title: Cultural capital

text: One creative modification of Bourdieu's work is that of Emirbayer & Williams (2005), who use Bourdieu's notion of fields and capital to examine the power relations in the field of social services, particularly homeless shelters. The authors talk of the two separate fields that operate in the same geographic location (the shelter) and the types of capital that are legitimate and valued in each. Specifically they show how homeless people can possess "staff-sanctioned capital" or "client-sanctioned capital" and show how in the shelter, they are both at the same time, desirable and undesirable, valued and disparaged, depending on which of the two fields they are operating in. Although the authors do not clearly define staff-sanctioned and client-sanctioned capital as cultural capital, and state that usually the resources that form these two capitals are gathered from a person's life as opposed to their family, it can be seen how Bourdieu's theory of cultural capital can be a valuable theory in analysing inequality in any social setting.


title: Cultural capital

text: On the other hand, some have introduced new variables into Bourdieu's concept of cultural capital. The work of Emmison & Frow (1998) centers on an exploration of the ability of Information Technology to be considered a form of cultural capital. The authors state that "a familiarity with, and a positive disposition towards the use of bourgeoisie technologies of the information age can be seen as an additional form of cultural capital bestowing advantage on those families that possess them." Specifically computers are "machines" that form a type of objectified cultural capital, and the ability to use them is an embodied type of cultural capital. This work is useful because it shows the ways in which Bourdieu's concept of cultural capital can be expanded and updated to include cultural goods and practices which are progressively more important in determining achievement both in the school and without.


title: Cultural capital

text: Dolby (2000) cites the work of Hage, who uses Bourdieu's theory of cultural capital to explore multiculturalism and racism in Australia. Hage's discussion around race is distinct from Bourdieu's treatment of migrants and their amount of linguistic capital and habitus. Hage actually conceives of "whiteness" as being a form of cultural capital. 'White' is not a stable, biologically determined trait, but a "shifting set of social practices." He conceptualizes the nation as a circular field, with the hierarchy moving from the powerful center (composed of 'white' Australians) to the less powerful periphery (composed of the 'others'). The 'others' however are not simply dominated, but are forced to compete with each other for a place closer to the centre. This use of Bourdieu's notion of capital and fields is extremely illuminating to understand how people of non-Anglo ethnicities may try and exchange the cultural capital of their ethnic background with that of 'whiteness' to gain a higher position in the hierarchy. It is especially useful to see it in these terms as it exposes the arbitrary nature of what is "Australian", and how it is determined by those in the dominant position (mainly 'white' Australians). In a path-breaking study, Bauder (2006) uses the notions of habitus and cultural capital to explain the situation of migrants in the labor market and society.


title: Cultural capital

text: Bourdieu's theory has been expanded to reflect modern forms of cultural capital. For instance, studies conducted by Asaf Nissenbaum and Limor Shifman (2017) on the topic of internet memes, utilising the website 4chan to analyse how these memes can be seen as forms of cultural capital. Discourse demonstrates the different forums and mediums that memes can be expressed through, such as different 'boards' on 4chan. Additionally, scholars have extended Bourdieu's theory to the field of religion where "embodied cultural capital" allows middle classes for developing distinctive religious styles and tastes. Through these styles and tastes, they draw symbolic class boundaries in opposition to co-believers from lower-class backgrounds.


title: Cultural capital

text: Sociologist Paul DiMaggio expands on Bourdieu's view on cultural capital and its influence on education: "Following Bourdieu, I measure high school students' cultural capital using self-reports of involvement in art, music, and literature."


title: Cultural capital

text: Retired teacher John Taylor Gatto, in his article "Against School" (2003), addresses education in modern schooling. The relation of cultural capital can be linked to Alexander Inglis' "Principles of Secondary Education" (1918), which indicates how American schooling is similar to Prussian schooling in the 1820s. The objective was to divide children into sections, by distributing them by subject, by age, and by test score. Inglis introduces six basic functions for modern schooling; the third, fourth, and fifth basic functions listed by Inglis are related to cultural capital, and describe the manner in which schooling enforces the cultural capital of each child, from a young age:


title: Cultural capital

text: The idea is to help American society by consciously attempting to improve the breeding stock. Schools are meant to tag the socially unfit with poor grades, remedial-schooling placement, and other notable social punishments that their peers will then view and accept them as intellectually inferior, and effectively bar them from the reproductive (sexual, economic, and cultural) sweepstakes of life. That was the purpose of petty humiliation in school: "It was the dirt down the drain." The three functions are directly related to cultural capital, because through schooling children are discriminated by social class and cognitively placed into the destination that will make them fit to sustain that social role. That is the path leading to their determined social class; and, during the fifth function, they will be socially undesirable to the privileged children, and so kept in a low social stratum.


title: Cultural capital

text: Stanton-Salazar & Dornbusch (1995) examine how those people with the desired types of cultural (and linguistic) capital in a school transform this capital into "instrumental relations" or social capital with institutional agents who can transmit valuable resources to the person, furthering their success in the school. They state that this is simply an elaboration of Bourdieu's theory. Similarly, Dumais (2002) introduces the variable of gender to determine the ability of cultural capital to increase educational achievement. The author shows how gender and social class interact to produce different benefits from cultural capital. In fact in "Distinction", Bourdieu states "sexual properties are as inseparable from class properties as the yellowness of lemons is inseparable from its acidity." He simply did not articulate the differences attributable to gender in his general theory of reproduction in the education system.


title: Cultural capital

text: Extending the theory of cultural capital, Richard A. Peterson and A. Simkus (1992) distinguish the (secondary) analysis of survey data on Americans exclusively."" They use the term cultural omnivores as a particular higher status section in the US that has broader cultural engagements and tastes spanning an eclectic range from highbrow arts to popular culture.


title: Cultural capital

text: Originally, it was Peterson (1992) who coined the term to address an anomaly observed in the evidence revealed by his work with Simkus (1992), which showed that people of higher social status, contrary to elite-mass models of cultural taste developed by French scholars with French data, were not averse to participation in activities associated with popular culture. The work rejected the universal adaptation of the cultural capital theory, especially in the 20th century in advanced post-industrialist societies like the United States.


title: Cultural capital

text: In the UK, Louise Archer and colleagues (2015) developed the concept of "science capital". The concept of science capital draws from the work of Bourdieu, particularly his studies focusing on the reproduction of social inequalities in society. Science capital is made up of science-related cultural capital and social capital as well as habitus. It encapsulates the various influences that a young person's life experiences can have on their science identity and participation in science-related activities. The empirical work on science capital builds from a growing body of data into students' aspirations and attitudes to science, including University College London's ASPIRES Research and King's College London's Enterprising Science.


title: Cultural capital

text: The concept of science capital was developed as a way to understand why these science-related resources, attitudes and aspirations led some children to pursue science, while others did not. The concept provides policy makers and practitioners with a useful framework to help understand what shapes young people's engagement with (and potential resistance to) science.


title: Cultural capital

text: Criticisms of Bourdieu's concept have been made on many grounds, including a lack of conceptual clarity. Perhaps due to this lack of clarity, researchers have operationalised the concept in diverse ways, and have varied in their conclusions. While some researchers may be criticised for using measures of cultural capital which focus only on certain aspects of 'highbrow' culture, this is a criticism which could also be leveled at Bourdieu's own work. Several studies have attempted to refine the measurement of cultural capital in order to examine which aspects of middle-class culture actually have value in the education system.


title: Cultural capital

text: It has been claimed that Bourdieu's theory, and in particular his notion of "habitus", is entirely deterministic, leaving no place for individual agency or even individual consciousness. However, Bourdieu never claimed to have done so entirely, but defined a new approach; that is, Bourdieu's work attempts to reconcile the paradoxical dichotomy of structure and agency.


title: Cultural capital

text: Bourdieu has also been criticised for his lack of consideration of gender. Kanter (in Robinson & Garnier 1986) points out the lack of interest in gender inequalities in the labour market in Bourdieu's work. However, Bourdieu addressed the topic of gender head-on in his 2001 book "Masculine Domination", in which he states on the first page of the prelude that he considers masculine domination to be a prime example of symbolic violence.


title: Jackson Galaxy

text: Jackson Galaxy (born April 28, 1966, as Richard Kirschner) is a cat behaviorist, YouTuber, and the host of the television show "My Cat from Hell".


title: Jackson Galaxy

text: Jackson Galaxy was born Richard Kirschner, on April 28, 1966 to a Jewish refugee father and 19-year-old mother in Manhattan, New York City, New York, and was raised on Manhattan's Upper West Side. At age ten, he began playing the guitar, aspiring to be a professional rock musician.


title: Jackson Galaxy

text: Galaxy moved to Boulder, Colorado, in 1992 and was a rock musician. He learned cat behavior through his work with rescue cats, originally with the Humane Society of Boulder Valley. After working there and at other animal shelters, he went into private practice as a cat consultant in 2002, co-founding Little Big Cat, Inc., with Dr. Jean Hofve, a holistic veterinarian. Together they provided consultations to cat owners, focusing on the connection between physical and behavioral health.


title: Jackson Galaxy

text: Galaxy works with animal shelters and rescue organizations, teaching his "Cat Mojo" approach to feline behavior to volunteers, staff and adopters.


title: Jackson Galaxy

text: He serves on the board of directors for Stray Cat Alliance and Fix Nation in Los Angeles as well as the Board of Advisers for Neighborhood Cats in New York City.


title: Jackson Galaxy

text: Galaxy has appeared as the official cat behaviorist for Game Show Network's "Think Like a Cat" and as the cat behavior expert on Animal Planet's "Cats 101".


title: Jackson Galaxy

text: Since May 2011, Galaxy has starred in "My Cat From Hell", a reality TV series produced by Animal Planet in which he helps cat guardians—often couples—resolve conflict and behavioral issues between them and their cats. Since December 2013, he has been host of the web series "Cat Mojo" on the Animalist Network, where he shares his thoughts on cat-related issues like declawing, use of squirt guns and behind-the-scenes stories.


title: Jackson Galaxy

text: Galaxy is the author of books about cats and a process called "catification" involving creating cat-friendly spaces within a home. In 2012 he published the autobiographical "Cat Daddy: What the World's Most Incorrigible Cat Taught Me About Life, Love, and Coming Clean".


title: Jackson Galaxy

text: Galaxy married Minoo Rahbar at the no-kill pet sanctuary of Best Friends Animal Society in Kanab, Utah, on June 28, 2014. Their dog, Mooshka, served as ringbearer.


title: Jackson Galaxy

text: After his weight reached and suffering several health problems, Galaxy underwent gastric bypass surgery in 2007. He maintains a vegan diet.


