title: Andrea Dworkin

text: In 1987, Dworkin published "Intercourse", in which she extended her analysis from pornography to sexual intercourse itself, and argued that the sort of sexual subordination depicted in pornography was central to men's and women's experiences of heterosexual intercourse in a male supremacist society. In the book, she argues that all heterosexual sex in our patriarchal society is coercive and degrading to women, and sexual penetration may by its very nature doom women to inferiority and submission, and "may be immune to reform".


title: Andrea Dworkin

text: Citing from both pornography and literature—including "The Kreutzer Sonata", "Madame Bovary", and "Dracula"—Dworkin argued that depictions of intercourse in mainstream art and culture consistently emphasized heterosexual intercourse as the only kind of "real" sex, portrayed intercourse in violent or invasive terms, portrayed the violence or invasiveness as central to its eroticism, and often united it with male contempt for, revulsion towards, or even murder of, the "carnal" woman. She argued that this kind of depiction enforced a male-centric and coercive view of sexuality, and that, when the cultural attitudes combine with the material conditions of women's lives in a sexist society, the experience of heterosexual intercourse itself becomes a central part of men's subordination of women, experienced as a form of "occupation" that is nevertheless expected to be pleasurable for women and to define their very status "as women".


title: Andrea Dworkin

text: Such descriptions are often cited by Dworkin's critics, interpreting the book as claiming "all" heterosexual intercourse is rape, or more generally that the anatomical mechanics of sexual intercourse make it intrinsically harmful to women's equality. For instance, Cathy Young says that statements such as "intercourse is the pure, sterile, formal expression of men's contempt for women" are reasonably summarized as "all sex is rape".


title: Andrea Dworkin

text: Dworkin rejected that interpretation of her argument, stating in a later interview that "I think both intercourse and sexual pleasure can and will survive equality" and suggesting that the misunderstanding came about because of the very sexual ideology she was criticizing: "Since the paradigm for sex has been one of conquest, possession, and violation, I think many men believe they need an unfair advantage, which at its extreme would be called rape. I do not think they need it."


title: Andrea Dworkin

text: In 1997, Dworkin published a collection of her speeches and articles from the 1990s in "Life and Death: Unapologetic Writings on the Continuing War on Women", including a long autobiographical essay on her life as a writer, and articles on violence against women, pornography, prostitution, Nicole Brown Simpson, the use of rape during the war in Bosnia and Herzegovina, the Montreal massacre, Israel, and the gender politics of the United States Holocaust Memorial Museum.


title: Andrea Dworkin

text: Reviewing "Life and Death" in "The New Republic", philosopher Martha Nussbaum criticizes voices in contemporary feminism for denouncing Catharine MacKinnon and Dworkin as "man-haters", and argues that First Amendment critiques of Dworkin's civil ordinance proposal against pornography "are not saying anything intellectually respectable", for the First Amendment "has never covered all speech: bribery, threats, extortionate offers, misleading advertising, perjury, and unlicensed medical advice are all unprotected." Nussbaum adds that Dworkin has focused attention on the proper moral target by making harm associated with subordination, not obscenity, civilly actionable.


title: Andrea Dworkin

text: Nevertheless, Nussbaum opposes the adoption of Dworkin's pornography ordinance because it (1) fails to distinguish between moral and legal violations, (2) fails to demonstrate a causal relationship between pornography and specific harm, (3) holds a creator of printed images or words responsible for others' behavior, (4) grants censorial power to the judiciary (which may be directed against feminist scholarship), and (5) erases the contextual considerations within which sex takes place. More broadly, Nussbaum faults Dworkin for (1) occluding economic injustice through an "obsessive focus on sexual subordination", (2) reproducing objectification in reducing her interlocutors to their abuse, and (3) refusing reconciliation in favor of "violent extralegal resistance against male violence."


title: Andrea Dworkin

text: Many of Dworkin's early speeches are reprinted in her second book, "Our Blood" (1976). Later selections of speeches were reprinted ten and twenty years later, in "Letters from a War Zone" (1988) and "Life and Death" (1997).


title: Andrea Dworkin

text: Dworkin published three fictional works after achieving notability as a feminist author and activist. She published a collection of short stories, "the new womans broken heart" in 1980. Her first novel, "Ice and Fire", was originally published in the United Kingdom in 1986. It is a first-person narrative, detailing violence and abuse; Susie Bright has claimed that it amounts to a modern feminist rewriting of one of the Marquis de Sade's most famous works, "Juliette". However, Dworkin aimed to depict men's harm to women as normalized political harm, not as eccentric eroticism. Dworkin's second novel, "Mercy", reviewed by "The" "New York Times" as a Bildungsroman, was first published in the United Kingdom in 1990. According to "The Telegraph", the novels "were not popular".


title: Andrea Dworkin

text: Dworkin's short fiction and novels often incorporated elements from her life and themes from her nonfiction writing, sometimes related by a first-person narrator. Critics have sometimes quoted passages spoken by characters in "Ice and Fire" as representations of Dworkin's own views. Dworkin, however, wrote "My fiction is not autobiography. I am not an exhibitionist. I do not show myself. I am not asking for forgiveness. I do not want to confess. But I have used everything I know—my life—to show what I believe must be shown so that it can be faced. The imperative at the heart of my writing—what must be done—comes directly from my life. But I do not show my life directly, in full view; nor even look at it while others watch."


title: Andrea Dworkin

text: Dworkin's writings were designed to assert the ubiquity and denounce the injustice of institutionalized and normalized sex-based harm against women. She became one of the most influential writers and spokeswomen of American radical feminism during the late 1970s and the 1980s. She characterized pornography as an industry of damaging objectification and abuse, not a metaphysical fantasy realm. She discussed prostitution as a system of exploitation, and intercourse as a key site of intimate subordination in patriarchy. Her analysis and writing influenced and inspired the work of contemporary feminists such as Catharine MacKinnon, Gloria Steinem, John Stoltenberg, Nikki Craft, Susan Cole, and Amy Elman. Rebecca Traister stated that Dworkin's "Intercourse" was one of the books that inspired her 2018 book "Good and Mad". However, Jessa Crispin reproved contemporary feminists for abandoning Dworkin's work in her 2017 book "Why I Am Not a Feminist: A Feminist Manifesto".


title: Andrea Dworkin

text: Dworkin's uncompromising positions and forceful style of writing and speaking, described by Robert Campbell as "apocalyptic", earned her frequent comparisons to other speakers such as Malcolm X (by Robin Morgan, Susie Bright, and others). Gloria Steinem repeatedly compared her style to that of the Biblical prophets.


title: Andrea Dworkin

text: Critical of what she described as male supremacist values expressed among conservatives, liberals, and radicals, she nevertheless engaged with all three groups. She came out of movements led by leftist men, such as when protesting the Vietnam War or when active in the Gay liberation Movement. She addressed liberal men on the issue of rape. She spoke with and wrote about politically conservative women, resulting in the publication of "Right-Wing Women." She testified at a Meese Commission hearing on pornography while Attorney General Edwin Meese was serving socially conservative President Ronald Reagan. She had a political discourse with "National Review" writer David Frum and their spouses arranged by Christopher Hitchens.


title: Andrea Dworkin

text: Her life partner John Stoltenberg wrote that Dworkin was a trans ally who "repudiated the sex binary—and the biological essentialism upon which belief in it is based." Stoltenberg also wrote that "she is often invoked to support beliefs she actively repudiated in her work."


title: Andrea Dworkin

text: Dworkin's discursive style, coupled with antipathy for her views, produced sharply polarizing debate. She was viewed with derision and scorn: "People think Andrea's a man-hater, she gets called a Fascist and a Nazi—particularly by the American left, but it's not detectable in her work." While often polarizing among the left, Dworkin's views were indeed also divisive in conservative circles, eliciting both praise and condemnation from right-wing critics. After her death, the conservative gay writer and political commentator Andrew Sullivan claimed that "[m]any on the social right liked Andrea Dworkin. Like Dworkin, their essential impulse when they see human beings living freely is to try and control or stop them—for their own good. Like Dworkin, they are horrified by male sexuality, and see men as such as a problem to be tamed. Like Dworkin, they believe in the power of the state to censor and coerce sexual freedoms. Like Dworkin, they view the enormous new freedom that women and gay people have acquired since the 1960s as a terrible development for human culture." Libertarian/conservative journalist Cathy Young complained of a "whitewash" in feminist obituaries for Dworkin, arguing that Dworkin's positions were manifestly misandrist, stating that Dworkin was in fact insane, criticizing what she called Dworkin's "destructive legacy", and describing Dworkin as a "sad ghost" that feminism needs to exorcise.


title: Andrea Dworkin

text: Other feminists, however, published sympathetic or celebratory memorials online and in print. Catharine MacKinnon, Dworkin's longtime friend and collaborator, published a column in "The New York Times", celebrating what she described as Dworkin's "incandescent literary and political career", suggested that Dworkin deserved a nomination for the Nobel Prize in Literature, and complained that "lies about her views on sexuality (that she believed intercourse was rape) and her political alliances (that she was in bed with the right) were published and republished without attempts at verification, corrective letters almost always refused. Where the physical appearance of male writers is regarded as irrelevant or cherished as a charming eccentricity, Andrea's was reviled and mocked and turned into pornography. When she sued for libel, courts trivialized the pornographic lies as fantasy and dignified them as satire."


title: Andrea Dworkin

text: Other critics, especially women who identify as feminists but sharply differ with Dworkin's positions and strategies, have offered nuanced views, suggesting that Dworkin called attention to real and important problems, but that her legacy as a whole had been destructive to the women's movement. Her work and activism on pornography—especially in the form of the Antipornography Civil Rights Ordinance—were criticized by liberal groups such as the Feminist Anti-Censorship Task Force (FACT).


title: Andrea Dworkin

text: Dworkin was also met with criticism from sex-positive feminists, in what became known as the feminist sex wars of the late 1970s and 1980s. The sex wars were a series of heated debates that polarized feminist thought on a number of issues relating to sex and sexuality. Sex-positive feminist critics criticized Dworkin's legal activism as censorious, and argued that her work on pornography and sexuality promoted an essentialist, conservative, or repressive view of sexuality, which they often characterized as "anti-sex" or "sex-negative". Her criticisms of common heterosexual sexual expression, pornography, prostitution, and sadomasochism were frequently claimed to disregard women's own agency in sex or deny women's sexual choices. Dworkin countered that her critics often misrepresented her views, and that under the heading of "choice" and "sex-positivity", her feminist critics were failing to question the often violent political structures that confined women's choices and shaped the meaning of sex acts.


