cyanic-selkie/wikianc huggingface dataset:
乌石镇 (黄山市)
乌石镇地域面积264.3平方公里，户籍人口约12500人. 乌石镇是黄山区西部的商贸中心和物资集散地，集田区、山区、库区于一身，有林山场20000公顷，农田和茶园分别为660余公顷. 境内既有重峦叠嶂、茂林竹海、飞瀑流泉、云蒸霞蔚之神秀，又有阡陌纵横、牛羊相逐、湖帆点点、渔歌唱晚之恬适，一派世外桃源般田园风光. 全镇森林覆盖率达80%以上，空气和水质常年保持国家一级标准，是安徽省名优茶出口基地和黄山市的有机茶之镇，先后荣获“全国造林绿化百佳乡镇”、“安徽省优秀旅游乡镇”等称号.
行政区划
乌石镇下辖以下地区：
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赵薇 (篮球运动员)
赵薇（），生于吉林省，中国女子篮球运动员，曾随中国国家队参加1988年夏季奥林匹克运动会女子篮球比赛，最终获得第六名.
滿州鄉
滿州鄉（Vangecul；）位於臺灣屏東縣南端東側，北及西北臨牡丹鄉，東濱太平洋，西鄰車城鄉，南及西南接恆春鎮. 此地有原住民及漢人等混居，其中排灣族佔本鄉人口約四分之一.
滿州鄉位處恆春半島的東部丘陵，地質上算是中央山脈的餘脈，市中心部分則屬於盆地地形，因此鄉境內雖然多山，但地勢卻較為低緩，海拔均在700公尺以下. 氣候上屬熱帶季風氣候，受地形影響，每年10月到隔年2月都會有強勁的落山風吹襲. 滿州鄉的部分轄境被劃入墾丁國家公園的範圍，觀光業相當發達.
歷史
此地主要為瑯嶠十八社的領土，早期當地排灣族人在打獵後，常將食用剩餘的獵物丟棄於此處，使此地遍佈動物的腐屍氣味，故以排灣語「vangecul」稱之，意為「臭氣」. 一說，斯卡羅人南遷時在此地與排灣族人打一場大戰，排灣戰死者無數，使此地之後遍佈屍體的臭味而得名. 後來移墾至此的漢人亦以台語音譯為「蚊蟀」（báng-sut），並作「蚊蟀埔」. 1920年台灣地名大變革，台灣總督府改以日語音譯為「滿州」（manshū）將之易名，並設置「-{滿州庄}-」，劃歸高雄州恆春郡管轄. 戰後初期改劃設為高雄縣恆春區滿州鄉，1950年改隸屏東縣至今.
人口
根據屏東縣恆春戶政事務所統計，2022年底滿州鄉戶數約3千戶，人口約7.5千人，鄉內人口最多與最少的村分別是滿州村與港仔村，2022年底兩村人口分別為1,645人與334人.
第1装甲师 (英国)
歷史
在1940年，第1裝甲師調往法國，並參加了稍後爆發的法國戰役. 該師曾經在布隆涅和加萊兩地作戰. 但是因爲防守失利而損失一部分部隊. 隨後，該師一直在索姆河以南作戰，直到1940年6月16日撤離歐洲大陸. 之後，在英國本土駐守一段時間後，於1940年8月派往北非，並在11月抵達. 該師在北非曾經參與第一次和第二次阿拉曼戰役. 在1944年5月，該師前往義大利，在義大利作戰期間，曾經參與進攻哥特防線.
最終，1944年10月，該師轉爲“非作戰部隊”. 次年（1945年）1月1日，該師解散.
穆罕默德三世
穆罕默德三世可以指：
滿州鄉
鄉政組織
滿州鄉民代表會是滿州鄉的最高民意機關，代表滿州鄉全體鄉民立法和監察鄉政. 鄉民代表由公民直選選出，任期為四年，可連選連任. 滿州鄉民代表會共有7位鄉民代表，分別為第一選區2席鄉民代表、第二選區2席鄉民代表、第三選區2席鄉民代表、第四選區1席鄉民代表，主席、副主席由7位鄉民代表互選產生.
旅遊
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瀑布
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新华乡 (黄山市)
新华乡，是下辖的一个乡镇级行政单位.
行政区划
新华乡下辖以下地区：
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馬斯烏德二世
馬斯烏德二世（II. Mesud，），西喀喇汗国第17代汗，阿里·恰格雷汗的儿子. 西喀喇汗国是西辽的属国，阿里·恰格雷汗死后，侄子马黑木三世和儿子馬斯烏德二世争位. 最后在西辽的支持下，馬斯烏德二世胜出，夺得汗位. 他联合西辽、东喀喇汗攻打花剌子模支持的葛逻禄，最终击败了葛逻禄人，他死后，马黑木三世的弟弟骨咄祿·毗伽汗夺得汗位.
清朝货币
清朝货币，是指中国清代时的货币. 清朝从1616年努尔哈赤建立后金政权到1912年中华民国成立间的296年里曾发行了多种货币. 清朝前期的货币制度基本沿袭了明朝币制，即大额用银两，小额用铜钱的银钱复本位，或称银钱平行本位，后期为应对外国经济入侵带来的币制混乱，清王朝进行了多次币制改革.
清朝历代皇帝均发行有年号钱；从乾隆年间开始，清政府在西藏开始发行银币；咸丰年间曾发行户部官票和大清宝钞；清朝后期，以制钱为主的中国传统铸币逐渐被机制币所取代，而银两也被银元所取代.
后金货币
1616年（明万历四十四年），努尔哈赤在赫图阿拉称汗建国，建元天命，始铸钱币，分老满文“天命汗钱”及汉文“天命通宝”. 早期天命钱铸造粗劣，天命六年（1621年，明天启元年）迁都辽阳，始正式铸钱. 由于当时后金所在的关外商品经济活动不发达，满洲人多不用钱，结果所发行的天命钱最后多被用作了装饰品.
1626年（明天启六年），皇太极继位. 次年改元天聪，铸“天聪汗钱”当十大钱，钱文为老满文. 1636年皇太极在盛京称帝，改国号为“大清”. 由于当时东北地区货币经济并不发达，还存在物物交换的原始交易，同时战争中掠夺的大量财富减少了对本朝货币的需求，因此后金货币的铸行量很少.
后金政权曾发行的货币如下：
顺治年间
1643年（崇德八年），皇太极去世，其子福临继位，1644年清军入关，改元顺治. 1644年始在北京设局铸“顺治通宝”钱，后随天下统一，在各地分别设铸钱局开铸钱币. 顺治通宝铸行之初与明钱同时流通，后不久独行清钱. 该币为黄铜铸造，其中铜占七成，锌占三成. 顺治通宝铸行过程中的钱制形式曾发生多次改变，按照背文可分为五种，即所谓的“顺治五式”.