title: Firdous Bamji

text: Bamji was born in Bombay, India, to a Parsi family that was residing in Bahrain. His father, Esadvaster, was the regional representative for Norwich Union Life Insurance Society. His mother, Roshan, was a homemaker, and both his parents were active in various civic organizations.


title: Firdous Bamji

text: Bamji attended St. Christopher's School, Bahrain, a British private school, till the age of ten. In 1977 he and his two brothers were sent to Kodaikanal International School, an American boarding school in the mountains of South India. He later attended the University of North Carolina, Greensboro, and the University of South Carolina, where he obtained a bachelor's degree in journalism and a Master of Fine Arts.


title: Firdous Bamji

text: During his last years in undergraduate school he began acting at Columbia's first professional theatre, Trustus, where the iconoclastic artistic director, Jim Thigpen took him under his wing. At Trustus he played a variety of roles, including Pale in "Burn This", Torch in "Beirut", Danny in "Danny and the Deep Blue Sea", Peter Patrone in "The Heidi Chronicles" and all the parts in Eric Bogosian's solo play, "Drinking in America".


title: Firdous Bamji

text: After studying for an MFA in Theatre at USC, Bamji moved to Washington D.C. to finish his degree as an apprentice at The Shakespeare Theatre. In 1994 he was cast in Eric Bogosian's "SubUrbia" at Lincoln Center's Mitzi Newhouse Theater, and he and his then wife, Erin Thigpen, sold the car and moved to New York City.


title: Firdous Bamji

text: Bamji has appeared on stages in New York, Chicago, San Francisco, Washington D.C. and Los Angeles and major regional theaters around the United States. He has played leading roles in world and American premieres of plays by playwrights such as Tom Stoppard, Tony Kushner, Naomi Wallace, Rebecca Gilman and Eric Bogosian.


title: Firdous Bamji

text: In 2007 he was invited by director Simon McBurney to co-write and perform in a new play with the British company Complicite. The piece was to revolve around the relationship between two pure mathematicians who lived at the turn of the 20th century, the self-taught genius, Srinivasa Ramanujan and Cambridge University don, G. H. Hardy. Bamji had been interested in this story for a few years and was working on a film script when he was approached by McBurney. The result was "A Disappearing Number", which won the Laurence Olivier Award and the Critics Circle Theatre Award for Best New Play and the Evening Standard Award for Best Play. Over the next four years, "A Disappearing Number" toured Europe, Australia, India and the United States and finished its universally acclaimed run at the Novello Theatre in London's West End.


title: Firdous Bamji

text: Bamji's television credits include "Law & Order" and "Law & Order SVU" and his film credits include "The Sixth Sense", "Unbreakable", "Analyze That", "Ashes", "Justice" and "The War Within", for which he received an Independent Spirit Award nomination. In 2015 he received an Obie Award for his performance in Roundabout Theatre's production of Tom Stoppard's "Indian Ink". He has narrated more than twenty audio books, including "The Gambler" by Fyodor Dostoevsky, "Siddhartha" by Hermann Hesse, "Camille" by Alexandre Dumas, "The Hungry Tide" by Amitav Ghosh, and "The Enchantress of Florence" by Salman Rushdie, for which he received an Audie Award nomination.


title: AgustaWestland AW149

text: The AgustaWestland AW149 is a medium-lift multi-role military helicopter developed by AgustaWestland, now Leonardo, launched in 2006. On 20 June 2011 AgustaWestland announced the AW189, a civilian development of the AW149, for service in 2013.


title: AgustaWestland AW149

text: The AW149 was unveiled at the 2006 Farnborough Air Show. Derived from the AW139, the AW149 has a larger fuselage and more powerful engines, resulting in a greater cargo volume and payload carrying ability. On 13 November 2009, the first prototype conducted its first flight from AgustaWestland's Vergiate manufacturing facility in northern Italy. On 26 February 2011, the second prototype, the first with production model engines, made its first flight from Vergiate.


title: AgustaWestland AW149

text: Military certification for the AW149 was announced by Finmeccanica at the 2014 Farnborough airshow. The landing gear can sustain a touchdown with a sink speed of 9.5 m/s, compared with the 2 m/s for a civilian helicopter. The AW149 is being marketed as an alternative to the Sikorsky UH-60 Black Hawk family. Thailand has ordered 5 AW149 helicopters, and is the first export customer. The Italian Air Force considered it as a search and rescue helicopter, but chose the lighter AW139M instead.


title: AgustaWestland AW149

text: In April 2019, the Egyptian Navy ordered 24 AW149s with option for 10 more; first deliveries took place in late 2020.


title: AgustaWestland AW149

text: AgustaWestland submitted a version of the AW149, designated "TUHP149", as a candidate for the Turkish Utility Helicopter Program (TUHP) for the Turkish Armed Forces. The programme sought an initial batch of 109 helicopters worth $4 billion, prospective follow-on orders for subsequent batches may eventually rise to 300 rotorcraft. On 21 April 2011, the Turkish defence minister announced that the Sikorsky S-70i Black Hawk had been selected as the winner.


title: AgustaWestland AW149

text: Leonardo has proposed the AW149 for the UK's New Medium Helicopter programme, which aims to replace the RAF's Puma helicopters, with production to be at Leonardo's Yeovil factory if the bid is successful.


title: AgustaWestland AW149

text: In June 2022 Polish defence minister said Poland would order 32 AW149 helicopters, with production to be at Leonardo's PZL Świdnik factory. The contract was signed on July 1, 2022, and has a value of $ 1.85 billion (€ 1.76 billion). Delivery planned in years 2023-2029.


title: Peter Moore (serial killer)

text: Peter Howard Moore (born 19 September 1946) is a British serial killer who managed cinemas in Bagillt, Holyhead, Kinmel Bay and Denbigh in North Wales at the time of his arrest. He murdered four men in 1995. Due to his attire, he was also called the "man in black".


title: Peter Moore (serial killer)

text: Between September and December 1995, he stabbed to death and mutilated four men "for fun". He was sentenced to life imprisonment in November 1996 with a recommendation that he never be released. He also committed 39 sex attacks on men in North Wales and the Merseyside area over a 20-year period.


title: Peter Moore (serial killer)

text: During his trial, Moore told the jury the crimes were committed by a fictitious homosexual lover he nicknamed "Jason" after the killer in the "Friday the 13th" horror films. The jury found him guilty on all counts.


title: Peter Moore (serial killer)

text: During his time in Wakefield Prison Moore befriended Harold Shipman, the serial killer and former GP who committed suicide in January 2004.


title: Peter Moore (serial killer)

text: In June 2008, Moore was told by the High Court that he would spend the rest of his life in prison. On 3 March 2011, Moore challenged the ruling in the European Court of Human Rights (ECHR), with a view to having his sentence quashed and such whole life order sentences outlawed throughout Europe. On 17 January 2012, it was announced that his appeal had failed. However, on 9 July 2013, it was announced the ECHR had ruled there had to be both a possibility of release and review to be compatible with human rights.


title: Peter Moore (serial killer)

text: In February 2015, the ECHR upheld the lawfulness of whole life orders, on the ground that they can be reviewed in exceptional circumstances, following a fresh challenge by murderer Arthur Hutchinson, who had been sentenced to life imprisonment for a triple murder in Sheffield more than 30 years earlier. Another legal challenge to the court by Hutchinson was rejected in January 2017. A fresh challenge by another "whole life" prisoner, Jamie Reynolds, who murdered a teenage girl in Shropshire in 2013, is now reportedly pending with the ECHR. By this stage, there were believed to be more than 70 prisoners in England and Wales serving whole life sentences.


title: Peter Moore (serial killer)

text: On 13 October 2011, it was falsely reported that Moore had died at Broadmoor hospital on 30 July 2011.


title: Peter Moore (serial killer)

text: Moore talked to police and said that he knew the identity of Clocaenog Forest Man. It was reported that this theory was discounted due to conflicting dates.


title: Rising Sun (film)

text: Rising Sun is a 1993 American buddy cop crime thriller film directed by Philip Kaufman, who also wrote the screenplay with Michael Crichton and Michael Backes. The film stars Sean Connery (who was also an executive producer), Wesley Snipes, Harvey Keitel, and Cary-Hiroyuki Tagawa. It was based on Michael Crichton's 1992 novel of the same name.


title: Rising Sun (film)

text: During a commencement gala at the newly opened Los Angeles headquarters of Nakamoto, a Japanese keiretsu, a call girl named Cheryl Lynn Austin, is found dead, apparently after a violent sexual encounter. Police Detectives Webster "Web" Smith and John Connor, a former police captain and expert on Japanese affairs, are sent to act as liaison between the Japanese executives and the investigating officer, Smith's former partner Tom Graham. During the initial investigation, Connor and Smith review surveillance camera footage, and realize that one of the discs is missing.


title: Rising Sun (film)

text: Smith and Connor suspect Eddie Sakamura, Cheryl's boyfriend and agent of a Nakamoto rival, of killing her, and interrogate him at a house party. Sakamura promises to bring Connor something, and Connor reluctantly lets him go after confiscating his passport. Ishihara, a Nakamoto employee whom Connor had previously interrogated, delivers the missing disc, which clearly shows Sakamura killing Cheryl. Graham and Smith lead a SWAT raid on Sakamura's house. He tries to flee in a Vector W8 sports car, but crashes and is killed.


title: Rising Sun (film)

text: Smith learns that Sakamura had attempted to contact him about the missing disc, so he and Connor take the disc to an expert, Jingo Asakuma, who reveals that the disc has been digitally altered to implicate Sakamura.


title: Rising Sun (film)

text: Nakamoto is in the midst of sensitive negotiations for the acquisition of an American semiconductor company, with Senator John Morton, a guest at the party, abruptly changing his stance on a bill that would prevent the merger from going through. Suspecting his sudden shift is somehow related to the murder, Connor and Smith attempt to interview him at his campaign office, but without success. Upon returning to Smith's apartment, the duo find Sakamura alive and well. He reveals that he was being tailed that day by Tanaka, a Nakamoto security agent attempting to locate the original disc. Not wanting to be seen with Sakamura, Tanaka stole his sports car and committed suicide by crashing it. Sakamura gives Connor the original disc, but before he can leave, Lt. Graham arrives with Ishihara. Sakamura is killed fighting off Ishihara's men, and Smith is shot and left for dead, surviving only thanks to a bulletproof vest.


title: Rising Sun (film)

text: After being interrogated, Smith is put on paid leave due to an ongoing investigation of an earlier corruption charge. Regrouping with Connor and Jingo, the three view the original surveillance footage, which shows Senator Morton performing erotic asphyxiation on Cheryl. Falsely believing he killed her, Morton changes his position on the regulation bill to stay in Nakamoto's good graces. After leaving the boardroom, the footage shows another figure approaching and killing Cheryl by strangulation.