title: Andrea Dworkin

text: However, in the 21st century, Dworkin has garnered favor with younger generations of feminists, such as Lily Pazner (b. 2006), Lauren Oyler (b. 1991), Moira Donegan (b. 1989), Jennifer Szalai (b. 1979-80), Michelle Goldberg (b. 1975), and Joanna Fateman (b. 1974), who found liberal and sex-positive feminism lacking in depth of analysis and action.


title: Andrea Dworkin

text: In 1989, Dworkin wrote an article about her life as a battered wife in the Netherlands, "What Battery Really Is", in response to Susan Brownmiller, who had argued that Hedda Nussbaum, a battered woman, should have been indicted for her failure to stop Joel Steinberg from murdering their adoptive daughter. "Newsweek" initially accepted "What Battery Really Is" for publication, but then declined to publish the account at the request of their attorney, according to Dworkin, arguing that she needed either to publish anonymously "to protect the identity of the batterer" and remove references to specific injuries, or to provide "medical records, police records, a written statement from a doctor who had seen the injuries". Instead, Dworkin submitted the article to the "Los Angeles Times", which published it on March 12, 1989.


title: Andrea Dworkin

text: In Dworkin's lifetime, two volumes were written with consideration and analysis of the body of her work: "Andrea Dworkin" by Jeremy Mark Robinson, first published in 1994, and "Without Apology: Andrea Dworkin's Art and Politics" by Cindy Jenefsky in 1998."" Following Dworkin's death, several works by or about her have been released. A play, "Aftermath", was produced in 2015 by John Stoltenberg after he found unpublished writing of hers that he edited for the stage. An anthology of her work, "Last Days at Hot Slit", was published in 2019. In 2020, a documentary feature about her, "My Name is Andrea", by Pratibha Parmar was released, and a biography of her life, "Andrea Dworkin: The Feminist as Revolutionary", by Martin Duberman, was published. Her proposal for a new book she didn't live to complete, "Writing America: How Novelists Invented and Gendered a Nation", was made public in mid-2022.


title: Ealhswith

text: Ealhswith or Ealswitha (died 5 December 902) was the wife of King Alfred the Great. Her father was a Mercian nobleman, Æthelred Mucel, Ealdorman of the Gaini, which is thought to be an old Mercian tribal group. Her mother was Eadburh, a member of the Mercian royal family. Ealhswith is commemorated as a saint in the Christian East and the West on 20 July.


title: Ealhswith

text: A charter of 897 (S 1442) discusses the responsibilities of Ealhswith's brother Æthelwulf towards the monastery of Winchcombe, and Barbara Yorke argues that as this monastery was claimed as a possession by the family of Ceolwulf and Coenwulf, brothers who were both kings of Mercia, Ealhswith was probably a member of this family. Richard Abels goes further, stating that she was descended from King Coenwulf.


title: Ealhswith

text: She was married to Alfred in 868 at Gainsborough, Lincolnshire. His elder brother Æthelred was then king, and Alfred was regarded as heir apparent. The Danes occupied the Mercian town of Nottingham in that year, and the marriage was probably connected with an alliance between Wessex and Mercia. Alfred became king on his brother's death in 871.


title: Ealhswith

text: Ealhswith is very obscure in contemporary sources. She did not witness any known charters during the reign of her husband, and while Asser details her parentage and the date of their marriage, he did not identify her by name in his "Life of King Alfred" calling her only "a noble Mercian Lady". In accordance with ninth century West Saxon custom, she was not given the title of queen. According to King Alfred, this was because of the infamous conduct of a former queen of Wessex called Eadburh, who had inadvertently poisoned her husband when trying to poison another.


title: Ealhswith

text: After Alfred's death, in 901, Ealhswith did witness one charter during the reign of her son King Edward in which she is identified as "Ealhswið mater regis", Ealhswith mother of the king. Her name is subscribed immediately after King Edward, and before Edward's wife Ælfflæd.


title: Ealhswith

text: Alfred left his wife three important symbolic estates in his will, Edington in Wiltshire, the site of one important victory over the Vikings, Lambourn in Berkshire, which was near another, and Wantage, his birthplace. These were all part of his bookland, and they stayed in royal possession after her death.


title: Ealhswith

text: It was probably after Alfred's death in 899 that Ealhswith founded the convent of St Mary's Abbey, Winchester, known as the Nunnaminster. She died on 5 December 902, and was buried in her son Edward's new Benedictine abbey, the New Minster, Winchester. She is commemorated in two early tenth century manuscripts as "the true and dear lady of the English".


title: Ealhswith

text: Ealhswith's brother Æthelwulf was ealdorman of western and possibly central Mercia under his niece's husband, Æthelred, Lord of the Mercians, in the 890s. He died in 901.


title: The Hunger (1983 film)

text: The Hunger is a 1983 erotic horror film directed by Tony Scott, starring Catherine Deneuve, David Bowie, and Susan Sarandon. An international co-production of the United Kingdom and United States, the film is a loose adaptation of the 1981 novel of the same name by Whitley Strieber, with a screenplay by Ivan Davis and Michael Thomas. Its plot concerns a love triangle between a doctor who specializes in sleep and aging research (Sarandon) and a vampire couple (Deneuve and Bowie). The film's special effects were handled by make-up effects artist Dick Smith.


title: The Hunger (1983 film)

text: After premiering at the 1983 Cannes Film Festival, "The Hunger" was released in the spring of 1983 by Metro-Goldwyn-Mayer. Though it received a mixed critical response, the film has accrued a cult following within the goth subculture in the years since its release.


title: The Hunger (1983 film)

text: Miriam Blaylock is a vampire, seen in flashbacks drinking from victims in Ancient Egypt, promising specially chosen humans eternal life as her vampire lovers. Her current companion is John, a talented cellist whom she met in 18th-century France. In a nightclub in New York City, they connect with a young couple whom they bring home and feed upon by slashing their throats with bladed ankh pendants. The victims' bodies are disposed of in an incinerator in the basement of Miriam and John's elegant New York townhouse, where they pose as a wealthy couple who teach classical music.


title: The Hunger (1983 film)

text: Now, 200 years after he was turned, John begins suffering insomnia and ages years in only a few days. John realizes Miriam's promise, that periodically killing and feeding upon human victims would give him immortality, was only partially true; he will have eternal life, but not eternal youth. He seeks Dr. Sarah Roberts, a research gerontologist who, with her colleagues Charlie and Tom (also Sarah's boyfriend), are studying the effects of rapid aging in primates, hoping she can reverse his accelerating decrepitude. Sarah assumes that John is a hypochondriac or mentally unbalanced and ignores his pleas for help. As the angered John leaves the clinic, Sarah is horrified to see how rapidly he is aging and offers her help, but John rebuffs her.


title: The Hunger (1983 film)

text: One of the Blaylocks' students, Alice Cavender, drops by their townhouse to say that she cannot attend the next day's lesson. In a last attempt to regain his youth, John murders and feeds upon Alice, whom Miriam was grooming to be her next consort when she came of age. However, her blood does nothing to restore him, so John begs Miriam to kill him and release him from the agony of his decrepit body. Weeping, Miriam tells him there is no release. After John collapses in the basement, Miriam carries him into the attic, which is filled with coffins and places him in one. Like John, Miriam's former vampire lovers suffer an eternal living death, helplessly moaning and trapped in their coffins. Sarah comes looking for John at his home, and Miriam claims that her husband is in Switzerland. Sarah asks to be updated on John’s condition. Later, a police official comes to the residence, looking for the missing Alice. Miriam feigns ignorance.


title: The Hunger (1983 film)

text: Sarah returns to Miriam’s home to again inquire about John. Miriam, who feels alone after losing both John and Alice, initiates a sexual encounter with Sarah, during which Miriam bites her arm and some of Miriam's blood enters Sarah's body. Miriam attempts to initiate Sarah in the necessities of life as a vampire, but Sarah is repulsed by the thought of subsisting on human blood.


title: The Hunger (1983 film)

text: Sarah returns home and goes out to dinner with Tom, who becomes argumentative when she rejects food and is not forthcoming about her three-and-a half-hour disappearance to the Blaylock residence. The next day at the lab, the team investigates Sarah's blood and reveal she has some kind of infection, in the form of a foreign and inhuman type of blood, that is taking over her own. Confused, Sarah returns to confront Miriam. Still reeling from the effects of her vampiric transformation, Sarah allows Miriam to put her to bed in a guest room.


title: The Hunger (1983 film)

text: Tom arrives at Miriam's home, looking for Sarah. Miriam shows him to the upstairs bedroom, where Sarah, starving and desperate, kills him. Miriam assures her that she will soon forget what she was. As the two kiss, Sarah drives Miriam's ankh knife into her own throat and holds her mouth over Miriam's, forcing Miriam to ingest her blood. Miriam carries Sarah upstairs, intending to place her with her other boxed lovers. A rumbling occurs and the mummies of Miriam's previous lovers, including John, emerge from their coffins, driving her over the edge of the balcony. As she rapidly ages, the mummies become dust.


title: The Hunger (1983 film)

text: The police investigator returns to find a real estate agent showing the townhouse to prospective buyers. Sarah is now in London with two new companions, standing on the balcony of a flat in the Barbican Estate's Cromwell Tower, admiring the view as dusk falls. From a draped coffin in a storage room, Miriam continually cries Sarah's name.


title: The Hunger (1983 film)

text: Willem Dafoe and John Pankow have brief appearances as two youths harassing Sarah at a phone booth. John Stephen Hill and Ann Magnuson play a wild young couple whom Miriam and John pick up at a nightclub to consume at the start of the film. James Aubrey plays a man whom Miriam brings to Sarah as her potential first victim.


title: The Hunger (1983 film)

text: English gothic rock band Bauhaus appear during the film's opening credits as a group performing at the nightclub, with Peter Murphy onscreen, where they play their single "Bela Lugosi's Dead." Silent film star Bessie Love makes her final film appearance as an elderly fan at Sarah's book signing.


title: The Hunger (1983 film)

text: The final scene of Sarah on the balcony was added at the studio's behest, with a view to leaving the film open-ended and allowing for possible sequels. Sarandon later expressed regret that this sequence seemed to make no sense in the context of the rest of the film: "The thing that made the film interesting to me was this question of, 'Would you want to live forever if you were an addict?' But as the film progressed, the powers that be rewrote the ending and decided that I wouldn't die, so what was the point? All the rules that we'd spent the entire film delineating, that Miriam lived forever and was indestructible, and all the people that she transformed [eventually] died, and that I killed myself rather than be an addict [were ignored]. Suddenly I was kind of living, she was kind of half dying... Nobody knew what was going on, and I thought that was a shame."


