prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which name adopted by African-American activist Allen Donaldson co-found Black Power movement of the 1960s and 1970s

The following are given passages.
Context 1: Passage 1:
Tommie Smith
Tommie C  Smith (born June 6, 1944) is an American former track and field athlete and former wide receiver in the American Football League  At the 1968 Summer Olympics, Smith, aged 24, won the 200-meter sprint finals and gold medal in 19 83 seconds – the first time the 20-second barrier was broken officially  His Black Power salute with John Carlos atop the medal podium to protest racism and injustice against African Americans in the United States caused controversy, as it was seen as politicizing the Olympic Games  It remains a symbolic moment in the history of the Black Power movement 

Early life and career
Tommie Smith was born on June 6, 1944, in Clarksville, Texas, the seventh of twelve children born to Richard and Dora Smith  He suffered from pneumonia as a child, but still grew to be an athletic youth  While attending Lemoore High School in Lemoore, California, Smith showed great potential, setting most of the school's track records, many of which remain  He won the 440-yard dash in the 1963 CIF California State Meet  He was voted Lemoore's "Most Valuable Athlete" in basketball, football, and track and field, and was also voted vice president of his senior class  His achievements earned him a scholarship to San José State University On May 7, 1966, while he was at San Jose State, Smith set a world best of 19 5 seconds in the 200m straight, which he ran on a cinder track  That record for 200m was finally beaten by Tyson Gay on May 16, 2010, just over 44 years later, though Smith still holds the record for the slightly longer 220-yard event  Since the IAAF has abandoned ratifying records for the event, Smith still retains the official record for the straightaway 200m/220 yards in perpetuity A few weeks later, on June 11, 1966, Smith set the record for 200 meters and 220 yards around a turn at 20 0, the first man to do that in 20 seconds  Six days later he won the NCAA Men's Outdoor Track and Field Championship  Smith also won the national collegiate 220-yard (201 17 m) title in 1967 before adding the AAU furlong (201 17m) crown as well  He traveled to Japan for the 1967 Summer Universiade and won the 200m gold medal  He repeated as U S  200m champion in 1968 and made the Olympic team 

1968 Summer Olympics
Leading up to the Olympics, at the U S  Olympic Trials at Echo Summit, California, San Jose State teammate John Carlos beat Smith and his world record, running 19 92A  John Carlos' record was disallowed because of the brush spike shoes he was wearing, as was a similar record by Vince Matthews in the 400 meters As a member of the Olympic Project for Human Rights (OPHR) Smith originally advocated a boycott of the 1968 Mexico City Olympic Games unless four conditions were met: South Africa and Rhodesia uninvited from the Olympics, the restoration of Muhammad Ali's world heavyweight boxing title, Avery Brundage to step down as president of the International Olympic Committee (IOC), and the hiring of more African-American assistant coaches  As the boycott failed to achieve support after the IOC withdrew invitations for South Africa and Rhodesia, he decided, together with Carlos, to not only wear their gloves but also go barefoot to protest poverty, wear beads to protest lynchings, and wear buttons that said OPHR At the 1968 Summer Olympics in Mexico, Smith nursed an injured groin into the 200m final  In the race, teammate Carlos powered out to the lead through the turn, while Smith got a slow start  Coming off the turn, Smith charged past Carlos and sped to victory   Knowing he had passed his training partner and closest opponent, his victory was so clear, he raised his arms to celebrate 10m before the finish line  Still, he improved upon his own world record that would last for 11 years until Pietro Mennea would surpass it on the same track  Smith's time of 19 83 was among the first automatically timed world records for the event as recorded by the IAAF 

Carlos and Smith made headlines around the world by raising their black-gloved fists at the medal award ceremony  Both athletes wore black socks and no shoes on the podium to represent African-American poverty in the United States  In support, Peter Norman, the silver medalist who was a white athlete from Australia, participated in the protest by wearing an OPHR badge IOC president Avery Brundage deemed it to be a domestic political statement unfit for the apolitical, international forum the Olympic Games were intended to be  In response to their actions, he ordered Smith and Carlos suspended from the US team and banned from the Olympic Village  When the US Olympic Committee refused, Brundage threatened to ban the entire US track team  This threat led to the expulsion of the two athletes from the Games A spokesman for the IOC said Smith and Carlos's actions were "a deliberate and violent breach of the fundamental principles of the Olympic spirit " Brundage, who was president of the United States Olympic Committee in 1936, had made no objections against Nazi salutes during the Berlin Olympics  He argued that the Nazi salute, being a national salute at the time, was acceptable in a competition of nations, while the athletes' salute was not of a nation and therefore unacceptable Smith and Carlos faced consequences for challenging white authority in the U S  Ralph Boston, a black U S  long jumper at the 1968 games, stated: "The rest of the world didn't seem to find it such a derogatory thing  They thought it was very positive  Only America thought it was bad " The men's gesture had lingering effects for all three athletes, the most serious of which were death threats against Smith, Carlos and their families  Following their suspension by the IOC, they faced economic hardship Smith stated in later years that "We were concerned about the lack of black assistant coaches  About how Muhammad Ali got stripped of his title  About the lack of access to good housing and our kids not being able to attend the top colleges "

Athletics and later career
During his career, Smith set seven individual world records and also was a member of several world-record relay teams at San Jose State, where he was coached by Lloyd (Bud) Winter  With personal records of 10 1 for 100 meters, 19 83 for 200 and 44 5 for the 400, Smith still ranks high on the world all-time lists 
Smith, who had been drafted by the National Football League's Los Angeles Rams in the ninth round of the 1967 NFL Draft, signed to play for the American Football League's Cincinnati Bengals and was part of the team's taxi squad for most of three seasons as a wide receiver  During the 1969 season, he played in two games, catching one pass for 41 yards A year after his Olympic win, Smith finished his BA in Social Science at San Jose State University and went on to earn a master's in Social Change from Goddard College, whose program enabled Smith to integrate his teaching and writing practices into his coursework After his track and football careers, he became a member of the United States National Track and Field Hall of Fame in 1978  In 1996, Smith was inducted into the California Black Sports Hall of Fame, and in 1999 he received that organization's Sportsman of the Millennium Award  In 2000 and 2001 the County of Los Angeles and the State of Texas presented Smith with commendation, recognition and proclamation awards He later became a track coach at Oberlin College in Ohio, where he also taught sociology and until 2005 was a faculty member teaching physical education at Santa Monica College in Santa Monica, California In August 2008, he gave 2008 Olympic triple gold winner Usain Bolt of Jamaica one of his shoes from the 1968 Olympics as a birthday gift In 2010, Smith put his gold medal and spikes up for auction  Bids started at $250,000, and the sale was scheduled to close November 4, 2010  In 2013 Goddard College honored Smith as an alumnus by awarding him the Presidential Award for Activism in 2013 

Books
Smith's autobiography (co-written with David Steele), Silent Gesture was published in 2007 by Temple University Press  It was named a 2008 Adult Nonfiction Honor Book by the Black Caucus of the American Library Association and nominated for a 2008 NAACP Image Award 
Smith's second book Victory  Stand! Raising My Fist for Justice was published in 2022 by Norton Young Readers  The graphic memoir was co-written with Derrick Barnes and illustrated by Dawud Anyabwile  The book received literary acclaim  It won the 2023 YALSA Award for Excellence in Nonfiction and was recognized as a 2023 Corretta Scott King Award Author and Illustrator Honor Book as well as a finalist for the 2022 National Book Award for Young People's Literature 

Personal life
Smith first married Jimi Denise Paschal from 1967 to 1973, with whom he had one child  He then married Denise M  "Akiba" Kyle in 1977, with whom he had four children  The two divorced in 2000, and Smith married Delois Jordan in the same year 

Recognition
Tommie Smith is featured in the 1999 HBO documentary Fists of Freedom: The Story of the '68 Summer Games  The documentary looks at events leading up to, during and after the 1968 Olympics  It features interviews with Smith, Carlos and sociologist Harry Edwards  There is archival footage of the Games and the fallout after the raised fist salutes by Carlos and Smith  Smith says in the programme:
We were not Antichrists   We were just human beings who saw a need to bring attention to the inequality in our country   I don't like the idea of people looking at it as negative   There was nothing but a raised fist in the air and a bowed head, acknowledging the American flag – not symbolizing a hatred for it 
For his lifelong commitment to athletics, education, and human rights, Smith received the Courage of Conscience Award from The Peace Abbey in Sherborn, Massachusetts  In 2004, a sports hall bearing his name was inaugurated in his presence at Saint-Ouen, France In 2005, a statue showing Smith and Carlos on the medal stand was constructed by political artist Rigo 23 and dedicated on the campus of San Jose State University  Norman's silver medal position was left vacant at his request, so visitors could pose for photos in solidarity with Smith and Carlos, as Norman had stood A mural of the photo taken with Smith on the podium at the 1968 Olympics with Carlos and Norman was painted on the brick wall of a residence in Newtown, New South Wales, Australia, titled "Three Proud People Mexico 68"  The house's owner, Silvio Offria, allowed an artist known only as "Donald" to paint the mural, and said that Norman came to Newtown to see the mural and have his photo taken with it before he died in 2006  The mural faces the train tracks linking Sydney city to the Western and Southern Suburbs  In 2012, the Sydney City Council heritage listed the mural to safeguard it, after it had faced possible demolition in 2010 to make way for a railway tunnel  Smith and Carlos were pallbearers at Norman's funeral in Melbourne in 2006 On July 16, 2008, Smith and Carlos accepted the Arthur Ashe Award for Courage for the salute at the 2008 ESPY Awards  In 2018, Smith received the Dresden Peace Prize The Tommie Smith Youth Track Meet is held annually in his honor  It has been both an AAU and USATF-sponsored event, held at the University of California, Berkeley at Edwards Stadium  
San Jose State University has secured funding to rebuild the  track and field complex  The centerpiece is Speed City Legacy Center, which pays tribute to SJSU alumni track stars and civil rights advocates 

See also
Timeline of the civil rights movement
Bay Area Sports Hall of Fame
Other American Football League players
Men's 200 metres world record progression

Further reading
Bates, Karen Grigsby (October 16, 2018)  "50 Years Later, Raised Fists During National Anthem Still Resonate"  Morning Edition  NPR 
Brown, DeNeen (October 16, 2018)  "'A cry for freedom': The Black Power salute that rocked the world 50 years ago"  Washington Post 
Barra, Allan  "Fists Raised, but Not in Anger" The New York Times, August 22, 2008
Thomas, Katie  "For Australian Athletes, a Voice From the Grave" The New York Times May 23, 2008
"In-flight film will urge Olympians to protest", The Daily Telegraph, May 24, 2008
"Norman loses his spot in history", Sporting Life, October 17, 2005
"Norman dies after heart attack", Fox Sports, October 3, 2006
"Peter Norman, man on podium for Black Power salute, dies", USA Today, October 3, 2006
Reed, Ron  "Norman to receive a final salute", The Herald Sun, October 6, 2006
Hoy, Greg  "Fellow athletes pay tribute to Peter Norman", Australian Broadcasting Corporation, October 10, 2006
Blackistone, Kevin B , The Dallas Morning News, August 23, 2008 (Archived original "'68 protest more than a memory" at the Wayback Machine (archived July 1, 2001))
"Peter Norman dies after heart attack", The Age, October 3, 2006
"Bitter price of Olympics' iconic image", Sydney Morning Herald, October 17, 2003
Wise, Mike  "Clenched Fists, Helping Hand", The Washington Post, October 5, 2006
"Norman Remembered as an Unflinching Champion", The Australian, October 9, 2006
"Carlos, Smith act as pallbearers at funeral of podium mate from 1968 Olympics" at the Wayback Machine (archived March 11, 2007), MSNBC, October 9, 2006 (Archived original)
Rees, Margaret "Australian athlete supported American civil rights struggle", World Socialist Web Site, October 23, 2006
Passage 2:
Black Power: The Politics of Liberation
Black Power: The Politics of Liberation is a 1967 book co-authored by Kwame Ture (then known as Stokely Carmichael) and political scientist Charles V  Hamilton  The work defines Black Power, presents insights into the roots of racism in the United States and suggests a means of reforming the traditional political process for the future   Published originally as Black Power: The Politics of Liberation in America, the book has become a staple work produced during the Civil Rights Movement and Black Power movement One of the main focuses of the book is describing the struggles that black communities faced in trying to get involved in politics   Black people had faced severe and violent discrimination since the Civil War, as well as segregation since the late nineteenth century  Consequently, the community faced problems with political participation as the community faced material consequences of systemic racism when attempting to vote or engaging with the political world   Carmichael and Hamilton cite white supremacy, colonialism, and the systemic continuation of these dynamics as drivers of disenfranchisement and racism These issues led to the creation of certain groups and organizations   For instance, the Student Nonviolent Coordinating Committee (SNCC) attempted to build organizational capacity within the Southern black community, offering a progressive alternative to the Democratic Party in Mississippi that would adopt the national party's platform (see Mississippi Freedom Democratic Party)   By creating regional campaigns and running black candidates, SNCC saw success within their own community   However, with the limited power that this and other organizations held, their efforts to engage in the political arena for the black community were often not fully realized  This led the authors to reconceptualize Black Power as a tool for confronting the totality of oppression, not exclusively that of political representation 
Carmichael and Hamilton continue to write about the ways that black communities' attempts to be active in politics have been thwarted by self-serving groups who offer shallow allyship   Criticizing labor movements, liberals, and the middle class for being complacent in systemic racism, Black Power challenges coalitions to genuinely serve the anti-racism and the needs of the black community  Carmichael and Hamilton state, "We do not believe it is possible to form meaningful coalitions unless both or all parties are not only willing but believe it absolutely necessary to challenge [white supremacy] and other prevailing norms and institutions" Carmichael and Hamilton write that Black Power meant more than simply changing the physical, material conditions of inequality faced by black Americans; it also meant changing perspectives of race relations in a historical context, both inside and outside the community  The authors believe Black Power not only rests in dismantling white supremacy, but also in establishing camaraderie within the black community  In this way, Black Power disavows the legitimacy of liberal, conformist politics, and instead seeks a degree of sovereignty for black community 
Ohio prison library included Black Power in its list of books in 1975 

See also
Where Do We Go From Here: Chaos or Community
Passage 3:
African-American bookstores
African-American bookstores, also known as black bookstores, are bookstores owned and operated by African Americans   These stores often, although not always, specialize in works by and about African Americans and their target customers are often African Americans   Although they are a variety of African-American business, African-American bookstores have often been closely tied to radical political movements including Marxism, Black Power, and pan-Africanism  The first documented African-American bookstore was established by the abolitionist David Ruggles in 1834  The first African-American bookstore to open in Harlem was Young's Book Exchange  One of the earliest African-American bookstores to achieve national prominence was Lewis Michaux's African National Memorial Bookstore, which operated in Harlem from the early 1930s to the middle of the 1970s   Michaux's store doubled as a meeting place for black activists, including most famously Malcolm X   The Black Power movement embraced black-owned bookstores in the 1960s and 70s as vehicles for promoting their ideology and creating radical political spaces in black communities across the United States   By the 1990s, African-American bookstores earned significant attention from more politically moderate and business oriented media outlets such as the magazine Black Enterprise   In the 2000s and 2010s, however, as independent bookstores of all kinds declined and bookstores chains and Amazon increasingly sold black-authored books, the number of African-American bookstores declined rapidly, dropping from more than 250 to just over 70 Prominent black-owned booksellers currently in business include Marcus Books in Oakland, the oldest black bookseller in the country, Everyone's Place in Baltimore, Hakim's Bookstore in Philadelphia, Eso Won Books in Los Angeles (noted as "a Leimert Park institution of black literature and culture"), and Sankofa in Washington, D C Prominent online black booksellers include AALBC com (founded in 1998), Mahogany Books and Hue-Man Bookstore, which formerly had brick-and-mortar storefronts in Denver, Colorado, and in Harlem 

See also
Bookselling in the US
Antiquarian book trade in the United States
Books in the United States
Lewis H  Micheaux
Young's Book Exchange
Martin Sostre
David Ruggles
Passage 4:
Black Power movement
The Black Power movement or Black Liberation movement was a branch or counterculture within the civil rights movement of the United States, reacting against its more moderate, mainstream, or incremental tendencies and motivated by a desire for safety and self-sufficiency that was not available inside redlined African American neighborhoods  Black Power activists founded black-owned bookstores, food cooperatives, farms, media, printing presses, schools, clinics and ambulance services  The international impact of the movement includes the Black Power Revolution in Trinidad and Tobago By the late 1960s, Black Power came to represent the demand for more immediate violent action to counter American white supremacy  Most of these ideas were influenced by Malcolm X's criticism of Martin Luther King Jr 's peaceful protest methods  The 1965 assassination of Malcolm X, coupled with the urban riots of 1964 and 1965, ignited the movement  New organizations that supported Black Power philosophies ranging from the adoption of socialism by certain sects of the movement to black nationalism, including the Black Panther Party (BPP), grew to prominence While black American thinkers such as Robert F  Williams and Malcolm X influenced the early Black Power movement, the Black Panther Party and its views are widely seen as the cornerstone  It was influenced by philosophies such as pan-Africanism, black nationalism and socialism, as well as contemporary events including the Cuban Revolution and the decolonization of Africa 

History
Origins
The first popular use of the term "Black Power" as a social and racial slogan was by Stokely Carmichael (later known as Kwame Ture) and Willie Ricks (later known as Mukasa Dada), both organizers and spokespeople for the Student Nonviolent Coordinating Committee  On June 16, 1966, in a speech in Greenwood, Mississippi, during the March Against Fear, Carmichael led the marchers in a chant for Black power that was televised nationally The organization Nation of Islam began as a Black nationalist movement in the 1930s, inspiring later groups  Malcolm X is largely credited with the group's dramatic increase in membership between the early 1950s and early 1960s (from 500 to 25,000 by one estimate; from 1,200 to 50,000 or 75,000 by another)  In March 1964, Malcolm X left the Nation due to disagreements with Elijah Muhammad; among other things, he cited his interest in working with civil rights leaders, saying that Muhammad had prevented him from doing so  Later, Malcolm X also said Muhammad had engaged in extramarital affairs with young Nation secretaries‍—‌a serious violation of the group's teachings  On February 21, 1965, Malcolm X was shot and killed while speaking at the Audubon Ballroom in Washington Heights, New York City  Three Nation members were convicted of assassinating him  Despite this, there has long been speculation and suspicion of government involvement  The forty police officers at the scene were instructed to "stand down" by their commanding officers while the shooting took place After the Watts riots in Los Angeles in 1965, the Student Nonviolent Coordinating Committee decided to cut ties with the mainstream civil rights movement  They argued that blacks needed to build power of their own, rather than seek accommodations from the power structure in place  SNCC migrated from a philosophy of nonviolence to one of greater militancy after the mid-1960s  The organization established ties with radical groups such as the Students for a Democratic Society 
In late October 1966, Huey P  Newton and Bobby Seale founded the Black Panther Party  In formulating a new politics, they drew on their experiences working with a variety of Black Power organizations 

Escalation in the late 1960s
The Black Panther Party initially utilized open-carry gun laws to protect party members and local black communities from law enforcement  Party members also recorded incidents of police brutality by distantly following police cars around neighborhoods  Numbers grew slightly starting in February 1967, when the party provided an armed escort at the San Francisco airport for Betty Shabazz, Malcolm X's widow and keynote speaker at a conference held in his honor  By 1967, the SNCC began to fall apart due to policy disputes in its leadership, and many members left for the Black Panthers  Throughout 1967, the Panthers staged rallies and disrupted the California State Assembly with armed marchers  In 1956 the FBI developed COINTELPRO to investigate black nationalist groups and others  By 1969, the Black Panthers and their allies had become primary COINTELPRO targets, singled out in 233 of the 295 authorized "black nationalist" COINTELPRO actions  In 1968, the Republic of New Afrika was founded, a separatist group seeking a black country in the southern United States, only to dissolve by the early 1970s 
By 1968, many Black Panther leaders had been arrested, including founder Huey Newton for the murder of a police officer (Newton's prosecution was eventually dismissed), yet membership surged  Black Panthers later engaged the police in a firefight in a Los Angeles gas station  In the same year, Martin Luther King Jr  was assassinated, creating nationwide riots, the widest wave of social unrest since the American Civil War  In Cleveland, Ohio, the "Republic of New Libya" engaged the police in the Glenville shootout, which was followed by rioting  The year also marked the start of the White Panther Party, a group of whites dedicated to the cause of the Black Panthers  Founders Pun Plamondon and John Sinclair were arrested, but eventually freed, in connection to the bombing of a Central Intelligence Agency office in Ann Arbor, Michigan that September By 1969, the Black Panthers began purging members due to fear of law enforcement infiltration, engaged in multiple gunfights with police and one with a black nationalist organization  The Panthers continued their "Free Huey" campaign internationally  In the spirit of rising militancy, the League of Revolutionary Black Workers was formed in Detroit, which supported labor rights and Black liberation  \

Peak in the early 1970s
In 1970 the Honorary Prime Minister of the Black Panther Party, Stokely Carmichael, traveled to various countries to discuss methods to resist "American imperialism"  In Trinidad, the Black Power Movement had escalated into the Black Power Revolution in which many Afro-Trinidadians forced the government of Trinidad to give into reforms  Later many Panthers visited Algeria to discuss Pan-Africanism and anti-imperialism  In the same year former Black Panthers formed the Black Liberation Army to continue a violent revolution rather than the party's new reform movements  On October 22, 1970, the Black Liberation Army is believed to have planted a bomb in St  Brendan's Church in San Francisco while it was full of mourners attending the funeral of San Francisco police officer Harold Hamilton, who had been killed in the line of duty while responding to a bank robbery  The bomb was detonated, but no one in the church suffered serious injuries In 1971, several Panther officials fled the U S  due to police concerns  This was the only active year of the Black Revolutionary Assault Team, a group that bombed the New York South African consular office in protest of apartheid  On September 20 it placed bombs at the UN Missions of Republic of the Congo (Kinshasa) and the Republic of Malawi  In February 1971, ideological splits within the Black Panther Party between leaders Newton and Eldridge Cleaver led to two factions within the party; the conflict turned violent and four people were killed in a series of assassinations  On May 21, 1971, five Black Liberation Army members participated in the shootings of two New York City police officers, Joseph Piagentini and Waverly Jones  Those brought to trial for the shootings include Anthony Bottom (also known as Jalil Muntaqim), Albert Washington, Francisco Torres, Gabriel Torres, and Herman Bell During the jail sentence of White Panther John Sinclair a "Free John" concert took place, including John Lennon and Stevie Wonder  Sinclair was released two days later  On August 29, three BLA members murdered San Francisco police sergeant John Victor Young at his police station  Two days later, the San Francisco Chronicle received a letter signed by the BLA claiming responsibility for the attack  Late in the year Huey Newton visited China for meetings on Maoist theory and anti-imperialism  Black Power icon George Jackson attempted to escape from prison in August, killing seven hostages only to be killed himself  Jackson's death triggered the Attica Prison uprising which was later ended in a bloody siege  On November 3, Officer James R  Greene of the Atlanta Police Department was shot and killed in his patrol van at a gas station by Black Liberation Army members 1972 was the year Newton shut down many Black Panther chapters and held a party meeting in Oakland, California  On January 27, the Black Liberation Army assassinated police officers Gregory Foster and Rocco Laurie in New York City  After the killings, a note sent to authorities portrayed the murders as a retaliation for the prisoner deaths during 1971 Attica prison riot  To date no arrests have been made    On July 31, five armed BLA members hijacked Delta Air Lines Flight 841, eventually collecting a ransom of $1 million and diverting the plane, after passengers were released, to Algeria  The authorities there seized the ransom but allowed the group to flee  Four were eventually caught by French authorities in Paris, where they were convicted of various crimes, but one – George Wright – remained a fugitive until September 26, 2011, when he was captured in Portugal  After being accused of murdering a prostitute in 1974, Huey Newton fled to Cuba  Elaine Brown became party leader and embarked on an election campaign 