title: Rising Sun (film)

text: Hoping to draw the killer out, Connor and Smith fax Morton stills of the footage showing his involvement in the murder. Morton contacts Ishihara, revealing the executive to be in on the cover-up, and then Morton commits suicide. Connor, Smith, and Jingo interrupt the merger negotiations to show Nakamoto President Yoshida the surveillance footage. Bob Richmond, an American lawyer working for Nakamoto, reveals that he is the real killer and tries to run away, only to be killed by Eddie Sakamura's yakuza friends.


title: Rising Sun (film)

text: Yoshida maintains his and his colleagues' innocence, quietly exiling Ishihara to a desk job back in Japan. Smith drives Jingo home, where she casts doubt on whether Richmond was really the murderer, or if he was simply taking the fall to protect someone higher up in the company.


title: Rising Sun (film)

text: Michael Crichton was paid $1 million for the filming rights of his novel, and was also attached to write the screenplay alongside Michael Backes. After delivering a faithful draft, studio 20th Century Fox asked for a rewrite. Crichton then entered disputes with director Philip Kaufman, who asked for five separate rewrites. Crichton also was not in favor of the decision by Kaufman and Joe Roth to cast Wesley Snipes as the protagonist, therefore changing the character's race from Caucasian to African-American. Crichton argued: ”In a movie about U.S.-Japan relations, if you cast someone who’s black, you introduce another aspect because of tension between blacks and Japanese.”


title: Rising Sun (film)

text: Kaufman wound up taking the writing duties, with David Mamet also delivering a draft. Kaufman tried to get a sole screenwriter credit, but the Writer's Guild arbitration decided that his contributions were not enough to deny a credit to Crichton and Backes. Given Kaufman had a tendency for long movies, Fox made him contractually obligated to deliver a two hour length film, with editing delays pushing the film's release date forward. "Rising Sun" was filmed entirely in Los Angeles, California.


title: Rising Sun (film)

text: "Rising Sun" was released on 30 July 1993 in 1,510 theaters across the US. It grossed $15,195,941 (24.1% of total gross) on its opening weekend. During its run in theaters, the film grossed $63,179,523 (58.9%) in the US and $44,019,267 (41.1%) overseas for a worldwide total of $107,198,790. The film spent six weeks in the Top 10.


title: Rising Sun (film)

text: On review aggregator website Rotten Tomatoes, the film has a 33% approval rating based on 40 reviews, with an average ranking of 5.1/10. On Metacritic, "Rising Sun" have a rank of 56 out of a 100 based on 24 critics, indicating "mixed or average reviews".


title: Rising Sun (film)

text: Richard Schickel of "Time" magazine wrote "The best seller's passions were misplaced, but in toning them down, the adaptation turns bland".


title: Rising Sun (film)

text: At the time of the film's release, it generated some controversy and protest from Asian-Americans, including Guy Aoki and other representatives of the Media Action Network for Asian Americans (MANAA), who felt the film demonized Asian people.


title: Wild Dog (film)

text: Wild Dog is a 2021 Indian Telugu-language action thriller film written and directed by debutant Ashishor Solomon. Produced by Matinee Entertainment, the film stars Nagarjuna Akkineni, Dia Mirza, Saiyami Kher, and Atul Kulkarni. The film includes many terrorist incidents happened in India, including the Gokul Chat bomb blast in 2007 and the capture of Yasin Bhatkal. "Wild Dog" is released theatrically on 2 April 2021 to positive reviews.


title: Wild Dog (film)

text: On 13 February 2010 at John's Bakery in Pune, a bomb explosion claims many innocent lives. Two weeks later, the Ministry of Home Affairs hands over the case to the National Investigation Agency, and its top officer Vijay Varma, also known as Wild Dog, is reenlisted by his senior friend DGP Hemanth. Through a series of investigations, Vijay and his team come across the CCTV footage of a man entering the bakery with a bag and exiting without it. Further, with the help of a survivor's testimony, they can create a sketch of the culprit. On the other hand, Hemanth explains to Vijay about a two-week older incident involving the killings of two cops inside a truck at the Andhra–Tamil Nadu border, three days before which he had received a tip-off from the Intelligence Bureau about 50 kilograms of RDX being transported at the border. As the culprit's sketch is circulated everywhere, a shop owner quickly recognizes the suspect and explains to the cops that he let the suspect live in his house on the recommendation of a man named Mirza Baig. Vijay and his team manage to nab Baig and torture him into revealing the culprit's name: Khalid, who bombed the bakery, and his accomplice, Khatil who was supposed to blow up the Dagdusheth Temple but could not, given the tight security at the temple due to a VIP's visit.


title: Wild Dog (film)

text: Vijay orders a search for Khalid and sends his teammate Ali Reza undercover in prison where one of Khalid's allies, Mohammed Peerbuoy, instructs Ali to visit a library named Darul-ul-Islam in Darbhanga, Bihar under his recommendation. Through further investigating, Vijay reveals the culprit to be Khalid Bhatkal, a member of the Indian Mujahideen. On the other hand, Khalid targets Indian Premier League and enlists Khatil for the job. However, Khatil is nabbed by Vijay's team in Bihar while visiting his ailing son and provides them with Indian Mujahideen's details in exchange for his son's treatment. With his help, police nab several suspects. Asadullah, the librarian, enlists Ali to meet with a special person at Mumbai, and learning of this, Vijay believes him to be Khalid himself. In Mumbai, Khalid instructs Ali through a phone call while watching him. Vijay also keeps an eye on the movements and is about to nab Khalid as the latter prepares to meet Ali inside a taxi, but the mission is foiled by the Mumbai ATS who were following Ali due to a tip-off from the Bihar intelligence. Enraged, Vijay slaps one of the cops and is suspended from the mission. However, he continues working unofficially and through Arya, a source in Nepal, learns Khalid is hiding there. He asks for Hemanth's help, but the ministry turns them down. Vijay finally flees to Nepal along with his team to execute the covert "Operation Wild Dog".


title: Wild Dog (film)

text: At the rendezvous point, they are attacked by armed men, before Arya arrives and helps them fight off the attackers. Hemanth is suspected of blowing their cover since he was the only one aware of the mission. Laxman, a senior inspector at Nepal Intelligence, reveals they were attacked by the henchmen of a don named Bomzan, who is ambushed and reveals he was ordered to kill them by Abdullah, an MP working for the ISI. Vijay executes Bomzan before ordering him to lie to Abdullah about killing them. Vijay and his team fail to capture Khalid at the wedding of Abdullah's son, but later succeed following a shootout with the Maoists guarding him. Laxman betrays them by revealing to Abdullah about their escape in an ambulance, but Vijay improvises the route. Khalid awakens and attacks Vijay who overpowers him as the ambulance reaches the border. Two of Vijay's teammates disguised as Indian Embassy officials request the ambulance's entry for a "VIP's operation". Vijay's defibrillation experiment involving Khalid works and seeing his life in danger, the ambulance is allowed to pass through the borders. It is further revealed Vijay secretly texted Hemanth about a traitor in the agency and it was discovered to be Hemanth's friend Vinod, who was assisting with the operation. Vijay hands over Khalid to Hemanth and salutes the tricolor along with his team...


title: Wild Dog (film)

text: The film was announced in December 2019. Based on true events, Nagarjuna Akkineni is cast as a National Investigation Agency officer with Saiyami Kher in pivotal role. S. Thaman has composed the film's score.


title: Wild Dog (film)

text: The filming took place in Hyderabad and Goa for 20 days and a schedule was planned in Thailand. Nearly 70% of the shoot was complete by February 2020, before being halted due to COVID-19 pandemic in India. The shooting is resumed in September 2020. After filming crucial sequences in Leh, Manali and Jammu the production was wrapped up in November 2020.


title: Wild Dog (film)

text: The film was originally reported to release as a Netflix Original film. However, in March 2021 the producers and team of Wild Dog announced that they have withdrawn the digital deal with Netflix in order to opt for a theatrical release. The date later on was announced as 2 April 2021 by Niranjan Reddy at the press meet.


title: Wild Dog (film)

text: The film's digital rights were sold to Netflix. The film's digital premiere took place on Netflix on 22 April 2021, after 20 days of its theatrical run in Telugu along with dubbed versions in Kannada, Malayalam, and Tamil languages.


title: Wild Dog (film)

text: Neeshitha Nyayapati of "The Times of India" rated the film 3 stars of 5 and wrote, ""Wild Dog" is a simple story that doesn’t veer much beyond the tale of a team looking to nab a terrorist. Ahishor Solomon must be lauded for attempting to make an action film that’s devoid of any commercial elements." "The Hindu" critic Sangeeth Devi Dundoo felt that with more attention writing in the first hour, "Wild Dog" could have raised the bar higher. On technical aspects, she wrote, "The film benefits from its able technical crew and special mentions are due to action director David Ismalone, cinematographer Shaneil Deo and Thaman for his background score."


title: Wild Dog (film)

text: In his review for "Firstpost", Hemanth Kumar gave the film 3/5 and stated: "Despite its packaging and pace, "Wild Dog" presents an overwhelming sense of familiarity in terms of characters and their motivations, leaving not much room for surprises." A reviewer from "The Hans India" appreciated the approach to this story which did not deviate with unnecessary commercial elements. However, they opined that the screenplay could have been tighter.


title: Wild Dog (film)

text: "The Indian Express" journalist Manoj Kumar R stated that "Wild Dog" feels "more or less it feels like a television film." He added, "Solomon’s writing is the saving grace of the film. His no-frills approach works but only to an extent."


title: Mockbuster

text: A mockbuster (also known as knockbuster or a drafting opportunity) is a film created to exploit the publicity of another major motion picture with a similar title or subject. Mockbusters are often made with a low budget and quick production to maximize profits. "Mockbuster" is a portmanteau of the words "mock" and "blockbuster".


title: Mockbuster

text: Unlike films produced to capitalize on the popularity of a recent release by adopting similar genre or storytelling elements, mockbusters are generally produced concurrently with upcoming films and released direct-to-video at the same time the film they are inspired by is released. A mockbuster may be similar enough in title and/or packaging that consumers confuse it with the actual film it mimics, but their producers maintain that they are simply offering additional products for consumers who want to watch more films in the same subgenres.


title: Mockbuster

text: Mockbusters have a long history in Hollywood and elsewhere. For example, the 1959 Vanwick film "The Monster of Piedras Blancas" was a clear derivative of "Creature from the Black Lagoon", complete with a creature suit by the same designer, Jack Kevan. "Attack of the 50 Foot Woman" spawned "Village of the Giants" and "The Land That Time Forgot" spawned "Legend of Dinosaurs & Monster Birds".