咸丰年间
咸丰朝是中国货币史上的一段币制混乱时期，除了以往各朝发行的小平钱制钱外，咸丰朝还发行了虚值大钱，以及户部官票和大清宝钞等纸币和咸丰宝藏、上海银饼和银锭等银质货币.
新丰乡 (黄山市)
新丰乡，是下辖的一个乡镇级行政单位.
行政区划
新丰乡下辖以下地区：
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新馬羅夫
新馬羅夫是克羅地亞的城鎮，位於該國北部貝德尼亞河右岸，距離首府瓦拉日丁18公里，由瓦拉日丁縣負責管轄，該鎮在1929至1991年間由南斯拉夫負責管治，2011年人口13,238.
美登木
用途
抵抗發炎反應以及刺激免疫系統. 維持腎上腺系統，平衡且調節月經週期. 對關節炎、風濕病、背痛、肌肉抽筋、發燒、皮膚腫瘤、支氣管炎、腹瀉等有效.
胀果美登木
胀果美登木（学名：Maytenus inflata）是卫矛科美登木属的植物，为中国的特有植物. 分布在中国大陆的云南等地，生长于海拔1,200米的地区，常生于山坡上，目前尚未由人工引种栽培.
卡克福斯特斯站
卡克福斯特斯站（Cockfosters tube station）位於英國北倫敦恩菲爾德區和巴尼特區交界，是倫敦地鐵皮卡迪利線的北端終點站. 本站位於卡克福斯特路上，距離倫敦市中心約14.4公里. 本站位於倫敦軌道運輸第5收費區.
菲利普·巴雷
菲利普·巴雷（Philippe Barrès；），法国著名记者.
卡克福斯特斯站
歷史
芬斯伯里公園站作為皮卡迪利線北端終點時，由於許多乘客需要在該站轉乘公車、電車或市郊鐵路以繼續向北的旅程，該站經常出現極度擠逼的情況. 大北方鐵路公司曾計劃電氣化其服務該站的通勤鐵路線以加密班次，但屢次因為資金不足而放棄. 針對芬斯伯里公園站的擁擠情況，政府展開了「北及東北倫敦交通研訊」，但初期報告只建議皮卡迪利線延伸一站至曼諾樓. 就以上問題，政府需要倫敦及東北鐵路公司（大北方鐵路繼承者）就電氣化鐵路及放棄反對興建皮卡迪利線北延線作出選擇. 由於倫敦及東北鐵路公司仍然無法籌得足夠資金進行電氣化工程，於是惟有不情願地支持皮卡迪利線向北延伸.
貝德尼亞河
貝德尼亞河是克羅地亞的河流，位於該國北部，屬於德拉瓦河的右支流，河道全長133公里，流域面積966平方公里，河畔城鎮有新馬羅夫.
卡克福斯特斯站
歷史
自此，地下鐵路委員會開始研究北延線的走線. 儘管托特納姆和哈林蓋兩區均有向委員會爭取北延線延伸至該兩區，但委員會認為最佳走線是大北方鐵路（今東海岸主線）和哈特福環線之間的中間線. 走線經過曼諾樓、伍德格林和南門，並以橡木林（時稱恩菲爾德西）為總站，以避開當時已有的物業發展. 1929年11月北延線建議走線向北延長一站，亦即改為以本站為總站. 1930年6月4日，國會批准以該走線興建皮卡迪利線北延線.
北延線隧道工程大致於1931年10月完成，而伍德格林至磅林的隧道工程則於同年底完成. 皮卡迪利線於1932年9月北延至亞諾斯高夫，1933年3月北延至橡木林，並最終於1933年7月31日北延至本站. 在啟用之前，本站曾建議稱為特倫特公園或卡克福斯特斯（Cock Fosters），最終決定將後者合併成單字作為站名. 本站站房由英國建築師設計，以磚、玻璃及鋼筋混凝土建成，帶有歐洲現代建築風格. 霍登最初的設計草圖顯示他曾打算於本站設立兩座塔，但該兩座塔最終並未建成. 與其他霍登設計的地鐵站比較，本站較為細小平實，欠缺橡木林站和亞諾斯高夫站擁有的大型站房，也沒有南門站站房擁有的前衛建築風格. 本站最大的建築特色是其以混凝土和玻璃建成的月台棚頂和車棚. 阿克斯橋站於1937-38年建成的車棚亦有類似設計. 現今橡木林、亞諾斯高夫、南門與本站均已列為2*級登錄建築.
本站擁有3條軌道及4座月台，中央軌道由其兩側的2、3號月台服務. 卡克福斯特斯維修車廠位於本站與橡木林站中間，並設有軌道分別連接該兩站.
2006年末，本站經歷了一次大規模翻新，是倫敦地鐵公司耗資10億英鎊投資的其中一個項目，使得其鄰近區域顯得更為嶄新，又不失舊建築的風華. 工程於2007年5月結束.
2020年9月，倫敦交通局為本站增設了一部通往月台的升降機. 本站因而成為第80個由入口到月台均提供無障礙通道的倫敦地鐵車站.
未來發展
2010年代後期，倫敦交通局為了增加持有土地所帶來的收入，曾有計劃利用本站停車場作物業發展.
2020年，倫敦交通局計劃在本站停車場興建四幢住宅大廈，合共超過350個單位（其中4成為可負擔單位）. 計劃亦包括新的公共空間、單車泊位和殘疾人士專用泊位. 目前計劃受到當區居民抨擊，他們憂慮計劃將減少本站停車場的泊位數目，並破壞當區環境.
斑鸭兰属
（学名：Neotinea）是兰科的一属.
鬧鐘電視AQUA
《鬧鐘電視AQUA》（めざましテレビ アクア）是日本富士電視台及其聯播網（FNN）周一至周五早上4:00 - 5:25播出的晨間新聞資訊節目，於2014年3月31日開始播出. 接檔《鬧鐘新聞》.
斑鸭兰属
下属物种
本属包括以下物种：
满洲 (消歧义)
满洲可以指：
人定湖公园
人定湖公园，位于北京市西城区德胜街道安德路六铺炕街15号.
简介
1958年，人民政府发动群众建造了这座区域公园. 经过北京市、西城区有关部门批准，西城区园林局于1994年4月对人定湖公园开展全面改造，1996年6月全面竣工并对外开放. 2008年，西城区宣布，投资1600万元人民币改造的人定湖公园正式完工，“模拟型”人工湿地落成.