title: The Hunger (1983 film)

text: Bowie was excited to work on the film but was concerned about the final product. He said "I must say, there's nothing that "looks" like it on the market. But I'm a bit worried that it's just perversely bloody at some points."


title: The Hunger (1983 film)

text: Howard Blake was musical director on "The Hunger". Although a soundtrack album accompanied the film's release (Varèse Sarabande VSD 47261), this issue omits much of the music used in the film.


title: The Hunger (1983 film)

text: Blake's noted on working with director Tony Scott, "Tony wanted to create a score largely using classical music and I researched this, many days going to his home in Wimbledon with stacks of recordings to play to him. One of these was the duet for two sopranos from Delibes' "Lakmé", which I recorded specially with Elaine Barry and Judith Rees, conducting my orchestra The Sinfonia of London. Howard Shelley joined with Ralph Holmes and Raphael Wallfisch to record the second movement of Schubert's Piano Trio in E flat. Ralph recorded the Gigue from Bach's Violin Partita in E and Raphael the Prelude to Bach's solo cello sonata in G, to which Bowie mimed. I was persuaded to appear in one scene as a pianist, for which I wrote a 'Dolphin Square Blues'. Tony wanted to add a synthesizer score and I introduced him to Hans Zimmer, then working at The Snake Ranch Studio in Fulham but Tony eventually used a score by Michel Rubini and Denny Jaeger with electronics by David Lawson. It is hard however to exactly separate these elements."


title: The Hunger (1983 film)

text: "The Hunger" was nominated for two Saturn Awards for Best Costume and Best Make-up, while receiving mixed reviews upon its release, with criticism given towards its pacing and plot, while being heavy on atmosphere and visuals. Roger Ebert of the "Chicago Sun-Times" described the film as "an agonizingly bad vampire movie," remarking that the sex scene between Deneuve and Sarandon is effective, but that the film is so heavy on set design and scene cuts that any sense of a story is lost. In a brief review in "Rolling Stone", Michael Sragow similarly called it "A minor horror movie with a major modern-movie problem: director Tony Scott develops so many ingenious ways to illustrate his premise that there's no time left to tell a story."


title: The Hunger (1983 film)

text: Christopher John reviewed "The Hunger" in "Ares Magazine" #15 and commented that "Beautifully filmed, but boringly void of substance, "The Hunger" is (was) a film to be avoided like the plague."


title: The Hunger (1983 film)

text: Camille Paglia wrote in "Sexual Personae" (1990) that while "The Hunger" comes close to being a masterpiece of a "classy genre of vampire film", it is "ruined by horrendous errors, as when the regal Catherine Deneuve is made to crawl around on all fours, slavering over cut throats", which Paglia considered an inappropriate focus on violence rather than sex. Critic Elaine Showalter called "The Hunger" a "post-modernist vampire film" that "casts vampirism in bisexual terms, drawing on the tradition of the lesbian vampire...Contemporary and stylish, [it] is also disquieting in its suggestion that men and women in the 1980s have the same desires, the same appetites, and the same needs for power, money, and sex." David Bowie later commented about the film that "the first twenty minutes rattle along like hell - it really is a great opening."


title: The Hunger (1983 film)

text: On the review aggregator website Rotten Tomatoes, "The Hunger" holds a 56% approval rating based on 36 reviews, with an average rating of 5.7/10. The consensus reads: "Stylish yet hollow, "The Hunger" is a well-cast vampire thriller that mistakes erotic moments for a satisfying story."


title: The Hunger (1983 film)

text: The film has been listed as a . Later reviews have called the film "outrageously sleek" and "a cinematic work of art that has stood the test of time" that deserves "a new look."


title: The Hunger (1983 film)

text: The film has found a cult following that responded to its dark, glamorous atmosphere. The Bauhaus song "Bela Lugosi's Dead" plays over the opening scene and credits. The film is popular with some segments of the Goth subculture and inspired a short-lived TV series of the same name, although the series has no direct plot or character connection to it.


title: The Hunger (1983 film)

text: The film has been cited by publisher Fred Berger as an influence on the creation and direction of his gothic subculture zine "Propaganda", and by showrunner Bryan Fuller on his television series "Hannibal".


title: The Hunger (1983 film)

text: On 23 September 2009, Warner Bros. announced it planned a remake of the film, with the screenplay written by Whitley Strieber.


title: The Hunger (1983 film)

text: Warner Bros, after years of silence, shared news about the remake in 2021 with a new screenplay by Jessica Sharzer and it being produced by Greg Berlanti, Sarah Schechter and Mike McGrath.


title: Martha Argerich

text: Martha Argerich (; Eastern Catalan: ]; born 5 June 1941) is an Argentine classical concert pianist. She is widely considered to be one of the greatest pianists of all time.


title: Martha Argerich

text: Argerich was born in Buenos Aires. Her paternal ancestors were Spaniards from Catalonia who had been based in Buenos Aires since the 18th century. Her maternal grandparents were Jewish immigrants from the Russian Empire, who settled in Colonia Villa Clara in Argentina's Entre Ríos Province, one of the colonies established by Baron de Hirsch and the Jewish Colonization Association. The provenance of the name "Argerich" is Catalonia.


title: Martha Argerich

text: A precocious child, Argerich began kindergarten at the age of two years and eight months, where she was the youngest child. A five-year-old boy, who was a friend, teased her that she would not be able to play the piano, and Argerich responded by playing perfectly, by ear, a piece their teacher played them. The teacher immediately called the mother and they "started making a fuss." Argerich started learning the piano at the age of three. At the age of five, she moved to teacher Vincenzo Scaramuzza, who stressed to her the importance of lyricism and feeling. Argerich gave her debut concert in 1949 at the age of eight. The family moved to Europe in 1955, where Argerich studied with Friedrich Gulda in Austria, whom Argerich describes as one of her major influences. She later studied with Stefan Askenase and Maria Curcio. Argerich also seized opportunities for brief periods of coaching with Madeleine Lipatti (widow of Dinu Lipatti), Abbey Simon, and Nikita Magaloff. In 1957, at sixteen, she won both the Geneva International Music Competition and the Ferruccio Busoni International Competition within three weeks of each other.


title: Martha Argerich

text: Following this success, Argerich had a personal and artistic crisis. After an abortive attempt to study with the Italian pianist Arturo Benedetti Michelangeli, who gave her only four lessons in the space of 18 months, she went to New York City, hoping but failing to meet and study with her idol, Vladimir Horowitz. She did not play the piano for three years and considered giving it up to train as a secretary or doctor. She credited Anny Askenase, the wife of Stefan Askenase, with encouraging her to return to the piano. Following her return, Argerich won the prestigious VII International Chopin Piano Competition in 1965.


title: Martha Argerich

text: Argerich performed her debut concert at the age of eight, playing Mozart's Piano Concerto No. 20 in D minor and Beethoven's Piano Concerto No. 1 in C major. Argerich gained international prominence when she won the VII International Chopin Piano Competition in Warsaw in 1965, at age 24. In that same year, she debuted in the United States in Lincoln Center's Great Performers Series. In 1960, she had made her first commercial recording, which included works by Chopin, Brahms, Ravel, Prokofiev, and Liszt; it received critical acclaim upon its release in 1961. She has since recorded works by composers including Ginastera, Rachmaninoff and Schumann, to whom she describes feeling a particular connection.


title: Martha Argerich

text: Argerich has often remarked in interviews of feeling "lonely" on stage during solo performances. Since the 1980s, she has staged few solo performances, concentrating instead on concertos and, in particular, chamber music, and collaborating with instrumentalists in sonatas.


title: Martha Argerich

text: Argerich has also promoted younger pianists, both through her annual festival and through her appearances as a member of the jury at international competitions. The pianist Ivo Pogorelić was thrust into the musical spotlight partly as a result of Argerich's actions: after he was eliminated in the third round of the 1980 International Chopin Piano Competition in Warsaw, Argerich proclaimed him a genius and left the jury in protest. According to Đặng Thái Sơn, the eventual winner, Argerich made the "beautiful gesture" of sending a public telegram to the judging committee to congratulate him, after learning the final results. She has supported several artists, including Gabriela Montero, Mauricio Vallina, Sergio Tiempo, Roberto Carnevale, Gabriele Baldocci, and Christopher Falzone.


title: Martha Argerich

text: Argerich is the president of the International Piano Academy Lake Como and performs annually at the Lugano Festival. She has also created and been a General Director of the Argerich Music Festival and Encounter in Beppu, Japan, since 1996.


title: Martha Argerich

text: Her aversion to the press and publicity has resulted in her remaining out of the limelight for most of her career. Nevertheless, she is widely recognized as one of the greatest pianists in history. Her performance of Liszt's First Piano Concerto conducted by Daniel Barenboim at The Proms 2016 prompted this review in "The Guardian": "It was an unforgettable performance. Argerich celebrated her 75th birthday in June this year, but that news doesn't seem to have reached her fingers. Her playing is still as dazzling, as frighteningly precise, as it has always been; her ability to spin gossamer threads of melody as matchless as ever. This was unmistakably and unashamedly Liszt in the grand manner, a bit old-fashioned and sometimes even a bit vulgar at times, but in this of all concertos, with Barenboim and the orchestra following each twist and turn, every little quickening and moment of expressive reflection, it seemed entirely appropriate". Argerich returned to the Proms at the age of 78 in 2019 to perform Tchaikovsky's First Piano Concerto under the baton of Barenboim, a performance described as "mesmerizing".


title: Martha Argerich

text: Argerich has been married twice. Her first marriage was to the composer-conductor Robert Chen, () whom she married after she became pregnant by him with her first daughter, violinist Lyda Chen-Argerich. Their marriage ended after several months, in 1964. From 1969 to 1973, Argerich was married to Swiss conductor Charles Dutoit, with whom she had a daughter, Annie Dutoit. Although they separated in 1973, Argerich continues to record and perform with Dutoit. In the 1970s, she had a relationship with the pianist Stephen Kovacevich, with whom she has a daughter, Stéphanie. Although they made few recordings together during their relationship, Argerich and Kovacevich still frequently perform together. Stéphanie Argerich explains in her film "Bloody Daughter" that as her parents were not married, they tossed a coin to name their daughter, for which Argerich won the toss. Argerich brought her children up in a manner described by Annie Dutoit as "bohemian"; Argerich preferred her children to stay at home rather than go to school, and would regularly host young musicians in her home and practice through the night.