title: Mockbuster

text: Such films fit the B movie model, being produced on a small budget and derivative of the target film and other similar projects. The lower costs of using modern video and computer graphics equipment and the tie-in to the mainstream film's advertising have allowed the mockbuster to become a profitable niche in the home video market. Blockbuster, once the largest DVD rental chain, implied support to the concept by buying 100,000 copies of The Asylum's version of "War of the Worlds" during the theatrical opening week of Steven Spielberg's film based on the same novel starring Tom Cruise.


title: Mockbuster

text: Most mockbusters capitalize on the popularity of theatrically released movies, but some are derivative of a TV series. The 1979 film "Angels Revenge" bore many superficial similarities to the popular TV series "Charlie's Angels;" its promotional materials even resembled "Charlie's Angels"' graphic style. In reverse, Glen A. Larson was accused of producing mockbusters at the height of his career, with his television series plagiarizing popular films of the time ("Battlestar Galactica", for example, capitalized on the popularity of "Star Wars", while "Alias Smith and Jones" was a take on "Butch Cassidy and the Sundance Kid").


title: Mockbuster

text: In blaxploitation filmmaking, it was a common practice to title blaxploitation films after previously successful films starring predominantly white casts, and produce similarly titled films starring predominantly African American casts, as observed in the films "Black Shampoo" (1976, titled after "Shampoo"), "Black Lolita" (1975, titled after "Lolita"), "The Black Godfather" (1974, titled after "The Godfather") and "Dr. Black, Mr. Hyde" (1976, titled after "Strange Case of Dr Jekyll and Mr Hyde").


title: Mockbuster

text: GoodTimes Entertainment was notorious for distributing animated "mockbuster" counterparts to popular Disney films in the 1990s (such as those made by Golden Films); because Disney was creating its films based on public domain folk tales and historical stories, GoodTimes' actions were completely legal and survived Disney's legal challenge against it.


title: Mockbuster

text: Similarly, Vídeo Brinquedo is a Brazilian CGI animation studio that in 2004 began to produce low-budget direct-to-video films that are for the most part knockoffs of movies from Pixar, Disney, and DreamWorks. Their films include "Little & Big Monsters" (DreamWorks' "Monsters vs. Aliens"), "The Little Cars" series of cartoons (Pixar's "Cars" series), "Ratatoing" (Pixar's "Ratatouille"), "Tiny Robots" (Pixar's "WALL-E"), "What's Up?: Balloon to the Rescue!" (Pixar's "Up"), and "The Frog Prince" (Disney's "The Princess and the Frog"). In every case Vídeo Brinquedo's knockoff has been released suspiciously close to the release date of the more professional, higher-budgeted film that inspired it.


title: Mockbuster

text: Dingo Pictures was a German animation company founded in 1992 by Ludwig Ickert and Roswitha Haas and based in Friedrichsdorf. They created traditionally-animated films based on fairy tales and concepts similar to those used by Disney, Pixar and DreamWorks. These cartoons are characterized by low-budget animation, small voice casts, and character designs that are very similar to equivalent characters in more high-profile films. The films have been dubbed into Scandinavian languages, notably Swedish, and also into Romance languages, notably Italian. All of them have been released direct-to-video in Germany in their original languages. European game publishers Phoenix Games and Midas Games released some of them in the early 2000s on home video consoles PlayStation and PlayStation 2. These releases were developed by The Code Monkeys and included the film, as well as a small collection of mini games. Phoenix Games B.V. declared bankruptcy on August 3, 2010. On March 27, 2012 the bankruptcy was suspended due to a lack of income.


title: Mockbuster

text: On 26 May 2021, the independent label Vier Sterne Deluxe Records announced that it is negotiating with the current owners of Dingo Pictures to release the films as radio plays; the new CEO also want to make new movies and a documentary behind the studio. In August 2021 the first radioplay released.


title: Mockbuster

text: The 2011 film "Aliens vs Avatars" was named to market it as a crossover to "Alien" and "Avatar," even though the latter two films have no connection outside of director James Cameron. The film follows the intergalactic battle between a quarrelsome alien race and shape-shifting extraterrestrials, while six college friends find themselves in the middle of the interstellar war.


title: Mockbuster

text: A 1993 science fiction horror film titled "Carnosaur," produced by Roger Corman and starring Diane Ladd as a mad scientist who plans to recreate dinosaurs and destroy humanity, is loosely based on the 1984 novel of the same name by John Brosnan, but the two have little in common. It was released by New Horizon Picture Corp two weeks before the blockbuster "Jurassic Park." "Carnosaur" may be considered a mockbuster. (Diane Ladd's daughter Laura Dern starred in "Jurassic Park")


title: Mockbuster

text: In some cases, the knockoff film may bear little or no resemblance to the original. In 2012, "Super K – The Movie", an Indian fantasy/science-fiction animated film about an artificially created boy named "Super Kloud" with superpowers, was released direct-to-video in the United States as "Kiara the Brave". Its title and cover art focused on an incidental female character with red hair (i.e. Merida), in an obvious attempt to evoke the redheaded female protagonist of "Brave", a Disney/Pixar movie set in medieval Scotland.


title: Mockbuster

text: In other cases, the knockoff film simply renames an already existing film into a name that is similar to a popular film. For example, when Phase 4 Films acquired the US distribution rights to "The Legend of Sarila", the company renamed the movie as "Frozen Land" to cash in on Disney's 2013 film, "Frozen", complete with a logo that was made to look similar to the official logo to the movie. In another case, a collection of animated shorts from the 90s animated series, "Britannica's Tales Around the World", was rereleased under "Tangled Up" by Brightspark to cash in on Disney's 2010 film, "Tangled". Brightspark also rereleased the film "The Adventures of Scamper the Penguin" under "Tappy Feet: The Adventures of Scamper" to cash in on "Happy Feet".


title: Mockbuster

text: Asylum CEO David Michael Latt responds to criticisms about loose plot lines by stating that "We don't have spies at the studios. We have a general sense of what the film is and we make our movie completely original, just based on that concept."


title: Mockbuster

text: Mockbusters are low budget, and their revenue is based entirely on the sales of their DVDs. Low budgets also mean that directors need to think of creative yet cheap ways to achieve the endings that they desire. For example, "Snakes on a Train" capitalized on the Internet hype surrounding "Snakes on a Plane". Consumers wanted what they saw. Latt said, "With only four days left of shooting my partner called and said everyone is really excited about "Snakes on a Train", but they’re more excited about the poster, which showed a snake swallowing a train. It was meant to be, you know, metaphorical. But the buyers wanted it, so I was given the mandate that the ending had to have the snake eat the train." At the same time another representative of Asylum, David Rimawi, says that while a handful of their movies do have "artistic elements", that's just not something they're concerned with. The Asylum does not claim to be an "artsy" production house.


title: Mockbuster

text: In 2018, "Tomb Invader" is a mockbuster based on the Tomb Raider series, made by the American film studio, The Asylum.


title: Mockbuster

text: Mockbusters often use a title with a similar-sounding name to the mainstream feature it intends to piggy-back upon. For instance, the 2006 mockbuster "Snakes on a Train" traded on the publicity surrounding the theatrically released "Snakes on a Plane". Besides the aforementioned film, The Asylum has also released "The Land That Time Forgot", "Transmorphers", "", "The Da Vinci Treasure", "Battle of Los Angeles", "Atlantic Rim" and "Paranormal Entity". In a much earlier example, Astor Pictures compiled a collection of early Bing Crosby short films to create "Road to Hollywood", a mockbuster of Paramount Pictures' "Road to..." buddy comedies that featured Crosby with Bob Hope.


title: Mockbuster

text: Mockbusters and ripoffs can be filmed and released outside of the original films’ countries. Low-budget studios in foreign countries may produce illegitimate sequels to pre-existing higher budgeted films series that began in other countries. These sequels are unofficial, and often even unknown to the creators and producers of the original films. These unofficial sequels are rarely, or never, released in the original country, usually due to licensing issues. In other cases, a film released in other countries is renamed as a sequel to another film in contrast to the original title.


title: Mockbuster

text: Two Italian directors directed unofficial sequels to George A. Romero's 1978 "Dawn of the Dead": Lucio Fulci's "Zombi 2" sold itself as the sequel to that film (which was called "Zombi" in Italy) and even used a line originally written for "Dawn of the Dead". In a similar, more infamous Italian example, the 1990 goblin-themed "Troll 2" was hastily marketed as a sequel to "Troll".


title: Mockbuster

text: The Philippine film industry is also known for its unauthorised adaptations of popular Western films. The popularity of the "Batman" films, most especially the 1966 TV series, has led to numerous unauthorised remakes and pastiches, such as "James Batman" starring comedian Dolphy, "Batman Fights Dracula", and "Alyas Batman en Robin". Dolphy also played leading roles in other mockbusters, including "Wanted: Perfect Father", a comedy-drama based on the 1993 film "Mrs. Doubtfire", and "Tataynic", a 1998 parody of James Cameron's "Titanic". Other Filipino knockoffs include "Bobo Cop" (a parody of "RoboCop") and "Rocky Plus V" (a spoof of the "Rocky" series).


title: Mockbuster

text: Turkish cinema was known, particularly in the 1970s and 1980s, for knockoff films done at a cheap, amateur level. "The Man who Saved the World" became infamous for its theft of clips and songs from "Star Wars" and "Raiders of the Lost Ark", so much so that the film is popularly known as "Turkish Star Wars" in English-speaking realms, where it typifies the concept of so bad, it's good. "Three Giant Men" involved a battle between Marvel Comics characters Spider-Man and Captain America, both unauthorized and dressed in cheap costumes, decades before "" covered the same concept to greater success.


title: Mockbuster

text: Mockbusters based on popular animated films are known as a "drafting opportunity". For example, "Kiara the Brave" (a mockbuster of Pixar's "Brave") and "Puss in Boots: A Furry Tale" (a mockbuster of "Puss in Boots") use soundalike titling to "draft off" the marketing success ("slipstream") of popular films. "Can you trademark an actual noun? The idea of a battleship?", asks Boxoffice magazine editor Amy Nicholson. The original "Puss in Boots" was made by DreamWorks Animation by 300 people working for four years at the cost of $130 million. The mockbuster, with nearly exactly the same name was made by 12 people, in six months, for less than $1 million. For these large production houses, it wasn't just a question of free riding on the marketing success of these more popular films; mockbusters have become a source of bad publicity. Customers who had accidentally bought the mockbuster "Puss in Boots: A Furry Tale" but did not know that it was a mockbuster gave the original movie bad reviews. Mockbuster producers have had no legal troubles with drafting off as a result of Disney losing a case against GoodTimes Entertainment, which had used similar packaging for their own version of "Aladdin".