De-escalation in the late 1970s
In the late 1970s a rebel group named after the killed prisoner formed the George Jackson Brigade  From March 1975 to December 1977, the Brigade robbed at least seven banks and detonated about 20 pipe bombs – mainly targeting government buildings, electric power facilities, Safeway stores, and companies accused of racism  In 1977, Newton returned from exile in Cuba  Shortly afterward, Elaine Brown resigned from the party and fled to Los Angeles  The Party fell apart, leaving only a few members MOVE developed in Philadelphia in 1972 as the "Christian Movement for Life", a communal living group based on Black Liberation principles  When police raided their house in 1978, a firefight broke out; during the shootout, one officer was killed, seven other police officers, five firefighters, three MOVE members, and three bystanders were also injured In another high-profile incident of the Black Liberation Army, Assata Shakur, Zayd Shakur and Sundiata Acoli were said to have opened fire on state troopers in New Jersey after being pulled over for a broken taillight  Zayd Shakur and state trooper Werner Foerster were both killed during the exchange  Following her capture, Assata Shakur was tried in six different criminal trials  According to Shakur, she was beaten and tortured during her incarceration in a number of different federal and state prisons  The charges ranged from kidnapping to assault and battery to bank robbery  Assata Shakur was found guilty of the murder of both Foerster and her companion Zayd Shakur, but escaped prison in 1979 and eventually fled to Cuba and received political asylum  Acoli was convicted of killing Foerster and sentenced to life in prison 
In 1978 a group of Black Liberation Army and Weather Underground members formed the May 19th Communist Organization, or M19CO  It also included members of the Black Panthers and the Republic of New Africa  In 1979 three M19CO members walked into the visitor's center at the Clinton Correctional Facility for Women near Clinton, New Jersey  They took two guards hostage and freed Shakur  Several months later M19CO arranged for the escape of William Morales, a member of Puerto Rican separatist group Fuerzas Armadas de Liberación Nacional Puertorriqueña from Bellevue Hospital in New York City, where he was recovering after a bomb he was building exploded in his hands 

Decline in the 1980s
Over the 1980s the Black Power movement continued despite a decline in its popularity and organization memberships  The Black Liberation Army was active in the US until at least 1981 when a Brinks truck robbery, conducted with support from former Weather Underground members Kathy Boudin and David Gilbert, left a guard and two police officers dead  Boudin and Gilbert, along with several BLA members, were subsequently arrested  M19CO engaged in a bombing campaign in the 1980s  They targeted a series of government and commercial buildings, including the U S  Senate  On November 3, 1984, two members of the M19CO, Susan Rosenberg and Timothy Blunk, were arrested at a mini-warehouse they had rented in Cherry Hill, New Jersey  Police recovered more than 100 blasting caps, nearly 200 sticks of dynamite, more than 100 cartridges of gel explosive, and 24 bags of blasting agent from the warehouse  The M19CO alliance's last bombing was on February 23, 1985, at the Policemen's Benevolent Association in New York City 
MOVE had relocated to West Philadelphia after the earlier shootout  On May 13, 1985, the police, along with city manager Leo Brooks, arrived with arrest warrants and attempted to clear the MOVE building and arrest the indicted MOVE members  This led to an armed standoff with police, who lobbed tear gas canisters at the building  MOVE members shot at the police, who returned fire with automatic weapons  The police then bombed the house, killing several adults and children, and causing a large fire that destroyed the better part of a city block In 1989, well into the waning years of the movement, the New Black Panther Party formed  In the same year on August 22, Huey P  Newton was fatally shot outside by 24-year-old Black Guerilla Family member Tyrone Robinson 

Characteristics
Education
The fifth point of the Black Panther Party's Ten-Point Program called for "education for our people that exposes the true nature of this decadent American society  We want education that teaches us our true history and our role in the present day society " This sentiment was echoed in many of the other Black Power organizations; the inadequacy of black education had earlier been remarked on by W  E  B  Du Bois, Marcus Garvey, and Carter G  Woodson 
With this backdrop, Stokely Carmichael brought political education into his work with SNCC in the rural South  This included get-out-the-vote campaigns and political literacy  Bobby Seale and Huey Newton used education to address the lack of identity in the black community  Seale had worked with youth in an after-school program before starting the Panthers  Through this new education and identity building, they believed they could empower black Americans to claim their freedom 

Media
Just as Black Power activists focused on community control of schools and politics, the movement took a major interest in creating and controlling its own media institutions  Most famously, the Black Panther Party produced the Black Panther newspaper, which proved to be one of the BPP's most influential tools for disseminating its message and recruiting new members 
WAFR was launched in September 1971 as the first public, community-based black radio station  The Durham, North Carolina, station broadcast until 1976, but influenced later activist radio stations including WPFW in Washington, D C  and WRFG in Atlanta 

Australian Black Power
The American Black Power movement influenced Aboriginal Australian activists from the late 1960s onwards, especially in Sydney, Brisbane and Melbourne  The term became widely known after the Victorian Aborigines Advancement League (AAL), led by Bruce McGuinness and Bob Maza, invited Caribbean activist Roosevelt Brown to give a talk on Black Power in Melbourne in 1968, causing a media frenzy  The AAL was influenced by the ideas of Malcolm X and Stokely Carmichael  The Australian "Black Power movement" had emerged in Redfern in Sydney, Fitzroy, Melbourne, and South Brisbane, following the "Freedom Ride" led by  Charles Perkins in 1965  There was a small group of people at the centre of the movement known as the Black Caucus Bobbi Sykes defined Australian Black Power as "The power generated by people who seek to identify their own problems and those of the community as a whole, and who strive to take action in all possible forms to solve those problems", while Paul Coe saw it as the need for Aboriginal people to "take control both of the economical, the political and cultural resources of the people and of the land…so that they themselves have got the power to determine their own future"  Activist and later academic Gary Foley later wrote that in Australia, Black Power "was essentially about the necessity for Black people to define the world in their own terms, and to seek self-determination and independence on their own terms, without white interference"  The Aboriginal Legal Service in Redfern grew out of this activism 

Legacy
After the 1970s the Black Power movement saw a decline, but not an end  In 1998, the Black Radical Congress was founded, with debatable effects  The Black Riders Liberation Party was created by Bloods and Crips gang members as an attempt to recreate the Black Panther Party in 1996  The group has spread, creating chapters in cities across the United States, and frequently staging paramilitary marches  During the 2008 presidential election New Black Panther Party members were accused of voter intimidation at a polling station in a predominantly black, Democratic voting district of Philadelphia  After the killing of Trayvon Martin black power paramilitaries formed, including the Huey P  Newton Gun Club, African American Defense League, and the New Black Liberation Militia, all staging armed marches and military training Some have compared the modern movement Black Lives Matter to the Black Power movement, noting its similarities  The Movement for Black Lives openly promotes Black Power 

See also
Black mecca
Black nationalism
Black Panther Party
Black supremacy
Black separatism
Chicano Movement
History of the socialist movement in the United States
New Left
Black Arts Movement
Protests of 1968
Red Power movement
Los Siete de la Raza
Passage 5:
Hakim Jamal
Hakim Abdullah Jamal (born Allen Donaldson; March 28, 1931 – May 1, 1973) was an American activist and writer  He was an associate of Michael X and wrote From the Dead Level, a memoir of his life and memories of Malcolm X  During his life, Jamal was romantically involved with several high-profile women, notably Jean Seberg, Diana Athill, and Gale Benson 

Early life
Donaldson was born in Roxbury, Boston, in 1931  His father was an alcoholic, and his mother abandoned him when he was 6  Donaldson started regularly drinking alcohol when he was aged 10 and became a heroin user at 14  In his early 20s he spent four years in prison Donaldson's violent temper led to his committal to a mental asylum, after two attempted murders  He later underwent a conversion to the teachings of the Nation of Islam and renamed himself Hakim Jamal  He became a spokesman for the movement and contributed articles to various newspapers promoting Black Power  After Malcolm X left the Nation of Islam, Jamal supported his decision and was outspoken in his criticism of Elijah Muhammad 

Founding US Organization
After Malcolm X's death, Jamal joined with Maulana Karenga and others to found "US", an organization to promote African-American cultural unity  He had already circulated a self-produced magazine entitled "US", a pun on the phrase "us and them" and the accepted abbreviation of "United States"  This promoted the idea of black cultural unity as a distinct national identity  Jamal and Karenga published a magazine Message to the Grassroot in 1966, in which Karenga was listed as chairman and Jamal as founder of the new group  Jamal argued that the ideas of Malcolm X should be the main ideological model for the group However, Jamal's views increasingly differed from Karenga's  Jamal continued to emphasise his cousin's radical politics, while Karenga wished to root black Americans in African culture  Jamal saw no point in projects such as teaching Swahili and promoting traditional African rituals  He left "US" to establish the Malcolm X Foundation, based in Compton, California 

Relationships
Though married to fellow-activist Dorothy Jamal, Jamal had several significant affairs  He had a brief relationship with actress Jean Seberg  His wife phoned Seberg's father to try to bring an end to the affair Jamal moved to London during the late 1960s where he met Gale Benson, daughter of the British MP Leonard Plugge 
The writer V  S  Naipaul described Benson as Jamal's "white-woman slave " Jamal and Benson traveled in America seeking funds for a project to create a Montessori school for black children  Following an unsuccessful attempt to establish a commune in Guyana with the young German radical Herbert Girardet, the couple later joined West Indian Black Power leader Michael X at his commune in Trinidad, where Jamal wrote articles in support of Michael's activities 

Gale Benson murder
Benson traveled once again to America to raise funds for the school, but was unsuccessful  Shortly after her return to Trinidad in 1972, she was murdered by Michael X and his associates  Jamal was not a suspect, but it was alleged that Michael X had ordered her death because she was causing "mental strain" to Jamal In 1971, Jamal wrote his autobiography, From the Dead Level: Malcolm X and Me  It was published in the UK by André Deutsch and at this time Jamal became involved in a relationship with his London editor, Diana Athill  She later wrote about their romance in her memoir Make Believe, recording his increasing mental instability and alleged that he made repeated assertions that he was God Jamal eventually returned to his wife and moved back to Boston, where he revived his role as director of the Malcolm X Foundation 

Death
On May 1, 1973, Jamal was killed when four men burst into his apartment in Boston and shot him repeatedly  Police attributed the crime to a factional dispute, linked to Jamal's attacks on Elijah Muhammad  It was blamed on a group known as De Mau Mau  Five members of the group were convicted of involvement in the murder 

In popular culture
Jamal is a character in the 2008 film The Bank Job, in which he is played by Colin Salmon 
In the Jean Seberg biopic Seberg from 2019, he is played by Anthony Mackie 

Notes
Further reading
Athill, Diana (2004) [1993]  Make Believe: A True Story  London: Granta  ISBN 978-1-86207-708-9 
Jamal, Hakim A  (1972)  From The Dead Level: Malcolm X and Me  New York: Random House  ISBN 978-0-394-46234-9 

External links
"Hakim Jamal (centre), Portobello Road", 1971 photograph by Charlie Phillips  V&A collection 
FBI Docs Hakim Jamal FBI file as well as inventory of other FBI files on Jamal held by the National Archives II
Passage 6:
Etheridge Knight
Etheridge Knight (April 19, 1931 – March 10, 1991) was an African-American poet who made his name in 1968 with his debut volume, Poems from Prison   The book recalls in verse his eight-year-long sentence after his arrest for robbery in 1960   By the time he left prison, Knight had prepared a second volume featuring his own writings and works of his fellow inmates  This second book, first published in Italy under the title Voce negre dal carcere, appeared in English in 1970 as Black Voices from Prison  These works established Knight as one of the major poets of the Black Arts Movement, which flourished from the early 1960s through the mid-1970s  With roots in the Civil Rights Movement, Malcolm X and the Nation of Islam, and the Black Power Movement, Etheridge Knight and other American artists within the movement sought to create politically engaged work that explored the African-American cultural and historical experience Knight is also considered an important poet in the mainstream American tradition  In his 2012 book Understanding Etheridge Knight, Michael S  Collins calls Knight "a mighty American poet    He and Wallace Stevens stand as 'two poles of American poetry,' according to his better-known fellow writer Robert Bly  Or, rather, Knight was, as he often said, a poet of the belly: a poet of the earth and of the body, a poet of the feelings from which cries and blood oaths and arias come, while Stevens was a poet, arguably, of the ache left in the intellect after it tears itself from God  'Ideas are not the source of poetry,' Knight told one interviewer  'For me it's passion, heart and soul    '"

Biography
Knight was born on April 19, 1931, as one of eight children to Belzora Cozart  Knight and Etheridge "Bushie" Knight in rural Corinth, Mississippi, but moved with his family to Paducah, Kentucky, where his father, a failed farmer, worked as a laborer on the Kentucky Dam  During this time, Knight frequently ran away from home, and so, was sent back to Corinth during the summer to stay with an uncle  Although he was an extremely bright student, Knight decided to drop out of school at the age of 16  His first job was as a shoe shiner in a small Kentucky town, where he first became more attuned to nuances of language as he absorbed the world and activity around him  In addition to his work, Knight spent much of his time at juke joints, pool halls, and underground poker games, which furthered his interest in language  It was during this time that Knight became exposed to "toasts," which are narrative-style oral poetry which relates a story  In 1947, Knight enlisted in the army and served as a medical technician in the Korean War until November 1950, during which time he sustained serious wound as well as psychological trauma, which led him to begin using morphine  By the time Knight was discharged from the army and returned to Indianapolis, Indiana, where his family had moved, he had become addicted to opiates  He spent much of the next several years dealing drugs and stealing to support his drug addiction In 1960, after a few previous run-ins with the police, Knight and two of his associates were arrested for armed robbery  Knight was initially so furious about his sentence that he was later unable to recall much of what happened during his first few months of his sentence  But after realizing that such anger was counterproductive, he turned his attention to reading as much as he could and dedicated himself to poetry During the following years, Knight became increasingly well known for his poetry writings  After working as a journalist for prison publications, he began submitting poetry to the Negro Digest in 1965   He also started establishing contacts with significant figures in the African-American literary community, including well-known poets like Gwendolyn Brooks, Dudley Randall, Sonia Sanchez and Haki Madhubuti, many of whom came to visit him in prison  The poems he had written during his time in prison were so effective that Dudley Randall, a poet and owner of Broadside Press, published Knight’s first volume of verse, Poems from Prison, and hailed Knight as one of the major poets of the Black Arts Movement  The book’s publication coincided with his release from prison 
Upon his release from prison in 1968, Knight married poet Sonia Sanchez  Over the next few years, he held the position of writer-in-residence at several universities, including two years, 1968 and 1969, spent at the University of Pittsburgh  While living in Pittsburgh with his wife and their family, Knight spent time as poetry editor for Motive magazine  Because of his ongoing drug addiction, his marriage to Sanchez did not last long, and they were divorced in 1970 while still in Pittsburgh  He continued writing his third book, Belly Song and Other Poems, which was published in 1973  His third work incorporates new life experiences and attitudes about love and race, and Knight was praised for the work’s sincerity  Belly Song was nominated for the National Book Award and the Pulitzer Prize  Knight’s time in Pennsylvania was very important to his career: his work during this period won him both a National Endowment for the Arts grant in 1972 and a Guggenheim Fellowship in 1974 
He married Mary McAnally in 1972, and she adopted two children  They settled in Minneapolis, Minnesota, until they separated in 1977  He then resided in Memphis, Tennessee, where he received Methadone treatments  Knight rose from a life of poverty, crime, and drug addiction to become exactly what he expressed in his notebook in 1965: a voice that was heard and helped his people 
Knight continued to write throughout his post-prison life  Belly Song and Other Poems (1973) dealt with themes of racism and love  Knight believed the poet was a "meddler" or intermediary between the poem and the reader  He elaborated on this concept in his 1980 work Born of a Woman  The Essential Etheridge Knight (1986), which is a compilation of his work 
In 1990, he earned a bachelor's degree in American poetry and criminal justice from Martin Center University in Indianapolis  Knight taught at the University of Pittsburgh, the University of Hartford, and Lincoln University, before he was forced to stop working due to illness  He also continued to be known as a charismatic poetry reader  Knight died in Indianapolis, Indiana, of lung cancer on March 10, 1991 

Style and themes
Knight’s poetry uses Black vernacular and includes a number of haiku among its forms, including this poem titled ″Vigo County″: ″Beyond the brown hill / Above the silent cedars, / Blackbirds flee the April rains ″  This message aligns with the Black Arts Movement in that the artists were no longer going to be imprisoned by silence; they would use their voices and art to escape 
Joyce Ann Joyce places Knight "in the context of an African philosophical/aesthetic tradition " His "tribute to the ancestors," she writes, "emerges as a ritualistic drama in which the values of the poet's ancestors are reborn, redefined, reaffirmed and reinterpreted, at once giving them added viability and sacralizing their new form " This ethnophilosophical perspective, she finds, "differs significantly from the Eurocentric concept of intertextuality that confines itself to reading texts only within the context of other texts ” Joyce calls him “a truly African oral performer," whose subjects "grew out of his and his people's lives" so that "viewed in the context of an African philosophical/aesthetic tradition, his poetry places him among those at the vanguard of any discussion of the history of African-American poetic letters " In his poem, ″Cell Song″ Knight articulates his desire to create good from his time in prison  He speaks to himself:
Night Music Slanted
Light strike the cave of sleep  I alone
tread the red circle
and twist the space with speech
Come now, etheridge, don't
be a savior; take your words and scrape
the sky, shake rain
on the desert, sprinkle
salt on the tail
of a girl,
can there anything
good come out of
prisonKnight places the reader within the cell; he capitalizes the first three words to show emphasis – this is not actual music, but the quiet and intermittent noises expected to be heard at night in prison  In the dark and light of the "red circle," he paces and ruminates over the words and ideas in his head  He attempts to project to that life beyond the prison walls, to use his talents for good, to use his words to make an impact  The reader can imagine Knight walking in small circles within his cell, as the words of the poem wind tighter and tighter  He concludes rather than questions that ″good″ can ″come out of prison ″
His exploration of themes of freedom and imprisonment, including his tributes to Martin Luther King Jr  and Malcolm X, are noted in a biographical study by Cassie Premo, who writes that his life and work dwell on "the theme of prisons imposed from without (slavery, racism, poverty, incarceration) and prisons from within (addiction, repetition of painful patterns) [which] are countered with the theme of freedom  His poems of suffering and survival, trial and tribute, loss and love testify to the fact that we are never completely imprisoned  Knight's poetry expresses our freedom of consciousness and attests to our capacity for connection to others ”In his prison-era poem, "The Warden Said to Me the Other Day," Knight "limns his feelings of emotional, imaginative, and perceptual confinement "The warden said to me the other day
(innocently, I think), "Say etheridge,
why come the black boys don't run off
like the white boys do?"
I lowered my jaw and scratched my head
And said (innocently, I think), "Well, suh,
I ain't for sure, but I reckon it's cause
We ain't got no wheres to run to "Written in a vernacular style reminiscent of a tale by Uncle Remus, Knight expresses the doubtfulness of black autonomy and white motives, for "Knight[sees] American as a prison where, no matter how benevolent a warden wishes to be, his gestures remain part of what locks his charges in " Knight's true prison, then, is the ways in which the Law, controlled by white America, imprisons black bodies and black voices, regardless of their presumed physical freedom 
Knight's poem, ″A WASP Woman Visits a Black Junkie in Prison″ shows how humans must only find a common interest to make a connection, in this case, both the black man and white woman have children  According to Premo, the "encounter leaves the man touched and softened by the woman, as are many of Knight's male speakers  In ″Belly Song,″ the speaker "sings of love: all the emotion, pain, memory, and passion of living ″  In ″The Stretching of the Belly," Knight contrasts the stretchmarks of his third wife, Charlene Blackburn with his own scars  His wife's representing ″growth and life″ while his are from ″war, violence, and slavery ″

Works
Poems from Prison  Detroit: Broadside Press, 1968 
2 Poems for Black Relocation Centers, 1968 
The Idea of Ancestry, 1968 
Black Voices from Prison (with others)  New York: Pathfinder Press, 1970 
A Poem for Brother Man, 1972 
For Black Poets Who Think of Suicide, 1972 
Belly Song and Other Poems  Detroit: Broadside Press, 1973 
Born of a Woman: New and Selected Poems  Boston: Houghton Mifflin, 1980 
The Essential Etheridge Knight  Pittsburgh: University of Pittsburgh Press, 1986 
The Lost Etheridge  Athens: Kinchafoonee Creek Press, 2022 
Passage 7:
Rainbow Coalition (Fred Hampton)
The Rainbow Coalition was an antiracist, anticlass multicultural movement founded April 4, 1969 in Chicago, Illinois by Fred Hampton of the Black Panther Party, along with William "Preacherman" Fesperman of the Young Patriots Organization and José Cha Cha Jiménez, founder of the Young Lords  It was the first of several 20th century black-led organizations to use the "rainbow coalition" concept Some members of the Young Patriots included Jack (Junebug) Boykin, Bobby Joe Mcginnis and Hy Thurman who worked with Field Marshall Bobby Lee of the Black Panthers  Hampton first met Jimenez in Chicago's Lincoln Park neighborhood the day after the Young Lords were in the news, having occupied the police community workshop meeting of the 18th District Police Station  Hampton was arrested twice in February 1969 with Jimenez at the Wicker Park Welfare Office  Both were charged with Mob Action during peaceful pickets of the welfare office protesting mistreatment of the patrons 
The Rainbow Coalition soon included various radical socialist community groups like the Lincoln Park Poor People's Coalition, later, the coalition was joined nationwide by the Students for a Democratic Society ("SDS"), the Brown Berets, the American Indian Movement and the Red Guard Party  In April 1969, Hampton called several press conferences to announce that this "Rainbow Coalition" had formed  Some of the things the coalition engaged in joint action against were poverty, corruption, racism, police brutality, and substandard housing  The participating groups supported each other at protests, strikes, and demonstrations where they had a common cause The coalition later included many other local groups like Rising Up Angry, and Mothers and Others  The Coalition also brokered treaties to end crime and gang violence  Hampton, Jimenez and their colleagues believed that the Richard J  Daley Democratic Party machine in Chicago used gang wars to consolidate their own political positions by gaining funding for law enforcement and dramatizing crime rather than underlying social issues The coalition eventually collapsed under duress from constant harassment by local and federal law enforcement, including the murder of Hampton 

History
Black nationalism changed around 1964-65 with Dr  Martin Luther King, Jr , began to radicalize his movement as he came to understand the importance of the ballot box, or electoral politics for social change  Malcolm X suggested that a mass convention could potentially help them decide between what he called a Black party and a Black army  While this specific convention never came to fruition, Malcolm X focused his energy on creating an intelligence for a Black political power  He came to understand it would be more difficult than he initially thought Malcolm X spent the last year of his life strategizing how to increase voter participation and provide widespread political education  At the same time, Dr  King was getting more militant  He believed they should have addressed political power previously, that Black people needed to be in power to address Black issues  He thought organizations needed to stop fighting and unite because they have a responsibility to the movement  It was important to not just increase Black votes but also to put their voices in powerful places 