title: Martha Argerich

text: Argerich is a polyglot and can speak Spanish, French, Italian, German, English, and Portuguese. Although her mother tongue is Spanish, she brought her children up speaking French. She has lived in Argentina, Belgium, Switzerland, and France, and holds citizenship in Switzerland and Argentina.


title: Martha Argerich

text: Argerich has never been connected to any political party. However, she stated in a 2019 interview that she is strongly against capital punishment, and admires the French politician Robert Badinter, who enacted the abolition of the death penalty in France. Her friend pianist Daniel Barenboim stated that when he contacted the Argentinian president Mauricio Macri in 2016, asking him to accept Syrian refugees into the country, it was also on behalf of Argerich.


title: Martha Argerich

text: In 1990, Argerich was diagnosed with malignant melanoma. After treatment, the cancer went into remission, but it recurred in 1995 and eventually metastasized to her lungs, pancreas, liver, brain, and lymph nodes. Following an experimental treatment at the John Wayne Cancer Institute in Santa Monica pioneered by oncologist Donald Morton, Argerich's cancer went into remission again. In gratitude, Argerich performed a recital at Carnegie Hall benefiting the institute. , Argerich remains cancer-free.


title: Martha Argerich

text: In 2002, director released "Martha Argerich: Conversation nocturne" "(Martha Argerich: Evening Talks)", a documentary film about Argerich. Stéphanie Argerich Blagojevic, using film she had shot since childhood, directed a 2012 documentary film about her mother, titled "Bloody Daughter".


title: Solder

text: Solder (; NA: ) is a fusible metal alloy used to create a permanent bond between metal workpieces. Solder is melted in order to wet the parts of the joint, where it adheres to and connects the pieces after cooling. Metals or alloys suitable for use as solder should have a lower melting point than the pieces to be joined. The solder should also be resistant to oxidative and corrosive effects that would degrade the joint over time. Solder used in making electrical connections also needs to have favorable electrical characteristics.


title: Solder

text: Soft solder typically has a melting point range of , and is commonly used in electronics, plumbing, and sheet metal work. Alloys that melt between are the most commonly used. Soldering performed using alloys with a melting point above is called "hard soldering", "silver soldering", or brazing.


title: Solder

text: In specific proportions, some alloys are eutectic — that is, the alloy's melting point is the lowest possible for a mixture of those components, and coincides with the freezing point. Non-eutectic alloys can have markedly different "solidus" and "liquidus" temperatures, as they have distinct liquid and solid transitions. Non-eutectic mixtures often exist as a paste of solid particles in a melted matrix of the lower-melting phase as they approach high enough temperatures. In electrical work, if the joint is disturbed while in this "pasty" state before it fully solidifies, a poor electrical connection may result; use of eutectic solder reduces this problem. The pasty state of a non-eutectic solder can be exploited in plumbing, as it allows molding of the solder during cooling, e.g. for ensuring watertight joint of pipes, resulting in a so-called "wiped joint".


title: Solder

text: For electrical and electronics work, solder wire is available in a range of thicknesses for hand-soldering (manual soldering is performed using a soldering iron or soldering gun), and with cores containing flux. It is also available as a room temperature paste, as a preformed foil shaped to match the workpiece which may be more suited for mechanized mass-production, or in small "tabs" that can be wrapped around the joint and melted with a flame where an iron isn't usable or available, as for instance in field repairs. Alloys of lead and tin were commonly used in the past and are still available; they are particularly convenient for hand-soldering. Lead-free solders have been increasing in use due to regulatory requirements plus the health and environmental benefits of avoiding lead-based electronic components. They are almost exclusively used today in consumer electronics.


title: Solder

text: Plumbers often use bars of solder, much thicker than the wire used for electrical applications, and apply flux separately; many plumbing-suitable soldering fluxes are too corrosive (or conductive) to be used in electrical or electronic work. Jewelers often use solder in thin sheets, which they cut into snippets.


title: Solder

text: The word solder comes from the Middle English word , via Old French and , from the Latin , meaning "to make solid".


title: Solder

text: Tin-lead (Sn-Pb) solders, also called "soft solders", are commercially available with tin concentrations between 5% and 70% by weight. The greater the tin concentration, the greater the solder’s tensile and shear strengths. Lead mitigates the formation of tin whiskers, though the precise mechanism for this is unknown. Today, many techniques are used to mitigate the problem, including changes to the annealing process (heating and cooling), addition of elements like copper and nickel, and the application of conformal coatings. Alloys commonly used for electrical soldering are 60/40 Sn-Pb, which melts at , and 63/37 Sn-Pb used principally in electrical/electronic work. The latter mixture is a eutectic alloy of these metals, which:


title: Solder

text: In the United States, since 1974, lead is prohibited in solder and flux in plumbing applications for drinking water use, per the Safe Drinking Water Act. Historically, a higher proportion of lead was used, commonly 50/50. This had the advantage of making the alloy solidify more slowly. With the pipes being physically fitted together before soldering, the solder could be wiped over the joint to ensure water tightness. Although lead water pipes were displaced by copper when the significance of lead poisoning began to be fully appreciated, lead solder was still used until the 1980s because it was thought that the amount of lead that could leach into water from the solder was negligible from a properly soldered joint. The electrochemical couple of copper and lead promotes corrosion of the lead and tin. Tin, however, is protected by insoluble oxide. Since even small amounts of lead have been found detrimental to health as a potent neurotoxin, lead in plumbing solder was replaced by silver (food-grade applications) or antimony, with copper often added, and the proportion of tin was increased (see lead-free solder).


title: Solder

text: The addition of tin—more expensive than lead—improves wetting properties of the alloy; lead itself has poor wetting characteristics. High-tin tin-lead alloys have limited use as the workability range can be provided by a cheaper high-lead alloy.


title: Solder

text: 60/40 Sn-Pb solder oxidizes on the surface, forming a complex 4-layer structure: tin(IV) oxide on the surface, below it a layer of tin(II) oxide with finely dispersed lead, followed by a layer of tin(II) oxide with finely dispersed tin and lead, and the solder alloy itself underneath.


title: Solder

text: Lead, and to some degree tin, as used in solder contains small but significant amounts of radioisotope impurities. Radioisotopes undergoing alpha decay are a concern due to their tendency to cause soft errors. Polonium-210 is especially troublesome; lead-210 beta decays to bismuth-210 which then beta decays to polonium-210, an intense emitter of alpha particles. Uranium-238 and thorium-232 are other significant contaminants of alloys of lead.


title: Solder

text: The European Union Waste Electrical and Electronic Equipment Directive and Restriction of Hazardous Substances Directive were adopted in early 2003 and came into effect on July 1, 2006, restricting the inclusion of lead in most consumer electronics sold in the EU, and having a broad effect on consumer electronics sold worldwide. In the US, manufacturers may receive tax benefits by reducing the use of lead-based solder. Lead-free solders in commercial use may contain tin, copper, silver, bismuth, indium, zinc, antimony, and traces of other metals. Most lead-free replacements for conventional 60/40 and 63/37 Sn-Pb solder have melting points from 50 to 200 °C higher, though there are also solders with much lower melting points. Lead-free solder typically requires around 2% flux by mass for adequate wetting ability.


title: Solder

text: When lead-free solder is used in wave soldering, a slightly modified solder pot may be desirable (e.g. titanium liners or impellers) to reduce maintenance cost due to increased tin-scavenging of high-tin solder.


title: Solder

text: Lead-free solder may be less desirable for critical applications, such as aerospace and medical projects, because its properties are less thoroughly known.


title: Solder

text: Tin-silver-copper (Sn-Ag-Cu, or "SAC") solders are used by two-thirds of Japanese manufacturers for reflow and wave soldering, and by about 75% of companies for hand soldering. The widespread use of this popular lead-free solder alloy family is based on the reduced melting point of the Sn-Ag-Cu ternary eutectic behavior (), which is below the 22/78 Sn-Ag (wt.%) eutectic of and the 59/41 Sn-Cu eutectic of . The ternary eutectic behavior of Sn-Ag-Cu and its application for electronics assembly was discovered (and patented) by a team of researchers from Ames Laboratory, Iowa State University, and from Sandia National Laboratories-Albuquerque.


title: Solder

text: Much recent research has focused on the addition of a fourth element to Sn-Ag-Cu solder, in order to provide compatibility for the reduced cooling rate of solder sphere reflow for assembly of ball grid arrays. Examples of these four-element compositions are 18/64/14/4 tin-silver-copper-zinc (Sn-Ag-Cu-Zn) (melting range 217–220 °C) and 18/64/16/2 tin-silver-copper-manganese (Sn-Ag-Cu-Mn; melting range of 211–215 °C).


title: Solder

text: Tin-based solders readily dissolve gold, forming brittle intermetallic joins; for Sn-Pb alloys the critical concentration of gold to embrittle the joint is about 4%. Indium-rich solders (usually indium-lead) are more suitable for soldering thicker gold layer as the dissolution rate of gold in indium is much slower. Tin-rich solders also readily dissolve silver; for soldering silver metallization or surfaces, alloys with addition of silvers are suitable; tin-free alloys are also a choice, though their wettability is poorer. If the soldering time is long enough to form the intermetallics, the tin surface of a joint soldered to gold is very dull.


title: Solder

text: Hard solders are used for brazing, and melt at higher temperatures. Alloys of copper with either zinc or silver are the most common.


title: Solder

text: In silversmithing or jewelry making, special hard solders are used that will pass assay. They contain a high proportion of the metal being soldered and lead is not used in these alloys. These solders vary in hardness, designated as "enameling", "hard", "medium" and "easy". Enameling solder has a high melting point, close to that of the material itself, to prevent the joint desoldering during firing in the enameling process. The remaining solder types are used in decreasing order of hardness during the process of making an item, to prevent a previously soldered seam or joint desoldering while additional sites are soldered. Easy solder is also often used for repair work for the same reason. Flux is also used to prevent joints from desoldering.


title: Solder

text: Silver solder is also used in manufacturing to join metal parts that cannot be welded. The alloys used for these purposes contain a high proportion of silver (up to 40%), and may also contain cadmium.


title: Solder

text: Impurities usually enter the solder reservoir by dissolving the metals present in the assemblies being soldered. Dissolving of process equipment is not common as the materials are usually chosen to be insoluble in solder.