title: Mockbuster

text: Mockbusters have also had legal complications with false advertising. They supposedly tweak the plot lines and the titles just enough to skirt legal trouble and yet ride on the publicity of major blockbusters. Until the "Hobbit" case, mockbuster production houses have been able to achieve soundalike titling to such an extent that even actors in the movies have been confused about which movie they are starring in. Some actors starring in the original have gone on to become fans of the mockbuster model. Kel Mitchell was the star in the mockbuster "Battle of Los Angeles", the mockbuster to the original "". His friend was in the original and they began promoting both movies together. Kel has since then became a fan of the studio's formula: "I laugh out loud when I see that a film is coming out; I wonder what The Asylum is going to do with it. They're going to remix that name and put it out."


title: Mockbuster

text: In December 2013, The Walt Disney Company filed in California federal court to get an injunction against the continued distribution of the Canadian film "The Legend of Sarila", retitled "Frozen Land". In their suit, Disney alleges: "To enhance the commercial success of Sarila, the defendant redesigned the artwork, packaging, logo, and other promotional materials for its newly (and intentionally misleadingly) retitled film to mimic those used by Disney for "Frozen" and related merchandise." The suit was filed against distributor Phase 4 Films.


title: Mockbuster

text: Because mockbusters are deliberately similar to more famous movies, some movie studios have sued mockbuster studios for allegedly tricking consumers into renting or purchasing the wrong movie through intentionally deceptive marketing.


title: Mockbuster

text: In one such lawsuit, Walt Disney Pictures sued the UK-based studio Brightspark, complaining that the studio was "misleading consumers with numerous releases that confuse and undermine the trust those consumers have in Disney". Among Brightspark's films mentioned in the lawsuit were "Braver", "Tangled Up", "The Frog Prince", and "Little Cars", which resemble Disney's "Brave", "Tangled", "The Princess and the Frog", and "Cars", respectively.


title: Mockbuster

text: Warner Bros. similarly sued The Asylum over their release of "Age of the Hobbits". The judge ruled in favor of Warner Bros., writing that "There is substantial likelihood that consumers will be confused by Age Of Hobbits and mistakenly purchase the film intending to purchase ""."


title: Mockbuster

text: Most mockbusters follow the trend of releasing their movies close to the release dates of the original:


title: Mockbuster

text: The Asylum defend this practice, stating their intention is not to dupe customers. The Asylum cites reports from both Blockbuster LLC and Hollywood Video that show that less than 1% of customers who rent one of their films ask for a refund. That the low return rate of their films has been used to argue that consumers are renting The Asylum's films deliberately. "There's a segment of people who watch them because they know they're bad and they're funny, and they're fun to make fun of with their friends", says Kyle Ryan, the managing editor of "The A.V. Club", a sister publication of "The Onion".


title: Mockbuster

text: In 2012, Warner Bros. Pictures, New Line Cinema, Metro-Goldwyn-Mayer, WingNut Films, and The Saul Zaentz Company (SZC) sued The Asylum for trademark infringement, false designation of origin, trademark dilution, false advertising, and unfair competition. Plaintiffs alleged that defendant's movie title "Age of the Hobbits" infringed the registered trademarks held by SZC in the designation "Hobbit". Unlike fairytales, which are in the public domain, the J. R. R. Tolkien novels have been exclusively licensed to Warner Bros. and SZC for production and film adaptation. The court described Global Asylum (the defendant in this case) as a low-budget company that makes "mockbusters" of popular movies with similar titling. Warner Bros. and SZC submitted evidence to prove that consumers would be confused by the identical title and that they would lose not only ticket sales but also DVD revenue. The evidence included a survey showing that 48 percent of 400 surveyed respondents associated the term “Hobbit” with SZC, d/b/a “Tolkien Enterprises” and Tolkien properties. A separate survey conducted by Nielsen National Research Group showed that approximately 16 to 24 percent of survey respondents were confused about the source of "Age of the Hobbits".


title: Mockbuster

text: The Asylum claimed that they were justified in using the word "Hobbit" as a fair use of scientific terminology after some scientists borrowed the term from the "Hobbit" stories a few years prior to describe a human species in Indonesia. The Asylum argued that it provided warnings stating that this was not the Tolkien creature. The films also featured major plot differences: "In an ancient age, the small, peace-loving Hobbits are enslaved by the Java Men, a race of flesh-eating dragon-riders. The young Hobbit Goben must join forces with their neighbor giants, the humans, to free his people and vanquish their enemies."


title: Mockbuster

text: The Federal Court found that Warner Bros. had a valid trademark on the word "Hobbit". The court rejected The Asylum's scientific fair-use claims since there was no evidence to suggest that the movie was about a prehistoric group of people who lived in Indonesia. The court rejected all of The Asylum's defenses: (i) that it was permitted to use “Hobbits” in the title of its film pursuant to the free speech test of the Second Circuit’s decision in "Rogers v. Grimaldi", (ii) that its use of the mark constituted nominative fair use to indicate plaintiffs' movies and (iii) that the “Hobbits” mark was a generic name. The court decided that The Asylum had failed to prove its defenses and on December 10, 2012, found in favor of the plaintiffs and entered a temporary restraining order. This restraining order prevented the use by Global Asylum of the title "Age of the Hobbits". The Ninth Circuit court of appeals affirmed in 2013. The film was then released under the name "Clash of the Empires".


title: Mockbuster

text: The 2022 adaptation of "Chip 'n Dale Rescue Rangers" spoofed the nature of animated mockbusters with "bootlegged" titles like "Flying Bedroom Boy" and "Spaghetti Dogs".


title: Mockbuster

text: The cult television show "Mystery Science Theater 3000" had episodes featuring mockbusters of other movies (eg. "Atlantic Rim", "Pod People").


title: Mockbuster

text: Two of Vídeo Brinquedo's productions were parodied in an episode of "The Amazing World of Gumball" called "The Treasure", in which Gumball picks up a mockbuster DVD called "How to Ratatwang Your Panda". The film is a cross between "The Little Panda Fighter" and "Ratatoing", which themselves reference "Kung Fu Panda" and "Ratatouille".


title: Districts of England

text: The districts of England (also known as local authority districts or local government districts to distinguish from unofficial city districts) are a level of subnational division of England used for the purposes of local government. As the structure of local government in England is not uniform, there are currently four principal types of district-level subdivision. There are a total of 309 districts made up of 36 metropolitan boroughs, 32 London boroughs, 181 two-tier non-metropolitan districts and 58 unitary authorities, as well as the City of London and Isles of Scilly which are also districts, but do not correspond to any of these categories. Some districts are styled as cities, boroughs or royal boroughs; these are purely honorific titles and do not alter the status of the district or the powers of their councils. All boroughs and cities (and a few districts) are led by a mayor who in most cases is a ceremonial figure elected by the district council, but—after local government reform—is occasionally a directly elected mayor who makes most of the policy decisions instead of the council.


title: Districts of England

text: Prior to the establishment of districts in the 1890s, the basic unit of local government in England was the parish, overseen by the parish church vestry committee. Vestries dealt with the administration of both parochial and secular governmental matters. Parishes were the successors of the manorial system and historically had been grouped into hundreds, which had exercised some supervising administrative function. However, these powers ebbed away as more and more civic and judicial powers were centred on county towns. From 1834 these parishes were grouped into Poor Law Unions, creating areas for administration of the Poor Law. These areas were later used for census registration and as the basis for sanitary provision. In 1894, based on these earlier subdivisions, the Local Government Act 1894 created urban districts and rural districts as sub-divisions of administrative counties, which had been created in 1889. At the same time, parish-level local government administration was transferred to civil parishes. Another reform in 1900 created 28 metropolitan boroughs as sub-divisions of the County of London.


title: Districts of England

text: The setting-down of the current structure of districts in England began in 1965, when Greater London and its 32 London boroughs were created. They are the oldest type of district still in use. In 1974, metropolitan counties and non-metropolitan counties (also known as "shire counties") were created across the rest of England and were split into metropolitan districts and non-metropolitan districts.


title: Districts of England

text: The status of the London boroughs and metropolitan districts changed in 1986, when they absorbed the functions and some of the powers of the metropolitan county councils and the Greater London Council, which were abolished. Since 2000, powers are again shared (on a different basis) with the Greater London Authority.


title: Districts of England

text: During the 1990s a further kind of district was created, the unitary authority, which combined the functions and status of county and district.


title: Districts of England

text: Metropolitan boroughs are a subdivision of a metropolitan county. These are similar to unitary authorities, as the metropolitan county councils were abolished in 1986. Most of the powers of the county councils were devolved to the districts but some services are run by joint boards and organisations. The districts typically have populations of 174,000 to 1.1 million.


title: Districts of England

text: Non-metropolitan districts are second-tier authorities, which share power with county councils. They are subdivisions of shire counties and the most common type of district. These districts typically have populations of 25,000 to 200,000.


title: Districts of England

text: In this two-tier system, county councils are responsible for some local services, such as education, social services, and roads, while district councils run other services, such as waste collection, local planning, and council housing.


title: Districts of England

text: The number of two-tier non-metropolitan districts (also known as shire districts) has varied over time. Initially there were 296; after the creation of single-tier unitary authorities in the 1990s, 2000s, and 2010s, their numbers were reduced to 192.


title: Districts of England

text: These are single-tier non-metropolitan districts which are responsible for running all local services in their areas, combining both county and district functions. They were created in the mid-1990s, and often cover large towns and cities as this is deemed to be more efficient than a two-tier structure. In addition, some of the smaller counties such as Rutland, Herefordshire and the Isle of Wight are unitary authorities. There are a total of 56 unitary authorities, including one introduced in 2020.


title: Districts of England

text: Unitary authority areas are a type of non-metropolitan district; most are established as individual counties containing a single district, with a district council but no county council. Berkshire is unusual, being a non-metropolitan county with no county council and six unitary authority districts. Cornwall, Durham, the Isle of Wight, Northumberland, Shropshire and Wiltshire were established as counties with a single district, but have non-metropolitan county councils with no district council. In practice, these function in the same way as other unitary authorities.


title: Districts of England

text: The London boroughs are sub-divisions of Greater London. They were established in 1965. Between 1965 and 1986 a two-tier structure of government existed in Greater London and the boroughs shared power with the Greater London Council (GLC). When the GLC was abolished in 1986 they gained similar status to the unitary authorities. In 2000 the Greater London Authority was established and a two-tier structure was restored, albeit with a change to the balance of powers and responsibilities.


title: Districts of England

text: Each London borough is responsible for many of the services within their area, such as schools, waste management, planning applications, social services, libraries and others.


title: Intensity (physics)

text: In physics, the intensity or flux of radiant energy is the power transferred per unit area, where the area is measured on the plane perpendicular to the direction of propagation of the energy. In the SI system, it has units watts per square metre (W/m), or kg⋅s in base units. Intensity is used most frequently with waves such as acoustic waves (sound) or electromagnetic waves such as light or radio waves, in which case the "average" power transfer over one period of the wave is used. "Intensity" can be applied to other circumstances where energy is transferred. For example, one could calculate the intensity of the kinetic energy carried by drops of water from a garden sprinkler.