Formation
Chicago was very segregated, separated by whites, Puerto Ricans, and blacks  Following the release of West Side Story, Puerto Ricans started dying their clothes purple, and that became their “colors " It was very difficult to get a job in Chicago, some would donate blood because that was the only way they could bring in a profit  Students for a Democratic Society came in and formed a JOIN Jobs or Income Now, and introduced the civil rights movement, which started the progress for change  When the west and south side of Chicago combined it was the largest contiguous area of 90 or more percent black population in the world outside of Africa  Mayor Daley used virtually every instrument of government he could to keep Chicago segregated  He served as mayor from 1955 to 1976  At his peak, he was the “most powerful and most influential urban figure in America ” Martin Luther King Jr  believed that southwest Chicago was a closed society in terms of race  The “white flight” went to the suburbs to flee the minorities coming into the communities, and Mayor Daley wanted to bring them back into the city  “Urban renewal was a racist plan, and was supported by the federal government with funds ”  Some of the activists in the Puerto Rican community came across a Community Conservation Council meeting in their community, and inside there were models of the city with the Puerto Rican areas of the city being vacant, and the meeting was run by about 12 white men  So the activists said they had to hold these meetings with some representatives from different minorities if they wanted to continue to hold meetings in that venue  When the representatives refused, the Puerto Ricans picked up chairs and started throwing them around, and ended up shutting down the Department of Urban Renewal for about three months 
Police brutality really started to take off during this point  The police had a bench with the handcuffs on the side so they could cuff you, and beat you with whatever they wanted to hit you with as long as they didn’t leave any marks  Many minorities would get beat up before they ever even got into jail, and there was nothing they could do about it  Following Martin Luther King Jr ’s assassination, Daley showed his power through the force of his police during the Democratic Convention in 1968  Daley stated on broadcast, “Shoot to kill any arsonists, or anyone with a molotov cocktail in their hand in Chicago”  This caused the Young Lords to transform from a gang into a human rights movement  “The mission was self-determination for Puerto Rico  That meant that we were powerful as a people, and as a nation, to promote a sense of pride for being Puerto Rican ” The mission also included being patriotic to the community, not to the system  The demands of the people included, freedom, the power to determine individual destiny, true education, decent housing, fair trials with a jury of their peers, and an end to police brutality 
Fred Hampton was someone everyone in the community respected  The Black Panthers attended a community meeting with the JOIN organization in Uptown and asked where they could help in the community  At this point however, there were still many suspicions about the Panthers and their gun-carrying terrorist reputation  However, by showing they were dedicated to the community, the Panthers gained the trust of the JOIN organization, and the coalition started to take shape  In March, 1969, the community went to the 18th District police station and performed a non-violent takeover of a police workshop meeting  The next day, the Panthers met Fred Hampton  Shortly after, the first official Rainbow Coalition meeting was held  “The Rainbow Coalition was about uniting communities so we could make revolutionary change ” The Coalition also started a free health clinic, which ran from 1969 to 1975 (Pien)  The police department’s Gang Intelligence Unit formed a Panther squad, which would perform raids on the party, and often end up with Panther members and associates being incarcerated  Reverend Bruce Johnson was the pastor of Armitage Avenue United Methodist Church, which became the headquarters of the Young Lords  Following this partnership, the city of Chicago began to attack Reverend Johnson, and fined him $200 for every day the Young Lords were in the church  In Oakland, California, in July 1969, a three day conference was held called the Conference for a United Front Against Fascism  Shortly after this conference, Reverend Johnson and his wife were brutally murdered  Because of this, the Black Panther party started to defend themselves from the police raids, and there were shootings that followed The original rainbow coalition was the idea of Fred Hampton and other Black Panther Party leaders  They saw the Young Lords and Young Patriots as established groups in their designated communities  The people that lived in Lawndale, Lincoln Park, and Uptown were treated and governed as crippling to the city as a whole  It was also difficult for these people to find jobs in the post World War II era as they were looked at as an unwanted part of the population by employers  As these groups came together in the rainbow coalition it gave them more of a voice to fight with  Each of these groups wanted to help their people and work to get rid of the discrimination against them  Coming together helped these groups have more of an effect on local government and policies  It also gave their people the feeling of having a larger community that knew what each other were fighting 

Legacy
The phrase "rainbow coalition" was co-opted over the years by Reverend Jesse Jackson, who eventually appropriated the name in forming his own, more moderate coalition, Rainbow/PUSH  Some scholars, including Peniel Joseph, assert that the original rainbow coalition concept was a prerequisite for the multicultural coalition that Barack Obama built his political career upon Jeffrey Haas, a lawyer who represented the BPP after Hampton's assassination, praised some of Hampton's politics, stating that his work in unifying movements are things one can learn from him  However, Haas was critical towards the way Hampton ran the BPP hierarchical organization  Haas praised the horizontal structure of Black Lives Matter stating: "They may also have picked up on the vulnerability of a hierarchal movement where you have one leader, which makes the movement very vulnerable if that leader is imprisoned, killed, or otherwise compromised  I think the fact that Black Lives Matter says, 'We're leader-full, not leaderless,' perhaps makes them less vulnerable to this kind of government assault "

See also
Political history of Chicago
Passage 8:
Maulana Karenga
Maulana Ndabezitha Karenga (born Ronald McKinley Everett, July 14, 1941), previously known as Ron Karenga, is an American activist, author, convicted felon and professor of Africana studies, best known as the creator of the pan-African and African-American holiday of Kwanzaa 
Born in Parsonsburg, Maryland, to an African-American family, Karenga studied at Los Angeles City College and the University of California, Los Angeles  He was active in the Black Power movement of the 1960s, joining the Congress of Racial Equality and Student Nonviolent Coordinating Committee  In 1965, Karenga and Hakim Jamal co-founded the black nationalist group US Organization, which became involved in violent clashes with the Black Panther Party by 1969  In 1971, he was convicted of felony assault, torture, and false imprisonment of women  He denied involvement and claimed the prosecution was political in nature  Karenga was imprisoned in California Men's Colony until he received parole in 1975 In 1966, Karenga notably created Kwanzaa, modeling the holiday after the African "first fruit" traditions  The rituals of the holiday promote African traditions, including the "seven principles of African heritage"  During the early years of Kwanzaa, Karenga said it was meant to be a black alternative to Christmas  Karenga, a secular humanist, challenged the sanity of Jesus and declared Christianity a "White religion" that black people should shun  However, Karenga later changed his opinion, stating that Kwanzaa was not meant to provide people with an alternative to "their own religion or religious holiday "Karenga has been awarded two doctorates, one in Political Science in 1976 and one in Social Ethics in 1994  He currently chairs the Africana Studies Department at California State University, Long Beach and has authored several books 

Early life
Karenga was born in Parsonsburg, Maryland, the 14th child and seventh son in the family  His father was a tenant farmer and Baptist minister who employed the family to work fields under an effective sharecropping arrangement  Karenga moved to Los Angeles in 1959, joining his older brother who was a teacher there, and attended Los Angeles City College  He became active with civil rights organizations Congress of Racial Equality and Student Nonviolent Coordinating Committee, took an interest in African studies, and was elected as LACC's first African-American student president After earning his associate degree, he matriculated from the University of California, Los Angeles and earned BA and MA degrees in political science  He studied Swahili, Arabic, and other African-related subjects  Among his influences at UCLA were Jamaican anthropologist and Negritudist Councill Taylor, who contested the Eurocentric view of alien cultures as primitive  During this period, he took the name Karenga (Swahili for "keeper of tradition") and the title Maulana (Swahili-Arabic for "master teacher") 

1960s activism
US Organization
The Watts riots broke out when Karenga was a year into his doctoral studies  The Black Congress ("BC") was formed as a community-rebuilding organization in the aftermath  Within the BC, a discussion group centered on black nationalist ideas, called the Circle of Seven, was formed, which included Hakim Jamal (a cousin of Malcolm X) and Karenga  The group published US Magazine (meaning "Us black people") and in 1966 formed an organization called US  The organization joined in several community revival programs and was featured in press reports  Karenga cited Malcolm X's Afro-American Unity program as an influence on US Organization's work:

Malcolm was the major African American thinker that influenced me in terms of nationalism and Pan-Africanism  As you know, towards the end, when Malcolm is expanding his concept of Islam, and of nationalism, he stresses Pan-Africanism in a particular way  And he argues that, and this is where we have the whole idea that cultural revolution and the need for revolution, he argues that we need a cultural revolution, he argues that we must return to Africa culturally and spiritually, even if we can't go physically  And so that's a tremendous impact on US 
Karenga soon diverged from Malcolm X's ideas on Black nationalism and took US in a direction more focused on promoting African culture  Jamal and other adherents to Malcolm X's ideas left the group As racial disturbances spread across the country, Karenga appeared at a series of Black power conferences, joining other groups in urging the establishment of a separate political structure for African Americans  US developed a youth component with paramilitary aspects called the Simba Wachanga, which advocated and practiced community self-defense and service to the masses In 1966, Karenga founded the newspaper Harambee, which started as a newsletter for US and eventually became the newspaper for the Los Angeles Black Congress, an umbrella organization for several groups During the late 1960s, US Organization became bitter rivals with the Black Panther Party over their differing views on Black nationalism  The Federal Bureau of Investigation intensified this antipathy as part of its COINTELPRO operations, sending forged letters to each group which purported to be from the other group, so that each would believe that the other was publicly humiliating them  The rivalry came to a climax during 1969, with a series of armed confrontations and retaliatory shootings that left four Panthers dead, and more injured on both sides  A memorandum of the Los Angeles field office of the FBI dated May 26, 1970, confirmed that the surge of conflict suited their objectives and more would be encouraged:

"It is intended that US, Inc  will be discreetly and appropriately advised of the time and locations of BPP activities in order that the two organizations might be brought together and thus grant nature the opportunity to take her due course "
According to Louis Tackwood, a former informant with the Los Angeles Police Department's Criminal Conspiracies Section and author of The Glass House Tapes, Ronald Karenga was knowingly provided financial, arms, and other support by LAPD, with Tackwood as liaison, for US operations against the Black Panthers  Karenga enjoyed a level of trust among figures in government, including LAPD Chief Thomas Reddin and California Governor Ronald Reagan 

Kwanzaa
Karenga created Kwanzaa in 1966 to be the first pan-African holiday  Karenga said his goal was to "give Blacks an alternative to the existing holiday and give Blacks an opportunity to celebrate themselves and their history, rather than simply imitate the practice of the dominant society "Kwanzaa is inspired by African "first fruit" traditions, and the name chosen is from Swahili, "matunda ya kwanza " The rituals of the holiday promote African traditions and Nguzo Saba, the "seven principles of African Heritage" that Karenga described as "a communitarian African philosophy":

Umoja (unity)—To strive for and maintain unity in the family, community, nation, and race 
Kujichagulia (self-determination)—To define ourselves, name ourselves, create for ourselves, and speak for ourselves 
Ujima (collective work and responsibility)—To build and maintain our community together and make our brother's and sister's problems our problems and to solve them together 
Ujamaa (cooperative economics)—To build and maintain our own stores, shops, and other businesses and to profit from them together 
Nia (purpose)—To make our collective vocation the building and development of our community in order to restore our people to their traditional greatness 
Kuumba (creativity)—To do always as much as we can, in the way we can, in order to leave our community more beautiful and beneficial than we inherited it 
Imani (faith)—To believe with all our heart in our people, our parents, our teachers, our leaders, and the righteousness and victory of our struggle 

Criminal conviction and imprisonment
In 1971, Karenga was sentenced to one to ten years in prison on counts of felony assault and false imprisonment  One of the victims gave testimony of how Karenga and other men tortured her and another woman  The woman described having been stripped naked and beaten with an electrical cord  Karenga's estranged wife, Brenda Lorraine Karenga, testified that she sat on the other woman's stomach while another man forced water into her mouth through a hose 
A May 14, 1971, article in the Los Angeles Times described the testimony of one of the women:

Deborah Jones, who once was given the Swahili title of an African queen, said she and Gail Davis were whipped with an electrical cord and beaten with a karate baton after being ordered to remove their clothes  She testified that a hot soldering iron was placed in Miss Davis' mouth and placed against Miss Davis' face and that one of her own big toes was tightened in a vise  Karenga, head of US, also put detergent and running hoses in their mouths, she said  They also were hit on the heads with toasters 
Jones and Brenda Karenga testified that Karenga believed the women were conspiring to poison him, which Davis has attributed to a combination of ongoing police pressure and his own drug abuse Karenga denied any involvement in the torture, and argued that the prosecution was political in nature  He was imprisoned at the California Men's Colony, where he studied and wrote on feminism, Pan-Africanism, and other subjects  The US Organization fell into disarray during his absence and was disbanded in 1974  After he petitioned several black state officials to support his parole on fair sentencing grounds, it was granted in 1975 Karenga has declined to discuss the convictions with reporters and does not mention them in biographical materials  During a 2007 appearance at Wabash College, he again denied the charges and described himself as a former political prisoner 

Later career
After his parole, Karenga re-established the US Organization under a new structure He was awarded his first Ph D  in 1976 from United States International University (now known as Alliant International University) for a 170-page dissertation titled "Afro-American Nationalism: Social Strategy and Struggle for Community"  In 1977, he formulated a set of principles called Kawaida, a Swahili term for normal  Karenga called on African-Americans to adopt his secular humanism and reject other practices as mythical He was also the director of the Kawaida Institute for Pan African Studies and the author of several books, including his Introduction to Black Studies, a comprehensive Black/African Studies textbook now in its fourth edition (2010), originally published in 1982  He is also known for having co-hosted, in 1984, a conference that gave rise to the Association for the Study of Classical African Civilizations  
In 1994, he was awarded a second Ph D  in social ethics from the University of Southern California for an 803-page dissertation titled "Maat, the moral ideal in ancient Egypt: A study in classical African ethics " In 1995, he sat on the organizing committee and authored the mission statement of the Million Man March Karenga delivered a eulogy at the 2001 funeral service of New Black Panther Party leader Khalid Abdul Muhammad, praising him for his organizing activities and commitment to black empowerment  In 2002, scholar Molefi Kete Asante listed Maulana Karenga on his list of 100 Greatest African Americans As of 2021, Karenga chairs the Africana Studies Department at California State University, Long Beach 

Films
Owen Alik Shahadah's documentary 500 Years Later (2005) and its sequel Motherland (2010)
M K  Asante's documentary The Black Candle (2012)

Published works
Introduction to Black Studies  2010, 4th edition, University of Sankore Press  ISBN 0943412307 (Editions: 1982,1993,2002,2010)
Kwanzaa: A Celebration of Family, Community and Culture  1998  ISBN 0943412218
Maat, The Moral Ideal in Ancient Egypt  ISBN 0415947537
Odu Ifa: The Ethical Teachings  ISBN 0943412226
Kawaida and Questions of Life and Struggle  ISBN 0943412293
Selections from the Husia  ISBN 0943412064
Book of Coming Forth By Day  ISBN 0943412145
Handbook of Black Studies, co-edited with Molefi Kete Asante  ISBN 0761928405
The Million Man March/Day of Absence: A Commemorative Anthology, co-edited with Haki Madhubuti  ISBN 0883781883
Maulana Karenga: An Intellectual Portrait, Polity  ISBN 0745648282
Context 2: Passage 1:
Power factor
In electrical engineering, the power factor of an AC power system is defined as the ratio of the real power absorbed by the load to the apparent power flowing in the circuit   Real power is the average of the instantaneous product of voltage and current and represents the capacity of the electricity for performing work  Apparent power is the product of RMS current and voltage  Due to energy stored in the load and returned to the source, or due to a non-linear load that distorts the wave shape of the current drawn from the source, the apparent power may be greater than the real power, so more current flows in the circuit than would be required to transfer real power alone  A power factor magnitude of less than one indicates the voltage and current are not in phase, reducing the average product of the two  A negative power factor occurs when the device (which is normally the load) generates real power, which then flows back towards the source 
In an electric power system, a load with a low power factor draws more current than a load with a high power factor for the same amount of useful power transferred  The higher currents increase the energy lost in the distribution system and require larger wires and other equipment  Because of the costs of larger equipment and wasted energy, electrical utilities will usually charge a higher cost to industrial or commercial customers where there is a low power factor 
Power-factor correction increases the power factor of a load, improving efficiency for the distribution system to which it is attached  Linear loads with a low power factor (such as induction motors) can be corrected with a passive network of capacitors or inductors  Non-linear loads, such as rectifiers, distort the current drawn from the system  In such cases, active or passive power factor correction may be used to counteract the distortion and raise the power factor  The devices for correction of the power factor may be at a central substation, spread out over a distribution system, or built into power-consuming equipment 

General case
The general expression for power factor is given by

  
    
      
        
          
            power factor
          
        
        =
        P
        
          /
        
        
          P
          
            a
          
        
      
    
    {\displaystyle {\mbox{power factor}}=P/P_{a}}
  

  
    
      
        
          P
          
            a
          
        
        =
        
          I
          
            r
            m
            s
          
        
        
          V
          
            r
            m
            s
          
        
      
    
    {\displaystyle P_{a}=I_{rms}V_{rms}}
  where 
  
    
      
        P
      
    
    {\displaystyle P}
   is the real power measured by an ideal wattmeter, 
  
    
      
        
          I
          
            r
            m
            s
          
        
      
    
    {\displaystyle I_{rms}}
   is the rms current measured by an ideal ammeter, and 
  
    
      
        
          V
          
            r
            m
            s
          
        
      
    
    {\displaystyle V_{rms}}
   is the rms voltage measured by an ideal voltmeter   Apparent power, 
  
    
      
        
          P
          
            a
          
        
      
    
    {\displaystyle P_{a}}
  , is the product of the rms current and the rms voltage 
If the load is sourcing power back toward the generator, then 
  
    
      
        P
      
    
    {\displaystyle P}
   and 
  
    
      
        
          
            power factor
          
        
      
    
    {\displaystyle {\mbox{power factor}}}
   will be negative 

Periodic waveforms
If the waveforms are periodic with the same period which is much shorter than the averaging time of the physical meters, then the power factor can be computed by the following

  
    
      
        
          
            power factor
          
        
        =
        P
        
          /
        
        
          P
          
            a
          
        
      
    
    {\displaystyle {\mbox{power factor}}=P/P_{a}}
  

  
    
      
        
          P
          
            a
          
        
        =
        
          I
          
            r
            m
            s
          
        
        
          V
          
            r
            m
            s
          
        
      
    
    {\displaystyle P_{a}=I_{rms}V_{rms}}
  

  
    
      
        P
        =
        
          
            1
            T
          
        
        
          ∫
          
            
              t
              ′
            
          
          
            
              t
              ′
            
            +
            T
          
        
        i
        (
        t
        )
        v
        (
        t
        )
        d
        t
      
    
    {\displaystyle P={\frac {1}{T}}\int _{t'}^{t'+T}i(t)v(t)dt}
  

  
    
      
        
          I
          
            r
            m
            s
          
          
            2
          
        
        =
        
          
            1
            T
          
        
        
          ∫
          
            
              t
              ′
            
          
          
            
              t
              ′
            
            +
            T
          
        
        
          
            i
            (
            t
            )
          
          
            2
          
        
        d
        t
      
    
    {\displaystyle I_{rms}^{2}={\frac {1}{T}}\int _{t'}^{t'+T}{i(t)}^{2}dt}
  

  
    
      
        
          V
          
            r
            m
            s
          
          
            2
          
        
        =
        
          
            1
            T
          
        
        
          ∫
          
            
              t
              ′
            
          
          
            
              t
              ′
            
            +
            T
          
        
        
          
            v
            (
            t
            )
          
          
            2
          
        
        d
        t
      
    
    {\displaystyle V_{rms}^{2}={\frac {1}{T}}\int _{t'}^{t'+T}{v(t)}^{2}dt}
  where 
  
    
      
        i
        (
        t
        )
      
    
    {\displaystyle i(t)}
   is the instantaneous current, 
  
    
      
        v
        (
        t
        )
      
    
    {\displaystyle v(t)}
   is the instantaneous voltage, 
  
    
      
        
          t
          ′
        
      
    
    {\displaystyle t'}
   is an arbitrary starting time, and 
  
    
      
        T
      
    
    {\displaystyle T}
   is the period of the waveforms 

Nonperiodic waveforms
If the waveforms are not periodic and the physical meters have the same averaging time, then the equations for the periodic case can be used with the exception that 
  
    
      
        T
      
    
    {\displaystyle T}
   is the averaging time of the meters instead of the waveform period 

Linear time-invariant circuits
Linear time-invariant circuits (referred to simply as linear circuits for the rest of this article), for example, circuits consisting of combinations of resistors, inductors and capacitors have a sinusoidal response to the sinusoidal line voltage  A linear load does not change the shape of the input waveform but may change the relative timing (phase) between voltage and current, due to its inductance or capacitance 
In a purely resistive AC circuit, voltage and current waveforms are in step (or in phase), changing polarity at the same instant in each cycle  All the power entering the load is consumed (or dissipated) 
Where reactive loads are present, such as with capacitors or inductors, energy storage in the loads results in a phase difference between the current and voltage waveforms  During each cycle of the AC voltage, extra energy, in addition to any energy consumed in the load, is temporarily stored in the load in electric or magnetic fields then returned to the power grid a fraction of the period later 
Electrical circuits containing predominantly resistive loads (incandescent lamps, heating elements) have a power factor of almost 1, but circuits containing inductive or capacitive loads (electric motors, solenoid valves, transformers, fluorescent lamp ballasts, and others) can have a power factor well below 1 
In the electric power grid, reactive loads cause a continuous ebb and flow of nonproductive power   A circuit with a low power factor will use a greater amount of current to transfer a given quantity of real power than a circuit with a high power factor thus causing increased losses due to resistive heating in power lines, and requiring the use of higher-rated conductors and transformers 

Definition and calculation
AC power has two components:

Real power or active power (
  
    
      
        P
      
    
    {\displaystyle P}
  ) (sometimes called average power), expressed in watts (W)
Reactive power (
  
    
      
        Q
      
    
    {\displaystyle Q}
  ), usually expressed in reactive volt-amperes (var)Together, they form the complex power (
  
    
      
        S
      
    
    {\displaystyle S}
  ) expressed as volt-amperes (VA)  The magnitude of the complex power is the apparent power (
  
    
      
        
          |
        
        S
        
          |
        
      
    
    {\displaystyle |S|}
  ), also expressed in volt-amperes (VA) 
The VA and var are non-SI units mathematically identical to the watt, but are used in engineering practice instead of the watt to state what quantity is being expressed  The SI explicitly disallows using units for this purpose or as the only source of information about a physical quantity as used The power factor is defined as the ratio of real power to apparent power  As power is transferred along a transmission line, it does not consist purely of real power that can do work once transferred to the load, but rather consists of a combination of real and reactive power, called apparent power  The power factor describes the amount of real power transmitted along a transmission line relative to the total apparent power flowing in the line The power factor can also be computed as the cosine of the angle θ by which the current waveform lags or leads the voltage waveform, 

Power triangle
One can relate the various components of AC power by using the power triangle in vector space  Real power extends horizontally in the real axis and reactive power extends in the direction of the imaginary axis  Complex power (and its magnitude, apparent power) represents a combination of both real and reactive power, and therefore can be calculated by using the vector sum of these two components  We can conclude that the mathematical relationship between these components is:

  
    
      
        
          
            
              
                S
              
              
                
                =
                P
                +
                j
                Q
              
            
            
              
                
                  |
                
                S
                
                  |
                
              
              
                
                =
                
                  
                    
                      P
                      
                        2
                      
                    
                    +
                    
                      Q
                      
                        2
                      
                    
                  
                
              
            
            
              
                
                  pf
                
              
              
                
                =
                cos
                ⁡
                
                  θ
                
                =
                
                  
                    P
                    
                      
                        |
                      
                      S
                      
                        |
                      
                    
                  
                
                =
                cos
                ⁡
                
                  
                    (
                    
                      arctan
                      ⁡
                      
                        
                          (
                          
                            
                              Q
                              P
                            
                          
                          )
                        
                      
                    
                    )
                  
                
              
            
            
              
                Q
              
              
                
                =
                P
                
                tan
                ⁡
                (
                arccos
                ⁡
                (
                
                  pf
                
                )
                )
              
            
          
        
      
    
    {\displaystyle {\begin{aligned}S&=P+jQ\\|S|&={\sqrt {P^{2}+Q^{2}}}\\{\text{pf}}&=\cos {\theta }={\frac {P}{|S|}}=\cos {\left(\arctan {\left({\frac {Q}{P}}\right)}\right)}\\Q&=P\,\tan(\arccos({\text{pf}}))\end{aligned}}}
  As the angle θ increases with fixed total apparent power, current and voltage are further out of phase with each other  Real power decreases, and reactive power increases 

Lagging, leading and unity power factors
Power factor is described as leading if the current waveform is advanced in phase with respect to voltage, or lagging when the current waveform is behind the voltage waveform  A lagging power factor signifies that the load is inductive, as the load will consume reactive power  The reactive component 
  
    
      