人定湖公园总面积达到9.2公顷，其中湖面面积1公顷. 1994年至1996年改建之后的人定湖公园主要为现代园林；南半部采用水景、雕塑、廊架、景墙形成带有欧洲规则式庭院味道的园林，周边点缀着草地和花带；北半部则以水生植物为重点，采用疏林草地及现代雕塑、广场形成现代园林.
人定湖公园西北角曾立有文化大革命时期的毛主席语录石碑. 公园改建后石碑拆除.
王學浩
王學浩，字椒畦、字孟養 ，號椒畦，江蘇省蘇州府崑山縣人. 清朝畫家.
金阳美登木
金阳美登木（学名：Maytenus jinyangensis）为卫矛科美登木属的植物，为中国的特有植物. 分布于中国大陆的四川、云南等地，多生在山坡林地边缘，目前尚未由人工引种栽培.
世界语语法
基本规则
世界语是一种人工语言，因此，世界语的语法是规则的. 世界语只有16条语法规则.
炳才橋
炳才橋位於臺灣高雄市桃源區，為省道臺20線南部橫貫公路上重要的橋梁之一，該橋樑名稱由來為紀念南橫公路開拓時期負責施工的榮民工程事業管理處小隊長李炳才而得名，於2009年8月中度颱風莫拉克造成之八八水災沖毀，目前已復建完成.
背景
南部橫貫公路為臺灣三條跨越中央山脈之主要橫貫公路之一，於1958年起至1967年之間進行過多次道路開闢前的實地踏查作業，其終於1964年的第二次實地踏查完成道路線型與初步規劃，並比照中部橫貫公路之工程標準，於1968年7月11日舉辦開工典禮，並以關山埡口分為東西兩段進行施工.
茹帕尼亞
茹帕尼亞是克羅地亞的城鎮，位於該國東部薩瓦河畔，距離薩格勒布254公里，毗鄰與波斯尼亞和黑塞哥維那接壤的邊境，由武科瓦爾-斯里耶姆縣負責管轄，2001年人口16,383.
炳才橋
施工
南橫公路施工期間行經高雄縣桃源鄉荖濃溪支流的埔頭溪，規劃興建橋梁跨越，預定橋梁位於南橫公路施工前開闢的探查便道下游100公尺處，規劃採全長65.9公尺，設置三座橋墩，跨距分別為12.5公尺、45公尺及8.4公尺.
然而當時為趕工通車、節省工程開支，以及山區45公尺的長預力梁吊梁艱難等多項因素，因此決定利用探查便道提升為省道標準因應，並將該橋命名為埔頭溪橋，橋長縮短為32.4公尺，寬5.6公尺.
改名
1969年10月6日上午7時許，榮工處第九工程隊第八三分隊，中華民國陸軍裝甲兵中士退伍並輾轉來此的工程人員李炳才在興築南橫公路時發生意外，不幸殉職，得年54歲. 為感念李炳才犧牲，主辦工程的臺灣省政府公路局決定將埔頭溪橋改名為炳才橋，並且由退輔會榮工處第七工程隊於橋頭設置一座紀念碑，供後人了解橋梁得名由來 ，炳才橋於1971年間完工.
八八水災
2009年8月中度颱風莫拉克侵襲臺灣，其所夾帶之西南氣流造成臺灣中、南部山區及平原地區極為嚴重之災情，臺20線南橫公路全線多處災害無法通行，其中炳才橋受到埔頭溪上游邊坡大規模崩坍，在颱風莫拉克侵襲期間，距離炳才橋最近之高中雨量站測得48小時累積雨量高達1,832毫米，而埔頭溪上游也有兩處受水土保持局列管之土石流高潛勢溪流，因此在風災中炳才橋下方平均淤積高度達到37公尺，為荖濃溪支流各橋梁淤積程度最高，大量土砂淤積高於橋樑，使得橋面直接承受土砂衝擊，橋面板、橋墩等均無一倖免.
炳才橋沖毀也造成桃源鄉高中地區與桃源鄉中心對外交通完全中斷，對此災後交通部公路總局展開南橫公路的短中長期三階段修復工程，於2010年8月7日完成炳才鋼便橋工程，並開始規畫長期復建的永久橋梁計畫.
重建
公路總局於2011年3月15日啟動復建工程，將鄰近綠茂橋合併炳才橋為一標案對外招標，總經費新臺幣3億元，經費來源全由2011年莫拉克颱風災後重建特別預算支應 ，新橋採3孔連續預力箱形梁橋，設有兩橋墩，三跨分別為40公尺、60公尺、40公尺，工法採懸臂工法結合現地支撐工法施作 ，全長140公尺，淨寬9公尺.
新橋動工後，因橋墩基礎採用井式開挖，卻遭遇堅硬地質而使施工機具損壞率高 ，加上施工期間共遭遇2012年的610水災、2013年4月5日豪雨、同年8月潭美、康芮颱風的多重影響下，使施工進度落後 ，影響工期長達1年10個月之久，最後延期至2014年2月28日完工，同年4月18日通車，4月21日正式舉辦啟用典禮.
新橋重建完成後，公路總局為表對橋名主人李炳才的敬意，將風災中未被摧毀的紀念碑重新整修後，搬移至新橋旁以供後人行經該橋時能了解橋名由來.
奧帕蒂亞
奥帕提雅是克羅地亞的城鎮，位於該國西部亞得里亞海畔，由濱海和山區縣負責管轄，該鎮在1947至1991年間由南斯拉夫負責管治，2001年人口12,719.
鄭子太極拳
鄭子太極拳，又稱鄭子簡易太極拳，為楊氏太極拳的一個支派，由鄭曼青所創.
歷史
鄭曼青27歲在上海向太極拳大師楊澄甫學習楊家老架太極拳，任職湖南省政府咨議兼國術館館長期間，推動國術為該省全民運動，並規定每兩個月調派全省各縣國術館長及教官40人，傳授太極拳課程. 但因學習時間較短，為便於傳授學習，乃刪減老架式中的重覆招式，精簡為37式，名為：「鄭子簡易太極拳」.
隆林美登木
隆林美登木（学名：Maytenus longlinensis）是卫矛科美登木属的植物，是中国的特有植物. 分布于中国大陆的广西、云南等地，生长于海拔1,000米的地区，一般生于石灰岩山地杂木林中及江边干燥石缝中，目前尚未由人工引种栽培.
1磅的福音
《1磅的福音》（1ポンドの福音）是日本漫畫家高橋留美子創作的日本漫畫作品. 自1987年於小學館《週刊Young Sunday》上開始不定期連載，到2007年3/4合併號上刊載完畢. 單行本全4卷. 於1988年時改編成OVA動畫.