title: Intensity (physics)

text: The word "intensity" as used here is not synonymous with "strength", "amplitude", "magnitude", or "level", as it sometimes is in colloquial speech.


title: Intensity (physics)

text: Intensity can be found by taking the energy density (energy per unit volume) at a point in space and multiplying it by the velocity at which the energy is moving. The resulting vector has the units of power divided by area (i.e., surface power density).


title: Intensity (physics)

text: If a point source is radiating energy in all directions (producing a spherical wave), and no energy is absorbed or scattered by the medium, then the intensity decreases in proportion to the distance from the object squared. This is an example of the inverse-square law.


title: Intensity (physics)

text: where "P" is the net power radiated, I is the intensity vector as a function of position, the magnitude is the intensity as a function of position, and "d"A is a differential element of a closed surface that contains the source.


title: Intensity (physics)

text: If one integrates a uniform intensity, , over a surface that is perpendicular to the intensity vector, for instance over a sphere centered around the point source, the equation becomes


title: Intensity (physics)

text: where is the intensity at the surface of the sphere, "r" is the radius of the sphere, and formula_3 is the expression for the surface area of a sphere.


title: Intensity (physics)

text: Anything that can transmit energy can have an intensity associated with it. For a monochromatic propagating electromagnetic wave, such as a plane wave or a Gaussian beam, if "E" is the complex amplitude of the electric field, then the time-averaged energy density of the wave, travelling in a non-magnetic material, is given by:


title: Intensity (physics)

text: where "n" is the refractive index, c is the speed of light in vacuum and formula_7 is the vacuum permittivity.


title: Intensity (physics)

text: For non-monochromatic waves, the intensity contributions of different spectral components can simply be added. The treatment above does not hold for arbitrary electromagnetic fields. For example, an evanescent wave may have a finite electrical amplitude while not transferring any power. The intensity should then be defined as the magnitude of the Poynting vector.


title: Intensity (physics)

text: In photometry and radiometry "intensity" has a different meaning: it is the luminous or radiant power "per unit solid angle". This can cause confusion in optics, where "intensity" can mean any of radiant intensity, luminous intensity or irradiance, depending on the background of the person using the term. Radiance is also sometimes called "intensity", especially by astronomers and astrophysicists, and in heat transfer.


title: Do I Wanna Know?

text: "Do I Wanna Know?" is a song by English rock band Arctic Monkeys written by Alex Turner. It was released on 19 June 2013 by Domino Recording Company as the second single from their fifth studio album, "AM" (2013). It received a digital download release through iTunes as well as an accompanying music video. Before its release as a single, the song was premiered by the band live in May 2013 on the AM Tour, where it was often played as the opening number. It is an indie rock, psychedelic rock, stoner rock and blues rock song, and is built around a stomping guitar riff.


title: Do I Wanna Know?

text: "Do I Wanna Know?" peaked at number 11 in the UK Singles Chart, charted in several other countries and was the first Arctic Monkeys song to have ever entered the "Billboard" Hot 100 chart in the United States, peaking at number 70 in March 2014. The song was nominated for Best Rock Performance at the 57th Annual Grammy Awards in 2015. In December 2019, the song was ranked number three on "Guitar World"s list of the 20 best guitar riffs of the decade.


title: Do I Wanna Know?

text: "Do I Wanna Know?" is performed in the key of G minor. Musically, it has been described as an indie rock, psychedelic rock, stoner rock, blues rock and alternative rock song. The song has a similar aesthetic style and lyrical content to their 2012 song "R U Mine?"; it is more downtempo while having similar guitar riffs.


title: Do I Wanna Know?

text: "PopMatters" describes it as "a cleaner, slower-burning 'R U Mine?'", while also finding its "stomping" style to be a "steadier take" on the music found on "Humbug" (2009). The song also contains the edgier sound found on their previous album "Suck It and See" (2011). In concert, singer and guitarist Alex Turner uses a Vox 12-string electric guitar.


title: Do I Wanna Know?

text: Structurally, the song follows a common pop music "verse-pre-chorus-chorus" form up until its second chorus; from that point on, it follows what Hit Songs Deconstructed calls "a more unorthodox flow" ending in a "pre-chorus/chorus hybrid section". Falsetto backing vocals are also blended with those of Turner's throughout the song. Moreover, the title encapsulates the entire premise of the story, the narrator wondering whether he wants to remain in doubt or know if his feelings are unrequited or mutual.


title: Do I Wanna Know?

text: "Do I Wanna Know" was first played live on 22 May 2013 in Ventura, California at the first concert of the band's AM Tour. Throughout the tour, the song was being played as the opening number. It was then released as "AM"s second single on 19 June 2013, appearing in digital download formats through iTunes. It was accompanied by a music video released on YouTube. The single was released with no promotion, allowing fans to purchase it through iTunes immediately. A 7-inch vinyl edition of the single was released on 22 July 2013, with a B-side titled "2013". On "AM", "Do I Wanna Know?" appears as the opening track.


title: Do I Wanna Know?

text: "Rolling Stone" ranked "Do I Wanna Know?" as the tenth best song of 2013, calling it "the highlight of the U.K. crew's soul-rock overhaul album "AM"." The song was nominated for Best Rock Performance at the 57th Annual Grammy Awards in 2015, losing to "Lazaretto" by Jack White. In December 2019, the song was ranked number three on "Guitar World"s list of the 20 best guitar riffs of the decade. "NME" later ranked the song as the fifth best song of the 2010s decade.


title: Do I Wanna Know?

text: Despite a midweek on air on sale release, the song entered the UK Singles Chart at number 11, making it the band's highest-charting single since "Fluorescent Adolescent" in 2007. This was subsequently outperformed by the next single "Why'd You Only Call Me When You're High?", which debuted at number eight. "Do I Wanna Know?" has spent 65 weeks in the UK top 100, this being the longest run of any Arctic Monkeys single, to date. The single was awarded a platinum certification by the BPI on 7 February 2015, indicating shipments in excess of 600,000 units; it is the first Arctic Monkeys single to do so. As of , it is certified quadruple-platinum in the UK.


title: Do I Wanna Know?

text: The song had moderate success worldwide, charting in countries such as Australia, France, Belgium, Ireland and Israel. In January 2014, the song reached number one on the "Billboard" Alternative Songs chart, the group's first number one single in the United States and their first appearance on that chart since "I Bet You Look Good on the Dancefloor" peaked at number seven in 2006. On 28 March, the track became the 30th song to have occupied the "Billboard" Alternative Songs chart top spot for 10 weeks or more. As of the 25 October 2014 issue of "Billboard", it logged 58 weeks on the Alternative Songs list, making it the second-longest running song on the chart. It also became the band's first single to appear on the "Billboard" Hot 100 chart, peaking at number 70 in March 2014. On 26 January 2014, the song reached number four on Triple J's Hottest 100 of 2013, and, on 14 March 2020, reached number three on Triple J's Hottest 100 of 2010s.


title: Do I Wanna Know?

text: The music video for "Do I Wanna Know?", directed by David Wilson with animation agency Blinkink, was first released onto YouTube on 18 June 2013. As of June 2020, it has been viewed over 1 billion times, becoming one of only 12 rock videos to achieve this feat. The video begins with a black background and simple visuals of white sound waves (similar to the "AM" cover art) that vibrate in synchronisation, first with the percussion and lead guitar, then with the lead singer, Alex Turner. As the band enters with the chorus, coloured sound waves illustrate new voices. Simple sound waves then give way to fast-moving, representational line-drawing animations that morph between a variety of female, race car, race car engine, and road racing images. At one point, the undulating white line becomes the "trucker's Mudflap girl", seen in the single's cover art. The line drawings are interrupted several times with flashes of full-color animation, several that recall the surrealistic style of Robert Crumb. The increasingly complex video creates, by turns, a somewhat jarring and psychedelic experience, in a style not unlike the Gary Gutierrez animations that were featured in "The Grateful Dead Movie" (1977). The video ends with the familiar white line becoming two crossed checkered flags, which join together in a single line with the "AM" initials.


title: Do I Wanna Know?

text: "Do I Wanna Know?" was used in a 2013 Bacardi commercial. In September 2014, the song was used in the pilot episode of ABC's TV series "Forever", and the fifth episode of Israeli series "Ish Hashuv Meod".


title: Do I Wanna Know?

text: An instrumental version of the song is used in the second season finale of the BBC series "Peaky Blinders".


title: Do I Wanna Know?

text: The song has been covered by artists such as MS MR, Sam Smith, Chvrches, Hozier, Dua Lipa, and Christina Grimmie.


title: Do I Wanna Know?

text: The song was also present in Ubisoft's 2014 game, "The Crew" as one of the songs in the in-game radio.


title: Dry Cleaning (band)

text: Dry Cleaning are an English post-punk band who formed in South London in 2017. The band is composed of vocalist Florence Shaw, guitarist Tom Dowse, bassist Lewis Maynard and drummer Nick Buxton. They are noted for their use of spoken word primarily in lieu of sung vocals, as well as their unconventional lyrics. Their musical style has been compared to Wire, Magazine and Joy Division. They have been described as "Annette Peacock fronting the Fall or PiL or Siouxsie and the Banshees". Their debut album "New Long Leg" was released in 2021.


title: Dry Cleaning (band)

text: When Lewis Maynard, Tom Dowse and Nick Buxton – old friends whose previous bands had crossed paths in London united to start a new band together in 2017, they did so with the intention of doing so for fun. Rehearsing from the garage at Maynard's mothers house, the trio spent the next few months writing the songs that would ultimately become Dry Cleaning.


title: Dry Cleaning (band)

text: Vocalist Florence Shaw had met Tom Dowse around 2010 at the Royal College of Art where they both were students, and quickly became friends.


title: Dry Cleaning (band)

text: Convincing Shaw to join the band took months. The rest of the band members invited her to one of their rehearsals. Drummer Nick Buxton told Shaw she could just talk instead of sing and gave her a playlist that included Grace Jones' "Private Life" and other similar tracks. She finally accepted and went into rehearsal with "writing from my old drawings, stuff I’d written on my phone, diaries, things I’d seen in adverts and thought were funny" — and read aloud as the other three played their instruments around her. She recalls this moment “like when you see those cheesy films about bands, and they’re writing the hit, and there’s a magic moment.”


