personally how this can be very useful . an example :
volatile int x ; void foo ( int * y ) ; foo ( const _ cast < short * > ( & x ) ) ; / / compilation error foo ( const _ cast < int * > ( & x ) ) ; / / allowed . just strips the volatile ( or const ) off the pointer type .
a second nice use of const _ cast < > ( ) is to enforce type checking in macros . if the macro parameter is supposed to be a pointer to type t , you can enforce that by using a const _ cast < t * > . this assumes that you don’t actually care about the const - ness of the pointer , and will force a compile error if the macro is used with any other type .
in general i don’t think it’s a bad idea to use the new cast operators , since they represent a hierarchy of weaker than c style casts . you can also search for cast operations by name in a given file if they are used , which is much harder to do with a c style cast .
i’m not sure how much use of static _ cast < > and reinterpret _ cast < > we have in the code .
declaring my own stupidity , without looking them up , i didn’t personally know how to use the “new style” static _ cast and reinterpret _ cast operations correctly . i use a c cast by habit unless i’m trying to strip const or volatile attributes ( or enforce a type in a macro ) .
if db2 coders start using these , it will likely confuse old guys like me for a while , but i figure i can learn about these .
if that doesn’t work or is not allowed you can use : a c style cast .
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