劇情簡介
男主角耕作 是個食欲旺盛的拳擊手，時常為了減磅(減重)而苦惱，拳擊選手必須嚴格地控制體重，才能在指定的級別中進行比賽. 如：羽量級(Feather)是54-57kg，輕量級(Light)是57-60kg，為了不同級別的比賽需增磅與減磅.
女主角安潔拉 則是個善良純潔的見習修女，男主角常因偷吃而減磅失敗後去向她懺悔.
耕作在賽前的大吃偷吃行為常導致不戰而敗，使得溫婉的安潔拉為了阻止他而不得不做出一些搞笑的行為，如：搶了耕作偷買的烤地瓜或鯛魚燒並全部吃光，事後跑去藥房買胃藥等. 安潔拉常稱耕作為「迷途羔羊」，而每話標題都是「○○羔羊」. 替耕作禱告時也發生耶穌像從十字架掉下來的不祥預兆.
連載
在《週刊Young Sunday》連載的日期：
電視劇
日本電視台系列從2008年1月8日開始播映電視劇版. 此劇亦是主演的龜梨和也自《唯愛》以來再次主演作品.
中華民國國道
現在
中華民國交通部於2013年12月30日凌晨0時起，開始實施道路計程收費 ，並給予3日免費優惠，2014年1月2日起正式收費 ，收費道路只包括原先已實施過站收費的國道1號、國道3號、國道5號，目前未收費的國道2號、國道4號、國道6號、國道8號、國道10號列入遠期計畫.
目前使用中的國道電子收費系統，採用設置於兩交流道間主線上之感應門架，透過掃描設置於車上之標籤型收發器（eTag）收費，收費金額係兩處交流道間距離乘以收費費率計算之，並依交流道間距長度，費用皆有所不同；另感應門架不支援傳統型收發器（OBU），尚未換裝標籤型收發器（eTag）之車輛將無法完成收費，必須比照非ETC車輛採通行後補繳之方式完成收費. 目前國道計程收費之費率，上班日及一般周休二日採每日20公里免費里程及200公里以上通行費75折優惠，另於3日以上之假期取消免費里程並採取單一費率，以避免大量短程車流湧入國道導致交通阻塞.
實施道路計程收費之日起，原先設置於國道之收費站，除了國道一號泰山、國道三號大甲及田寮等三站部分站體外，皆展開分階段拆除作業（先內後外）及道路復舊工程，預計20天內完成內側收費票亭之拆除作業.
國道服務區
交通部高速公路局在國道一號、國道三號、國道五號共設立共十五個服務區及四個僅有停車位與廁所的休息站.
國道維護管理
2018年2月11日前，所有國道的管理維護均統一由交通部臺灣區國道高速公路局負責，興建工作則是由交通部臺灣區國道新建工程局負責. 2018年2月12日起，交通部臺灣區國道高速公路局與交通部臺灣區國道新建工程局整併後成立交通部高速公路局. 交通部高速公路局負責國道的養護及拓建工程、交通管理維護事項、通行車輛工程受益費之徵收、國道路邊設施之營運管理、國道沿線環境之整理與維護、國道公路用地、房屋與其他財物之備置、保管、運用及財物處理事項.
國道安全維持
國道由內政部警政署國道公路警察局負責道路交通秩序的維護與管理.
轄線分布 ：
登氏鸨属
登氏鸨属（学名：Neotis），也称黑冠鸨属、新鸨属，是鸨科的一属.
下属物种
本属包括以下物种：
泰勒·斯威夫特 (專輯)
《泰勒·斯威夫特》（Taylor Swift）是美國創作歌手泰勒·斯威夫特個人首張同名專輯. 《泰勒·斯威夫特》在2006年10月24日在美國發行，其中五首單曲打入告示牌熱門鄉村音樂歌曲榜裡（Billboard Hot Country Songs）. 《泰勒·斯威夫特》豪華版在2007年11月發行.
《泰勒·斯威夫特》在告示牌鄉村音樂專輯榜裡排名第一，並在公告牌二百强专辑榜裡排名第五. 在2008年9月，這張專輯獲得RIAA 4× 多白金的認證，銷量超過4百萬張.
曲目列表
本專輯的執行製作人：史考特·波切塔
Notes
何棟 (明朝)
生平
嘉靖十一年九月，何栋升任都察院左佥都御史巡抚大同. 十二年四月以拾遗被弹劾，被降一级调外任. 十四年正月以降级参议，很久不赴任，科道官以拾遗之例弹劾他.
嘉靖二十九年二月，礼部尚书徐阶上疏推荐，起复何栋为都察院右副都御史、提督蓟州军务. 不久加兵部右侍郎、蓟辽总督. 嘉靖三十二年十二月，兵部尚书聂豹请令科道官当廷讨论各边总督、镇巡诸臣的优劣，何栋被列名上闻，同时六科给事中王国祯等、十三道御史胡宗宪等人纷纷论劾总督何栋、总兵徐珏、副总兵崔麒、张涞、巡抚吴嘉会、艾希淳、刘玺、赵时春各种不称职之事，认为当免职处理，何栋遂被令致仕. 三十六年十月，又论修边冒破之罪，兵部左侍郎吴嘉会被废黜为民，前总督侍郎致仕何栋被令冠带闲住. 著有《太華詩集》、《督府奏疏》、《水部填-{云}-》.
曾祖何義；祖父何寬；父何真，母左氏. 具慶下. 弟何梁.
徽州街道
行政区划
徽州街道下辖以下地区：
.
周詠
周詠（），字思養，號樂軒，河南開封府延津县史良 村人，明朝政治人物，同進士出身.
生平
河南鄉試第三十五名舉人. 嘉靖四十一年（1562年）中式壬戌科會試第一百八十四名，三甲第五十七名進士. 授魏縣知縣. 四十四年十一月选授福建道試御史，隆慶元年（1567年）巡按山西，二年巡按直隶，丁忧归.
萬曆元年（1573年）五月復除福建道御史，二年八月監武舉會試，又巡视京营，三年三月升太仆寺少卿，四年三月升大理寺右少卿，五年闰八月进左少卿，十月升都察院右僉都御史、巡撫遼東，六年五月以斩获功升右副都御史，十年五月升兵部右侍郎兼右僉都御史、巡撫如故，十一月升兵部左侍郎兼右僉都御史、總督薊遼保定，十一年六月升右都御史兼兵部右侍郎，照舊總督，九月以勘劉台贓，扶同虛捏，為給事中戴光啓所劾，黜職为民，後冠帶閑住.
萬曆二十九年（1601年）十月准復原職.