title: Solder

text: Flux is a reducing agent designed to help reduce (return oxidized metals to their metallic state) metal oxides at the points of contact to improve the electrical connection and mechanical strength. The two principal types of flux are acid flux (sometimes called "active flux"), containing strong acids, used for metal mending and plumbing, and rosin flux (sometimes called "passive flux"), used in electronics. Rosin flux comes in a variety of "activities", corresponding roughly to the speed and effectiveness of the organic acid components of the rosin in dissolving metallic surface oxides, and consequently the corrosiveness of the flux residue.


title: Solder

text: Due to concerns over atmospheric pollution and hazardous waste disposal, the electronics industry has been gradually shifting from rosin flux to water-soluble flux, which can be removed with deionized water and detergent, instead of hydrocarbon solvents. Water soluble fluxes are generally more conductive than traditionally used electrical / electronic fluxes and so have more potential for electrically interacting with a circuit; in general it is important to remove their traces after soldering. Some rosin type flux traces likewise should be removed, and for the same reason.


title: Solder

text: In contrast to using traditional bars or coiled wires of all-metal solder and manually applying flux to the parts being joined, much hand soldering since the mid-20th century has used flux-core solder. This is manufactured as a coiled wire of solder, with one or more continuous bodies of inorganic acid or rosin flux embedded lengthwise inside it. As the solder melts onto the joint, it frees the flux and releases that on it as well.


title: Solder

text: The solidifying behavior depends on the alloy composition. Pure metals solidify at a certain temperature, forming crystals of one phase. Eutectic alloys also solidify at a single temperature, all components precipitating simultaneously in so-called coupled growth. Non-eutectic compositions on cooling start to first precipitate the non-eutectic phase; dendrites when it is a metal, large crystals when it is an intermetallic compound. Such a mixture of solid particles in a molten eutectic is referred to as a mushy state. Even a relatively small proportion of solids in the liquid can dramatically lower its fluidity.


title: Solder

text: The temperature of total solidification is the solidus of the alloy, the temperature at which all components are molten is the liquidus.


title: Solder

text: The mushy state is desired where a degree of plasticity is beneficial for creating the joint, allowing filling larger gaps or being wiped over the joint (e.g. when soldering pipes). In hand soldering of electronics it may be detrimental as the joint may appear solidified while it is not yet. Premature handling of such joint then disrupts its internal structure and leads to compromised mechanical integrity.


title: Solder

text: Many different intermetallic compounds are formed during solidifying of solders and during their reactions with the soldered surfaces. The intermetallics form distinct phases, usually as inclusions in a ductile solid solution matrix, but also can form the matrix itself with metal inclusions or form crystalline matter with different intermetallics. Intermetallics are often hard and brittle. Finely distributed intermetallics in a ductile matrix yield a hard alloy while coarse structure gives a softer alloy. A range of intermetallics often forms between the metal and the solder, with increasing proportion of the metal; e.g. forming a structure of . Layers of intermetallics can form between the solder and the soldered material. These layers may cause mechanical reliability weakening and brittleness, increased electrical resistance, or electromigration and formation of voids. The gold-tin intermetallics layer is responsible for poor mechanical reliability of tin-soldered gold-plated surfaces where the gold plating did not completely dissolve in the solder.


title: Solder

text: Two processes play a role in a solder joint formation: interaction between the substrate and molten solder, and solid-state growth of intermetallic compounds. The base metal dissolves in the molten solder in an amount depending on its solubility in the solder. The active constituent of the solder reacts with the base metal with a rate dependent on the solubility of the active constituents in the base metal. The solid-state reactions are more complex – the formation of intermetallics can be inhibited by changing the composition of the base metal or the solder alloy, or by using a suitable barrier layer to inhibit diffusion of the metals.


title: Solder

text: A preform is a pre-made shape of solder specially designed for the application where it is to be used. Many methods are used to manufacture the solder preform, stamping being the most common. The solder preform may include the solder flux needed for the soldering process. This can be an internal flux, inside the solder preform, or external, with the solder preform coated.


title: Solder

text: Glass solder is used to join glasses to other glasses, ceramics, metals, semiconductors, mica, and other materials, in a process called glass frit bonding. The glass solder has to flow and wet the soldered surfaces well below the temperature where deformation or degradation of either of the joined materials or nearby structures (e.g., metallization layers on chips or ceramic substrates) occurs. The usual temperature of achieving flowing and wetting is between .


title: A Taxi Driver

text: A Taxi Driver () is a 2017 South Korean historical action drama film directed by Jang Hoon and written by Eom Yu-na, with Song Kang-ho starring in the title role, alongside Thomas Kretschmann, Yoo Hae-jin, and Ryu Jun-yeol.


title: A Taxi Driver

text: Based on a real-life story, the film centers on a taxi driver from Seoul who unintentionally becomes involved in the events of the Gwangju Uprising in 1980. It is based on German journalist Jürgen Hinzpeter's interactions with driver Kim Sa-bok; however, as Kim's identity and real name were unknown at the time the film was made (Hinzpeter only knew him as "Kim Sa-bok"), most elements regarding his life and the events that happened to him outside of Gwangju are fictional.


title: A Taxi Driver

text: The film was released on August 2, 2017, in South Korea. It was very positively received by critics, who praised its unique approach to depicting the Gwangju Uprising events, emotional weight, as well as the main character and his relationship with Hinzpeter, and was selected as the South Korean entry for the Best Foreign Language Film at the 90th Academy Awards. The film was a notable commercial success: it was the second highest grossing film of 2017 in South Korea, and currently stands as the twelfth highest-grossing South Korean film in history.


title: A Taxi Driver

text: The film centers around the Gwangju Uprising that occurred from May 18, 1980 to May 27, 1980 and it is estimated to have led to 2,000 people being killed. The plot in the film mirrors the historical background of the Gwangju Uprisings.


title: A Taxi Driver

text: The Gwangju Uprising was a result of a continuous power tug-of-war between the government and the citizens of South Korea – mainly college students – that were advocating for democracy.


title: A Taxi Driver

text: For many years, Gwangju’s Uprising was a forbidden term in South Korea – those who were on the side of the government during that time held the reins of nation. According to scholar Jang Se Young from the Wilson Center, "books related to Gwangju were strictly censored or prohibited from even being published. Although a number of political dissidents and activists sought to inherit and develop the spirit of Gwangju, they were persecuted." Scholar Kim Yong Cheol stated that, "the political legacies the Gwangju Uprising produced played a pivotal role in checking military intervention in politics during the democratic transition as well as in establishing the principle of civilian supremacy during the democratic transition period." Despite being banned, hundreds and thousands of news articles on what was happening in Gwangju were trying to be released by some of the journalists inside the city.


title: A Taxi Driver

text: Efforts were made by some American journalists in order to inform the world about what was happening in Gwangju. Tim Shorrock published numerous US government documents related to the uprisings that were happening in Gwangju, and Terry Anderson, who was a former AP correspondent, covered the uprisings himself and provided an eyewitness account of the situation in 1980. People in Seoul were not aware of what was happening in Gwangju, until international media took hold of the story. Andrew David Jackson of Cambridge University argued that Jürgen Hinzpeter's relationship with South Korea's democratization movement "have become important weapons for the activist generation in an ongoing struggle over the memorialization of the Gwangju Uprising."


title: A Taxi Driver

text: The year marked the thirtieth year of significant democratic advancement in South Korean history, compared to the setting in which A Taxi Driver took place. Paul Y. Chang of KOAJ argued that the contemporary candlelight protest industry draws on organizational and cultural resources first established in past democracy movements." During the filming of the movie, the director Jang Hoon was stopped multiple times, and the main actor of this film, Song Kang Ho, was blacklisted by the government from appearing on major motion picture films. Similar to the past, where newspaper articles and mass media coverage in South Korea was heavily monitored and censored, this movie faced obstacles as it reached its release date due to the former government’s implications.


title: A Taxi Driver

text: In 1980, Kim Man-seob is a widowed father who works as a taxi driver in Seoul. One day, he overhears another taxi driver talking about a foreign client who has booked him for a trip worth 100,000 won (the Korean equivalent of 100 dollars); the client intends to travel to Gwangju for the day and return to Seoul before curfew. Man-seob rushes off to steal the client.


title: A Taxi Driver

text: The client is Jürgen "Peter" Hinzpeter, a West German journalist who wishes to report on the increasing civil unrest in Gwangju. Due to strict censorship, foreign reporters are prohibited from entering the country. Peter pretends to be a missionary in order to enter South Korea. Man-seob meets Peter and lures him into his taxi before heading off to Gwangju.


title: A Taxi Driver

text: The two men discover that all the roads leading to Gwangju are blocked and heavily guarded by soldiers. Man-seob tries to convince Peter that they should return to Seoul, but the latter refuses to pay the 100,000 won unless they reach Gwangju. They manage to enter the city after they lie about Peter being a businessman. In Gwangju, they find that all the shops are closed and the streets are deserted. Man-Seob dismisses the severity of the city's state as he believes that the recent riots were caused by students who only "go to school to protest" in part due to the news reporting misinformation. Peter begins to record his observations on his camera, and the two men meet a group of college students who are riding on a pickup truck. The leader of the group, Yong-pyo, invites Peter aboard. They also befriend an English-speaking student, Jae-sik. Man-seob decides to turn back, reluctant to have his taxi damaged in the riots. Along the way, he takes pity on an old woman looking for her son and she leads him to the local hospital. The woman's son turns out to be Yong-pyo, who is in the hospital with minor injuries. Peter and the college students scold Man-seob for his selfishness and refuse to let Peter pay him until he fulfills the agreed upon trip.


title: A Taxi Driver

text: Man-seob agrees to take Peter and Jae-sik (now acting as their translator) through Gwangju. Local protesters welcome the foreign reporter and greet the trio with food and gifts. Peter films violent riots and witnesses soldiers beating protesters. Plainclothed Defense Security Command (DSC) officers (presumed to be the DSC 505th Defense Security Unit) see him filming and move to arrest him, but the three men evade capture. That evening, Man-seob's taxi breaks down and they are met by Tae-soo, one of the local taxi drivers. Tae-soo tows the taxi to his shop for overnight repair. Man-seob becomes distressed as his young daughter is home alone and he is unable to contact her as Gwangju's phone lines have been cut. Tae-soo lets the men stay at his house for the night.