title: Dry Cleaning (band)

text: The band released their debut single, "Magic of Meghan" in 2019. Shaw wrote the song after going through a break-up and moving out of her former partner's apartment the same day that Meghan Markle and Prince Harry announced they were engaged. This was followed by the release of two EPs that year: "Sweet Princess" in August and "Boundary Road Snacks and Drinks" in October. The band were included as part of the "NME" 100 of 2020, as well as "DIY" magazine's Class of 2020.


title: Dry Cleaning (band)

text: The band signed to 4AD in late 2020 and shared a new single, "Scratchcard Lanyard". In February 2021, the band shared details of their debut studio album, "New Long Leg". They also shared the single "Strong Feelings". The album, which was produced by John Parish, was released on 2 April 2021.


title: Dry Cleaning (band)

text: In June 2022, the band announced a new single, "Don't Press Me", which premiered on BBC Radio 6 Music on 14 June. That same day they announced their second album "Stumpwork", which was released on 21 October 2022. As with their debut, the album was recorded at Rockfield Studios in Wales, and produced by John Parish.


title: CJ7

text: CJ7 () is a 2008 Hong Kong–Chinese comic science fiction film co-written, co-produced, starring, and directed by Stephen Chow. It was released on January 31, 2008, in Hong Kong. It was also released on March 14, 2008, in the United States.


title: CJ7

text: In August 2007 the film was given the title "CJ7", a play on China's successful Shenzhou crewed space missions—Shenzhou 5 and Shenzhou 6. It was previously known by a series of working titles—"Alien", "Yangtze River VII", "Long River 7" and most notably, "A Hope". The title probably refers to the Chinese name of the Yangtze River, which is Changjiang.


title: CJ7

text: Chow Ti is a poor construction worker. He lives in a partially demolished house with his nine-year-old son, Dicky. Ti is eager to save money so he can continue sending his son to private school. Not much is known about Dicky's mother, other than the fact she had died when Dicky was young upon Dicky being questioned by Ms. Yuen, Dicky's teacher, one morning as to where his parents were.


title: CJ7

text: Dicky is often bullied by other children, in particular by a boy named Johnny. Johnny is the son of a rich family and bosses other students around at school. He also has other students as his henchmen. Dicky is also chided by his teachers at school because he is poor and wears shabby clothes. Ti often helps Dicky to obtain things from the junkyard as they are too poor to afford certain items, such as his shoes that are tattered. During P.E class, Dicky is punished for wearing torn up shoes and is to stand away. He is sad as he really enjoys doing sports, hoping to have a pair of better shoes soon. Maggie, a large girl in his class joins him as she did not want to participate in P.E class. She also develops a crush on Dicky.


title: CJ7

text: One day, while at a department store, Dicky begs his father to buy him a popular robotic toy called CJ1. Ti cannot afford it, and the situation ends badly when Ti smacks the stubborn Dicky in front of other customers. Dicky finds comfort in Ms. Yuen who is passing by. That night, Ti visits the junkyard where he often picks up home appliances and clothes for Dicky. He finds a strange green orb left by a space saucer and takes it home, telling Dicky that it is a new toy. He is hesitant at first, but later accepts it. The next day, Dicky brings the orb to school and gets beaten up by the other children only to get injured and scolded by Ti. The following evening, the green orb transforms into a cute and cuddly dog-like alien creature that befriends Dicky. After playing with the alien, he learns that it is capable of restorative powers after it restores a rotten apple that fell to the ground. Dicky is very thrilled and names the alien "CJ7", and then falls asleep dancing in happiness.


title: CJ7

text: That night, Dicky dreams that the alien will help him gain popularity and good grades at school. In his dream, he asks the alien of some tasks. First, CJ7 defeats a fierce stray dog in an alley as requested by Dicky. It also helps him score on his exam (by creating a orange pair of glasses to help him cheat with tiny drones with cameras). During this scene, Johnny swats at the drones and Dicky is temporarily unable to see the answers on his paper. Backup drones fly out and they fly towards Mr. Cao, whose glasses lenses get broken as Johnny and a female classmate both swat at the fly-drones. In P.E class (with dream CJ7 constructing a pair of red boots with special powers), he outdoes his classmates in various sports scenes. Eventually, policemen and teachers including Mr. Cao and Ms. Yuen to try and subdue his superhuman powers. He jumps high into the sky thanks to the springs on his shoes. He then jumps off a flying eagle and sees a big cloud in the shape of CJ7.


title: CJ7

text: Upon waking up, Dicky tries to relive his expectations and demands for CJ7 to carry out the tasks again, but CJ7 is unable to be of help. CJ7 does not understand what Dicky asks of him and defecates on his hand, which Dicky has to deal with during his exam. The class bully jeers at him for holding a stool in his hand and shoves it onto Dicky's face. Later, Dicky expresses his anger towards CJ7 and claims he wants to kill it by forcing it to drown in the toilet bowl. He demands CJ7 to help him fix his sports shoes, but out of stress and fear, it projectile defecates onto Dicky. Then in P.E class, Dicky is being hosed down by the schools' gardeners in front of his class and his P.E teacher. His teacher says he brings great shame to the school for his dirtied uniform as his classmates laugh at him. After school, Dicky lures CJ7 from behind a tree, telling it how much he loves it until it is coaxed out. He uses a bag to entrap CJ7 and catches it. Dicky pulls CJ7 out and angrily tells it how it is a useless space dog and only caused trouble for him at school. He tosses it into the garbage bin but soon after questioning his own behaviour admits his own faults, rushing back to try and recover CJ7 from the bin. Dicky finds that the trash has been emptied by a garage truck to his dismay and tries to chase after the truck to save CJ7 but is already too late. Going home, he is dejected and sad to have lost CJ7. Dicky cheers up and runs to hug CJ7, apologizing and saying how much he misses it after seeing Ti sitting with it.


title: CJ7

text: Ti is in awe as to how "high tech" CJ7 is as a play toy, twisting and pulling it to admire its malleability as Dicky watches in great discomfort, with CJ7 writhing and squealing in pain. Dicky begs his father to stop yanking its body around as he has to return his toy to a classmate, lying that he borrowed it. Later in that same night, as Ti and Dicky are asleep, CJ7 wakes up from the cooking pan it was resting in to repair the electric fan that Ti bought, fixing and turning the fan on with its special antenna. It is exhausted and uses up its energy as the ball inside the antenna becomes red. The next morning, Dicky goes to school with CJ7 in his backpack.


title: CJ7

text: When a group of students see the alien with Dicky they forcibly take it and try to cut it with tools but nothing seems to work. At last they try to use a drill and Dicky jumps on them. CJ7 scurries into some nearby bushes. Dicky tries to hit one of the students but a fat boy stops him who in turn is stopped by Maggie. They are all punished for fighting and demanded to explain the situation. When the teacher, Mr. Cao, leaves, CJ7 comes out from hiding and Dicky gets it to perform tricks for the other students and they are awed. Dicky thanks Johnny for not letting Mr. Cao know about CJ7. They shake hands and agree to not let the adults know about it and buy the group one.


title: CJ7

text: At the construction site, Ti randomly shows everyone Dicky's test paper in which he scored 100 until his boss tells him that Dicky changed the marks from 0 to 100 and is a cheater. Then Ti threatens his boss that if he continues saying his son cheated he will hit him. This results in a fight that leads to Ti running off while his boss shouts after him that he is fired. Ti meets Dicky at home and gets angry with him for lying. He takes CJ7 from him and shoves it into his messenger bag, saying he does not get to play with CJ7 since he does not work hard so this upsets Dicky. When Dicky tells Ti to leave him alone, he promises he will if Dicky can score more than 60 on his own.


title: CJ7

text: The following day, Ti comes to Dicky's school to give him his lunchbox. There he meets Ms. Yuen, who offers to help Dicky study. He shakes her hand gratefully and leaves on his bike as Ms. Yuen watches on before leaving. Ti goes back to his boss and apologizes; his boss apologises for calling his son a cheater in front of the other workers. He gives him his job back and his salary as well as a bonus (inside a red packet) so that Ti may buy Dicky new textbooks. Ti remarks of his great luck to the woman operating the lift on his way up to the building he is working on but is shut off with her sliding door. During work, an accident happens with Ti knocking some canisters over, trapping Ti's legs with ropes and pulling him close to the edge. Ti attempts to grab onto a bamboo pole for dear life and a worker asks where his safety harness is. Ti is unable to retrieve it and in doing so loses grip on the bamboo, falls down further to grip some mesh netting, suspended by the canister's weight. Another worker in a lower floor sees him and tries to help by telling Ti to stretch his free hand out along with other workers. Unfortunately, Ti cannot reach his hand and the netting tears apart. Ti falls to his death from the building's scaffolding.


title: CJ7

text: Back at school, Ms. Yuen calls Dicky from his classroom just as he gets his test result in which he scores 65. Dicky is seen sitting at the hospital, clutching onto his paper as he looks on the scene between the doctor, Ti's boss and Ms. Yuen in the door window near him. She goes home with Dicky and tearfully breaks the news to him that his father has passed away. Dicky begins to cry; telling her to leave and pushes her out and locks the house door to sob. In his bawling state, Dicky says that Ti will come back tomorrow and apologises to Ms. Yuen, telling her he is going to sleep as she listens on outside, sliding down to a sitting position as she cries with him out of sympathy.


title: CJ7

text: CJ7, still in the messenger bag which is now under the table on which Ti's dead body is lying, wriggles out of the bag and uses its repairing powers on Ti's body, even though it knows it will take its full power and it will die.


title: CJ7

text: The next morning Dicky finds Ti sleeping next to him. Ti awakes and questions why he is still in his uniform. Dicky rushes to embrace his father and sobs that he will be a good son, repeating Ti's words on not cheating, lying and stealing and to do well at school. They share a loving moment. Then, CJ7 crawls out exhaustedly out of Ti's messenger bag and lies on the bed, powerless and drained from using all its energy on Ti's rejuvenation from the night before. The ball inside his antenna falls and disintegrates, and he transforms into a small doll with cross eyes. They try many ways (using batteries, electric shock and injecting glucose) to get CJ7 back but are unsuccessful.


title: CJ7

text: In the end, it is shown that everything is back to normal. A scene in a park unfolds; the fat boy is in love with Maggie who is in love with Dicky who is in love with another girl who is taken by the bully, Johnny. Ti is in love with Ms. Yuen but is "not funny enough" for her. Dicky wears the alien doll as a neck pendant all the time, hoping that it to come back to life when he closes his eyes, counting to three and opens them. He hears a whimpering sound, only to find a small white dog to be the source of the sound. The dog is quickly lifted away by a classmate. Dicky is sad that CJ7 is still not alive.


title: CJ7

text: In the end, Dicky sees a UFO descending onto the bridge in front of him. Many other alien dogs like CJ7 of various colors and patterns emerge, running towards him and he realizes that the CJ7s are headed by his very own toy.