家族
曾祖周鑑，壽官；祖父周鼎，典膳；父周宜，典膳. 前母楊氏；母韓氏. 慈侍下. 兄周讓，监生；周訥. 弟周谠、周諗、周詵、周诩、周護、周託、周試.
罗伊·利希滕斯坦
罗伊·福克斯·利希滕斯坦（Roy Fox Lichtenstein ，），美国波普藝術藝術家. 其作品常以卡通人物如米老鼠、唐老鸭、大力水手等作为画中主角，后又模仿通俗连环画，创作了一批以少女为主题的爱情画和以空战为内容的战争画.
利希滕斯坦研究過蒙德里安、马蒂斯、塞尚、莫奈，美国的德·库宁、帕洛克、雷明顿等人的作品，以及东方的美术. 他还独创了网点画法. 以戲仿其他畫家的作品而出名.
拉賓 (克羅地亞)
拉賓（克罗地亚语：Labin；意大利语：Albona）是克羅地亞的城鎮，位於該國西部伊斯特拉半島東岸，面積72平方公里，海拔高度320米，鎮上最後一個煤礦在1972年關閉，主要經濟活動是旅遊業，2021年城镇人口5,806，包括和在内的城市总人口为10,424.
永丰乡 (黄山市)
永丰乡，是下辖的一个乡镇级行政单位.
行政区划
永丰乡下辖以下地区：
.
中国传统村落
2012年，永丰村被评为首批“中国传统村落”.
文物保护单位
以下为黄山区永丰乡范围内的文物保护单位：
李亚光
李亚光（），中国篮球运动员、教练、体育官员，曾参加1984年夏季奥运会、1988年夏季奥运会男子篮球比赛 ，并带领中国女篮夺得1992年夏季奥运会女子篮球比赛亚军.
達魯瓦爾
達魯瓦爾是克羅地亞的城鎮，位於該國東部，距離薩格勒布125公里，由別洛瓦爾-比洛戈拉縣負責管轄，面積64平方公里，海拔高度190米，2001年人口13,243.
瓦爾波沃
瓦爾波沃是克羅地亞的城鎮，位於該國東部，距離首府奧西耶克25公里，由奧西耶克-巴拉尼亞縣負責管轄，面積143平方公里，海拔高度91米，2011年人口11,570.
野香橼花
别名
小毛毛花（植物名实图考），猫胡子花（云南中草药选）
阿尔旺站
阿尔旺站（Gare d'Arvant）是法国的一个铁路车站，位于法国中部市镇布尔农克勒圣皮耶尔境内.
位置
阿尔旺站是法国中央高原地区的一个重要铁路枢纽，该站所接发的列车可通达中央高原中南部的几乎所有省份. 但由于这一地区人口不断减少，因此车次数量不多，一些线路亦有停运的可能.
设施
阿尔旺站设有人工售票窗口，其开放时间如下：
此外，阿尔旺站站内还设有自动售票机等设施.
市内交通
阿尔旺站附近暂无城市公共交通线路经过.
B級片
B级片（B movie 或 B film）是指制作的商业电影，而非文艺片. 在最初定义裏，B级片指在好莱坞黄金时代以形式发行的电影中相对鮮为人知的電影，类似唱片行业里的B面歌. 现今美国电影产业中，双片连映的制作发行方式在1950年代末逐步消失，但B级片却有了更广泛的定义. 在后黄金时代，B級片的定义出現歧义：一方面，B级片被认为是剥削电影，特色為淫秽內容；另一方面，B级片被认为展示出电影的高工藝水準與美学创造力.
在这两种解釋中，大多数B级片被认为代表一种特定的电影类型；西部片是B级片的黄金时代，而低成本科幻片和恐怖片则在1950年代开始受欢迎. 早期的系列B级片里，相同演员會重覆饰演相同角色. 然而，B级片片长总是短于顶级制作的电影 ，大多在70分钟以内，导致当时观众认为B级片不如大制作电影，也让很多影评人忽略个别B级片.
一直以來，B级片为很多電影從業人員和其他事業不順遂的人提供机会. 安东尼·曼、乔纳森·戴米等知名电影人都是从B级片开始锻炼製作電影的能力；约翰·韦恩、杰克·尼科尔森等著名影星亦以B級片為职涯開端；同时也給前电影明星文森特·普莱斯和凯伦·布莱克继续發展的机遇. 有些演员，像贝拉·卢戈西、布鲁斯·坎贝尔、等，则将他们大部分電影生涯贡献给B级片. B级演员（B actor）有时指主要或專門拍摄B级片的电影演员.
发展历史
In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at Metro-Goldwyn-Mayer. That average reflected both "specials" that might cost as much as $1 million and films made quickly for around $50,000. These cheaper films (not yet called B movies) allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel.
Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America (FBO), focused on exactly those sorts of cheap productions. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small-town and urban neighborhood venues, or "nabes". Even smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns.
With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that soon became standard practice: a newsreel, a short and/or serial, and a cartoon, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts.
1930年代
The major studios, at first resistant to the double feature, soon adapted all established B units to provide films for the expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the profitability of every B movie. The parallel practice of blind bidding largely freed the majors from worrying about their Bs' quality — even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios — Metro-Goldwyn-Mayer, Paramount Pictures, Fox Film Corporation (20th Century Fox as of 1935), Warner Bros., and RKO Radio Pictures (descendant of FBO) — also belonged to companies with sizable theater chains, further securing the bottom line.
Poverty Row studios, from modest outfits like Mascot Pictures, Tiffany Pictures, and Sono Art-World Wide Pictures down to shoestring operations, made exclusively B movies, serials, and other shorts, and also distributed totally independent productions and imported films. In no position to directly block book, they mostly sold regional distribution exclusivity to "states rights" firms, which in turn peddled blocks of movies to exhibitors, typically six or more pictures featuring the same star (a relative status on Poverty Row). Two "major-minors" — Universal Studios and rising Columbia Pictures — had production lines roughly similar to, though somewhat better endowed than, the top Poverty Row studios. In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top-rank film distribution exchanges.
In the standard Golden Age model, the industry's top product, the A films, premiered at a small number of select first-run houses in major cities. Double features were not the rule at these prestigious venues. As described by Edward Jay Epstein, "During these first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising." Then it was off to the subsequent-run market where the double feature prevailed. At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro-budget movies rarely much more than sixty minutes long; these were known as "quickies" for their tight production schedules—as short as four days.