title: A Taxi Driver

text: During dinner, they hear an explosion and discover that the television station has been bombed. They head there and Peter films the turmoil. The officers recognize Peter and chase the three men; Jae-sik is captured, but before he is taken away, he yells for Peter to share the footage with the world. Man-seob is assaulted by the leader of the plainclothes DSC officers, who accuses the driver of being a communist. Peter rescues Man-seob and the pair run back to Tae-soo's house.


title: A Taxi Driver

text: At dawn, Tae-soo gives Man-seob fake Gwangju license plates as the soldiers are now searching for a Seoul taxi. Alone, Man-seob drives to the nearby town of Suncheon, where he overhears reports of the events in Gwangju; the media falsely claims that the chaos was caused by "rogue groups and rioters". He is overwhelmed with guilt and drives back to the hospital in Gwangju to find Peter in shock and Tae-soo crying over Jae-sik's corpse. He reminds Peter of his promise to show the world what is happening in South Korea and encourages him to continue filming.


title: A Taxi Driver

text: They film a street where Airborne Brigade soldiers are mercilessly shooting at civilians. Man-seob and the other taxi drivers use their vehicles to barricade the soldiers from further harming the civilians. The Airborne Brigade soldiers continue shooting, and the two men arrive at a road blocked by 31st Infantry Division soldiers. Man-seob states that he is taking a foreign businessman away from the turmoil. A young soldier, Sergeant First Class Park, searches the car and finds the license plates from Seoul. However, he remains silent on the discovery and lets them go. The soldiers then receive orders through radio not to let any foreigners through. Man-seob breaks through the barricade by force and the soldiers open fire, but Sergeant Park just sits by and watches without firing.


title: A Taxi Driver

text: However, DSC officers soon give chase and shoot at them. Man-seob and Peter are rescued by the local taxi drivers, who ram into the military vehicles to distract the soldiers. The taxi drivers are presumably killed in the chase, and Tae-soo ultimately sacrifices himself to allow Man-seob and Peter to escape. The two men make it to the airport, where they bid each other an emotional farewell. Peter asks Man-seob for his name and phone number as he wishes to return to South Korea to visit. Man-seob hesitates, but then writes his name and phone number in Peter's notebook. Peter leaves the country safely.


title: A Taxi Driver

text: Peter shares the footage with his superiors and the news is spread all over the world. He searches for "Kim Sa-bok", only to be told that the latter had provided a false name and phone number. In Seoul, Man-seob happily reunites with his daughter.


title: A Taxi Driver

text: Twenty-three years later, Peter receives an award in South Korea for his report on the Gwangju Uprising. In his speech, he expresses his gratitude to "Kim Sa-bok" and hopes to see him again someday. Man-seob, still a taxi driver, reads a newspaper article about Peter's speech and achievements, including his words of gratitude towards him. Man-seob then murmurs that he is more grateful to Peter and that he misses him too.


title: A Taxi Driver

text: The epilogue states that Peter tried to search for the taxi driver who took him through Gwangju, but he died in 2016 before they could meet again. The film ends with footage of the real Peter, who gives his thanks to "Kim Sa-bok".


title: A Taxi Driver

text: The film was released on August 2, 2017 in South Korea. On the same day, the film had its international premiere at the Fantasia International Film Festival in Montreal, where Song Kang-ho was named Best Actor for his role in the film.


title: A Taxi Driver

text: According to distributor Showbox, the film will be released in North America on August 11, Australia and New Zealand on August 24, followed by the UK on August 25. It will then open in Asian countries including Hong Kong, Taiwan and Japan in September.


title: A Taxi Driver

text: "A Taxi Driver" received positive reviews upon its release. The review aggregation website Rotten Tomatoes gives the film an approval rating of 96% based on 28 reviews, with an average rating of 7.3/10. The website's critical consensus reads ""A Taxi Driver" brings a ground-level perspective and a refreshingly light touch to a fact-based story with sobering implications." On Metacritic, which assigns a normalized rating based on reviews, the film has a score of 69 out of 100, based on 7 critics, indicating "generally favorable reviews".


title: A Taxi Driver

text: Sohing Yi Chan of "OFF SCREEN" pointed out "A Taxi Driver" “as a film depicting a historical trauma”, let the international audience, especially those who were not familiar with the event, be able to learn more about the truth. He also suggested that the film by adopting a classical Hollywood structure in narrative, gave audiences a chance to “experience the roller coaster of emotions that the film bombards the audience within a highly workmanlike fashion”.


title: A Taxi Driver

text: Jennie Kermode of "Eye For Film" shared the relevant ideas that the director didn’t ignore the peaceful and lovely moments besides the violent, panic and horrible scenes, and it created a contrast in emotion and let audience keep shocking or plunge into consideration.


title: A Taxi Driver

text: The cinematography in this film gained some more attention. Sheri Linden of "The Hollywood Reporter" went further that especially in the checkpoint scene and the mountain-road chase scene, the cinematography captured a “metal-on-metal violence” which was exaggerated in a “pastoral backdrop” that made Kim’s decision and reaction more convincing. Sheri Linden also refuted the doubt on the other character Hinzpeter that his emotions might be overplayed in the last act, by evidencing the found footage from the real Hinzpeter by the end of the film, to show the proper performance in the film.


title: A Taxi Driver

text: Edeltraut Brahmstaedt, the widow of the German journalist Jürgen Hinzpeter, was to visit Seoul on August 8, 2017. During the visit, Brahmstaedt planned to watch the film based on the true story of her late husband.


title: A Taxi Driver

text: On August 13, 2017, South Korea's President Moon Jae-in viewed "A Taxi Driver" with Edeltraut Brahmstaedt and her family. A Blue House official said, "The movie shows how a foreign reporter's efforts contributed to Korea's democratization, and President Moon saw the film to honor Hinzpeter in respect for what he did for the country." After watching the film, President Moon commented:


title: A Taxi Driver

text: Some people have pointed out the formulaic elements and the weakness they brought to the film. Manfred Selzer of "Asian Movie Web" argued due to the heavy use of slow-motion, repetitions and soundtrack, some scenes of killing seemed too melodramatic; and the exciting scenes that the taxi chasing on mountain road although were some wonderful action scenes, did not work on well with the narrative, which seemed “out of place in the film and aren’t captured that convincing either”.


title: A Taxi Driver

text: Simon Abrams of "RogerEbert.com" argued that Peter was depicted as a stiff supporting role to work for the narrative rather than a vivid character in the story, and each peak moment “feels too neat and schematic” that couldn’t evoke sincere emotion.


title: A Taxi Driver

text: Sohing Yin Chan, in his review, questioned whether the emotional wave based on the balanced narrative made between drama and action genre could squeeze the audience’s tear in ethical way; he also believed those emotion are “too detached from all the action."


title: A Taxi Driver

text: According to the Korean Film Council, on the first day of the release, a total of 698,090 tickets were sold, which earned . The film was available on 1,446 screens and was shown 7,068 times across South Korea. By noon on the second day of its run, the film had passed the one million viewer mark.


title: A Taxi Driver

text: On the third day, the total audience doubled, attracting two million viewers. The viewer numbers continued to rise as the tickets sale increased to four million by the fourth day.


title: A Taxi Driver

text: It has tied with "" and "The Battleship Island" for the record of films which have surpassed four million viewers in the first five days of release. At the end of the first seven days, the film surpassed 5 million admissions. On the eleventh day since the opening the film recorded more than 7 million viewers.


title: A Taxi Driver

text: "A Taxi Driver" became the most viewed South Korean film in 2017 in less that two weeks since its premiere by attracting more than 8 million audience. By August 15, 2017, it has earned a total of with 9.02 million admissions.


title: A Taxi Driver

text: By August 20, in just 19 days since the film was released, "A Taxi Driver" surpassed 10 million viewers selling 10,068,708 tickets, earning a total of . "A Taxi Driver" also became the first film of 2017 and the fifteenth Korean film overall to surpass the 10 million milestone. It is also Song Kang-ho's third film to have sold more than 10 million tickets.


title: A Taxi Driver

text: The film topped the South Korean box office for three consecutive weekends. By August 28, the film had attracted 11.4 million viewers. According to the film's distributor Showbox, the total attendance of the film surpassed the 12 million mark as of September 9, becoming the tenth most-watched local film of all time in South Korea.


title: A Taxi Driver

text: "A Taxi Driver" is yet to be released in any form in China, though it received a theatrical release on September 21, 2017 in Hong Kong. The film has received warm responses from users on Chinese movie website Douban, where it had a high user rating. However at around 21:10, October 3, 2017, the film was entirely removed from the Chinese movie portal, the reason possibly being that a number of reviews had compared the film's content to the 1989 Tiananmen Square protests and massacre, which is strictly censored on media in China.


title: A Taxi Driver

text: "A Taxi Driver" generally shows good accuracy on the memory of Gwangju Uprising, but several historical events depicted in the film are inaccurate and fictional.


title: A Taxi Driver

text: The name of the taxi driver who helps Hinzpeter in the film is Kim Man-seob. He gives a false name, Kim Sa-bok, to Hinzpeter when he asks for Kim's name later in the film. However, in real life, the taxi driver’s name was actually Kim Sa-bok. The only information known about the driver at the time during production was the name Kim Sa-bok, which was not registered as a taxi driver (due to his being a hotel taxi driver, not a self-employed taxi driver). Therefore, most of the character settings, including the "real" name Kim Man-seob, were created for the film.


title: A Taxi Driver

text: In the film, Kim Man-seob is a self-employed taxi driver. Kim Sa-bok (real name of Kim Man-seob) actually wasn't a self-employed taxi driver, but a hotel taxi driver. Thus, his car was not a green taxi shown in the film but a black sedan.


title: A Taxi Driver

text: In the film, only Kim Man-seob and Jürgen Hinzpeter head to Gwangju. However, in real life they were accompanied with Hinzpeter’s sound technician Henning Rumohr.


title: A Taxi Driver

text: The massive car chase sequence in which the taxi drivers in Gwangju help Kim Man-seob and Hinzpeter escape Gwangju did not happen. In reality, they escaped from Gwangju without incident on the pretext of doing business.


title: A Taxi Driver

text: In the film, Kim Man-seob communicates with Hintzpeter in short English and is unable to speak English fluently. However, Kim sa-bok in real life was able to speak fluent English.


title: A Taxi Driver

text: Kim Man-seob in the film shows no interest in demonstrations and doesn't know what's happening in Gwangju. In real life, Kim Sa-bok was actually interested in democratic movements and explained the situation in Gwangju to Hinzpeter.