        Q
      
    
    {\displaystyle Q}
   is positive as reactive power travels through the circuit and is consumed by the inductive load  A leading power factor signifies that the load is capacitive, as the load supplies reactive power, and therefore the reactive component 
  
    
      
        Q
      
    
    {\displaystyle Q}
   is negative as reactive power is being supplied to the circuit 

If θ is the phase angle between the current and voltage, then the power factor is equal to the cosine of the angle, 
  
    
      
        cos
        ⁡
        θ
      
    
    {\displaystyle \cos \theta }
  :

  
    
      
        
          |
        
        P
        
          |
        
        =
        
          |
        
        S
        
          |
        
        cos
        ⁡
        θ
      
    
    {\displaystyle |P|=|S|\cos \theta }
  Since the units are consistent, the power factor is by definition a dimensionless number between -1 and 1  When power factor is equal to 0, the energy flow is entirely reactive and stored energy in the load returns to the source on each cycle  When the power factor is 1, referred to as unity power factor, all the energy supplied by the source is consumed by the load  Power factors are usually stated as leading or lagging to show the sign of the phase angle  Capacitive loads are leading (current leads voltage), and inductive loads are lagging (current lags voltage) 
If a purely resistive load is connected to a power supply, current and voltage will change polarity in step, the power factor will be 1, and the electrical energy flows in a single direction across the network in each cycle  Inductive loads such as induction motors (any type of wound coil) consume reactive power with the current waveform lagging the voltage  Capacitive loads such as capacitor banks or buried cables generate reactive power with the current phase leading the voltage  Both types of loads will absorb energy during part of the AC cycle, which is stored in the device's magnetic or electric field, only to return this energy back to the source during the rest of the cycle 
For example, to get 1 kW of real power, if the power factor is unity, 1 kVA of apparent power needs to be transferred (1 kW ÷ 1 = 1 kVA)  At low values of power factor, more apparent power needs to be transferred to get the same real power  To get 1 kW of real power at 0 2 power factor, 5 kVA of apparent power needs to be transferred (1 kW ÷ 0 2 = 5 kVA)  This apparent power must be produced and transmitted to the load and is subject to losses in the production and transmission processes 
Electrical loads consuming alternating current power consume both real power and reactive power  The vector sum of real and reactive power is the complex power, and its magnitude is the apparent power  The presence of reactive power causes the real power to be less than the apparent power, and so, the electric load has a power factor of less than 1 
A negative power factor (0 to −1) can result from returning active power to the source, such as in the case of a building fitted with solar panels when surplus power is fed back into the supply 

Power factor correction of linear loads
A high power factor is generally desirable in a power delivery system to reduce losses and improve voltage regulation at the load  Compensating elements near an electrical load will reduce the apparent power demand on the supply system  Power factor correction may be applied by an electric power transmission utility to improve the stability and efficiency of the network  Individual electrical customers who are charged by their utility for low power factor may install correction equipment to increase their power factor so as to reduce costs 
Power factor correction brings the power factor of an AC power circuit closer to 1 by supplying or absorbing reactive power, adding capacitors or inductors that act to cancel the inductive or capacitive effects of the load, respectively  In the case of offsetting the inductive effect of motor loads, capacitors can be locally connected  These capacitors help to generate reactive power to meet the demand of the inductive loads  This will keep that reactive power from having to flow all the way from the utility generator to the load  In the electricity industry, inductors are said to consume reactive power and capacitors are said to supply it, even though reactive power is just energy moving back and forth on each AC cycle 
The reactive elements in power factor correction devices can create voltage fluctuations and harmonic noise when switched on or off  They will supply or sink reactive power regardless of whether there is a corresponding load operating nearby, increasing the system's no-load losses  In the worst case, reactive elements can interact with the system and with each other to create resonant conditions, resulting in system instability and severe overvoltage fluctuations  As such, reactive elements cannot simply be applied without engineering analysis 

An automatic power factor correction unit consists of a number of capacitors that are switched by means of contactors  These contactors are controlled by a regulator that measures power factor in an electrical network  Depending on the load and power factor of the network, the power factor controller will switch the necessary blocks of capacitors in steps to make sure the power factor stays above a selected value 
In place of a set of switched capacitors, an unloaded synchronous motor can supply reactive power  The reactive power drawn by the synchronous motor is a function of its field excitation  It is referred to as a synchronous condenser  It is started and connected to the electrical network  It operates at a leading power factor and puts vars onto the network as required to support a system's voltage or to maintain the system power factor at a specified level 
The synchronous condenser's installation and operation are identical to those of large electric motors  Its principal advantage is the ease with which the amount of correction can be adjusted; it behaves like a variable capacitor  Unlike with capacitors, the amount of reactive power supplied is proportional to voltage, not the square of voltage; this improves voltage stability on large networks   Synchronous condensers are often used in connection with high-voltage direct-current transmission projects or in large industrial plants such as steel mills 
For power factor correction of high-voltage power systems or large, fluctuating industrial loads, power electronic devices such as the static VAR compensator or STATCOM are increasingly used  These systems are able to compensate sudden changes of power factor much more rapidly than contactor-switched capacitor banks and, being solid-state, require less maintenance than synchronous condensers 

Non-linear loads
Examples of non-linear loads on a power system are rectifiers (such as used in a power supply), and arc discharge devices such as fluorescent lamps, electric welding machines, or arc furnaces  Because current in these systems is interrupted by a switching action, the current contains frequency components that are multiples of the power system frequency  Distortion power factor is a measure of how much the harmonic distortion of a load current decreases the average power transferred to the load 

Non-sinusoidal components
In linear circuits having only sinusoidal currents and voltages of one frequency, the power factor arises only from the difference in phase between the current and voltage  This is displacement power factor Non-linear loads change the shape of the current waveform from a sine wave to some other form  Non-linear loads create harmonic currents in addition to the original (fundamental frequency) AC current  This is of importance in practical power systems that contain non-linear loads such as rectifiers, some forms of electric lighting, electric arc furnaces, welding equipment, switched-mode power supplies, variable speed drives and other devices  Filters consisting of linear capacitors and inductors can prevent harmonic currents from entering the supplying system 
To measure the real power or reactive power, a wattmeter designed to work properly with non-sinusoidal currents must be used 

Distortion power factor
The distortion power factor is the distortion component associated with the harmonic voltages and currents present in the system 

  
    
      
        
          
            
              
                
                  
                    distortion power factor
                  
                
              
              
                
                =
                
                  
                    
                      I
                      
                        1
                      
                    
                    
                      I
                      
                        r
                        m
                        s
                      
                    
                  
                
              
            
            
              
              
                
                =
                
                  
                    
                      I
                      
                        1
                      
                    
                    
                      
                        I
                        
                          1
                        
                        
                          2
                        
                      
                      +
                      
                        I
                        
                          2
                        
                        
                          2
                        
                      
                      +
                      
                        I
                        
                          3
                        
                        
                          2
                        
                      
                      +
                      
                        I
                        
                          4
                        
                        
                          2
                        
                      
                      +
                      ⋯
                    
                  
                
              
            
            
              
              
                
                =
                
                  
                    1
                    
                      1
                      +
                      
                        
                          
                            
                              I
                              
                                2
                              
                              
                                2
                              
                            
                            +
                            
                              I
                              
                                3
                              
                              
                                2
                              
                            
                            +
                            
                              I
                              
                                4
                              
                              
                                2
                              
                            
                            +
                            ⋯
                          
                          
                            I
                            
                              1
                            
                            
                              2
                            
                          
                        
                      
                    
                  
                
              
            
            
              
              
                
                =
                
                  
                    1
                    
                      1
                      +
                      T
                      H
                      
                        D
                        
                          i
                        
                        
                          2
                        
                      
                    
                  
                
              
            
          
        
      
    
    {\displaystyle {\begin{aligned}{\mbox{distortion power factor}}&={\frac {I_{1}}{I_{rms}}}\\&={\frac {I_{1}}{\sqrt {I_{1}^{2}+I_{2}^{2}+I_{3}^{2}+I_{4}^{2}+\cdots }}}\\&={\frac {1}{\sqrt {1+{\frac {I_{2}^{2}+I_{3}^{2}+I_{4}^{2}+\cdots }{I_{1}^{2}}}}}}\\&={\frac {1}{\sqrt {1+THD_{i}^{2}}}}\\\end{aligned}}}
  
  
    
      
        
          
            
              THD
            
          
          
            i
          
        
      
    
    {\displaystyle {\mbox{THD}}_{i}}
   is the total harmonic distortion of the load current  

  
    
      
        T
        H
        
          D
          
            i
          
        
        =
        
          
            
              
                
                  ∑
                  
                    h
                    =
                    2
                  
                  
                    ∞
                  
                
                
                  I
                  
                    h
                  
                  
                    2
                  
                
              
            
            
              I
              
                1
              
            
          
        
        =
        
          
            
              
                I
                
                  2
                
                
                  2
                
              
              +
              
                I
                
                  3
                
                
                  2
                
              
              +
              
                I
                
                  4
                
                
                  2
                
              
              +
              ⋯
            
            
              I
              
                1
              
            
          
        
      
    
    {\displaystyle THD_{i}={\frac {\sqrt {\displaystyle \sum _{h=2}^{\infty }I_{h}^{2}}}{I_{1}}}={\frac {\sqrt {I_{2}^{2}+I_{3}^{2}+I_{4}^{2}+\cdots }}{I_{1}}}}
  
  
    
      
        
          I
          
            1
          
        
      
    
    {\displaystyle I_{1}}
   is the fundamental component of the current and 
  
    
      
        
          I
          
            
              rms
            
          
        
      
    
    {\displaystyle I_{\mbox{rms}}}
   is the total current – both are root mean square-values (distortion power factor can also be used to describe individual order harmonics, using the corresponding current in place of total current)  This definition with respect to total harmonic distortion assumes that the voltage stays undistorted (sinusoidal, without harmonics)  This simplification is often a good approximation for stiff voltage sources (not being affected by changes in load downstream in the distribution network)  Total harmonic distortion of typical generators from current distortion in the network is on the order of 1–2%, which can have larger scale implications but can be ignored in common practice The result when multiplied with the displacement power factor (DPF) is the overall, true power factor or just power factor (PF):

  
    
      
        
          
            PF
          
        
        =
        
          
            
              cos
              ⁡
              
                φ
              
            
            
              1
              +
              T
              H
              
                D
                
                  i
                
                
                  2
                
              
            
          
        
      
    
    {\displaystyle {\mbox{PF}}={\frac {\cos {\varphi }}{\sqrt {1+THD_{i}^{2}}}}}

Distortion in three-phase networks
In practice, the local effects of distortion current on devices in a three-phase distribution network rely on the magnitude of certain order harmonics rather than the total harmonic distortion 
For example, the triplen, or zero-sequence, harmonics (3rd, 9th, 15th, etc ) have the property of being in-phase when compared line-to-line  In a delta-wye transformer, these harmonics can result in circulating currents in the delta windings and result in greater resistive heating  In a wye-configuration of a transformer, triplen harmonics will not create these currents, but they will result in a non-zero current in the neutral wire  This could overload the neutral wire in some cases
and create error in kilowatt-hour metering systems and billing revenue   The presence of current harmonics in a transformer also result in larger eddy currents in the magnetic core of the transformer  Eddy current losses generally increase as the square of the frequency, lowering the transformer's efficiency, dissipating additional heat, and reducing its service life Negative-sequence harmonics (5th, 11th, 17th, etc ) combine 120 degrees out of phase, similarly to the fundamental harmonic but in a reversed sequence   In generators and motors, these currents produce magnetic fields which oppose the rotation of the shaft and sometimes result in damaging mechanical vibrations 

Switched-mode power supplies
A particularly important class of non-linear loads is the millions of personal computers that typically incorporate switched-mode power supplies (SMPS) with rated output power ranging from a few watts to more than 1 kW  Historically, these very-low-cost power supplies incorporated a simple full-wave rectifier that conducted only when the mains instantaneous voltage exceeded the voltage on the input capacitors   This leads to very high ratios of peak-to-average input current, which also lead to a low distortion power factor and potentially serious phase and neutral loading concerns 
A typical switched-mode power supply first converts the AC mains to a DC bus by means of a bridge rectifier  The output voltage is then derived from this DC bus  The problem with this is that the rectifier is a non-linear device, so the input current is highly non-linear  That means that the input current has energy at harmonics of the frequency of the voltage  This presents a problem for power companies, because they cannot compensate for the harmonic current by adding simple capacitors or inductors, as they could for the reactive power drawn by a linear load  Many jurisdictions are beginning to require power factor correction for all power supplies above a certain power level 
Regulatory agencies such as the EU have set harmonic limits as a method of improving power factor  Declining component cost has hastened implementation of two different methods  To comply with current EU standard EN61000-3-2, all switched-mode power supplies with output power more than 75 W must at least include passive power factor correction  80 Plus power supply certification requires a power factor of 0 9 or more 

Power factor correction (PFC) in non-linear loads
Passive PFC
The simplest way to control the harmonic current is to use a filter that passes current only at line frequency (50 or 60 Hz)  The filter consists of capacitors or inductors and makes a non-linear device look more like a linear load  An example of passive PFC is a valley-fill circuit 
A disadvantage of passive PFC is that it requires larger inductors or capacitors than an equivalent power active PFC circuit  Also, in practice, passive PFC is often less effective at improving the power factor 

Active PFC
Active PFC is the use of power electronics to change the waveform of current drawn by a load to improve the power factor   Some types of the active PFC are buck, boost, buck-boost and synchronous condenser   Active power factor correction can be single-stage or multi-stage 
In the case of a switched-mode power supply, a boost converter is inserted between the bridge rectifier and the main input capacitors  The boost converter attempts to maintain a constant voltage at its output while drawing a current that is always in phase with and at the same frequency as the line voltage  Another switched-mode converter inside the power supply produces the desired output voltage from the DC bus  This approach requires additional semiconductor switches and control electronics but permits cheaper and smaller passive components  It is frequently used in practice 
For a three-phase SMPS, the Vienna rectifier configuration may be used to substantially improve the power factor 
SMPSs with passive PFC can achieve power factor of about 0 7–0 75, SMPSs with active PFC, up to 0 99 power factor, while a SMPS without any power factor correction have a power factor of only about 0 55–0 65 Due to their very wide input voltage range, many power supplies with active PFC can automatically adjust to operate on AC power from about 100 V (Japan) to 240 V (Europe)  That feature is particularly welcome in power supplies for laptops 

Dynamic PFC
Dynamic power factor correction (DPFC), sometimes referred to as real-time power factor correction, is used for electrical stabilization in cases of rapid load changes (e g  at large manufacturing sites)  DPFC is useful when standard power factor correction would cause over or under correction   DPFC uses semiconductor switches, typically thyristors, to quickly connect and disconnect capacitors or inductors to improve power factor 

Importance in distribution systems
Power factors below 1 0 require a utility to generate more than the minimum volt-amperes necessary to supply the real power (watts)  This increases generation and transmission costs  For example, if the load power factor were as low as 0 7, the apparent power would be 1 4 times the real power used by the load  Line current in the circuit would also be 1 4 times the current required at 1 0 power factor, so the losses in the circuit would be doubled (since they are proportional to the square of the current)  Alternatively, all components of the system such as generators, conductors, transformers, and switchgear would be increased in size (and cost) to carry the extra current  When the power factor is close to unity, for the same kVA rating of the transformer more load current can be supplied Utilities typically charge additional costs to commercial customers who have a power factor below some limit, which is typically 0 9 to 0 95   Engineers are often interested in the power factor of a load as one of the factors that affect the efficiency of power transmission 
With the rising cost of energy and concerns over the efficient delivery of power, active PFC has become more common in consumer electronics  Current Energy Star guidelines for computers call for a power factor of ≥ 0 9 at 100% of rated output in the PC's power supply  According to a white paper authored by Intel and the U S  Environmental Protection Agency, PCs with internal power supplies will require the use of active power factor correction to meet the ENERGY STAR 5 0 Program Requirements for Computers In Europe, EN 61000-3-2 requires power factor correction be incorporated into consumer products 
Small customers, such as households, are not usually charged for reactive power and so power factor metering equipment for such customers will not be installed 

Measurement techniques
The power factor in a single-phase circuit (or balanced three-phase circuit) can be measured with the wattmeter-ammeter-voltmeter method, where the power in watts is divided by the product of measured voltage and current  The power factor of a balanced polyphase circuit is the same as that of any phase  The power factor of an unbalanced polyphase circuit is not uniquely defined 
A direct reading power factor meter can be made with a moving coil meter of the electrodynamic type, carrying two perpendicular coils on the moving part of the instrument  The field of the instrument is energized by the circuit current flow  The two moving coils, A and B, are connected in parallel with the circuit load   One coil, A, will be connected through a resistor and the second coil, B, through an inductor, so that the current in coil B is delayed with respect to current in A  At unity power factor, the current in A is in phase with the circuit current, and coil A provides maximum torque, driving the instrument pointer toward the 1 0 mark on the scale  At zero power factor, the current in coil B is in phase with circuit current, and coil B provides torque to drive the pointer towards 0  At intermediate values of power factor, the torques provided by the two coils add and the pointer takes up intermediate positions Another electromechanical instrument is the polarized-vane type  In this instrument a stationary field coil produces a rotating magnetic field, just like a polyphase motor  The field coils are connected either directly to polyphase voltage sources or to a phase-shifting reactor if a single-phase application   A second stationary field coil, perpendicular to the voltage coils, carries a current proportional to current in one phase of the circuit  The moving system of the instrument consists of two vanes that are magnetized by the current coil  In operation, the moving vanes take up a physical angle equivalent to the electrical angle between the voltage source and the current source  This type of instrument can be made to register for currents in both directions, giving a four-quadrant display of power factor or phase angle 
Digital instruments exist that directly measure the time lag between voltage and current waveforms  Low-cost instruments of this type measure the peak of the waveforms  More sophisticated versions measure the peak of the fundamental harmonic only, thus giving a more accurate reading for phase angle on distorted waveforms  Calculating power factor from voltage and current phases is only accurate if both waveforms are sinusoidal Power Quality Analyzers, often referred to as Power Analyzers, make a digital recording of the voltage and current waveform (typically either one phase or three phase) and accurately calculate true power (watts), apparent power (VA) power factor, AC voltage, AC current, DC voltage, DC current, frequency, IEC61000-3-2/3-12 Harmonic measurement, IEC61000-3-3/3-11 flicker measurement, individual phase voltages in delta applications where there is no neutral line, total harmonic distortion, phase and amplitude of individual voltage or current harmonics, etc 

Mnemonics
English-language power engineering students are advised to remember:
ELI the ICE man or ELI on ICE – the voltage E, leads the current I, in an inductor L  The current I leads the voltage E in a capacitor C 
Another common mnemonic is CIVIL – in a capacitor (C) the current (I) leads voltage (V), voltage (V) leads current (I) in an inductor (L) 
Passage 2:
Womersley number
The Womersley number (
  
    
      
        α
      
    
    {\displaystyle \alpha }
   or 
  
    
      
        
          Wo
        
      
    
    {\displaystyle {\text{Wo}}}
  ) is a dimensionless number in biofluid mechanics and biofluid dynamics  It is a dimensionless expression of the pulsatile flow frequency in relation to viscous effects  It is named after John R  Womersley (1907–1958) for his work with blood flow in arteries  The Womersley number is important in keeping dynamic similarity when scaling an experiment  An example of this is scaling up the vascular system for experimental study  The Womersley number is also important in determining the thickness of the boundary layer to see if entrance effects can be ignored 
The square root of this number is also referred to as Stokes number, 
  
    
      
        
          Stk
        
        =
        
          
            Wo
          
        
      
    
    {\displaystyle {\text{Stk}}={\sqrt {\text{Wo}}}}
  , due to the pioneering work done by Sir George Stokes on the Stokes second problem 

Derivation
The Womersley number, usually denoted 
  
    
      
        α
      
    
    {\displaystyle \alpha }
  , is defined by the relation

where 
  
    
      
        L
      
    
    {\displaystyle L}
   is an appropriate length scale (for example the radius of a pipe), 
  
    
      
        ω
      
    
    {\displaystyle \omega }
   is the angular frequency of the oscillations, and 
  
    
      
        ν
      
    
    {\displaystyle \nu }
  , 
  
    
      
        ρ
      
    
    {\displaystyle \rho }
  , 
  
    
      
        μ
      
    
    {\displaystyle \mu }
   are the kinematic viscosity, density, and dynamic viscosity of the fluid, respectively  The Womersley number is normally written in the powerless form

In the cardiovascular system, the pulsation frequency, density, and dynamic viscosity are constant, however the Characteristic length, which in the case of blood flow is the vessel diameter, changes by three orders of magnitudes (OoM) between the aorta and fine capillaries  The Womersley number thus changes due to the variations in vessel size across the vasculature system  The Womersley number of human blood flow can be estimated as follows:

  
    
      
        α
        =
        L
        
          
            (
            
              
                
                  ω
                  ρ
                
                μ
              
            
            )
          
          
            
              1
              2
            
          
        
        
         
      
    
    {\displaystyle \alpha =L\left({\frac {\omega \rho }{\mu }}\right)^{\frac {1}{2}}\, }
  
Below is a list of estimated Womersley numbers in different human blood vessels:

It can also be written in terms of the dimensionless Reynolds number (Re) and Strouhal number (St):

The Womersley number arises in the solution of the linearized Navier–Stokes equations for oscillatory flow (presumed to be laminar and incompressible) in a tube   It expresses the ratio of the transient or oscillatory inertia force to the shear force  When 
  
    
      
        α
      
    
    {\displaystyle \alpha }
   is small (1 or less), it means the frequency of pulsations is sufficiently low that a parabolic velocity profile has time to develop during each cycle, and the flow will be very nearly in phase with the pressure gradient, and will be given to a good approximation by Poiseuille's law, using the instantaneous pressure gradient   When 
  
    
      
        α
      
    
    {\displaystyle \alpha }
   is large (10 or more), it means the frequency of pulsations is sufficiently large that the velocity profile is relatively flat or plug-like, and the mean flow lags the pressure gradient by about 90 degrees  Along with the Reynolds number, the Womersley number governs dynamic similarity The boundary layer thickness 
  
    
      
        δ
      
    
    {\displaystyle \delta }
   that is associated with the transient acceleration is inversely related to the Womersley number  This can be seen by recognizing the Womersley number as the square root of the Stokes number 
where 
  
    
      
        L
      
    
    {\displaystyle L}
   is a characteristic length 

Biofluid mechanics
In a flow distribution network that progresses from a large tube to many small tubes (e g  a blood vessel network), the frequency, density, and dynamic viscosity are (usually) the same throughout the network, but the tube radii change  Therefore, the Womersley number is large in large vessels and small in small vessels  As the vessel diameter decreases with each division the Womersley number soon becomes quite small  The Womersley numbers tend to 1 at the level of the terminal arteries  In the arterioles, capillaries, and venules the Womersley numbers are less than one  In these regions the inertia force becomes less important and the flow is determined by the balance of viscous stresses and the pressure gradient  This is called microcirculation Some typical values for the Womersley number in the cardiovascular system for a canine at a heart rate of 2 Hz are:
Ascending aorta – 13 2
Descending aorta – 11 5
Abdominal aorta – 8
Femoral artery – 3 5
Carotid artery – 4 4
Arterioles – 0 04
Capillaries – 0 005
Venules – 0 035
Inferior vena cava – 8 8
Main pulmonary artery – 15It has been argued that universal biological scaling laws (power-law relationships that describe variation of quantities such as metabolic rate, lifespan, length, etc , with body mass) are a consequence of the need for energy minimization, the fractal nature of vascular networks, and the crossover from high to low Womersley number flow as one progresses from large to small vessels 
Passage 3:
Weissenberg number
The Weissenberg number (Wi) is a dimensionless number used in the study of viscoelastic flows  It is named after Karl Weissenberg  The dimensionless number compares the elastic forces to the viscous forces  It can be variously defined, but it is usually given by the relation of stress relaxation time of the fluid and a specific process time  For instance, in simple steady shear, the Weissenberg number, often abbreviated as Wi or We, is defined as the shear rate 
  
    
      
        
          
            
              γ
              ˙
            
          
        