As Azam Patel describes, "Many of the poorest theaters, such as the 'grind houses' in the larger cities, screened a continuous program emphasizing action with no specific schedule, sometimes offering six quickies for a nickel in an all-night show that changed daily." Many small theaters never saw a big-studio A film, getting their movies from the states rights concerns that handled almost exclusively Poverty Row product. Millions of Americans went to their local theaters as a matter of course: for an A picture, along with the trailers, or screen previews, that presaged its arrival, "[t]he new film's title on the marquee and the listings for it in the local newspaper constituted all the advertising most movies got", writes Epstein. Aside from at the theater itself, B films might not be advertised at all.
金洲镇
金洲镇（原名“全民乡”、“金洲乡”）是中国湖南省宁乡市下辖镇. 地理上，金洲处宁乡市东北边缘，西北隔沩水与双江口镇相望，东连望城区乌山街道，南接夏铎铺镇，西与历经铺乡毗邻. 辖域面积62.1平方公里，人口3.1万人（2000年人口普查27,223人）.
B級片
1930年代
The introduction of sound had driven costs higher: by 1930, the average U.S. feature film cost $375,000 to produce. A broad range of motion pictures occupied the B category. The leading studios made not only clear-cut A and B films, but also movies classifiable as "programmers" (also known as "in-betweeners" or "intermediates"). As Taves describes, "Depending on the prestige of the theater and the other material on the double bill, a programmer could show up at the top or bottom of the marquee."
金洲镇
历史
由原全民乡和泉塘乡于1995年合并设立全民乡，2007年“全民乡”改名“金洲乡”，2010年“金洲乡”改为镇建制.
B級片
1930年代
On Poverty Row, many Bs were made on budgets that would have barely covered petty cash on a major's A film, with costs at the bottom of the industry running as low as $5,000. By the mid-1930s, the double feature was the dominant U.S. exhibition model, and the majors responded. In 1935, B movie production at Warner Bros. was raised from 12 to 50% of studio output. The unit was headed by Bryan Foy, known as the "Keeper of the Bs". At Fox, which also shifted half of its production line into B territory, Sol M. Wurtzel was similarly in charge of more than twenty movies a year during the late 1930s.
A number of the top Poverty Row firms consolidated: Sono Art joined another company to create Monogram Pictures early in the decade. In 1935, Monogram, Mascot, and several smaller studios merged to establish Republic Pictures. The former heads of Monogram soon sold off their Republic shares and set up a new Monogram production house. Into the 1950s, most Republic and Monogram product was roughly on par with the low end of the majors' output. Less sturdy Poverty Row concerns—with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless—continued to churn out dirt-cheap quickies. Joel Finler has analyzed the average length of feature releases in 1938, indicating the studios' relative emphasis on B production (United Artists produced little, focusing on the distribution of prestigious films from independent outfits; Grand National, active 1936–40, occupied an analogous niche on Poverty Row, releasing mostly independent productions ): !工作室 !類別 !平均片長 Taves estimates that half of the films produced by the eight majors in the 1930s were B movies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 75% of Hollywood movies from the decade, more than four thousand pictures, are classifiable as Bs.
The Western was by far the predominant B genre in both the 1930s and, to a lesser degree, the 1940s. Film historian Jon Tuska has argued that "the 'B' product of the Thirties—the Universal films with [Tom] Mix, [Ken] Maynard, and [Buck] Jones, the Columbia features with Buck Jones and Tim McCoy, the RKO George O'Brien series, the Republic Westerns with John Wayne and the Three Mesquiteers ... achieved a uniquely American perfection of the well-made story." At the far end of the industry, Poverty Row's Ajax put out oaters starring Harry Carey, then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted "northwest action thrillers". One low-budget oater of the era, made totally outside the studio system, profited from an outrageous concept: a Western with an all-midget cast, The Terror of Tiny Town (1938) was such a success in its independent bookings that Columbia picked it up for distribution.
Series films are often unquestioningly consigned to the B movie category, but even here there is ambiguity: at MGM, for example, popular series like the Andy Hardy and the Dr. Kildare–Dr. Gillespie chronicles had leading stars and budgets that would have been A-level at most of the lesser studios. For many series, even a lesser major's standard B budget was far out of reach: Poverty Row's Consolidated Pictures featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog Features.
1940年代
By 1940, the average production cost of an American feature was $400,000, a negligible increase over ten years. A number of small Hollywood companies had folded around the turn of the decade, including the ambitious Grand National, but a new firm, Producers Releasing Corporation (PRC), emerged as third in the Poverty Row hierarchy behind Republic and Monogram. The double feature, never universal, was still the prevailing exhibition model: in 1941, fifty percent of theaters were double-billing exclusively, and others employed the policy part-time.
In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding. These were crucial factors in the progressive shift by most of the Big Five over to A-film production, making the smaller studios even more important as B movie suppliers. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $200,000. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 95% of U.S. and Canadian box office receipts.
In 1946, independent producer David O. Selznick brought his bloated-budget spectacle Duel in the Sun to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality. The Duel release anticipated practices that fueled the B movie industry in the late 1950s; when the top Hollywood studios made them standard two decades after that, the B movie was hard hit.
The leading Poverty Row firms began to broaden their scope; in 1947, Monogram established a subsidiary, Allied Artists, to develop and distribute relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under the "Premiere" rubric. In 1947 as well, PRC was subsumed by Eagle-Lion, a British company seeking entry to the American market. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief.
In the 1940s, RKO stood out among the industry's Big Five for its focus on B pictures. From a latter-day perspective, the most famous of the major studios' Golden Age B units is Val Lewton's horror unit at RKO. Lewton produced such moody, mysterious films as Cat People (1942), I Walked with a Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur, Robert Wise, and others who became renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir—Stranger on the Third Floor (1940), a 64-minute B—was produced at RKO, which released many additional melodramatic thrillers in a similarly stylish vein.
The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age.
In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs: Desperate and The Devil Thumbs a Ride. Ten B noirs that year came from Poverty Row's big three—Republic, Monogram, and PRC/Eagle-Lion—and one came from tiny Screen Guild. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood.
Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon, Westerns starring Tim Holt, and Tarzan movies with Johnny Weissmuller. Jean Hersholt played Dr. Christian in six films between 1939 and 1941. The Courageous Dr. Christian (1940) was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid."
Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram "exploitation pictures" like juvenile delinquency exposé Where Are Your Children? (1943) and the prison film Women in Bondage (1943). In 1947, PRC's The Devil on Wheels brought together teenagers, hot rods, and death. The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. Ulmer was known as "the Capra of PRC". Ulmer made films of every generic stripe: his Girls in Chains was released in May 1943, six months before Women in Bondage; by the end of the year, Ulmer had also made the teen-themed musical Jive Junction as well as Isle of Forgotten Sins, a South Seas adventure set around a brothel.