title: A Taxi Driver

text: In the film, Jürgen Hinzpeter is described as the only foreign press personnel to document the events in Gwangju. However, other foreign news reporters including Henry Scott Stokes from The New York Times and Terry Anderson from Associated Press were in Gwangju covering the movement.


title: A Taxi Driver

text: The movie ends with footage of an interview from November 2015 with the real Jürgen Hinzpeter describing his fruitless efforts to find his driver Kim Sa-bok again, after the events of Gwangju. Hinzpeter died in January, 2016 without ever finding Kim Sa-bok. In 2017, the immense popularity in South Korea of the movie "A Taxi Driver" brought the story of Kim Sa-bok to the attention of his son, Kim Seung-pil, who came forth publicly on Twitter and presented photographic evidence and details of his father's work with Jürgen Hinzpeter. The real Kim Sa-bok had a long term working relationship as a driver for Jürgen Hinzpeter, since at least 1975, and had died of liver cancer on December 19, 1984 at the age of 54. According to his son, Kim Sa-bok was traumatized by the terrible events at Gwangju and became a heavy drinker afterwards, which likely hastened his death. Kim Sa-bok's death just a few years after the events depicted in the movie, and the fact that he was an independent driver not registered with any of the taxi companies were the reasons that Jürgen Hinzpeter had been unable to find him again when he returned later to Korea. The photographs presented by Kim Seung-pil were confirmed to be authentic by German broadcaster ARD and Hinzpeter's widow.


title: Inconel

text: Inconel is a registered trademark of Special Metals Corporation for a family of austenitic nickel-chromium-based superalloys.


title: Inconel

text: Inconel alloys are oxidation-corrosion-resistant materials well suited for service in extreme environments subjected to pressure and heat. When heated, Inconel forms a thick, stable, passivating oxide layer protecting the surface from further attack. Inconel retains strength over a wide temperature range, attractive for high-temperature applications where aluminium and steel would succumb to creep as a result of thermally-induced crystal vacancies. Inconel's high-temperature strength is developed by solid solution strengthening or precipitation hardening, depending on the alloy.


title: Inconel

text: The Inconel family of alloys was first developed before December 1932, when its trademark was registered by the International Nickel Company of Delaware and New York. A significant early use was found in support of the development of the Whittle jet engine, during the 1940s by research teams at Henry Wiggin & Co of Hereford, England a subsidiary of the Mond Nickel Company, which merged with Inco in 1928. The Hereford Works and its properties including the Inconel trademark were acquired in 1998 by Special Metals Corporation.


title: Inconel

text: Inconel alloys vary widely in their compositions, but all are predominantly nickel, with chromium as the second element.


title: Inconel

text: Inconel alloys are oxidation- and corrosion-resistant materials well suited for service in extreme environments subjected to high mechanical loads. When heated, Inconel forms a thick and stable passivating oxide layer protecting the surface from further attack. Inconel retains strength over a wide temperature range, attractive for high-temperature applications where aluminium and steel would succumb to creep as a result of thermally induced crystal vacancies (see Arrhenius equation). Inconel's high temperature strength is developed by solid solution strengthening or precipitation strengthening, depending on the alloy. In age-hardening or precipitation-strengthening varieties, small amounts of niobium combine with nickel to form the intermetallic compound NiNb or gamma double prime (γ″). Gamma prime forms small cubic crystals that inhibit slip and creep effectively at elevated temperatures. The formation of gamma-prime crystals increases over time, especially after three hours of a heat exposure of , and continues to grow after 72 hours of exposure.


title: Inconel

text: Inconel is a difficult metal to shape and to machine using traditional cold forming techniques due to rapid work hardening. After the first machining pass, work hardening tends to plastically deform either the workpiece or the tool on subsequent passes. For this reason, age-hardened Inconels such as 718 are typically machined using an aggressive but slow cut with a hard tool, minimizing the number of passes required. Alternatively, the majority of the machining can be performed with the workpiece in a "solutionized" form, with only the final steps being performed after age hardening. However some claim that Inconel can be machined extremely quickly with very fast spindle speeds using a multifluted ceramic tool with small depth of cut at high feed rates as this causes localised heating and softening in front of the flute.


title: Inconel

text: External threads are machined using a lathe to "single-point" the threads or by rolling the threads in the solution treated condition (for hardenable alloys) using a screw machine. Inconel 718 can also be roll-threaded after full aging by using induction heat to without increasing the grain size. Holes with internal threads are made by threadmilling. Internal threads can also be formed using a sinker electrical discharge machining (EDM).


title: Inconel

text: More often than machining, water-jet or laser grinding is a preferred and economical method for forming nickel alloy components to shape and finish. Due to the hardness of the abrasives used, the grinding wheels are not as affected by the material work hardening and remain sharp and durable.


title: Inconel

text: Welding of some Inconel alloys (especially the gamma prime precipitation hardened family; e.g., Waspalloy and X-750) can be difficult due to cracking and microstructural segregation of alloying elements in the heat-affected zone. However, several alloys such as 625 and 718 have been designed to overcome these problems. The most common welding methods are gas tungsten arc welding and electron-beam welding.


title: Inconel

text: Inconel is often encountered in extreme environments. It is common in gas turbine blades, seals, and combustors, as well as turbocharger rotors and seals, electric submersible well pump motor shafts, high temperature fasteners, chemical processing and pressure vessels, heat exchanger tubing, steam generators and core components in nuclear pressurized water reactors, natural gas processing with contaminants such as HS and CO, firearm sound suppressor blast baffles, and Formula One, NASCAR, NHRA, and APR, LLC exhaust systems. It is also used in the turbo system of the 3rd generation Mazda RX7, and the exhaust systems of high powered Wankel engined Norton motorcycles where exhaust temperatures reach more than . Inconel is increasingly used in the boilers of waste incinerators. The Joint European Torus and DIII-D tokamaks' vacuum vessels are made of Inconel. Inconel 718 is commonly used for cryogenic storage tanks, downhole shafts, wellhead parts, and in the aerospace industry -- where it has become a prime candidate material for constructing heat resistant turbines.


title: Inconel

text: Rolled Inconel was frequently used as the recording medium by engraving in black box recorders on aircraft.


title: Inconel

text: Alternatives to the use of Inconel in chemical applications such as scrubbers, columns, reactors, and pipes are Hastelloy, perfluoroalkoxy (PFA) lined carbon steel or fiber reinforced plastic.


title: Inconel

text: In age hardening or precipitation strengthening varieties, alloying additions of aluminum and titanium combine with nickel to form the intermetallic compound or gamma prime (γ′). Gamma prime forms small cubic crystals that inhibit slip and creep effectively at elevated temperatures.


title: Un Chien Andalou

text: Un Chien Andalou (, An Andalusian Dog) is a 1929 French silent short film directed by Luis Buñuel, and written by Buñuel and Salvador Dalí. Buñuel's first film, it was initially released in a limited capacity at Studio des Ursulines in Paris, but became popular and ran for eight months.


title: Un Chien Andalou

text: "Un Chien Andalou" has no plot in the conventional sense of the word. With disjointed chronology, jumping from the initial "once upon a time" to "eight years later" without events or characters changing, it uses dream logic in narrative flow that can be described in terms of the then-popular Freudian free association, presenting a series of tenuously related scenes. "Un Chien Andalou" is a seminal work in the genre of surrealist cinema.


title: Un Chien Andalou

text: The film opens with a title card reading "Once upon a time". A man (Luis Buñuel) sharpens his razor at his balcony door and tests the razor on his thumb. He then opens the door, and idly fingers the razor while gazing at the moon, about to be bisected by a thin cloud, from his balcony. There is a cut to a close-up of a young woman (Simone Mareuil) being held by the man. She calmly stares straight ahead as he brings the razor near her eye. Another cut occurs to the cloud passing in front of the moon, then a cut to a close up of a hand slitting the eye of an animal with the razor (which happens so quickly the viewer may believe it was the woman's eye), and the vitreous humour spills out from it.


title: Un Chien Andalou

text: The subsequent title card reads "eight years later". A slim young man (Pierre Batcheff) bicycles down a calm urban street wearing what appears to be a nun's habit and a striped box with a strap around his neck. A cut occurs to the young woman from the first scene, who has been reading in a sparsely furnished upstairs apartment. She hears the young man approaching on his bicycle and casts aside the book she was reading (revealing a reproduction of Vermeer's "The Lacemaker"). She goes to the window and sees the young man lying on the curb, his bicycle on the ground. She emerges from the building and attempts to revive the young man.


title: Un Chien Andalou

text: Later, the young woman assembles pieces of the young man's clothing on a bed in the upstairs room, and concentrates upon the clothing. The young man appears near the door. The young man and the young woman stare at his hand, which has a hole in the palm from which ants emerge. A slow transition occurs focusing on the armpit hair of the young woman as she lies on the beach and a sea urchin at a sandy location. There is a cut to an androgynous young woman, with bobbed hair and dressed in rather masculine attire, in the street below the apartment. She pokes at a severed human hand with her cane while surrounded by a large crowd held back by policemen.


title: Un Chien Andalou

text: The crowd clears when the policeman places the hand in the box previously carried by the young man and gives it to the young woman. The androgynous young woman contemplates something happily while standing in the middle of the now busy street clutching the box. She is then run over by a car and a few bystanders gather around her. The young man and the young woman watch these events unfold from the apartment window. The young man seems to take sadistic pleasure in the androgynous young woman's danger and subsequent death, and as he gestures at the shocked young woman in the room with him, he leers at her and gropes her breasts.


title: Un Chien Andalou

text: The young woman resists him at first, but then allows him to molest her as he imagines her nude from the front and the rear. The young woman pushes him away as he drifts off and she attempts to escape by running to the other side of the room. The young man corners her as she reaches for a racquet in self-defense, but he suddenly picks up two ropes and drags two grand pianos containing dead and rotting donkeys, stone tablets containing the Ten Commandments, two pumpkins, and two rather bewildered priests (played by Jaime Miravilles and Salvador Dalí) who are attached by the ropes. As he is unable to pursue, the young woman escapes the room. The young man chases after her, but she traps his hand, which is infested with ants, in the door. She finds the young man in the next room, dressed in his nun's garb in the bed.


title: Un Chien Andalou

text: The subsequent title card reads "around three in the morning". The young man is roused from his rest by the sound of a door-buzzer ringing (represented visually by a Martini shaker being shaken by a set of arms through two holes in a wall). The young woman goes to answer the door and does not return. Another young man, whom we see only from behind, dressed in lighter clothing, arrives in the apartment, gesturing angrily at him. The second young man forces the first one to throw away his nun's clothing and then makes him stand with his face to the wall, as if in disgrace.