      
    
    {\displaystyle {\dot {\gamma }}}
   times the relaxation time 
  
    
      
        λ
      
    
    {\displaystyle \lambda }
    Using the Maxwell model and the Oldroyd-B model, the elastic forces can be written as the first Normal force (N1) 

  
    
      
        
          Wi
        
        =
        
          
            
              
                elastic forces
              
              
                viscous forces
              
            
          
        
        =
        
          
            
              
                τ
                
                  x
                  x
                
              
              −
              
                τ
                
                  y
                  y
                
              
            
            
              τ
              
                x
                y
              
            
          
        
        =
        
          
            
              2
              λ
              μ
              
                
                  
                    
                      γ
                      ˙
                    
                  
                
                
                  2
                
              
            
            
              μ
              
                
                  
                    γ
                    ˙
                  
                
              
            
          
        
        =
        2
        
          
            
              γ
              ˙
            
          
        
        λ
         
        
      
    
    {\displaystyle {\text{Wi}}={\dfrac {\mbox{elastic forces}}{\mbox{viscous forces}}}={\frac {\tau _{xx}-\tau _{yy}}{\tau _{xy}}}={\frac {2\lambda \mu {\dot {\gamma }}^{2}}{\mu {\dot {\gamma }}}}=2{\dot {\gamma }}\lambda  \,}
  Since this number is obtained from scaling the evolution of the stress, it contains choices for the shear or elongation rate, and the length-scale  Therefore the exact definition of all non dimensional numbers should be given as well as the number itself 
While Wi is similar to the Deborah number and is often confused with it in technical literature, they have different physical interpretations  The Weissenberg number indicates the degree of anisotropy or orientation generated by the deformation, and is appropriate to describe flows with a constant stretch history, such as simple shear  In contrast, the Deborah number should be used to describe flows with a non-constant stretch history, and physically represents the rate at which elastic energy is stored or released 
Passage 4:
Ericksen number
In the study of liquid crystals, the Ericksen number (Er) is a dimensionless number used to describe the deformation of the director field under flow  It is defined as the ratio of the viscous to elastic forces  In the limit of low Ericksen number the elastic forces will exceed the viscous forces and so the director field will not be strongly affected by the flow field  The Ericksen number is named after American mathematics professor Jerald Ericksen of the University of Minnesota   The number is defined:

  
    
      
        
          
            E
            r
          
        
        =
        
          
            
              μ
              v
              L
            
            K
          
        
      
    
    {\displaystyle {\mathit {Er}}={\frac {\mu vL}{K}}}
  where

  
    
      
        μ
      
    
    {\displaystyle \mu }
   is the fluid's dynamic viscosity,

  
    
      
        v
      
    
    {\displaystyle v}
   is a characteristic scale for the fluid's velocity,

  
    
      
        L
      
    
    {\displaystyle L}
   is a characteristic scale length for the fluid flow,

  
    
      
        K
      
    
    {\displaystyle K}
   is an elasticity force, for example the elasticity modulus times an area 
Passage 5:
Qualified Person for Pharmacovigilance
In the European Union, the Qualified Person Responsible For Pharmacovigilance (QPPV) is an individual, usually an employee of a pharmaceutical company, who is personally responsible for the safety of the human pharmaceutical products marketed by that company in the EU  This function was established in 2004 by article 23 of regulation (EC) No 726/2004  The article establishes that the holder of a marketing authorization for a drug for human use must have a QPPV  When a company submits an application for permission to bring a medicinal product onto the market, the company submits a description of its system for monitoring the safety of the product in actual use (a pharmacovigilance system) and proof that the services of a QPPV are in place "The holder of an authorisation for a medicinal product for human use granted in accordance with the provisions of this Regulation shall have permanently and continuously at his disposal an appropriately qualified person responsible for pharmacovigilance "

Responsibilities
Per Article 23, the QPPV is responsible for:

Establishing and maintaining a pharmacovigilance system
Preparing pharmacovigilance reports as defined by regulations
Answering requests from Health Authorities
Providing Health Authorities with any other information relevant to product safetyThe Good Pharmacovigilance Practices (GVP) provide further guidance regarding these responsibilities of the QPPV (Module I, Section I C 1 3: Role of the qualified person responsible for pharmacovigilance in the EU  Per GVP, the QPPV is responsible for the establishment and maintenance of the marketing authorisation holder's pharmacovigilance system and therefore shall have sufficient authority to influence the performance of the quality system and the pharmacovigilance activities and to promote, maintain and improve compliance with the legal requirements  The QPPV is specifically responsible for:

Establishing and maintaining/managing the pharmaceutical company's pharmacovigilance system
Having an overview of the safety profiles and any emerging safety concerns for the company's drugs
Acting as a single contact point for the Health Authorities on a 24-hour basis

Criteria for QPPV role
The QPPV must reside in the EU, and should be permanently and continuously at the disposal of the MAH  Each company (i e  Applicant/Marketing Authorisation Holder or group of Marketing Authorisation Holders using a common pharmacovigilance system) should appoint one QPPV responsible for overall pharmacovigilance for all medicinal products for which the company holds marketing authorisations within the EU 
Detailed information on the role and responsibilities of the QPPV, and guidance for a Marketing Authorisation Holder on how to adequately support the QPPV are specified in Guideline on good pharmacovigilance practices (GVP; Module I – Pharmacovigilance systems and their quality systems) "   At a minimum the QPPV should be appropriately qualified, with documented experience in all aspects of pharmacovigilance in order to fulfil the responsibilities and tasks of the post  If the QPPV is not medically qualified, access to a medically qualified person should be available 
In addition, there are national regulations in some EU member states that also require a nominated individual in that country who has specific legal obligations as a QPPV at a national level 

See also
Pharmacovigilance
European Medicines Agency
Passage 6:
Joseph Fourier
Jean-Baptiste Joseph Fourier (; French: [fuʁje]; 21 March 1768 – 16 May 1830) was a French mathematician and physicist born in Auxerre and best known for initiating the investigation of Fourier series, which eventually developed into Fourier analysis and harmonic analysis, and their applications to problems of heat transfer and vibrations  The Fourier transform and Fourier's law of conduction are also named in his honour  Fourier is also generally credited with the discovery of the greenhouse effect 

Biography
Fourier was born in Auxerre (now in the Yonne département of France), the son of a tailor  He was orphaned at the age of nine  Fourier was recommended to the Bishop of Auxerre and, through this introduction, he was educated by the Benedictine Order of the Convent of St  Mark  The commissions in the scientific corps of the army were reserved for those of good birth, and being thus ineligible, he accepted a military lectureship on mathematics  He took a prominent part in his own district in promoting the French Revolution, serving on the local Revolutionary Committee  He was imprisoned briefly during the Terror but, in 1795, was appointed to the École Normale and subsequently succeeded Joseph-Louis Lagrange at the École Polytechnique 
Fourier accompanied Napoleon Bonaparte on his Egyptian expedition in 1798, as scientific adviser, and was appointed secretary of the Institut d'Égypte  Cut off from France by the British fleet, he organized the workshops on which the French army had to rely for their munitions of war  He also contributed several mathematical papers to the Egyptian Institute (also called the Cairo Institute) which Napoleon founded at Cairo, with a view of weakening British influence in the East  After the British victories and the capitulation of the French under General Menou in 1801, Fourier returned to France 

In 1801, Napoleon appointed Fourier Prefect (Governor) of the Department of Isère in Grenoble, where he oversaw road construction and other projects  However, Fourier had previously returned home from the Napoleon expedition to Egypt to resume his academic post as professor at École Polytechnique when Napoleon decided otherwise in his remark

    the Prefect of the Department of Isère having recently died, I would like to express my confidence in citizen Fourier by appointing him to this place 
Hence being faithful to Napoleon, he took the office of Prefect  It was while at Grenoble that he began to experiment on the propagation of heat  He presented his paper On the Propagation of Heat in Solid Bodies to the Paris Institute on 21 December 1807  He also contributed to the monumental Description de l'Égypte In 1822, Fourier succeeded Jean Baptiste Joseph Delambre as Permanent Secretary of the French Academy of Sciences  In 1830, he was elected a foreign member of the Royal Swedish Academy of Sciences 
Fourier never married In 1830, his diminished health began to take its toll:

Fourier had already experienced, in Egypt and Grenoble, some attacks of aneurysm of the heart  At Paris, it was impossible to be mistaken with respect to the primary cause of the frequent suffocations which he experienced  A fall, however, which he sustained on the 4th of May 1830, while descending a flight of stairs, aggravated the malady to an extent beyond what could have been ever feared 
Shortly after this event, he died in his bed on 16 May 1830 
Fourier was buried in the Père Lachaise Cemetery in Paris, a tomb decorated with an Egyptian motif to reflect his position as secretary of the Cairo Institute, and his collation of Description de l'Égypte  His name is one of the 72 names inscribed on the Eiffel Tower 
A bronze statue was erected in Auxerre in 1849, but it was melted down for armaments during World War II  Joseph Fourier University in Grenoble was named after him 

The Analytic Theory of Heat
In 1822, Fourier published his work on heat flow in Théorie analytique de la chaleur (The Analytical Theory of Heat),  in which he based his reasoning on Newton's law of cooling, namely, that the flow of heat between two adjacent molecules is proportional to the extremely small difference of their temperatures  This book was translated, with editorial 'corrections', into English 56 years later by Freeman (1878)  The book was also edited, with many editorial corrections, by Darboux and republished in French in 1888 There were three important contributions in this work, one purely mathematical, two essentially physical  In mathematics, Fourier claimed that any function of a variable, whether continuous or discontinuous, can be expanded in a series of sines of multiples of the variable  Though this result is not correct without additional conditions, Fourier's observation that some discontinuous functions are the sum of infinite series was a breakthrough  The question of determining when a Fourier series converges has been fundamental for centuries  Joseph-Louis Lagrange had given particular cases of this (false) theorem, and had implied that the method was general, but he had not pursued the subject  Peter Gustav Lejeune Dirichlet  was the first to give a satisfactory demonstration of it with some restrictive conditions  This work provides the foundation for what is today known as the Fourier transform 
One important physical contribution in the book was the concept of dimensional homogeneity in equations; i e  an equation can be formally correct only if the dimensions match on either side of the equality; Fourier made important contributions to dimensional analysis  The other physical contribution was Fourier's proposal of his partial differential equation for conductive diffusion of heat  This equation is now taught to every student of mathematical physics 

Real roots of polynomials
Fourier left an unfinished work on determining and locating real roots of polynomials, which was edited by Claude-Louis Navier and published in 1831  This work contains much original matter—in particular, Fourier's theorem on polynomial real roots, published in 1820  Fourier's theorem on real roots of polynomials states that a polynomial with real coefficients has a real root between any two consecutive zeros of its derivative  François Budan, in 1807 and 1811, had published independently his theorem (also known by the name of Fourier), which is very close to Fourier's theorem (each theorem is a corollary of the other)  Fourier's proof is the one that was usually given, during 19th century, in textbooks on the theory of equations  A complete solution of the problem was given in 1829 by Jacques Charles François Sturm 

Discovery of the greenhouse effect
In the 1820s, Fourier calculated that an object the size of the Earth, and at its distance from the Sun, should be considerably colder than the planet actually is if warmed by only  the effects of incoming solar radiation  He examined various possible sources of the additional observed heat in articles published in 1824 and 1827  However, in the end, because of the large 33-degree difference between his calculations and observations, Fourier mistakenly believed that there is a significant contribution of radiation from interstellar space  Still, Fourier's consideration of the possibility that the Earth's atmosphere might act as an insulator of some kind is widely recognized as the first proposal of what is now known as the greenhouse effect, although Fourier never called it that In his articles, Fourier referred to an experiment by de Saussure, who lined a vase with blackened cork  Into the cork, he inserted several panes of transparent glass, separated by intervals of air  Midday sunlight was allowed to enter at the top of the vase through the glass panes  The temperature became more elevated in the more interior compartments of this device  Fourier concluded that gases in the atmosphere could form a stable barrier like the glass panes  This conclusion may have contributed to the later use of the metaphor of the "greenhouse effect" to refer to the processes that determine atmospheric temperatures  Fourier noted that the actual mechanisms that determine the temperatures of the atmosphere included convection, which was not present in de Saussure's experimental device 

Works
See also
Fourier analysis
Fourier–Deligne transform
Heat equation
Least-squares spectral analysis
List of things named after Joseph Fourier
Passage 7:
Morton number
In fluid dynamics, the Morton number (Mo) is a dimensionless number used together with the Eötvös number or Bond number to characterize the shape of bubbles or drops moving in a surrounding fluid or continuous phase, c 
It is named after Rose Morton, who described it with W  L  Haberman in 1953 

Definition
The Morton number is defined as

  
    
      
        
          M
          o
        
        =
        
          
            
              g
              
                μ
                
                  c
                
                
                  4
                
              
              
              Δ
              ρ
            
            
              
                ρ
                
                  c
                
                
                  2
                
              
              
                σ
                
                  3
                
              
            
          
        
        ,
      
    
    {\displaystyle \mathrm {Mo} ={\frac {g\mu _{c}^{4}\,\Delta \rho }{\rho _{c}^{2}\sigma ^{3}}},}
  where g is the acceleration of gravity, 
  
    
      
        
          μ
          
            c
          
        
      
    
    {\displaystyle \mu _{c}}
   is the viscosity of the surrounding fluid, 
  
    
      
        
          ρ
          
            c
          
        
      
    
    {\displaystyle \rho _{c}}
   the density of the surrounding fluid, 
  
    
      
        Δ
        ρ
      
    
    {\displaystyle \Delta \rho }
   the difference in density of the phases, and 
  
    
      
        σ
      
    
    {\displaystyle \sigma }
   is the surface tension coefficient   For the case of a bubble with a negligible inner density the Morton number can be simplified to 

  
    
      
        
          M
          o
        
        =
        
          
            
              g
              
                μ
                
                  c
                
                
                  4
                
              
            
            
              
                ρ
                
                  c
                
              
              
                σ
                
                  3
                
              
            
          
        
         
      
    
    {\displaystyle \mathrm {Mo} ={\frac {g\mu _{c}^{4}}{\rho _{c}\sigma ^{3}}} }

Relation to other parameters
The Morton number can also be expressed by using a combination of the Weber number, Froude number and Reynolds number,

  
    
      
        
          M
          o
        
        =
        
          
            
              
                W
                e
              
              
                3
              
            
            
              
                
                  F
                  r
                
                
                  2
                
              
              
              
                
                  R
                  e
                
                
                  4
                
              
            
          
        
         
      
    
    {\displaystyle \mathrm {Mo} ={\frac {\mathrm {We} ^{3}}{\mathrm {Fr} ^{2}\,\mathrm {Re} ^{4}}} }
  The Froude number in the above expression is defined as

  
    
      
        
          F
          
            r
            
              2
            
          
        
        =
        
          
            
              V
              
                2
              
            
            
              g
              d
            
          
        
      
    
    {\displaystyle \mathrm {Fr^{2}} ={\frac {V^{2}}{gd}}}
  where V is a reference velocity and d is the equivalent diameter of the drop or bubble 
Passage 8:
Kapitza number
The Kapitza number (Ka) is a dimensionless number named after the prominent Russian physicist Pyotr Kapitsa (Peter Kapitza)  He provided the first extensive study of the ways in which a thin film of liquid flows down inclined surfaces  Expressed as the ratio of surface tension forces to inertial forces, the Kapitza number acts as an indicator of the hydrodynamic wave regime in falling liquid films  Liquid film behavior represents a subset of the more general class of free boundary problems  and is important in a wide range of engineering and technological applications such as evaporators, heat exchangers, absorbers, microreactors, small-scale electronics/microprocessor cooling schemes, air conditioning and gas turbine blade cooling 
After World War II Kapitza was removed from all his positions, including director of his Institute for Physical Problems, for refusing to work on nuclear weapons  He was at his country house and devised experiments to work on there, including his experiments on falling films of liquid Unlike most dimensionless numbers used in the study of fluid mechanics, the Kapitza number represents a material property, as it is formed by combining powers of the surface tension, density, gravitational acceleration and kinematic viscosity 

  
    
      
        K
        a
        =
        
          
            σ
            
              ρ
              (
              g
              sin
              ⁡
              β
              
                )
                
                  1
                  
                    /
                  
                  3
                
              
              
                ν
                
                  4
                  
                    /
                  
                  3
                
              
            
          
        
      
    
    {\displaystyle Ka={\frac {\sigma }{\rho (g\sin \beta )^{1/3}\nu ^{4/3}}}}
  where σ is the surface tension (SI units: N/m), g is gravitational acceleration (m/s2), ρ is density (kg/m3), β is inclination angle (rad), and ν is kinematic viscosity (m2/s) 

Notes
Passage 9:
Fourier number
In the study of heat conduction, the Fourier number,  is the ratio of time, t, to a characteristic time scale for heat diffusion, td  This dimensionless group is named in honor of J B J  Fourier, who formulated the modern understanding of heat conduction  The time scale for diffusion characterizes the time needed for heat to diffuse over a distance, L  For a medium with thermal diffusivity, α, this time scale is td = L2/α, so that the Fourier number is t/td = αt/L2  The Fourier number is often denoted as Fo or FoL The Fourier number can also be used in the study of mass diffusion, if the thermal diffusivity is replaced by a mass diffusivity 
The Fourier number is used in analysis of time dependent transport phenomena, generally in conjunction with the Biot number if convection is present  The Fourier number arises naturally in nondimensionalization of the heat equation 

Definition
The general definition of the Fourier number, Fo, is:
For heat diffusion with a characteristic length scale L in a medium of thermal diffusivity, α,  the diffusion time scale is td =L2/α, so that

where:

α is the thermal diffusivity (m2/s)
t is the time (s)
L is the characteristic length through which conduction occurs (m)

Interpretation of the Fourier number
Consider transient heat conduction in  a slab of thickness L that is initially at a uniform temperature, T0  One side of the slab is heated to higher temperature, Th at time t = 0   The other side is adiabatic  The time needed for the other side of the object to show significant temperature change is the diffusion time, td   
When Fo ≪ 1, not enough time has passed for the other side to change temperature  In this case, significant temperature change only occurs close to the heated side, and most of the slab remains at T0 
When Fo ≅ 1, significant temperature change occurs all the way through the thickness L  None of the slab remains at temperature T0 
When Fo ≫ 1, enough time has passed for the slab to approach steady state  The entire slab approaches temperature Th 

Derivation and usage
The Fourier number can be derived by nondimenionalizing the time-dependent diffusion equation   As an example, consider a rod of length L that is being heated from an initial temperature, T0, by the imposition at time t = 0 of a higher temperature at x = L, TL (with x along the axis of the rod)  The heat equation in one spatial dimension, x, can be applied 

where T is the temperature for 0 < x < L and t > 0  The differential equation can be scaled into a dimensionless form  A dimensionless temperature may be defined as Θ = (T - TL)/(T0 - TL), and the equation may be divided through by α/L2:

The resulting dimensionless time variable is the Fourier number, FoL = αt/L2  The characteristic time scale for diffusion, td =L2/α, comes directly from this scaling of the heat equation  
The Fourier number is frequently used as the nondimensional time in studying transient heat conduction in solids    A second parameter, the Biot number arises in nondimensionalization when convective boundary conditions are applied to the heat equation  Together, the Fourier number and the Biot number determine the temperature response of a solid subjected to convective heating or cooling 

Application to mass transfer
An analogous Fourier number can be derived by nondimensionalization of Fick's second law of diffusion  The result is a mass transfer Fourier number, Fom defined as:
where:

Fom is the mass transfer Fourier number
D is the mass diffusivity (m2/s)
t is the time (s)
L is the length scale of interest (m)The mass transfer Fourier number can be applied to the study of certain time-dependent mass diffusion problems 

See also
Biot number
Convection
Heat conduction
Heat equation
Molecular diffusion



ground_truth: Hakim Abdullah Jamal

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What was the nationality and profession of the person responsible for the concept of a dimensionless number in physics and engineering?

The following are given passages.
Context 4: Passage 1:
Arnold Bennett
Enoch Arnold Bennett (27 May 1867 – 27 March 1931) was an English author, best known as a novelist who wrote prolifically  Between the 1890s and the 1930s he completed 34 novels, seven volumes of short stories, 13 plays (some in collaboration with other writers), and a daily journal totalling more than a million words  He wrote articles and stories for more than 100 newspapers and periodicals, worked in and briefly ran the Ministry of Information in the First World War, and wrote for the cinema in the 1920s  Sales of his books were substantial and he was the most financially successful British author of his day 
Born into a modest but upwardly mobile family in Hanley, in the Staffordshire Potteries, Bennett was intended by his father, a solicitor, to follow him into the legal profession  Bennett worked for his father, before moving to another law firm in London as a clerk, aged 21  He became assistant editor and then editor of a women's magazine, before becoming a full-time author in 1900  Always a devotee of French culture in general and French literature in particular, he moved to Paris in 1903; there the relaxed milieu helped him overcome his intense shyness, particularly with women  He spent ten years in France, marrying a Frenchwoman in 1907  In 1912 he moved back to England  He and his wife separated in 1921 and he spent the last years of his life with a new partner, an English actress  He died in 1931 of typhoid fever, having unwisely drunk tap-water in France 
Many of Bennett's novels and short stories are set in a fictionalised version of the Staffordshire Potteries, which he called The Five Towns  He strongly believed that literature should be accessible to ordinary people, and he deplored literary cliques and élites  His books appealed to a wide public and sold in large numbers  For this reason, and for his adherence to realism, writers and supporters of the modernist school, notably Virginia Woolf, belittled him, and his fiction became neglected after his death  During his lifetime his journalistic "self-help" books sold in substantial numbers, and he was also a playwright; he did less well in the theatre than with novels, but achieved two considerable successes with Milestones (1912) and The Great Adventure (1913) 
Studies by Margaret Drabble (1974), John Carey (1992) and others have led to a re-evaluation of Bennett's work  His finest novels, including Anna of the Five Towns (1902), The Old Wives' Tale (1908), Clayhanger (1910) and Riceyman Steps (1923), are now widely recognised as major works 

Life and career
Early years
Arnold Bennett was born on 27 May 1867 in Hanley, Staffordshire, now part of Stoke-on-Trent but then a separate town  He was the eldest child of the three sons and three daughters of Enoch Bennett (1843–1902) and his wife Sarah Ann, née Longson (1840–1914)  Enoch Bennett's early career had been one of mixed fortunes: after an unsuccessful attempt to run a business making and selling pottery, he set up as a draper and pawnbroker in 1866  Four years later Enoch's father died, leaving him some money with which he articled himself to a local law firm; in 1876 he qualified as a solicitor  The Bennetts were staunch Wesleyans, musical, cultured and sociable  Enoch Bennett had an authoritarian side, but it was a happy household, although a mobile one: as Enoch's success as a solicitor increased, the family moved, within the space of five years in the late 1870s and early 1880s, to four different houses in Hanley and the neighbouring Burslem From 1877 to 1882, Bennett's schooling was at the Wedgwood Institute, Burslem, followed by a year at a grammar school in Newcastle-under-Lyme  He was good at Latin and better at French; he had an inspirational headmaster who gave him a love for French literature and the French language that lasted all his life  He did well academically and passed Cambridge University examinations that could have led to an Oxbridge education, but his father had other plans  In 1883, aged 16, Bennett left school and began work – unpaid – in his father's office  He divided his time between uncongenial jobs, such as rent collecting, during the day, and studying for examinations in the evening  He began writing in a modest way, contributing light pieces to the local newspaper  He became adept in Pitman's shorthand, a skill much sought after in commercial offices, and on the strength of that he secured a post as a clerk at a firm of solicitors in Lincoln's Inn Fields, London  In March 1889, aged 21, he left for London and never returned to live in his native county 