title: CJ7

text: As with the title "CJ7", the earlier working titles, "A Hope", "Yangtze River VII", and "Long River 7", referred to the Chinese crewed space program. The mission of Shenzhou 6 was completed in 2006 and the real Shenzhou 7 successfully launched in September 2008. The film had a budget of US$20 million, and heavily uses CG effects. Xu Jiao, the child who plays Dicky, is in fact female. She had to cross-dress to be in the film.


title: CJ7

text: Music tracks featured in "CJ7" include "Masterpiece" and "I Like Chopin" by Gazebo and "Sunny" by Boney M.


title: CJ7

text: References to Chow's other films are made during some scenes, particularly during Dicky's dream sequence. These references include Dicky using his super sneakers to kick a soccer ball into the goal, which subsequently collapses (referencing "Shaolin Soccer") and Dicky flying into the sky with his sneakers, jumping from the head of an eagle, seeing CJ7's shape as a cloud and using the Buddha's Palm, (referencing "Kung Fu Hustle"). The scene where Dicky tosses away his glasses while they self-destruct is a reference to John Woo's "". On one of the DVD featurettes, Chow cites "E.T. the Extra-Terrestrial" and "Doraemon" as an influence on the film.


title: CJ7

text: During its North American limited release, "CJ7" received mixed reviews from critics. The review aggregator Rotten Tomatoes reported that 49% of critics gave the film positive reviews based on 81 reviews, with an average rating of 5.3/10. The site's critics consensus reads, "Eccentric and sweet, Stephen Chow's latest is charming, but too strangely and slackly plotted to work as a whole." The percentage is much lower than Stephen Chow's previous films "Shaolin Soccer" (90%) and "Kung Fu Hustle" (90%). Metacritic reported the film has a weighted average score of 46 out of 100 based on 18 reviews, indicating "mixed or average reviews".


title: CJ7

text: The film fared no better with local Hong Kong critics. Perry Lam of "Muse" gave a decidedly negative review of the film: 'We go to see a Stephen Chow movie for its great entertainment value and, occasionally, its terrific cinematic panache. We don't need to be told that we are morally superior because we don't have much money.'


title: Kamehameha III

text: Kamehameha III (born Kauikeaouli) (March 17, 1814 – December 15, 1854) was the third king of the Kingdom of Hawaii from 1825 to 1854. His full Hawaiian name is Keaweaweula Kīwalaō Kauikeaouli Kaleiopapa and then lengthened to Keaweaweula Kīwalaō Kauikeaouli Kaleiopapa Kalani Waiakua Kalanikau Iokikilo Kīwalaō i ke kapu Kamehameha when he ascended the throne.


title: Kamehameha III

text: Under his reign, Hawaii evolved from an absolute monarchy to a constitutional monarchy with the signing of both the 1840 Constitution, which was the first Hawaiian Language Constitution, and the 1852 Constitution. He was the longest reigning monarch in the history of the Kingdom, ruling for 29 years and 192 days, although in the early part of his reign he was under a regency by Queen Kaahumanu and later by Kaahumanu II.


title: Kamehameha III

text: His goal was the careful balancing of modernization by adopting Western ways while keeping his nation intact.


title: Kamehameha III

text: Kauikeaouli was born at Keauhou Bay, on Hawaii island, the largest island of the Hawaiian Islands archipelago. He was the second son of King Kamehameha I and his highest ranking wife, Queen Keōpūolani, born in Maui. Early historians suggested June or July 1814, but one accepted date is August 11, 1813. Biographer P. Christiaan Klieger cites 17 March 1814 as his birthday, which is the date declared by the Privy Council as the official birthday in its meeting of March 16, 1846.


title: Kamehameha III

text: He was of the highest "kapu" lineage. Kauikeaouli was about 16 years younger than his brother Liholiho, who ruled as Kamehameha II starting in 1819. He was named "Kauikeaouli" (placed in the dark clouds) "Kaleiopapa Kuakamanolani Mahinalani Kalaninuiwaiakua Keaweaweulaokalani" (the red trail or the roadway by which the god descends from heaven) after his maternal grandfather Kīwalaō.


title: Kamehameha III

text: He was promised to Kuakini in adoption, but as at birth he appeared to be delivered stillborn, Kuakini did not wish to take him. But Chief Kaikioewa summoned his "kaula" (prophet) Kapihe who declared the baby would live.


title: Kamehameha III

text: Kauikeaouli was cleansed, laid on a rock, fanned, prayed over and sprinkled with water until he breathed, moved and cried. The prayer of Kapihe was to "Kaōnohiokalā", "Child of God". The rock is preserved as a monument at Keauhou Bay. He was given to Kaikioewa to raise.


title: Kamehameha III

text: He was torn between the Puritan Christian guidelines imposed on the kingdom by the "kuhina nui" (Queen Regent) who was his stepmother Kaʻahumanu, and the desires to honor the old traditions. Under the influence of Oʻahu's then governor, Boki, and a young Hawaiian-Tahitian priest named Kaomi, Kauikeaouli's aikāne partner, he rebelled against his partial Christian upbringing. He created the secret order of "Hulumanu (Bird Feather)", and named Kaomi his co-ruler in place of Kīnaʻu.


title: Kamehameha III

text: When Kauikeaouli came to the throne in 1825, the native population numbered about 150,000, which was already less than one-third of the Hawaiian population at the time of Captain Cook's arrival to Hawaii in 1778. During his reign, that number would be halved again, due to a series of epidemics.


title: Kamehameha III

text: In ancient Hawaii, the upper classes considered a marriage with a close royal family member to be an excellent way to preserve pure bloodlines. His brother Liholiho (King Kamehameha II) and his Queen Kamāmalu were a half-sister and brother couple. He had loved his sister Nāhienaena and planned to marry her since childhood, but the union was opposed by the missionaries due to their perceptions of incest.


title: Kamehameha III

text: It was proposed in 1832 that Kamanele, the daughter of Governor John Adams Kuakini, would be the most suitable in age, rank, and education for his queen. Kamanele died in 1834 before the wedding took place. Instead Kamehameha III chose to marry Kalama Hakaleleponi Kapakuhaili, against the wishes of Kīnau. Kalama's father was Naihekukui. After his sister's death in late 1836, he married Kalama on February 14, 1837, in a Christian ceremony. Kamehameha III and Kalama had two children: Prince Keaweaweulaokalani I and Prince Keaweaweulaokalani II who both died while infants.


title: Kamehameha III

text: He and his mistress Jane Lahilahi, a daughter of his father's advisor John Young, had twin illegitimate sons: Kīwalaʻō, who Kamehameha initially took to raise, died young, while the other twin Albert Kūnuiākea survived and was later adopted by Kamehameha and his wife Queen Kalama. Kūnuiākea lived to adulthood but died childless (1851–1902).


title: Kamehameha III

text: Kamehameha III led the development of Hawaii's first formal written laws. In 1838, senior advisor Hoapili convinced former missionary William Richards to resign from the church and become a political advisor. Richards (although he had no legal training himself) gave classes to Kamehameha III and his councilors on the Western ideas of rule of law and economics. Their first act was a declaration of human rights in 1839.


title: Kamehameha III

text: In 1839, under a French threat of war, Roman Catholicism was legalized in the Edict of Toleration and the first statutory law code was established. Kamehameha III also enacted the Constitution of 1840, Hawaii's first. This laid the groundwork for the establishment of judicial and executive branches of government, and a system of land ownership was implemented under the Mahele in 1848. The 1839 declaration of rights, the 1840 constitution, and various laws enacted from 1840 to 1842 came to be collectively called the Kumu Kānāwai or "foundation of law." They were published together in a dual Hawaiian/English book with a blue cover, similar to the statutory laws of the New England states at the time, and like them became known in English as the Blue Laws. The Kumu Kānāwai was primarily based on Hawaii's indigenous traditions, various laws enacted since 1823, and the principles of the Christian Bible.


title: Kamehameha III

text: Over the next few years, Kamehameha III moved the capital from Lahaina to Honolulu. In September 1840 Charles Wilkes arrived on the United States Exploring Expedition. Kamehameha III was happy to support the explorers, and appointed missionary doctor Gerrit P. Judd to serve as translator. Judd treated many of the sailors who suffered from altitude sickness on their ascent of Mauna Loa. Wilkes vastly underestimated the task and did not leave until March 1841.


title: Kamehameha III

text: In February 1843, British Captain Lord George Paulet pressured Kamehameha III into surrendering the Hawaiian kingdom to the British crown, but Kamehameha III alerted London of the captain's rogue actions which eventually restored the kingdom's independence. Less than five months later, British Admiral Richard Thomas rejected Paulet's actions and the kingdom was restored on July 31. It was at the end of this period of uncertainty that the king uttered the phrase that eventually became Hawaii's motto: "Ua Mau ke Ea o ka Āina i ka Pono" — "The life of the land is perpetuated in righteousness." July 31 was celebrated thereafter as "Lā Hoʻihoʻi Ea", Sovereignty Restoration Day, an official national holiday of the kingdom. Later that year, on November 28, Britain and France officially recognized the independence of the Hawaiian Kingdom, and that too became a national holiday, "Lā Kūʻokoʻa" — Independence Day.


title: Kamehameha III

text: Through the 1840s a formal legislature of the Hawaiian Kingdom and cabinet replaced the informal council of chiefs. The chiefs became the House of Nobles, roughly modeled on the British House of Lords. Seven elected representatives would be the start of a democratic government. The cabinet consisted of a Privy Council and five powerful government ministers. Judd was appointed to the most powerful post of Minister of Finance. Frontier lawyer John Ricord was Attorney General, Robert Crichton Wyllie was Minister of Foreign Affairs, Richards Minister of Public Instruction, and Keoni Ana was Minister of the Interior.


title: Kamehameha III

text: Kamehameha III also presided over the formalization of the court system and land titles. Cases such as those of Richard Charlton and Ladd & Co. had prompted the incidents of 1843 and subsequent litigation. Under Kamehameha III, Hawaii rapidly transitioned from indigenous traditions to a new legal system based on Anglo-American common law. Lorrin Andrews became a judge for foreign cases in 1845. William Little Lee (the first to actually graduate from law school) became the first chief justice.


title: Kamehameha III

text: This led to what is called the Great Mahele of 1848 which redistributed land between the government, king, nobles, and commoners. Foreigners were allowed to own land fee simple in Hawaii for the first time.


title: Kamehameha III

text: Many commoners were unaware of the program and lost out on the distribution. The domination of his cabinet by Americans (balanced only by Scot Wyllie and half-Hawaiian Keoni Ana) also discouraged the people.


title: Kamehameha III

text: This was not the end of foreign conflicts either. In 1849 admiral Louis Tromelin led a French invasion of Honolulu. The French sacked and looted the city after the king refused his demands.