title: Un Chien Andalou

text: The subsequent title card reads "Sixteen years ago". We see the second young man's face for the first time (and discover that he is also played by Pierre Batcheff) as he admires the art supplies and books on the table near the wall and forces the first young man to hold two of the books as he stares at the wall. The first young man eventually shoots the second young man when the books abruptly turn into revolvers. The second young man, now in a meadow, dies while swiping at the back of a nude female figure which suddenly disappears into thin air. A group of men come and carry his corpse away.


title: Un Chien Andalou

text: The young woman returns to the apartment and sees a death's-head moth. The first young man sneers at her as she retreats and wipes his mouth off his face with his hand. The young woman very nervously applies some lipstick in response. Subsequently, the first young man makes the young woman's armpit hair attach itself to where his mouth would be on his face through gestures. The young woman looks at the first young man with disgust, and leaves the apartment sticking her tongue out at him.


title: Un Chien Andalou

text: As she exits her apartment, the street is replaced by a coastal beach, where the young woman meets a third man with whom she walks arm in arm. He shows her the time on his watch and they walk near the rocks, where they find the remnants of the first young man's nun's clothing and the box. They seem to walk away clutching each other happily and make romantic gestures in a long tracking shot. However, the film abruptly cuts to the final shot with a title card reading "In Spring", showing the couple buried in beach sand up to their elbows, motionless and perhaps dead.


title: Un Chien Andalou

text: The screenplay of the film is based on two dreams of its creators Luis Buñuel and Salvador Dali. The idea for the film began when Buñuel was working as an assistant director for Jean Epstein in France. Buñuel told Dalí at a restaurant one day about a dream in which a cloud sliced the moon in half "like a razor blade slicing through an eye". Dalí responded that he had dreamed about a hand crawling with ants. Excitedly, Buñuel declared: "There's the film, let's go and make it." They were fascinated by what the psyche could create, and decided to write a script based on the concept of suppressed human emotions. The title of the film is a hidden reminiscence from the Spanish saying: "the Andalusian dog howls –someone has died!” The screenplay was written in a few days.


title: Un Chien Andalou

text: According to Buñuel, they adhered to a simple rule: “Do not dwell on what required purely rational, psychological or cultural explanations. Open the way to the irrational. It was accepted only that which struck us, regardless of the meaning ... We did not have a single argument. A week of impeccable understanding. One, say, said: "A man drags double bass." “No,” the other objected. And the objection was immediately accepted as completely justified. But when the proposal of one liked the other, it seemed to us magnificent, indisputable and immediately introduced into the script.”


title: Un Chien Andalou

text: In deliberate contrast to the approach taken by Jean Epstein and his peers, which was to never leave anything in their work to chance, with every aesthetic decision having a rational explanation and fitting clearly into the whole, Buñuel made clear throughout his writings that, between Dalí and himself, the only rule for the writing of the script was: "No idea or image that might lend itself to a rational explanation of any kind would be accepted." He also stated: "Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis."


title: Un Chien Andalou

text: In his 1939 autobiography Buñuel said: "In the film the aesthetics of Surrealism are combined to some of Freud's discoveries. The film was totally in keeping with the basic principle of the school, which defined Surrealism as 'Psychic Automatism', unconscious, capable of returning to the mind its true functions, beyond any form of control by reason, morality or aesthetics."


title: Un Chien Andalou

text: The film was financed by Buñuel's mother, and shot in Le Havre and Paris at the Billancourt Studios over a period of 10 days in March 1928. It is a black and white, 35 mm, silent film, with a running time of 17 minutes, although some sources state 24 minutes, and a physical length of 430 meters.


title: Un Chien Andalou

text: For many years (and still), published and unpublished reports have circulated that Buñuel had used a dead goat's eye, or that of a dead sheep, or of a dead donkey, or other animal, in the notorious eyeball-slicing scene. However, in an interview in 1975 or '76, Buñuel claimed that he had used a dead calf's eye. Through the use of intense lighting, and bleaching of the calf's skin, Buñuel attempted to make the furred face of the animal appear as human skin.


title: Un Chien Andalou

text: During the bicycle scene, the woman who is sitting on a chair, reading, throws the book aside when she notices the man who has fallen. The image it shows when it lies open is a reproduction of a painting by Vermeer, whom Dalí greatly admired and often referred to in his own paintings.


title: Un Chien Andalou

text: In Buñuel's original script, the final shot was to feature the corpses of the man and woman "consumed by swarms of flies". However, this special effect was modified due to budget limitations, with the film ending with a still shot of the man and woman, who had been walking in the previous beach scene, half-buried in the sand and apparently dead.


title: Un Chien Andalou

text: The movie contains several thematic references to Federico García Lorca and other writers of that time. For example, the rotting donkeys are a reference to the popular children's novel "Platero y yo" by Juan Ramón Jiménez, which Buñuel and Dalí hated.


title: Un Chien Andalou

text: Anthropologist Jean Rouch has reported that after filming was complete, Buñuel and Dalí had run out of money, forcing Buñuel to edit the film personally in his kitchen without the aid of a Moviola or any other technical equipment.


title: Un Chien Andalou

text: The first screening of "Un Chien Andalou" took place at Studio des Ursulines, with an audience of "le tout-Paris". Notable attendees of the première included Pablo Picasso, Le Corbusier, Jean Cocteau, Christian Bérard and Georges Auric, in addition to the entirety of André Breton's Surrealist group. The audience's positive reception of the film amazed Buñuel, who was relieved that no violence ensued. Dalí, on the contrary, was reportedly disappointed, feeling the audience's reaction made the evening "less exciting". Buñuel since claimed that prior to the show, he had put stones in his pockets "to throw at the audience in case of disaster", although others had no recollection of this.


title: Un Chien Andalou

text: It was Buñuel's intention to shock and insult the intellectual bourgeoisie of his youth, later saying: "Historically, this film represents a violent reaction against what at that time was called 'avantgarde cine,' which was directed exclusively to the artistic sensibility and to the reason of the spectator." Against his hopes and expectations, the film was a huge success amongst the French bourgeoisie, leading Buñuel to exclaim in exasperation, "What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate impassioned call for murder?"


title: Un Chien Andalou

text: After its "triumphant premiere", "Un Chien Andalou" was bought by the owner of "Studio-28". During its eight-month run, forty or fifty informers came to the police with a demand to ban such an indecent and cruel film. This was the beginning of years of insults and threats that haunted Buñuel until his old age. A likely apocryphal account claimed that two miscarriages occurred while watching the film. Despite the criticism, however, the film was never banned.


title: Un Chien Andalou

text: Through their accomplishment with "Un Chien Andalou", Dalí and Buñuel became the first filmmakers to be officially welcomed into the ranks of the Surrealists by the movement's leader André Breton, an event recalled by film historian Georges Sadoul: "Breton had convoked the creators to our usual venue [the Café Radio] ... one summer's evening. Dalí had the large eyes, grace, and timidity of a gazelle. To us, Buñuel, big and athletic, his black eyes protruding a little, seemed exactly like he always is in "Un Chien Andalou", meticulously honing the razor that will slice the open eye in two."


title: Un Chien Andalou

text: Among the most enthusiastic viewers of the film were the wealthy couple Viscount Charles and Marie-Laure de Noailles, who commissioned Dalí and Buñuel to create a sequel, of around the same length, with sound, to be called "La Bête Andalouse", in order to affirm its connection with "Un Chien". Dalí stated that the theme of the new film was to parallel that of the first: "to present the straight and pure 'conduct' of someone who continues to pursue love despite wretched humanitarian ideals, patriotism and the other poor mechanisms of reality." This new film ultimately was released in 1930 under the title "L'Age d'Or."


title: Un Chien Andalou

text: The sequel was not a success with Parisian high society. First shown in November 1930, it was received extremely coldly. The next day, Charles de Noaille learned that he had been expelled from the Jockey Club de Paris. The Noaille family quickly withdrew the film after it was banned by the Prefecture of Police of Paris.


title: Un Chien Andalou

text: During the original 1929 screening in Paris, Buñuel selected music which he played live on a gramophone. Modern prints of the film feature a soundtrack consisting of excerpts from Richard Wagner's "Liebestod" from his opera "Tristan und Isolde" and a recording of two Argentinian tangos, "Tango Argentino" and "Recuerdos" by the Vicente Alvarez & Carlos Otero et son orchestre. They were first added to a print of the film in 1960 under Buñuel's supervision.


title: Un Chien Andalou

text: Film scholar Ken Dancyger has argued that "Un Chien Andalou" might be the genesis of the filmmaking style present in the modern music video. Roger Ebert had called it the inspiration for low budget independent films. "Premiere" ranked the opening scene as 10th out of "The 25 Most Shocking Moments in Movie History".


title: Li Jun Li

text: Li Jun Li is an American actress, known for her portrayal of Iris Chang in the ABC series "Quantico", Rose Cooper in the Fox series "The Exorcist", and Jenny Wah in the Netflix series "Wu Assassins".


title: Li Jun Li

text: Li was born in Shanghai, China. Her father was a painter and he moved the family to Bogotá, Colombia, for work when Li was six years old. Three years later, they immigrated to New York City in the United States.


title: Li Jun Li

text: Li had her first break in the acting world starring opposite Matthew Morrison in the Tony Award winning Rodgers and Hammerstein's "South Pacific" (2008) at New York's Lincoln Center. Following on from this early success, she won roles on a variety of TV shows and films including "Blue Bloods" (2010), "Damages" (2011), "The Following" (2013), Cédric Klapisch's "Chinese Puzzle" (2013) and "Mistress" (2014). Li expanded her visibility and presence on a global level by landing major television roles in Neil LaBute's "Billy and Billie" (2015) and "Minority Report" (2015) on Fox.


title: Li Jun Li

text: In 2016, Li was cast in the recurring role of FBI recruit, Iris Chang, on the ABC thriller series "Quantico". In the same year, she joined the NBC procedural "Chicago P.D." in the fourth season.


title: Li Jun Li

text: On July 26, 2017, it was announced by Deadline that Li would join as a series regular in the second season of the Fox television series, "The Exorcist" as Rose Cooper.


title: Li Jun Li

text: On January 15, 2019, it was announced that Li had been cast in the series regular role of Jenny Wah on the Netflix supernatural crime drama series "Wu Assassins". In December 2020, she was cast in Damien Chazelle's film "Babylon", playing a role inspired by silent film actress Anna May Wong.