1950年代的轉型
In 1948, a Supreme Court ruling in a federal antitrust suit against the majors outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films. With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching $1 million by the turn of the decade—a 93% rise after adjusting for inflation.
丁會
丁會（），字道隐，安徽寿春人.
B級片
1950年代的轉型
The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its Ma and Pa Kettle series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958. RKO, weakened by years of mismanagement, exited the movie industry in 1957.
丁會
早年投靠黄巢，在黄巢部下朱温之麾下效力，朱温投降唐朝，丁会被封为都押衙. 李克用遣大将李存孝引兵攻洛阳，張全義糧食且盡，僅食木屑為活，向朱全忠求援. 朱全忠命令丁会和葛从周等人率兵前往救援. 李存孝、李罕之大败，逃奔河东，張全義自此归附朱全忠. 丁會又大破魏博节度使罗弘信於内黄. 丁會再攻宿州，引汴水淹城，刺史张筠出降. 又大破平卢节度使朱瑾於金乡. 光化元年，澤州（今山西晋城）刺史李罕之入据潞州（今山西长治），自称昭义节度使，李克用派大將李嗣昭討伐，李罕之向朱溫求援. 當時李罕之已病危，不久去世，朱溫趁機以丁會為昭义留后，後為節度使.
天祐元年（904年）八月十一日壬寅夜，朱全忠杀害唐昭宗. 丁会聞訊痛哭，率三军为唐昭宗发哀，向河东晋王李克用请降，並前往太原，赐以門第，位在诸将上，隔年四月二十四日，李存勖于太原城外大阅三军，命丁会为兵马都招讨. 910年，病逝于太原.
金洲镇
区划
截止2016年，金洲镇有2个社区，关山社区和全民社区，4个村，同兴村、箭楼村、颜塘村和龙桥村.
地理
沩水由南向北汇入湘江.
交通
金洲大道连接长沙与宁乡城区.
石长铁路穿过金洲镇.
长张高速长益段途径金洲镇.
旅游景点
关山古镇是当地知名旅游景点.
B級片
1950年代的轉型
Hollywood's A product was getting longer—the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4. In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While the Golden Age-style second feature was dying, B movie was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as B actors). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy. At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish.
The most famous such movie, the independently produced Kiss Me Deadly (1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes: a "programmer capable of occupying either half of a neighbourhood theatre's double-bill, [it was] budgeted at approximately $400,000. [Its] distributor, United Artists, released around twenty-five programmers with production budgets between $100,000 and $400,000 in 1955." The film's length, 106 minutes, is A level, but its star, Ralph Meeker, had previously appeared in only one major film. Its source is pure pulp, one of Mickey Spillane's Mike Hammer novels, but Robert Aldrich's direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb.
The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (such as Creature from the Black Lagoon (1954)) and Sam Katzman at Columbia (including It Came from Beneath the Sea (1955))—provided little more than thrills, though their special effects could be impressive.
But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director Don Siegel's Invasion of the Body Snatchers (1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion. The Amazing Colossal Man (1957), directed by Bert I. Gordon, is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea, the army's obsessive secrecy, and America's post-war growth into one fantastic whole".
The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of a flat rate, they were rented out on a percentage basis, like A films.
The success of I Was a Teenage Werewolf (1957) thus brought AIP a large return—made for about $100,000, it grossed more than $2 million. As the film's title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When Hot Rod Gang (1958) turned a profit, hot rod horror was given a try: Ghost of Dragstrip Hollow (1959). David Cook credits AIP with leading the way "in demographic exploitation, target marketing, and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s. In terms of content, the majors were already there, with films about juvenile delinquency such as Warner Bros.' Untamed Youth (1957) and MGM's High School Confidential (1958), both starring Mamie Van Doren.
In 1954, a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet. Corman soon independently produced his first movie, Monster from the Ocean Floor, on a $12,000 budget and a six-day shooting schedule. Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, Apache Woman, and Day the World Ended, half of Arkoff and Nicholson's first twin-bill package. Corman directed over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as "low-budget exploitation films". In later years Corman, both with AIP and as head of his own companies, helped launch the careers of Francis Ford Coppola, Jonathan Demme, Robert Towne, and Robert De Niro, among many others.
In the late 1950s, William Castle became known as the great innovator of the B movie publicity gimmick. Audiences of Macabre (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature The Tingler featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter. With such films, Castle "combine[d] the saturation advertising campaign perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been the purview of the local exhibitor".
The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700. Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with all its attendant distractions. The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie.
Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor Joseph E. Levine financed the shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla. The British Hammer Film Productions made the successful The Curse of Frankenstein (1957) and Dracula (1958), major influences on future horror film style. In 1959, Levine's Embassy Pictures bought the worldwide rights to Hercules, a cheaply made Italian movie starring American-born bodybuilder Steve Reeves. On top of a $125,000 purchase price, Levine then spent $1.5 million on advertising and publicity, a virtually unprecedented amount.
The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market ... had it not been [launched] throughout the country with a deafening barrage of publicity". Levine counted on first-weekend box office for his profits, booking the film "into as many cinemas as he could for a week's run, then withdrawing it before poor word-of-mouth withdrew it for him". Hercules opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned $4.7 million in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas. Within a few decades, Hollywood was dominated by both movies and an exploitation philosophy very much like Levine's.
Also playing rounds during this time was K. Gordon Murray, known for distributing international matinee fare like the 1959 Mexican kids' movie Santa Claus.
1960年代
Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only $2 million—after adjusting for inflation, less than 10% more than it had been in 1950. The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained, opened at neighborhood theaters in New York. A suspense film, Terror Is a Man, ran as a "co-feature" with a now familiar sort of exploitation gimmick: "The dénouement helpfully includes a 'warning bell' so the sensitive can 'close their eyes.'" That year, Roger Corman took AIP down a new road: "When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color." The resulting House of Usher typifies the continuing ambiguities of B picture classification. It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the budget just $200,000 (one tenth the industry average), and its 85-minute running time close to an old thumbnail definition of the B: "Any movie that runs less than 80 minutes."
With the loosening of industry censorship constraints, the 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films. The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades—the term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly "sexual hygiene". Audiences might see explicit footage of anything from a live birth to a ritual circumcision. Such films were not generally booked as part of movie theaters' regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for "grindhouses", which typically had no regular schedule at all). The most famous of those promoters, Kroger Babb, was in the vanguard of marketing low-budget, sensationalistic films with a "100% saturation campaign", inundating the target audience with ads in almost any imaginable medium. In the era of the traditional double feature, no one would have characterized these graphic exploitation films as "B movies". With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films. The 1960s saw exploitation-style themes and imagery become increasingly central to the realm of the B.