First years in London
In the solicitors' office in London, Bennett became friendly with a young colleague, John Eland, who had a passion for books  Eland's friendship helped alleviate Bennett's innate shyness, which was exacerbated by a lifelong stammer  Together they explored the world of literature  Among the writers who impressed and influenced Bennett were George Moore, Émile Zola, Honoré de Balzac, Guy de Maupassant, Gustave Flaubert and Ivan Turgenev  He continued his own writing, and won a prize of twenty guineas from Tit-Bits in 1893 for his story 'The Artist's Model'; another short story, 'A Letter Home', was submitted successfully to The Yellow Book, where it featured in 1895 alongside contributions from Henry James and other well-known writers In 1894 Bennett resigned from the law firm and became assistant editor of the magazine Woman  The salary, £150 a year, was £50 less than he was earning as a clerk, but the post left him much more free time to write his first novel  For the magazine he wrote under a range of female pen-names such as "Barbara" and "Cecile"  As his biographer Margaret Drabble puts it:

The informal office life of the magazine suited Bennett, not least because it brought him into lively female company, and he began to be a little more relaxed with young women  He continued work on his novel and wrote short stories and articles  He was modest about his literary talent: he wrote to a friend, "I have no inward assurance that I could ever do anything more than mediocre viewed strictly as art – very mediocre", but he knew he could "turn out things which would be read with zest, & about which the man in the street would say to friends 'Have you read so & so in the What-is-it?'" He was happy to write for popular journals like Hearth and Home or for the highbrow The Academy His debut novel, A Man from the North, completed in 1896, was published two years later, by John Lane, whose reader, John Buchan, recommended it for publication  It elicited a letter of praise from Joseph Conrad and was well and widely reviewed, but Bennett's profits from the sale of the book were less than the cost of having it typed In 1896 Bennett was promoted to be editor of Woman; by then he had set his sights on a career as a full-time author, but he served as editor for four years  During that time he wrote two popular books, described by the critic John Lucas as "pot-boilers": Journalism for Women (1898) and Polite Farces for the Drawing Room (1899)  He also began work on a second novel, Anna of the Five Towns, the five towns being Bennett's lightly fictionalised version of the Staffordshire Potteries, where he grew up 

Freelance; Paris
In 1900 Bennett resigned his post at Woman, and left London to set up house at Trinity Hall Farm, near the village of Hockliffe in Bedfordshire, where he made a home not only for himself but for his parents and younger sister  He completed Anna of the Five Towns in 1901; it was published the following year, as was its successor, The Grand Babylon Hotel  The latter, an extravagant story of crime in high society, sold 50,000 copies in hardback and was almost immediately translated into four languages  By this stage he was confident enough in his abilities to tell a friend:

In January 1902 Enoch Bennett died, after a decline into dementia  His widow chose to move back to Burslem, and Bennett's sister married shortly afterwards  With no dependants, Bennett − always a devotee of French culture − decided to move to Paris; he took up residence there in March 1903  Biographers have speculated on his precise reasons for doing so   Drabble suggests that perhaps "he was hoping for some kind of liberation  He was thirty-five and unmarried"; Lucas writes that it was almost certainly Bennett's desire to be recognised as a serious artist that prompted his move; according to his friend and colleague Frank Swinnerton, Bennett was following in the footsteps of George Moore by going to live in "the home of modern realism"; in the view of the biographer Reginald Pound it was "to begin his career as a man of the world"  The 9th arrondissement of Paris was Bennett's home for the next five years, first in the rue de Calais, near the Place Pigalle, and then the more upmarket rue d'Aumale Life in Paris evidently helped Bennett overcome much of his remaining shyness with women  His journals for his early months in Paris mention a young woman identified as "C" or "Chichi", who was a chorus girl; the journals – or at least the cautiously selected extracts published since his death – do not record the precise nature of the relationship, but the two spent a considerable amount of time together In a restaurant where he dined frequently a trivial incident in 1903 gave Bennett the germ of an idea for the novel generally regarded as his masterpiece  A grotesque old woman came in and caused a fuss; the beautiful young waitress laughed at her, and Bennett was struck by the thought that the old woman had once been as young and lovely as the waitress  From this grew the story of two contrasting sisters in The Old Wives' Tale  He did not begin work on that novel until 1907, before which he wrote ten others, some "sadly undistinguished", in the view of his biographer Kenneth Young  Throughout his career, Bennett interspersed his best novels with some that his biographers and others have labelled pot-boilers 

Marriage; Fontainebleau and US visit
In 1905 Bennett became engaged to Eleanor Green, a member of an eccentric and capricious American family living in Paris, but at the last moment, after the wedding invitations had been sent out, she broke off the engagement and almost immediately married a fellow American  Drabble comments that Bennett was well rid of her, but it was a painful episode in his life  In early 1907 he met Marguerite Soulié (1874–1960), who soon became first a friend and then a lover  In May he was taken ill with a severe gastric complaint, and Marguerite moved into his flat to look after him  They became still closer, and in July 1907, shortly after his fortieth birthday, they were married at the Mairie of the 9th arrondissement  The marriage was childless  Early in 1908 the couple moved from the rue d'Aumale to the Villa des Néfliers in Fontainebleau-Avon, about 40 miles (64 km) south-east of Paris Lucas comments that the best of the novels written while in France – Whom God Hath Joined (1906), The Old Wives' Tale (1908), and Clayhanger (1910) – "justly established Bennett as a major exponent of realistic fiction"  In addition to these, Bennett published lighter novels such as The Card (1911)  His output of literary journalism included articles for T  P  O'Connor's T  P 's Weekly and the left-wing The New Age; his pieces for the latter, published under a pen-name, were concise literary essays aimed at "the general cultivated reader", a form taken up by a later generation of writers including J  B  Priestley and V  S  Pritchett In 1911 Bennett made a financially rewarding visit to the US, which he later recorded in his 1912 book Those United States  Crossing the Atlantic aboard the Lusitania, he visited not only New York and Boston but also Chicago, Indianapolis, Washington and Philadelphia in a tour that was described by US publisher George Doran as "one of continuous triumph": in the first three days of his stay in New York he was interviewed 26 times by journalists  While rival E P  Dutton had secured rights to such Bennett novels as Hilda Lessways and the Card (retitled Denry the Audacious), Doran, who travelled everywhere with Bennett while in America, was the publisher of Bennett’s wildly successful ‘pocket philosophies’ How to Live on Twenty-Four Hours a Day and Mental Efficiency  Of these books the influential critic Willard Huntington Wright wrote that Bennett had "turned preacher and a jolly good preacher he is"  While in the US Bennett also sold the serial rights of his forthcoming novel, The Price of Love (1913–14), to Harpers for £2,000, eight essays to Metropolitan magazine for a total of  £1,200, and the American rights of a successor to Clayhanger for £3,000 During his ten years in France he had gone from a moderately well-known writer enjoying modest sales to outstanding success  Swinnerton comments that in addition to his large sales, Bennett's critical prestige was at its zenith 

Return to England
In 1912, after an extended stay at the Hotel Californie in Cannes, during which time he wrote The Regent, a light-hearted sequel to The Card, Bennett and his wife moved from France to England  Initially they lived in Putney, but "determined to become an English country landowner", he bought Comarques, an early-18th-century country house at Thorpe-le-Soken, Essex, and moved there in February 1913  Among his early concerns, once back in England, was to succeed as a playwright  He had dabbled previously but his inexperience showed  The Times thought his 1911 comedy The Honeymoon, staged in the West End with a starry cast, had "one of the most amusing first acts we have ever seen", but fell flat in the other two acts  In the same year Bennett met the playwright Edward Knoblauch (later Knoblock) and they collaborated on Milestones, the story of the generations of a family seen in 1860, 1885 and 1912  The combination of Bennett's narrative gift and Knoblauch's practical experience proved a success  The play was strongly cast, received highly favourable notices, ran for more than 600 performances in London and over 200 in New York, and made Bennett a great deal of money  His next play, The Great Adventure (1913), a stage version of his novel Buried Alive (1908), was similarly successful Bennett's attitude to the First World War was that British politicians had been at fault in failing to prevent it, but that once it had become inevitable it was right that Britain should join its allies against the Germans  He concentrated his attention on journalism, aiming to inform and encourage the public in Britain and allied and neutral countries  He served on official and unofficial committees, and in 1915 he was invited to visit France to see conditions at the front and write about them for readers at home  The collected impressions appeared in a book called Over There (1915)  He was still writing novels, however: These Twain, the third in his Clayhanger trilogy, was published in 1916 and in 1917 he completed a sequel, The Roll Call, which ends with its hero, George Cannon, enlisting in the army  Wartime London was the setting for Bennett's The Pretty Lady (1918), about a high-class French cocotte: although well reviewed, because of its subject-matter the novel provoked "a Hades of a row" and some booksellers refused to sell it When Lord Beaverbrook became Minister of Information in February 1918 he appointed Bennett to take charge of propaganda in France  Beaverbrook fell ill in October 1918 and made Bennett director of propaganda, in charge of the whole ministry for the last weeks of the war  At the end of 1918 Bennett was offered, but declined, a knighthood in the new Order of the British Empire instituted by George V  The offer was renewed some time later, and again Bennett refused it  One of his closest associates at the time suspected that he was privately hoping for the more prestigious Order of Merit As the war was ending, Bennett returned to his theatrical interests, although not primarily as a playwright  In November 1918 he became chairman, with Nigel Playfair as managing director, of the Lyric Theatre, Hammersmith  Among their productions were Abraham Lincoln by John Drinkwater, and The Beggar's Opera, which, in Swinnerton's phrase, "caught different moods of the post-war spirit", and ran for 466 and 1,463 performances respectively 

Last years
In 1921 Bennett and his wife legally separated  They had been drifting apart for some years and Marguerite had taken up with Pierre Legros, a young French lecturer  Bennett sold Comarques and lived in London for the rest of his life, first in a flat near Bond Street in the West End, on which he had taken a lease during the war  For much of the 1920s he was widely known to be the highest-paid literary journalist in England, contributing a weekly column to Beaverbrook's Evening Standard under the title 'Books and Persons'; according to Frank Swinnerton these articles were "extraordinarily successful and influential     and made a number of new reputations"  By the end of his career, Bennett had contributed to more than 100 newspapers, magazines and other publications  He continued to write novels and plays as assiduously as before the war Swinnerton writes, "Endless social engagements; inexhaustible patronage of musicians, actors, poets, and painters; the maximum of benevolence to friends and strangers alike, marked the last ten years of his life"  Hugh Walpole, James Agate and Osbert Sitwell were among those who testified to Bennett's generosity  Sitwell recalled a letter Bennett wrote in the 1920s:

In 1922 Bennett met and fell in love with an actress, Dorothy Cheston (1891–1977)  Together they set up home in Cadogan Square, where they stayed until moving in 1930 to Chiltern Court, Baker Street  As Marguerite would not agree to a divorce, Bennett was unable to marry Dorothy, and in September 1928, having become pregnant, she changed her name by deed poll to Dorothy Cheston Bennett  The following April she gave birth to the couple's only child, Virginia Mary (1929–2003)  She continued to appear as an actress, and produced and starred in a revival of Milestones which was well reviewed, but had only a moderate run  Bennett had mixed feelings about her continuing stage career, but did not seek to stop it During a holiday in France with Dorothy in January 1931, Bennett twice drank tap-water – not, at the time, a safe thing to do there  On his return home he was taken ill; influenza was diagnosed at first, but the illness was typhoid fever; after several weeks of unsuccessful treatment he died in his flat at Chiltern Court on 27 March 1931, aged 63 Bennett was cremated at Golders Green Crematorium and his ashes were interred in Burslem Cemetery in his mother's grave  A memorial service was held on 31 March 1931 at St Clement Danes, London, attended by leading figures from journalism, literature, music, politics and theatre, and, in Pound's words, many men and women who at the end of the service "walked out into a London that for them would never be the same again" 

Works
From the outset, Bennett believed in the "democratisation of art which it is surely the duty of the minority to undertake"  He admired some of the modernist writers of his time, but strongly disapproved of their conscious appeal to a small élite and their disdain for the general reader  Bennett believed that literature should be inclusive, accessible by ordinary people From the start of his career, Bennett was aware of the appeal of regional fiction  Anthony Trollope, George Eliot and Thomas Hardy had created and sustained their own locales, and Bennett did the same with his Five Towns, drawing on his experiences as a boy and young man  As a realistic writer he followed the examples of the authors he admired – above all George Moore, but also Balzac, Flaubert and Maupassant among French writers, and Dostoevsky, Turgenev and Tolstoy among Russians  In writing about the Five Towns Bennett aimed to portray the experiences of ordinary people coping with the norms and constraints of the communities in which they lived  J  B  Priestley considered that the next influence on Bennett's fiction was his time in London in the 1890s, "engaged in journalism and ingenious pot-boiling of various kinds" 

Novels and short stories
Bennett is remembered chiefly for his novels and short stories  The best known are set in, or feature people from, the six towns of the Potteries of his youth  He presented the region as "the Five Towns", which correspond closely with their originals: the real-life Burslem, Hanley, Longton, Stoke and Tunstall become Bennett's Bursley, Hanbridge, Longshaw, Knype and Turnhill  These "Five Towns" make their first appearance in Bennett's fiction in Anna of the Five Towns (1902) and are the setting for further novels including Leonora (1903), Whom God Hath Joined (1906), The Old Wives' Tale (1908) and the Clayhanger trilogy – Clayhanger (1910), Hilda Lessways (1911) and These Twain (1916) – as well as for dozens of short stories  Bennett's fiction portrays the Five Towns with what The Oxford Companion to English Literature calls "an ironic but affectionate detachment, describing provincial life and culture in documentary detail, and creating many memorable characters"  In later life Bennett said that the writer George Moore was "the father of all my Five Towns books" as it was reading Moore's 1885 novel A Mummer's Wife, set in the Potteries, that "opened my eyes to the romantic nature of the district I had blindly inhabited for over twenty years" It was not only locations on which Bennett drew for his fiction  Many of his characters are discernibly based on real people in his life  His Lincoln's Inn friend John Eland was a source for Mr Aked in Bennett's first novel, A Man from the North (1898); A Great Man (1903) contains a character with echoes of his Parisienne friend Chichi; Darius Clayhanger's early life is based on that of a family friend and Bennett himself is seen in Edwin in Clayhanger  He has been criticised for making literary use in that novel of the distressing details of his father's decline into senility, but in Pound's view, in committing the details to paper Bennett was unburdening himself of painful memories These Twain is Bennett's "last extended study of Five Towns life"  The novels he wrote in the 1920s are largely set in London and thereabouts: Riceyman Steps (1923), for instance, generally regarded as the best of Bennett's post-war novels, was set in Clerkenwell: it was awarded the James Tait Black novel prize for 1923, "the first prize for a book I ever had," Bennett noted in his journal on 18 October 1924  His Lord Raingo (1926), described by Dudley Barker as "one of the finest of political novels in the language", benefited from Bennett's own experience in the Ministry of Information and his subsequent friendship with Beaverbrook: John Lucas states that "As a study of what goes on in the corridors of power [Lord Raingo] has few equals"  And Bennett's final – and longest – novel, Imperial Palace (1930), is set in a grand London hotel reminiscent of the Savoy, whose directors assisted him in his preliminary research Bennett usually gave his novels subtitles; the most frequent was "A fantasia on modern themes", individual books were called "A frolic" or "A melodrama", but he was sparing with the label "A novel" which he used for only a few of his books – for instance Anna of the Five Towns, Leonora, Sacred and Profane Love, The Old Wives' Tale, The Pretty Lady (1918) and Riceyman Steps  Literary critics have followed Bennett in dividing his novels into groups  The literary scholar Kurt Koenigsberger proposes three categories  In the first are the long narratives – "freestanding, monumental artefacts" – Anna of the Five Towns, The Old Wives' Tale, Clayhanger and Riceyman Steps, which "have been held in high critical regard since their publication"  Koenigsberger writes that the "Fantasias" such as The Grand Babylon Hotel (1902), Teresa of Watling Street (1904) and The City of Pleasure (1907), have "mostly passed from public attention along with the 'modern' conditions they exploit"  His third group includes "Idyllic Diversions" or "Stories of Adventure", including Helen with the High Hand (1910), The Card (1911), and The Regent (1913), which "have sustained some enduring critical and popular interest, not least for their amusing treatment of cosmopolitanism and provinciality" Bennett published 96 short stories in seven volumes between 1905 and 1931  His ambivalence about his native town is vividly seen in "The Death of Simon Fuge" in the collection The Grim Smile of the Five Towns (1907), judged by Lucas the finest of all the stories  His chosen locations ranged widely, including Paris and Venice as well as London and the Five Towns  As with his novels, he would sometimes give a story a label, calling "The Matador of the Five Towns" (1912) "a tragedy" and "Jock-at-a-Venture" from the same collection "a frolic"  The short stories, particularly those in Tales of the Five Towns (1905), The Grim Smile of the Five Towns (1907), and The Matador of the Five Towns contain some of the most striking examples of Bennett's concern for realism, with an unflinching narrative focus on what Lucas calls "the drab, the squalid, and the mundane"  In 2010 and 2011 two further volumes of Bennett's hitherto uncollected short stories were published: they range from his earliest work written in the 1890s, some under the pseudonym Sarah Volatile, to US magazine commissions from the late 1920s 

Stage and screen
In 1931 the critic Graham Sutton, looking back at Bennett's career in the theatre, contrasted his achievements as a playwright with those as a novelist, suggesting that Bennett was a complete novelist but a not-entirely-complete dramatist  His plays were clearly those of a novelist: "He tends to lengthy speeches  Sometimes he overwrites a part, as though distrusting the actor  He is more interested in what his people are than in what they visibly do  He 'thinks nowt' of mere slickness of plot "
Bennett's lack of a theatrical grounding showed in the uneven construction of some of his plays, such as his 1911 comedy The Honeymoon, which played for 125 performances from October 1911  The highly successful Milestones was seen as impeccably constructed, but the credit for that was given to his craftsmanlike collaborator, Edward Knoblauch (Bennett being credited with the inventive flair of the piece)  By far his most successful solo effort in the theatre was The Great Adventure, based on his 1908 novel Buried Alive, which ran in the West End for 674 performances, from March 1913 to November 1914  Sutton praised its "new strain of impish and sardonic fantasy" and rated it a much finer play than Milestones After the First World War Bennett wrote two plays on metaphysical questions, Sacred and Profane Love (1919, adapted from his novel) and Body and Soul (1922), which made little impression  The Saturday Review praised the "shrewd wit" of the former, but thought it "false in its essentials     superficial in its accidentals"  Of the latter, the critic Horace Shipp wondered "how the author of Clayhanger and The Old Wives' Tale could write such third-rate stuff"  Bennett had more success in a final collaboration with Edward Knoblock (as Knoblauch had become during the war) with Mr Prohack (1927), a comedy based on his 1922 novel; one critic wrote "I could have enjoyed the play had it run to double its length", but even so he judged the middle act weaker than the outer two  Sutton concludes that Bennett's forte was character, but that the competence of his technique was variable  The plays are seldom revived, although some have been adapted for television Bennett wrote two opera libretti for the composer Eugene Goossens: Judith (one act, 1929) and Don Juan (four acts, produced in 1937 after the writer's death)  There were comments that Goossens's music lacked tunes and Bennett's libretti were too wordy and literary  The critic Ernest Newman defended both works, finding Bennett's libretto for Judith "a drama told simply and straightforwardly" and Don Juan "the best thing that English opera has so far produced … the most dramatic and stageworthy", but though politely received, both operas vanished from the repertory after a few performances Bennett took a keen interest in the cinema, and in 1920 wrote The Wedding Dress, a scenario for a silent movie, at the request of Jesse Lasky of the Famous Players film company  It was never made, though Bennett wrote a full-length treatment, assumed to be lost until his daughter Virginia found it in a drawer in her Paris home in 1983; subsequently the script was sold to the Potteries Museum and Art Gallery and was finally published in 2013  In 1928 Bennett wrote the  scenario for the silent film Piccadilly, directed by E  A  Dupont and starring Anna May Wong, described by the British Film Institute as "one of  the true greats of British silent films"  In 1929, the year the film came out, Bennett was in discussion with a young Alfred Hitchcock to script a silent film, Punch and Judy, which foundered on artistic disagreements and  Bennett's refusal to see the film as a "talkie" rather than silent  His original scenario, acquired by Pennsylvania State University, was published in the UK in 2012 

Journalism and self-help books
Bennett published more than two dozen non-fiction books, among which eight could be classified as "self-help": the most enduring is How to Live on 24 Hours a Day (1908), which is still in print and has been translated into several languages  Other "self-help" volumes include How to Become an Author (1903), The Reasonable Life (1907), Literary Taste: How to Form It (1909), The Human Machine (1908), Mental Efficiency (1911), The Plain Man and his Wife (1913), Self and Self-Management (1918) and How to Make the Best of Life (1923)  They were, says Swinnerton, "written for small fees and with a real desire to assist the ignorant"  According to the Harvard academic Beth Blum, these books "advance less scientific versions of the argument for mental discipline espoused by William James"  In his biography of Bennett Patrick Donovan argues that in the US "the huge appeal to the ordinary readers" of his self-help books "made his name stand out vividly from other English writers across the massive, fragmented American market " As Bennett put it to his London-based agent J  B  Pinker, these "pocket philosophies are just the sort of book for the American public"  However, How to Live on 24 Hours was aimed initially at "the legions of clerks and typists and other meanly paid workers caught up in the explosion of British office jobs around the turn of the century … they offered a strong message of hope from somebody who so well understood their lives" Bennett never lost his journalistic instincts, and throughout his life sought and responded to newspaper and magazine commissions with varying degrees of enthusiasm: "from the start of the 1890s right up to the week of his death there would never be a period when he was not churning out copy for newspapers and magazines"  In a journal entry at the end of 1908, for instance, he noted that he had written "over sixty newspaper articles" that year; in 1910 the figure was "probably about 80 other articles"  While living in Paris he was a regular contributor to T  P 's Weekly; later he reviewed for The New Age under the pseudonym Jacob Tonson and was associated with the New Statesman as not only a writer but also a director 

Journals
Inspired by the Journal des Goncourt, Bennett kept a journal throughout his adult life  Swinnerton says that it runs to a million words; it has not been published in full  Edited extracts were issued in three volumes, in 1932 and 1933  According to Hugh Walpole, the editor, Newman Flower, "was so appalled by much of what he found in the journals that he published only brief extracts, and those the safest"  Whatever Flower censored, the extracts he selected were not always "the safest": he let some defamatory remarks through, and in 1935 he, the publishers and printers had to pay an undisclosed sum to the plaintiff in one libel suit and £2,500 in another 

Critical reputation
Novels and short stories
The literary modernists of his day deplored Bennett's books, and those of his well-known contemporaries H  G  Wells and John Galsworthy  Of the three, Bennett drew the most opprobrium from modernists such as Virginia Woolf, Ezra Pound and Wyndham Lewis who regarded him as representative of an outmoded and rival literary culture  There was a strong element of class-consciousness and snobbery in the modernists' attitude: Woolf accused Bennett of having "a shopkeeper's view of literature" and in her essay "Mr Bennett and Mrs Brown" accused Bennett, Galsworthy and Wells of ushering in an "age when character disappeared or was mysteriously engulfed" In a 1963 study of Bennett, James Hepburn summed up and dissented from the prevailing views of the novels, listing three related evaluative positions taken individually or together by almost all Bennett's critics: that his Five Towns novels are generally superior to his other work, that he and his art declined after The Old Wives' Tale or Clayhanger, and that there is a sharp and clear distinction between the good and bad novels  Hepburn countered that one of the novels most frequently praised by literary critics is Riceyman Steps (1923) set in Clerkenwell, London, and dealing with material imagined rather than observed by the author  On the third point he commented that although received wisdom was that The Old Wives' Tale and Clayhanger are good and Sacred and Profane Love and Lillian are bad, there was little consensus about which other Bennett novels were good, bad or indifferent  He instanced The Pretty Lady (1918), on which critical opinion ranged from "cheap and sensational"     "sentimental melodrama" to "a great novel"  Lucas (2004) considers it "a much underrated study of England during the war years, especially in its sensitive feeling for the destructive frenzy that underlay much apparently good-hearted patriotism" In 1974 Margaret Drabble published Arnold Bennett, a literary biography  In the foreword she demurred at the critical dismissal of Bennett:

Writing in the 1990s the literary critic John Carey called for a reappraisal of Bennett in his book The Intellectuals and the Masses (1992):

In 2006 Koenigsberger commented that one reason why Bennett's novels had been sidelined, apart from "the exponents of modernism who recoiled from his democratising aesthetic programme", was his attitude to gender  His books include the pronouncements "the average man has more intellectual power than the average woman" and "women as a sex love to be dominated"; Koenigsberger nevertheless praises Bennett's "sensitive and oft-praised portrayals of female figures in his fiction" Lucas concludes his study with the comment that Bennett's realism may be limited by his cautious assumption that things are as they are and will not change  Nevertheless, in Lucas's view, successive generations of reader have admired Bennett's best work, and future generations are certain to do so 

Crime fiction
Bennett dabbled in crime fiction, in The Grand Babylon Hotel and The Loot of Cities (1905)  In Queen's Quorum (1951), a survey of crime fiction, Ellery Queen listed the latter among the 100 most important works in the genre  This collection of stories recounts the adventures of a millionaire who commits crimes to achieve his idealistic ends  Although it was "one of his least known works," it was nevertheless "of unusual interest, both as an example of Arnold Bennett's early work and as an early example of dilettante detectivism" 

Legacy
Arnold Bennett Society
The Society was founded in 1954 "to promote the study and appreciation of the life, works and times not only of Arnold Bennett himself but also of other provincial writers, with particular relationship to North Staffordshire"  In 2021 its president was Denis Eldin, Bennett's grandson; among the vice-presidents was Margaret Drabble In 2017 the society instituted an annual Arnold Bennett Prize as part of author's 150th anniversary celebrations, to be awarded to an author who was born, lives or works in North Staffordshire and has published a book in the relevant year, or to the author of a book which features the region  In 2017 John Lancaster won the award for his poetry collection Potters: A Division of Labour  Subsequent winners have been Jan Edwards for her novel Winter Downs (2018), Charlotte Higgins for Red Thread: On Mazes and Labyrinths (2019) and Lisa Blower for her story collection It's Gone Dark Over Bill's Mother's (2020)  The prize was not awarded in 2021 because of the Covid-19 situation, but in 2022 it was won by John Pye, a former detective inspector turned crime writer, for his novel Where the Silent Screams Are Loudest  The prize in 2023 went to Philip Nanney Williams for his book Adams: Britain's Oldest Potting Dynasty 

Plaques and statuary
Bennett has been commemorated by several plaques  Hugh Walpole unveiled one at Comarques in 1931, and in the same year another was placed at Bennett's birthplace in Hanley  A plaque to and bust of Bennett were unveiled in Burslem in 1962, and there are blue plaques commemorating him at the house in Cadogan Square where he lived from 1923 to 1930 and on the house in Cobridge where he lived in his youth  The southern Baker Street entrance of Chiltern Court has a plaque to Bennett on the left and another to H  G  Wells on the right  A blue plaque has been placed on the wall of Bennett's home in Fontainebleau There is a two-metre-high bronze statue of Bennett outside The Potteries Museum & Art Gallery in Hanley, Stoke-on-Trent, unveiled on 27 May 2017 during the events marking the 150th anniversary of his birth 

Archives
There are substantial archives of Bennett's papers and artworks, including drafts, diaries, letters, photographs and watercolours, at The Potteries Museum & Art Gallery in Stoke-on-Trent and at Keele University  Other Bennett papers are held by University College London, the British Library, and, in the US, Texas and Yale universities and the Berg Collection in the New York Public Library 

Omelettes
Bennett shares with the composer Gioachino Rossini, the singer Nellie Melba and some other celebrities the distinction of having a well-known dish named in his honour  An omelette Arnold Bennett is one that incorporates smoked haddock, hard cheese (typically Cheddar), and cream  It was created at the Savoy Grill in London for Bennett, who was an habitué, by the chef Jean Baptiste Virlogeux  It remains a British classic; cooks from Marcus Wareing to Delia Smith and Gordon Ramsay have published their recipes for it, and a variant remains on the menu at the Savoy Grill 

Notes, references and sources
Notes
Passage 2:
Mermaid Series
The Mermaid Series was a major collection of reprints of texts from English Elizabethan, Jacobean and Restoration drama  It was launched in 1887 by the British publisher Henry Vizetelly and under the general editorship of Havelock Ellis  Around 1894 the series was taken over by the London firm of T  Fisher Unwin  Many well-known literary figures edited or introduced the texts  Some of the plays published had not been reprinted in recent editions, and most had dropped out of the stage repertoire 
The name alludes to the Mermaid Tavern in London  There has been a later New Mermaids Series



ground_truth: French mathematician and physicist

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Are both Frank Lloyd and Olivier Assayas American film directors?

The following are given passages.
Context 3: Passage 1:
Frank Lloyd
Frank William George Lloyd (2 February 1886 – 10 August 1960) was a British-born American film director, actor, scriptwriter, and producer  He was among the founders of the Academy of Motion Picture Arts and Sciences, and was its president from 1934 to 1935 
He is Scotland's first Academy Award winner and is unique in film history, having received three Oscar nominations in 1929 for his work on a silent film (The Divine Lady), a part-talkie (Weary River) and a full talkie (Drag)  He won for The Divine Lady  He was nominated and won again in 1933 for his adaptation of Noël Coward's Cavalcade and received a further Best Director nomination in 1935 for perhaps his most successful film, Mutiny on the Bounty  Lloyd is credited with being a founder of the Academy of Motion Picture Arts & Sciences 
In 1957, he was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film On 8 February 1960, Lloyd received a star on the Hollywood Walk of Fame for his contributions to the motion pictures industry, at 6667 Hollywood Boulevard 

Early life and career
Lloyd was born in Cambuslang, on the outskirts of Glasgow, the youngest of seven children  His mother Jane was Scottish and his father Edmund was Welsh, a mechanical engineer  The family travelled the country until his father was injured and gave up engineering  They settled in Shepherd's Bush, London, where the family ran a pub  Lloyd worked in a shoe shop, sang in choral groups and joined a vaudeville group 
In 1909 he emigrated to Canada where he worked on a ranch in Alberta for a year  He also erected poles and writes for a telephone company, then joined a travelling show as an actor and singer  The show wound up in Los Angeles in 1913 and Lloyd decided to stay there and act in Hollywood films 

Film director
Paramount
He began directing shorts for Paramount and moved to longer running films: The Gentleman from Indiana (1915), Jane (1915), The Reform Candidate (1916), The Tongues of Men (1916), The Call of the Cumberlands (1916), Madame la Presidente (1916) with Anna Held, The Code of Marcia Gray (1916), David Garrick (1916 film) (1916), The Making of Maddalena (1916), An International Marriage (1916), and The Stronger Love (1916)  The Intrigue (1916) was produced through Pallas Films and released through Paramount   Lloyd's biographer argued his early films "are not 'masterpieces,' but they are on a par with films from other secondary directors of the period  In other words, they are not comparable to those directed by D W  Griffith, but are as good as those directed by Allan Dwan "

Fox
Lloyd directed Sins of Her Parent (1916) at Fox, and The World and the Woman (1916) with Jeanne Eagles for Tranhouser  Back at Fox he did The Kingdom of Love (1917), and a series of films starring William Farnum" The Price of Silence (1917), A Tale of Two Cities (1917) from the novel by Charles Dickens, American Methods (1917), When a Man Sees Red (1917), Les Misérables (1917), The Heart of a Lion (1917), True Blue (1918), Riders of the Purple Sage (1918) from the novel by Zane Grey and its sequel The Rainbow Trail (1918), For Freedom (1918), and The Man Hunter (1919)  Without Farnum, Lloyd directed The Blindness of Divorce (1918) 

Goldwyn
At Goldwyn he made Pitfalls of a Big City (1919),The World and Its Woman (1919), The Loves of Letty (1919), The Woman in Room 13 (1920), The Silver Horde (1920 film) (1920), Madame X  (1920) with Pauline Frederick, The Great Lover (1920), A Tale of Two Worlds (1921), Roads of Destiny (1921) with Frederick, A Voice in the Dark (1921), The Invisible Power (1921), The Grim Comedian (1921), and The Man from Lost River (1921) plus The Sin Flood (1922) with Richard Dix 

First National
Lloyd directed some films for First National with Norma Talmadge: The Eternal Flame (1921), The Voice from the Minaret (1922), Within the Law (1923) and Ashes of Vengeance (1923) 
Also for that studio was Oliver Twist (1922) with Lon Chaney and Jackie Coogan, and Black Oxen (1924) 
He had his own company at First National, Frank Lloyd Productions  They made The Sea Hawk (1924), a swashbuckler with Milton Sills, then The Silent Watcher (1924), Her Husband's Secret (1925), Winds of Chance (1925), The Splendid Road (1926), and The Wise Guy (1926) 

Paramount
At Paramount Lloyd made The Eagle of the Sea (1926), Children of Divorce (1927 film) (1927), Adoration (1928) with Billie Dove, The Divine Lady (1929) with Corinne Griffith, and Dark Streets (1929)  Lloyd won the Academy Award for Best director for The Divine Lady 
There were several films starring Richard Barthemless: Weary River (1929), Drag (1929), Young Nowheres (1930), Son of the Gods (1930), and The Lash (1930)  He was Oscar nominated for Best Director for Drag and Weary River 
There was also The Way of All Men (1930), a remake of Lloyds' own The Sin Flood, The Right of Way (1931), and East Lynne (1931) For Howard Hughes, Lloyd did The Age for Love (1931)  Back at Fox he made A Passport to Hell (1932) then Cavalcade (1933), which won Lloyd the Oscar for Best Director 
Lloyd then made what was his favourite film, Berkeley Square (1933), starring Leslie Howard, followed by Hoop-La (1933) the final film of Clara Bow and Servants' Entrance (1934) with Janet Gaynor 

Mutiny on the Bounty and later career
Lloyd had a huge hit with Mutiny on the Bounty (1935) at MGM which earned him another Oscar nomination for Best Director  
He followed it with Under Two Flags (1936) at Fox, a French Foreign Legion tale with Ronald Colman 

Paramount
At Paramount Lloyd made more historical films: Maid of Salem (1937) with Claudette Colbert, Wells Fargo (1937) with Joel McCrea, If I Were King (1938) with Colman and Rulers of the Sea (1938) with Douglas Fairbanks Jnr, which was a commercial disappointment 

Universal
Lloyd made The Howards of Virginia (1940) at Columbia with Cary Grant  At Universal he set up his own company  He directed This Woman Is Mine (1941), and The Lady from Cheyenne (1941), and his company produced Saboteur (1942) from Alfred Hitchcock, The Spoilers (1942) with John Wayne and Randolph Scott, and Invisible Agent (1942) 
He was one of several directors on RKO's Forever and a Day (1943)  Lloyd had a big hit with James Cagney's Blood on the Sun (1945)  He was Oscar nominated for Best Director of a Documentary with The Last Bomb  (1945)  Lloyf also served in the air force  He retired from filmmaking in 1946, intending to live on a ranch 

Final films
Lloyd's wife died in 1952 and he came out of retirement to make two films at Republic, The Shanghai Story (1954) and The Last Command (1955) a film about Jim Bowie  When he remarried in 1955 he retired again 

Personal life
Frank Lloyd was married to actress Alma Haller from 11 July 1913, until her death on 16 March 1952  By 1955, Lloyd married Virginia Kellogg, and remained married until Lloyd's death on 10 August 1960 at age 74  Lloyd was buried at Forest Lawn Memorial Park in Glendale, California 

Reputation
Frank Lloyd does not have a significant reputation  His biographer puts this down partly to the dismissal of Lloyd's work by Andrew Sarris (who compared the director unfavorably with Cecil B  de Mille) and "because he was what is best described as a studio director  His style is as much the style of the studio as it is his own  He did not make waves; he did not overly publicize and promote himself  What he did was for the good of the studio – not for his own ego "

Selected filmography
Passage 2:
Zeitgeist Films
Zeitgeist Films is a New York-based distribution company founded in 1988 which acquires and distributes films from the U S  and around the world  In 2017, Zeitgeist entered into a multi-year strategic alliance with film distributor Kino Lorber 
Zeitgeist has distributed early films by directors such as Todd Haynes, Christopher Nolan, Francois Ozon, Laura Poitras, Atom Egoyan, and the Quay Brothers  Their catalog also includes filmmakers such as Marguerite von Trotta, Ken Loach, Guy Maddin, Derek Jarman, Nuri Bilge Ceylan, Peter Greenaway, Yvonne Rainer, Andrei Zyvagintsev, Astra Taylor, and Raoul Peck  Previous Zeitgeist Films releases in association with Kino Lorber include Ken Loach's Sorry We Missed You, Ric Burns’ Oliver Sacks: His Own Life, and M C  Escher: Journey to Infinity 
Zeitgeist films have been nominated for Academy Awards several times  Nowhere in Africa (2001), won the Academy Award for Best Foreign Language Film  Their films have been featured in various film festivals including Cannes, Berlin, Sundance, Tribeca, and IDFA in Amsterdam  The Museum of Modern Art honored Zeitgeist with a month-long, 20th anniversary retrospective of their films in 2008  Founders Russo and Gerstman received a Lifetime Achievement Award from the Art House Convergence in 2020 

Upcoming films
Selected films
Awards
Trouble the Water – 2008 Academy Award Nominee for Best Documentary Feature
Tulpan – Kazakhstan's 2009 Academy Award submission for Best Foreign Language Film
Three Monkeys – Turkey's 2009 Academy Award submission for Best Foreign Language Film
Into Great Silence – 2006 Sundance Special Jury Prize
Nowhere in Africa – 2002 Academy Award for Best Foreign Language Film
Sophie Scholl – The Final Days – 2005 Academy Award nominee for Best Foreign Language Film
Taste of Cherry – 1997 Palme d'Or at the Cannes Film Festival
Poison – 1991 Sundance Grand Jury Prize winner
The Umbrellas of Cherbourg (1996 re-release) – Academy Award nominee, Palme d'Or winner (1964)
Passage 3:
Graduation (2016 film)
Graduation (Romanian: Bacalaureat) is a 2016 Romanian-language tragedy film produced, written, and directed by Cristian Mungiu and starring Adrian Titieni and Maria-Victoria Dragus  Set in Transylvania, the film focuses on a doctor's quest to fix his daughter's exam results by underhanded means 

Plot
Romeo is a middle-aged doctor employed at a local hospital in the Romanian region of Transylvania  He lives with his wife, Magda, and their 18-year-old daughter, Eliza, who has got a scholarship to Cambridge University  She is preparing to sit her final exams and needs to maintain a grade of at least 90% to take up her scholarship  Romeo is a doting father and drives Eliza to school regularly  
Romeo's girlfriend, Sandra, is a teacher at Eliza's school  One day while visiting Sandra he receives a message: Eliza has been assaulted near her school  She has a sprained wrist and is emotionally shaken up but is not seriously injured  She reveals that the assailant tried to rape her but did not succeed  
The next day Eliza must sit for her first examination  The headmaster tries to exclude her because she is wearing a cast on her wrist - notes can be hidden in a cast  Sandra intervenes and the headmaster backs down  The cast slows her writing and time runs out before she is finished - she will need nearly perfect results on the remaining exams to claim her scholarship  
At the police station the chief inspector suggests to Romeo that Eliza's exam results can be fixed in exchange for expediting a liver transplant for a corrupt official, a Mr  Bulai  
That evening Romeo discusses the plan with Magda and she immediately rejects it - she fears the corruption in Romania will affect Eliza's fresh start at Cambridge  Romeo argues that the exams are a mere formality, otherwise meaningless  She is unmoved  Romeo presents the plan to Eliza and implores her to accept a little help now to ensure a brighter future  She listens to him but doesn't make any committed responses, and Romeo tells her to do what she thinks is best before he leaves to let her rest 
The next day Romeo goes to the police station to see the CCTV from Eliza's attack  As he waits at the school for Eliza to complete her second exam, he speaks to her boyfriend, Marius  Romeo listens to what Marius has to say about what happened on the morning of the attack and is put off by Marius' aloofness of the whole incident  Because he was late, Eliza was left on her own  He also assumed Eliza went off to class and did not seek her out  Eliza and Marius go off together on his motorbike 
Eliza comes to fetch Romeo from Sandra's place after Romeo's mother collapses  No longer able to ignore the affair, Eliza threatens to skip her exams if he doesn't tell Magda about it immediately  She wonders aloud whether her other grades were also "fixed"  At home that evening Magda and Romeo talk  Magda already knew about Sandra and will try to get Eliza to take her last exam, but she also asks Romeo to move out 
The next day Romeo arrives for work at the hospital and is confronted by a pair of prosecutors  They want to interview Romeo's patient, Mr  Bulai, about corruption allegations against him  Romeo resists because Bulai is waiting for an operation and is quite unwell  The prosecutors caution Romeo they are aware of the quid-pro-quo arrangement for his daughter's exams - both he and Eliza could be facing charges   
Romeo visits the chief inspector again, who assures him that his daughter's assailant will soon be identified in a police line-up  Later that day he sees Marius and invites him to view the lineup, as he believes he saw Marius witness the attack on the CCTV footage  Marius refuses, saying he did not witness the attack, that it is not him in CCTV picture  Romeo accuses him of cowardice for not intervening, and for only calling the cops much later after witnessing the assault  Romeo orders Marius to stay away from Eliza, and Marius pushes him to the ground and leaves  Romeo visits the headmaster at home to warn him the prosecutors know of the plan  The headmaster tells him that he couldn't find Eliza's paper, and that he shouldn't come to his house again 
That evening at the police station Eliza fails to identify her attacker from a line-up  Later, Romeo is on a bus and sees one of the men from the line-up outside  He leaves the bus and follows him, but gets lost in a bad area  He ends up at Sandra's place and agrees to babysit her son the next morning 
The next day Mr  Bulai has died of a heart attack  The prosecutors are waiting and assure Romeo that the investigation into Mr  Bulai's crimes will continue  Romeo asks the prosecutors to come next Monday and he will co-operate with them for any of their questions  Romeo gets Sandra's son Matei into a speech therapy program  Romeo sees Eliza at her graduation and she tells him that she may not go to England  Romeo responds that it would be a shame but it's her decision  Eliza then says that the teachers gave her extra time to complete her exam, so she did not need to follow Romeo's plan for fixing her paper  She asks Romeo to take a photo of her with her graduating class 

Cast
Adrian Titieni - Romeo Aldea, a 49 year old physician living in a Transylvanian town with his daughter
Maria Drăguș - Eliza Aldea, an 18-year-old high school student planning to study psychology abroad in the United Kingdom after graduating
Lia Bugnar - Magda
Mălina Manovici - Sandra
Vlad Ivanov - Chief Inspector
Gelu Colceag - Exam committee president
Rareș Andrici - Marius

Production
According to Cristian Mungiu, the film was inspired by his own life at the time, while he was focusing on being a father  The film was produced through the director's company Mobra Films and co-produced with Why Not Productions, Wild Bunch, Les Films du Fleuve, France 3 Cinéma and Mandragora Movies  It received 1 91 million leu from the National Film Center  It was shot in the town Victoria from 11 June to 24 July 2015 

Release
Critical reception
On Rotten Tomatoes, Graduation has a rating of 95%, based on 138 critics, with an average rating of 8 2/10  The website's critical consensus reads, "Graduation marks yet another well-written and powerfully acted look at morality and societal decay from writer-director Cristian Mungiu " On Metacritic, Graduation holds a score of 84/100, based on 30 critics, indicating "universal acclaim" Peter Bradshaw of The Guardian lauded it as an "intricate, deeply intelligent film" 

Accolades
Graduation was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival  At Cannes, Mungiu shared the Best Director Award with Olivier Assayas for his film Personal Shopper  At the 8th Magritte Awards, it received a nomination in the category of Best Foreign Film in Coproduction 
Passage 4:
Olivier Assayas
Olivier Assayas (born 25 January 1955) is a French film director, screenwriter and film critic  Assayas is known for his slow-burning period pieces, psychological thrillers, neo-noirs and French comedies  He has frequently collaborated with Juliette Binoche and Kristen Stewart  The son of filmmaker Jacques Rémy, Assayas began his career as a critic for Cahiers du Cinéma  There he wrote about world cinema and its film auteurs, who later influenced his work  Assayas made several shorts, and then made the leap from writer to screenwriter 
He made his directorial film debut with Disorder in 1986  He continued directing films, with Cold Water (1994) a breakthrough film in his career  It was his first film to screen at the Cannes Film Festival in the Un Certain Regard section  His followup film, Irma Vep (1996), also screened at Cannes, while Sentimental Destinies (2000), Demonlover (2002), and Clean (2004) all officially competed for the Palme d'Or  In 2006, he contributed a short film to the anthology film Paris, je t'aime (2006)  He gained acclaim with his dramas Summer Hours (2008), Clouds of Sils Maria (2014) and Personal Shopper (2016); the latter won him the Cannes Film Festival Award for Best Director  He also directed the comedy Non-Fiction (2018) and the spy thriller Wasp Network (2019) 

Life and career
Assayas was born in Paris, France, the son of French director/screenwriter Raymond Assayas, alias Jacques Rémy (1911–1981)  His father was of Turkish-Jewish origin and had settled in Italy, while his mother, Catherine de Károlyi, was a fashion designer of Protestant Hungarian origin  Assayas started his career in the industry by helping his father  He ghostwrote episodes for TV shows his father was working on when his health failed  In a 2010 interview, Assayas said his main political influences when growing up were Guy Debord and George Orwell  Of the 1968 May uprising to overthrow Charles de Gaulle, Assayas said: "I was defined by the politics of May '68, but for me May '68 was an anti-totalitarian uprising  People seemed to forget that at the occupied Odéon theater, you had crossed flags-black and red, and I was on the side of the black element "Assayas's biggest hit to date is Irma Vep, starring Maggie Cheung, a tribute both to French director Louis Feuillade and to Hong Kong cinema 
While working at Cahiers du cinéma, Assayas wrote lovingly about European film directors he admires but also about Asian directors  One of his films, HHH: A Portrait of Hou Hsiao-hsien, is a documentary about Taiwanese filmmaker Hou Hsiao-hsien 
Assayas married Cheung in 1998  They divorced in 2001, but their relationship remained amicable, and in 2004 Assayas made his film Clean with her 
He met actress-director Mia Hansen-Løve when Hansen-Løve, 17 at the time, starred in Assayas's 1998 feature Late August, Early September, but they "didn't get together until [she] was 20"  They separated in 2017 
In 2009 and 2010, Assayas signed two petitions in support of director Roman Polanski, who had been detained while traveling to a film festival in relation to his 1977 sexual abuse charges, which the first petition argued would undermine the tradition of film festivals as a place for works to be shown "freely and safely", and that arresting filmmakers traveling to neutral countries could open the door "for actions of which no-one can know the effects" Assayas directed and co-wrote the 2010 French television miniseries Carlos, about the life of the terrorist Ilich Ramírez Sánchez  Venezuelan actor Édgar Ramírez won the César Award for Most Promising Actor in 2011 for his performance as Carlos 
In April 2011, it was announced that Assayas would be a member of the jury for the main competition at the 2011 Cannes Film Festival Assayas's 2012 film Something in the Air was selected to compete for the Golden Lion at the 69th Venice International Film Festival  Assayas won the Osella for Best Screenplay at Venice  His 2014 film Clouds of Sils Maria was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival  Sils Maria won the Louis Delluc Prize and garnered six César Award nominations, including Best Film, Best Director, and Best Original Screenplay  The film won a César Award for Best Supporting Actress for Kristen Stewart  In 2016, Assayas won Best Director Award (Cannes Film Festival) for Personal Shopper, which also starred Stewart In June 2017, it was announced that Assayas would preside over the 2017 Locarno Film Festival 

Style and influences
In an interview with Nick Pinkerton of Reverse Shot, Assayas talked about his influences:That radicality in cinema involved just being outside of the world of modern images, and the key to it was the work of Robert Bresson, who has been by far the most important influence in my work, and intellectually it's been the influence of Guy Debord—basically, you know, it's been Debord-Bresson, Bresson-Debord, the things that've always defined my framework, the way I look at the world 
Assayas participated in the 2012 Sight & Sound directors' poll, listing his ten favorite films as follows: 2001: A Space Odyssey, The Gospel According to St  Matthew, Ludwig, A Man Escaped, Mirror, Napoléon, Playtime, The Rules of the Game, The Tree of Life, and Van Gogh 

Filmography
Film
As a writer only

Passage secret (1985)
Rendez-vous (1985)
L'Unique (1986)
Scene of the Crime (1986)
Avril brisé (1987)
Filha da Mãe (1990)
Alice and Martin (1998)
Based on a True Story (2017) - Co-written with Roman Polanski

Television
Short films
Awards and nominations
Passage 5:
Jorge Arriagada
Jorge Arriagada (born 1943) is a Chilean film composer  He is perhaps best known for his long-term collaboration with director Raúl Ruiz  He has also worked with directors Patricio Guzman, Barbet Schroeder and Olivier Assayas 

Biography
Jorge Arriagada was born on August 20, 1943, in Santiago  He studied composition and orchestral conduction at the National Conservatory of Music in Santiago  He then obtained a scholarship from the French government that enabled him to study expressionism with Max Deutsch, who was Austrian composer Arnold Schoenberg's friend and student  He also studied composition with Olivier Messiaen and orchestral conduction with Pierre Boulez  In 1972, the Guggenheim Foundation in New York awarded him a fellowship for his contribution in the field of electronic music 
Arriagada has been living in France since 1966, working with experienced as well as promising directors while composing the scores of 44 of Raúl Ruiz's films  Over the years he has explored many different genres, including classical, contemporary and folk music as well as jazz 
He has been a jury in several film festivals, including San Sebastian, São Paulo, Valencia, among others 
Sacem Grand Prize for Music for the Image 2020 

Filmography
Discography
Three original soundtracks composed by Arriagada can be found on the CD compilation Les Musiques de Jorge Arriagada pour les films de Philippe Le Guay, released by Canadian label Disques Cinémusique, in 2013 : Alceste à Bicyclette, Les Femmes du 6e étage et Les Deux Fragonard  French and English liner notes  More information here 
The same label also released the same year Arriagada's complete original soundtrack from Les Lignes de Wellington  More information here 

External links
Jorge Arriagada at IMDb
Passage 6:
Irma Vep
Irma Vep is a 1996 French comedy-drama film written and directed by Olivier Assayas  Hong Kong actress Maggie Cheung plays a fictionalised version of herself, as disasters result when an unstable French film director (played by Jean-Pierre Léaud) attempts to remake Louis Feuillade's classic silent film serial Les Vampires (1915–16)  (Irma Vep is an anagram for the word "vampire" ) Taking place largely through the eyes of a foreigner (Cheung), it is also a meditation on the state of the French film industry 
Irma Vep was screened in the Un Certain Regard section at the 1996 Cannes Film Festival  It was released in France on 13 November 1996  
In 2022, the film was reimagined as a miniseries for HBO, created by Assayas 

Plot
The plot mirrors the disorientation felt by director René Vidal during a troubled production of a film-within-a-film  Maggie Cheung has been cast to play the film's heroine, Irma Vep, a burglar and a spy, who dresses in a tight, black, latex rubber catsuit  Irma Vep, it is explained, is an anagram for vampire, but she is not a literal vampire  Rather, she is the inspiration for a criminal gang named The Vampires, as in Feuillade's original serial 
René, the cast and crew view the film's dailies and he angrily declares the footage terrible and soulless  After he storms out, everyone else quickly departs the facility, leaving Maggie stranded  She accepts an invitation from the costume designer, Zoé, to a group dinner with other crew members  There, Zoé confides to another woman that she is romantically interested in Maggie, which the woman then tells Maggie, embarrassing her 
After the dinner with the other crew members, Maggie visits René at a hotel in the aftermath of a violent episode with his wife  René admits that he had mainly wanted to make the film because he desired to see her in it  Later that evening, Maggie, apparently possessed by her character, dons the catsuit and steals jewelry from a hotel suite while a nude woman argues on the phone with her boyfriend  She then throws away the jewelry 
The next morning, Zoé picks an exhausted Maggie up from her hotel room  René is a no-show on the set, and the crew attempt to film without him  At the end of the day, imperious film director José Mirano meets Maggie's costar Laure at a bar and tells her René has had a breakdown and that he has been hired to complete the film  He firmly contends that a Chinese actress should not be playing Irma Vep, who he sees as an icon within French culture  José tells her he intends to replace Maggie with Laure 
Zoé and Maggie take a taxi to a rave, but Maggie declines to go at the last minute and departs in the taxi  Zoé, looking disappointed, walks through the crowd at the rave 
José and the cast and crew gather at the screening facility to view the rushes that René has personally edited  Maggie is not there, however, and it is said that she has left for America to work on a film with Ridley Scott  The film ends with the rushes, which have been cut into a hallucinatory montage with numerous scratches and other modifications being done to the film itself  The future of the production is not revealed 

Cast
Allusions to French film history
The film refers to iconic figures in French film history: Louis Feuillade, Musidora, Arletty, François Truffaut, the Groupe SLON, Alain Delon, and Catherine Deneuve  Thematically, the film questions the place of French cinema today  According to Chris Darke, it is not a "mourning for cinema with the romantic nostalgia" but "more like the Mexican Day of the Dead: remembrance as an act of celebration"  Furthermore, Dale Hudson of Screen wrote, "It is less a film about re-presenting the past, than it is a film about addressing the present, specifically the place of France within the global economy "

Production
The idea for the film was born out of an attempted collaboration among Assayas, Claire Denis, and Atom Egoyan, who wanted to experiment with the situation of a foreigner in Paris  In the 1915 original serial, written and directed by Louis Feuillade, Irma Vep was played by French silent film actress Musidora (1889–1957)  Much of the film depicts set-related incidents that echo scenes in Truffaut's 1973 film Day for Night, to which Irma Vep owes a large thematic debt 
However, Assayas publicly stated that although he considers La nuit americaine a great film, it is more about the fantasy of filmmaking than the reality  Assayas credits as a greater inspiration Rainer Werner Fassbinder's Beware of a Holy Whore, in which Lou Castel, who plays the replacement director José Mirano in this film, plays a film director 
Assayas wrote the script in ten weeks, and the film was shot in a month, with no retakes  "Its hasty production circumstances seem perilously close to the ones that cause everyone such grief in the film "Assayas married Cheung in 1998  They divorced in 2001  They again collaborated in 2004 on the film Clean 

Reception
Irma Vep received a positive critical response  On Rotten Tomatoes, the film holds a rating of 94% based on 47 reviews with an average rating of 7 4/10  The website's critics consensus reads, "Starring a bewitching Maggie Cheung, Irma Vep is an evocative and reflexive satire of the filmmaking process that is bursting at the seams with an affection for cinema " On Metacritic, it has a metascore of 80 out of 100 based on 21 reviews, indicating "generally favorable reviews" 

References in other media
Lettrist footage from the film, along with shots from the original Les Vampires, are used in White Ring's video for their single "IxC999" 
A character in the five-comic series "Anno Dracula – 1895: Seven Days in Mayhem" by Kim Newman and Paul McCaffrey is based on Irma Vep 

Home media
Irma Vep was released on Blu-ray and DVD through The Criterion Collection on 27 April 2021 

Television adaptation
HBO produced a limited television series adaptation of the film that premiered at the Cannes Film Festival on 22 May 2022, and was released on 6 June 2022 on HBO  It stars Alicia Vikander, Vincent Macaigne, Adria Arjona, Byron Bowers, Devon Ross, Carrie Brownstein, Tom Sturridge and Fala Chen and was written and directed by Assayas 

See also
The Mystery of Irma Vep, a 1984 play for two characters by Charles Ludlam
Lettrism, inspiration for some sequences of the film
Passage 7:
Something in the Air (2012 film)
Something in the Air (French: Après mai; lit  'After May') is a 2012 French drama film written and directed by Olivier Assayas  The film was selected to compete for the Golden Lion at the 69th Venice International Film Festival, where Assayas won the Best Screenplay Award 

Plot
In 1971, French student Gilles gets entangled in contemporary political turmoils although he would rather just be a creative artist  While torn between his solidarity to his friends and his personal ambitions he falls in love with Christine 

Cast
Clément Métayer as Gilles
Lola Créton as Christine
Félix Armand as Alain
Carole Combes as Laure
India Menuez as Leslie
Hugo Conzelmann as Jean-Pierre
Martin Loizillon as Rackam le Rouge
André Marcon as Gilles' Father
Passage 8:
Clouds of Sils Maria
Clouds of Sils Maria (known simply as Sils Maria in some territories) is a 2014 psychological drama film written and directed by Olivier Assayas, and starring Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz  The film is a French-German-Swiss co-production  Principal photography took place from August to October 2013, with most of the filming taking place in Sils Maria, Switzerland  The film follows an established middle-aged actress (Binoche) who is cast as the older lover in a romantic lesbian drama opposite an upstart young starlet (Moretz)  She is overcome with personal insecurities and professional jealousies—all while sexual tension simmers between her and her personal assistant (Stewart)  The screenplay was written with Binoche in mind and incorporates elements from her life into the plot Clouds of Sils Maria was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival on 23 May 2014, and also screened at the Toronto International Film Festival and New York Film Festival  The film received positive reviews, with critics lauding the work as psychologically complex and praising the lead actresses' performances  It won the Louis Delluc Prize for Best Film in December 2014, and received six César Award nominations  Stewart received the César Award for Best Supporting Actress in February 2015, the first time an American won the award 

Plot
Maria Enders is an international film and stage actress  She travels with a loyal and young American assistant, Valentine  Twenty years earlier, Maria got her big break when she was cast and successfully performed as a young girl Sigrid in both the play and film version of Maloja Snake by Wilhelm Melchior, a Swiss playwright who is now elderly  The play centers on the tempestuous relationship between Sigrid and Helena, a vulnerable older woman  Helena commits suicide after Sigrid takes advantage of her and dumps her 
While traveling to Zürich to accept an award on behalf of Wilhelm, and planning to visit him at home the following day at his house in Sils Maria—a remote settlement in the Alps—Maria learns of his death  His widow Rosa later confides that Wilhelm had ended his life and had been terminally ill  During the awards ceremony, Maria is approached by Klaus Diesterweg, a popular theater director  He wants to persuade her to appear onstage in a revival of Maloja Snake, but this time in the role of Helena 
Maria is torn and reluctantly accepts  To prepare for the role, she accepts Rosa's offer to stay at the Melchiors' house in Sils Maria  Rosa is leaving to escape her memories of Wilhelm  Maria's discussions with Valentine and their read-throughs of the play's scenes evoke uncertainty about the nature of their relationship  A young American actress, 19-year-old Jo-Ann Ellis, has been chosen to portray the role of Sigrid  Researching her on Google and the Internet, Valentine tells Maria, who is out of touch with social media, that Ellis has been involved in numerous scandals 
Questions soon multiply regarding aging, time, culture and the blurring line between the Sigrid/Helena and the Valentine/Maria relationships  Maria and Jo-Ann finally meet, but their relationship is complicated  Jo-Ann appears to be implicated in the attempted suicide of the ex-wife of her new boyfriend 
During their time at Sils Maria, Maria and Valentine spend much of their days hiking in the Alps  On one such final outing, they hike to the Maloja Pass to observe the Maloja Snake (both the "Maloja Snake" of the play's title and the "Clouds of Sils Maria" in the film's title)  When discussing the play’s ending, in which Helena walks into the mountains never to return, Valentine suggests that Helena can still be alive and walk away to start a new life  Maria protests that Helena must be dead because she doesn’t return  After suggesting that their approaches to the play are too different for her (Valentine) to be a useful assistant, Valentine disappears without explanation 
A few weeks later, a young filmmaker who has previously sent a script to Maria visits her by appointment five minutes before the curtain rises on the opening night of Maloja Snake in London  Maria seems preoccupied, being so close to the start of the performance, and dismisses his suggested ideas about the proposed film role he is offering her as "too abstract for me"  When she says the role he has written is too young for her and would suit Jo-Ann better, he suggests that the character is ageless and that he does not relate to his era with its Internet scandals and trashy values  Maria does not give him a reply as to whether she will take part in the film  She then appears onstage, smoking and waiting for Sigrid 

Cast
Production
Principal photography of Clouds of Sils Maria began on 22 August 2013 and ended on 4 October  The film was shot on location in the titular village of Sils Maria, Switzerland as well as Zürich; Leipzig, Germany; and South Tyrol, Italy 
In an interview, Assayas said that all the film's interiors were shot in Germany  The production moved to Sils Maria to film the hiking scenes, and moved again to film the scenes in and around the chalet in South Tyrol The Chanel company debuted in film financing with this production  In addition it supplied the actresses with clothes, jewelry, accessories, and makeup, and the brand was scripted in as a provider of the same to Maria   Chanel provided some of the budget to allow Olivier Assayas to fulfill his dream of shooting a film on 35-mm film instead of digitally Assayas has described the fictional play Maloja Snake as a "condensed, brutalized version" of The Bitter Tears of Petra von Kant, a play by Rainer Werner Fassbinder (it was later adapted as a film of the same name) The American title of the film is Clouds of Sils Maria  In France the film was released as Sils Maria, Assayas' original name 

Release
Marketing
The first trailer for the film was released on 22 May 2014  Another international trailer followed on 7 July 

Film festivals
The film was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival on 23 May 2014  It also screened at the Toronto International Film Festival and New York Film Festival 

Reception
Critical response
On review aggregator Rotten Tomatoes, 91% of 179 critics have given the film a positive review, with an average rating of 7 6/10  The website's critics consensus reads: "Bolstered by a trio of powerful performances from its talented leads, Clouds of Sils Maria is an absorbing, richly detailed drama with impressive depth and intelligence " On Metacritic, the film has a weighted average score of 79 out of 100, based on 41 reviews from critics, indicating "generally favorable reviews" Clouds of Sils Maria premiered at the Cannes Film Festival to positive reviews  Robbie Collin of The Daily Telegraph stated, "This is a complex, bewitching and melancholy drama, another fearlessly intelligent film from Assayas " He said, "Binoche plays the role with elegance and melancholic wit – her character slips between fiction and fact in a way that recalls her role in Abbas Kiarostami's Certified Copy  But it's Stewart who really shines here  Valentine is probably her best role to date: she's sharp and subtle, knowable and then suddenly distant, and a late, surprising twist is handled with a brilliant lightness of touch "Peter Debruge of Variety said it was Assayas' "daring rejoinder, a multi-layered, femme-driven meta-fiction that pushes all involved—including next-gen starlets Kristen Stewart and Chloë Grace Moretz — to new heights " Matt Risley of Total Film called it "an elegant, intelligent drama, enlivened by strong performances by Binoche, Moretz and especially Stewart, for whom this will surely usher in a new dawn "Stephanie Zacharek of The Village Voice wrote: "But the movie's true center, the meteorological phenomenon that makes it so pleasurable to watch, is the half-prickly, half-affectionate interplay between Binoche and Stewart " Ben Sachs of Chicago Reader wrote: "This recalls Ingmar Bergman's chamber dramas in the intensity and psychological complexity of the central relationship, yet the filmmaking is breathtakingly fluid, evoking a sense of romantic abandon "However, Kyle Smith of the New York Post writes: "A backstage drama that has all the sizzle of a glass of water resting on the windowsill, [   ] Clouds of Sils Maria mistakes lack of dramatic imagination for smoldering subtlety " Richard Brody from The New Yorker writes: "Clouds of Sils Maria, as the title suggests, is a sort of travelogue, a commercial for European cultural tourism, and, as such, it's the perfect image of the very system that created it  There's almost no independent filmmaking in France, and there isn't supposed to be  If there were, it would stand as a threat to the system that, by way of training, enticements, and restrictions, is the source of the comforts that the movie depicts and that the movie reflects  The mediocrity is stifling "

Box office
Clouds of Sils Maria opened in France on 20 August 2014 in 150 theaters for a $3,663 per theater average and a box office total of $549,426 as of 24 August 2014  The film expanded to 195 theaters in its second week of release, and the box office increased to an estimated $1,150,090 
Clouds of Sils Maria opened in the United States on 10 April 2015 in three theaters and grossed $69,729 on its opening weekend for an average of $23,243 per  As of 4 June 2015, the film has grossed an estimated $1,743,577 after expanding theaters 

Awards and nominations
The film won the Louis Delluc Prize for Best Film in December 2014  The film received six César Award nominations including best film, best director, best actress, best original screenplay, and best cinematography, while Stewart won for best supporting actress, becoming the first American actress to win a César and the third  American actor to win after Adrien Brody in 2003 and Christopher Lambert in 1985 

Soundtrack
"Kowalski" by Primal Scream
"Largo de Xerxes" – Georg Friedrich Handel
"Canon and Gigue in D Major for 3 Violins and Basso Continuo" – Johann Pachelbel
"Paavin of Albarti (Alberti)" – Innocentio Alberti (performed by Hesperion XXI)
"Sonata No  2 in D Minor" – Georg Friedrich Handel
"Sonata No  2 in B-Flat Major for Violin and Harp, Op  16: II  Adagio" - Louis Spohr
"Trio for Violin, Cello and Harp in E minor: III  Rondo" - Louis Spohr

Home media
The film was released on DVD and Digital HD by Paramount Home Media on July 14, 2015; the company also handles the digital entertainment sales, with IFC handling the video on demand sales The Criterion Collection released a DVD and Blu-ray edition on 28 June 2016 
Passage 9:
Eddie's House
Eddie's House was a doghouse designed by Frank Lloyd Wright for the Berger family of San Anselmo, California, to be used by their dog Eddie  Wright designed Eddie's House to be in keeping with the family's home, known as the Robert Berger House, which he had previously designed  The plans for the doghouse were completed by Wright in 1957, and the 4 sq ft (0 37 m2) triangular house was built in 1963  In 1973 Eddie's House was removed and thrown away, but in 2010 Jim and Eric Berger, sons of Robert Berger, rebuilt Eddie's House from the original plans for a segment in Romanza, a documentary film by Michael Miner about Frank Lloyd Wright's architectural works in California  The doghouse remains the smallest structure Frank Lloyd Wright ever designed 

History
Eddie's House was a doghouse designed by Frank Lloyd Wright as an addition to the Robert Berger House   The Robert Berger House is a dwelling designed by Frank Lloyd Wright for the Berger family   Wright gave the plans to trained engineer and College of Marin professor Robert Berger to build the house on his own on Redwood Road in San Anselmo, California  It took 20 years to finish the US$15,000 house In 1956, Robert's 12-year-old son Jim Berger became concerned about his black Labrador Retriever Eddie staying outside in the winter, and decided he needed a doghouse to stay warm  Jim subsequently wrote a letter to Frank Lloyd Wright stating, "I would appreciate it if you would design me a doghouse which would be easy to build but would go with our house " Jim continued to explain Eddie's dimensions ("two and a half feet high and three feet long"), his dog's age ("four years old or in dog life 28 years"), and his ability to pay for the plans and materials of the doghouse with earned money from delivering newspapers along a bicycle paper route he had  Wright responded to the letter with a typed and signed note on Taliesin West stationery  The note stated that "A house for Eddie is an opportunity   but just now I am too busy to concentrate on it " Wright implored the boy to write again a year later to see if he was a little less busy Jim followed the suggestion laid out by Wright and a year later wrote again asking for a Frank Lloyd Wright-designed doghouse  Not long after sending out this second letter a full set of working drawings arrived in the mail for a four square foot triangular doghouse designed by Wright himself  The doghouse was to be built of scrap Philippine mahogany and cedar left over from the construction of the human-sized house it was to be situated next to  Looking back at the situation a 68-year-old Jim Berger stated:
My dog had a lot of class, and a Frank Lloyd Wright doghouse was perfect for him  I was very excited for my dog 
Jim Berger never built the doghouse and in 1963, at the age of 19, Jim joined the U S  Army  That same year, after Jim's departure, his younger brother Eric and his father completed the doghouse  Eddie did not particularly like the new house and took to sleeping by the front door of the Robert Berger House instead, presumably because it was warmer there  "That was kind of depressing," stated Jim Berger when reflecting on the incident Robert Berger died in 1973 and Mrs  Berger, not seeing any value in a triangular doghouse that Eddie and the subsequent dogs they owned would not sleep in, had it hauled to the dump the same year In 2010, while filming a documentary about buildings designed by Wright in California, Michael Miner stumbled across the doghouse story  Miner asked Jim Berger if rebuilding Eddie's House was an option  Jim, at this point a retired woodshop teacher, said that he had wanted to rebuild the doghouse for years and this was the opportunity to do so  Over the next three months Jim and his brother Eric, a skilled cabinetmaker, were filmed by Miner rebuilding the doghouse to Wright's specification in Eric's Petaluma, California garage  Jim Berger said, in relation to the construction process, "In the letter, I said I wanted something easy to build, but this doghouse was not easy to build  It was very complicated "The construction process is featured in Miner's documentary, Romanza, and the rebuilt doghouse also went on a publicity tour for the film  During filming, the rebuilt doghouse was placed on the side of the Robert Berger House where the original once sat  On that day it happened to be raining and Miner noticed something peculiar about the doghouse which it had in common with other Wright-designed structures:  "It leaks "

Design
Eddie's House is the smallest structure ever known to be designed by Frank Lloyd Wright and fits in well with the Robert Berger House  Eddie's House was constructed of the same materials as the larger house and the "small triangular hut    bowed to the hexagonal geometry of the house's hexagonal plan " The doghouse also displays many signature design elements that have come to represent Frank Lloyd Wright's architectural style  These include an entrance hidden on the rear of the house, and a large overhang on a roof with a low pitch When Eddie's House was actually constructed, the Berger family did not follow Wright's plans strictly  They changed the location of the door as well as not including a concrete base planned by Wright to make the doghouse portable 

See also
List of Frank Lloyd Wright works
 Architecture portal
 Dogs portal
Passage 10:
Cold Water (film)
Cold Water (French: L'eau froide) is a 1994 French film written and directed by Olivier Assayas about two troubled teenagers in France during the 1970s  The film was screened in the Un Certain Regard section at the 1994 Cannes Film Festival In October, 2007, it was screened at the Pacific Film Archive in Berkeley, California, where Assayas spent a week in residence introducing and discussing his films with the audiences there  He was accompanied by his friend Jean-Michel Frodon, the current director of the journal Cahiers du cinéma, of which Assayas was once the director  Assayas said the film is autobiographical, reflecting upon his own teenage years  He went out of his way to cast actors who were not professionals or who, as in the case of male lead Cyprien Fouquet (playing Gilles), had never acted before, although female lead Virginie Ledoyen (playing Christine) had appeared in several films  The film was the result of a commission from French TV, which wanted a 52-minute film but allowed Assayas to make a longer version, after some negotiations 

Plot
Gilles and Christine are teenagers from unstable homes  When they do some shop-lifting together she is arrested, but he gets away  She escapes from a mental institution and meets him at an abandoned house in the country, where a large group of rebellious teenagers are having a wild, all-night party  American rock music from the period is played prominently and has a very strong effect, especially "Me and Bobby McGee," sung by Janis Joplin  Drugs are used, mainly pot and hash  As the party is winding down, Gilles and Christine escape even deeper into the countryside, searching for a commune where artists are said to live without electricity or running water  This is Christine's idea, but Gilles reluctantly goes along  A jolting conclusion shows us that, as Assayas puts it, "Gilles' real life has now begun "

Cast
Virginie Ledoyen - Christine
Cyprien Fouquet - Gilles
László Szabó - Gilles's father
Jean-Pierre Darroussin - Inspector
Jackie Berroyer - Christine's father
Dominique Faysse - Christine's mother
Smaïl Mekki - Mourad
Jean-Christophe Bouvet - Professor
Ilona Györi - Marie
Renée Amzallag - The nurse
Jérôme Simonin - Vendeur de dynamite
Laetitia Lemerle - Corrine
Alexandra Yonnet - Copine blouson
Caroline Doron - Copine blessée
Laetitia Giraud - Christiane



ground_truth: no