Exploitation movies in the original sense continued to appear: 1961's Damaged Goods, a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease, comes complete with enormous, grotesque closeups of VD's physical effects. At the same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: "nudie" films featuring nudist-camp footage or striptease artists like Bettie Page had simply been the softcore pornography of previous decades. As far back as 1933, This Nude World was "Guaranteed the Most Educational Film Ever Produced!" In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product, a few filmmakers began making nudies with greater attention to plot. Best known was Russ Meyer, who released his first successful narrative nudie, the comic Immoral Mr. Teas, in 1959. Five years later, Meyer came out with his breakthrough film, Lorna, which combined sex, violence, and a dramatic storyline. Faster, Pussycat! Kill! Kill! (1965), made for about $45,000, ultimately became the most famous of Meyer's sexploitation pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1966), starring Annette Funicello and Frankie Avalon. Roger Corman's The Trip (1967) for American International, written by veteran AIP/Corman actor Jack Nicholson, never shows a fully bared, unpainted breast, but flirts with nudity throughout. The Meyer and Corman lines were drawing closer.
One of the most influential films of the era, on Bs and beyond, was Paramount's Psycho. Its $8.5 million in earnings against a production cost of $800,000 made it the most profitable movie of 1960. Its mainstream distribution without the Production Code seal of approval helped weaken U.S. film censorship. And, as William Paul notes, this move into the horror genre by respected director Alfred Hitchcock was made, "significantly, with the lowest-budgeted film of his American career and the least glamorous stars. [Its] greatest initial impact ... was on schlock horror movies (notably those from second-tier director William Castle), each of which tried to bill itself as scarier than Psycho." Castle's first film in the Psycho vein was Homicidal (1961), an early step in the development of the slasher subgenre that took off in the late 1970s. Blood Feast (1963), a movie about human dismemberment and culinary preparation made for approximately $24,000 by experienced nudie-maker Herschell Gordon Lewis, established a new, more immediately successful subgenre, the gore or splatter film. Lewis's business partner David F. Friedman drummed up publicity by distributing vomit bags to theatergoers—the sort of gimmick Castle had mastered—and arranging for an injunction against the film in Sarasota, Florida—the sort of problem exploitation films had long run up against, except Friedman had planned it. This new breed of gross-out movie typified the emerging sense of "exploitation"—the progressive adoption of traditional exploitation and nudie elements into horror, into other classic B genres, and into the low-budget film industry as a whole. Imports of Hammer Film's increasingly explicit horror movies and Italian gialli, highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.
The Production Code was officially scrapped in 1968, to be replaced by the first version of the modern rating system. That year, two horror films came out that heralded directions American cinema would take in the next decade, with major consequences for the B movie. One was a high-budget Paramount production, directed by the celebrated Roman Polanski. Produced by B horror veteran William Castle, Rosemary's Baby was the first upscale Hollywood picture in the genre in three decades. It was a critical success and the year's seventh-biggest hit. The other was George A. Romero's Night of the Living Dead, produced on weekends in and around Pittsburgh for $114,000. Building on the achievement of B genre predecessors like Invasion of the Body Snatchers in its subtextual exploration of social and political issues, it doubled as a highly effective thriller and an incisive allegory for both the Vietnam War and domestic racial conflicts. Its greatest influence, though, derived from its clever subversion of genre clichés and the connection made between its exploitation-style imagery, low-cost, truly independent means of production, and high profitability. With the Code gone and the X rating established, major studio A films like Midnight Cowboy could now show "adult" imagery, while the market for increasingly hardcore pornography exploded. In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film, Finders Keepers, Lovers Weepers!, was reviewed in The New York Times. Soon, Corman was creating nudity-filled sexploitation pictures such as Private Duty Nurses (1971) and Women in Cages (1971).
In May 1969, the most important exploitation movie of the era premiered at the Cannes Film Festival. Much of Easy Rider's significance owes to the fact that it was produced for a respectable, if still modest, budget and released by a major studio. The project was first taken by one of its cocreators, Peter Fonda, to American International. Fonda had become AIP's top star in the Corman-directed The Wild Angels (1966), a biker movie, and The Trip, as in taking LSD. The idea Fonda pitched combined those two proven themes. AIP was intrigued but balked at giving his collaborator, Dennis Hopper, also a studio alumnus, free directorial rein. Eventually they arranged a financing and distribution deal with Columbia, as two more graduates of the Corman/AIP exploitation mill joined the project: Jack Nicholson and cinematographer László Kovács. The film (which incorporated another favorite exploitation theme, the redneck menace, as well as a fair amount of nudity) was brought in at a cost of $501,000. It earned $19.1 million in rentals. In the words of historians Seth Cagin and Philip Dray, Easy Rider became "the seminal film that provided the bridge between all the repressed tendencies represented by schlock/kitsch/hack since the dawn of Hollywood and the mainstream cinema of the seventies."
1970年代
In the late 1960s and early 1970s, a new generation of low-budget film companies emerged that drew from all the different lines of exploitation as well as the sci-fi and teen themes that had been a mainstay since the 1950s. Operations such as Roger Corman's New World Pictures, Cannon Films, and New Line Cinema brought exploitation films to mainstream theaters around the country. The major studios' top product was continuing to inflate in running time—in 1970, the ten biggest earners averaged 140.1 minutes. The Bs were keeping pace. In 1955, Corman had a producorial hand in five movies averaging 74.8 minutes. He played a similar part in five films originally released in 1970, two for AIP and three for his own New World: the average length was 89.8 minutes. These films could turn a tidy profit. The first New World release, the biker movie Angels Die Hard, cost $117,000 to produce and took in more than $2 million at the box office.
The biggest studio in the low-budget field remained a leader in exploitation's growth. In 1973, American International gave a shot to young director Brian De Palma. Reviewing Sisters, Pauline Kael observed that its "limp technique doesn't seem to matter to the people who want their gratuitous gore. ... [H]e can't get two people talking in order to make a simple expository point without its sounding like the drabbest Republic picture of 1938." Many examples of the blaxploitation genre, featuring stereotype-filled stories about African Americans and revolving around drugs, violent crime, and prostitution, were the product of AIP. One of blaxploitation's biggest stars was Pam Grier, who began her film career with a bit part in Russ Meyer's Beyond the Valley of the Dolls (1970). Several New World pictures followed, including The Big Doll House (1971) and The Big Bird Cage (1972), both directed by Jack Hill. Hill also directed Grier's best-known performances, in two AIP blaxploitation films: Coffy (1973) and Foxy Brown (1974).