title: Jarno Trulli

text: In , Trulli was hoping Toyota would make a big step forward. Timo Glock was confirmed as his teammate for the season. Trulli started the season quite well, with several points scoring finishes, the height of which was a fourth-place finish in Malaysia. Trulli's qualifying performances were also very good throughout the first few rounds of the Championship. His form then slumped a little, with disappointing performances in Turkey and Monaco, as he finished in non-points scoring positions.


title: Jarno Trulli

text: However, he bounced back from this with a 6th-place finish in Montreal. He then topped that in France by finishing on the podium in 3rd place, holding off the challenge of Heikki Kovalainen and Robert Kubica in the closing laps.


title: Jarno Trulli

text: He qualified on the front row alongside pole-sitter Felipe Massa for the season-ending , which was to decide the 2008 world championship between Massa and Lewis Hamilton. During the race, Trulli had several close shaves in the changeable weather conditions, and eventually finished 8th. His teammate Glock played a pivotal part in the title outcome as he was passed by Hamilton on the last corner of the race, which gave the Englishman the championship by one point from Massa, who won easily. Trulli finished the 8th in Drivers' Championship standings, collecting 31 points, 4 more than his teammate.


title: Jarno Trulli

text: Trulli was confident going into . In the first race of the 2009 season, the Toyotas of Trulli and Glock started the race from the pitlane as their qualifying times were disallowed due to Toyota's flexible rear wing breaching regulations. Although Trulli started from the pit lane, he finished in an impressive 3rd place before being penalised 25 seconds, dropping him to 12th position for passing Lewis Hamilton under the safety car. A few days after this decision, Hamilton was disqualified from the race results for 'misleading' the race stewards by insisting that Jarno Trulli had passed him under the Safety Car although Hamilton in fact let him pass on purpose due to an order given by the team from the pitlane. Jarno Trulli therefore regained his third-place finish. At the , Trulli qualified on pole position but due to an unconventional tyre strategy, he finished third. However he did record the fastest lap, the only time he has achieved this in his career. He holds the record of having started the most Grands Prix before recording a fastest lap.


title: Jarno Trulli

text: He crashed out of the after being forced off the track at the second corner and being collected by Adrian Sutil, and then had a poor performance in Monaco as the Toyotas qualified on the back row of the grid. Improvements saw him score points in three of the next four races, before the following four rounds saw him struggle again as he failed to finish in the Top 10. At the he placed 12th while teammate Glock was second. Trulli then fought back at the  – which would prove to be Toyota's last home race – by qualifying and finishing second. He then qualified fourth in torrential conditions in Brazil, but like in Spain collided with Adrian Sutil on the opening lap of the race, an incident which enraged Trulli as he blamed Sutil for the crash. His obvious display of anger towards Sutil (who also retired) afterwards earned him a $10,000 fine. Trulli finished seventh at the season finale in Abu Dhabi scoring his final points in Toyota F1's last race.


title: Jarno Trulli

text: On 14 December 2009, Trulli was confirmed as one of the newly formed Lotus team's drivers, joining former McLaren driver Heikki Kovalainen. He only finished one of the opening four races, a weaker reliability record than Kovalainen, leading him to note that "everything happens on my car and my car only – so to this day, my expectations have not been met".


title: Jarno Trulli

text: At the launch of the Lotus T127, Trulli admitted in an interview with Autosport that US F1 and Sauber had been in contact with him. In late 2009, Trulli was asked to test a NASCAR stock car in North America for Toyota. The car was set up by Michael Waltrip Racing.


title: Jarno Trulli

text: Trulli continued to drive for Lotus in , with Lotus Racing being renamed Team Lotus. He again partnered Heikki Kovalainen.


title: Jarno Trulli

text: Trulli's season started with thirteenth in Australia, before a retirement with a clutch problem in Malaysia. Trulli finished each of the next six races, equalling his best season finish of thirteenth in Monaco. In Britain, he retired with an oil leak. For the , Trulli was replaced by reserve driver Karun Chandhok. When he returned in Hungary, he retired due to a water leak; his teammate Kovalainen retired some laps later with an identical problem. He finished 14th at both the and the , where it was announced that Trulli would be retained for the season. After retiring in Singapore with a gearbox failure, Trulli finished 19th in Japan, 17th in Korea and 19th again, in India.


title: Jarno Trulli

text: Team Lotus was renamed to Caterham F1 ahead of the 2012 season. Trulli drove in one pre-season test, but on 17 February 2012 it was announced that Trulli was replaced by Vitaly Petrov. Following, Trulli stated that he was "really proud" to have helped Caterham become a Formula One team. This left Formula One without an Italian driver at the start of the 2012 season, for the first time since .


title: Jarno Trulli

text: In 2014–15 season Trulli drove in the inaugural FIA Formula E Championship for his own team Trulli GP in partnership with Drayson Racing Technologies and Super Nova Racing, as announced on 18 June 2014. After failing to pass scrutineering of their new drivetrain for the first two races of the 2015–16 season, the team withdrew from the championship.


title: Jarno Trulli

text: Driver did not finish the race, but was classified as he completed more than 90% of the race distance.


title: Jarno Trulli

text: Trulli's original helmet design was white with a blue shape around the visor with a blue circle in the top and a green J with a red T in the sides. A ring around the blue circle was incorporated when he raced at Jordan and Renault, being coloured after the team's main sponsor. In 2004 his helmet changed from white to chromed silver and the shape, the J and the T became chromed with black outline. Later, in his first Toyota years the top became red and was added a white ring around the red circle. Finally in 2008 the helmet turned red with the J and the T of the original colours (and white outline) plus a white line on the chin area. From his Lotus years, the helmet design remained intact, with the change of the shades of colour from chromed to normal shades (the chromed silver becomes white).


title: Jarno Trulli

text: Trulli is married to Barbara and they have two sons, Enzo Trulli (b. 2005), named after Trulli's father, and Marco (b. 2006), and a daughter Veronica (b. 2014). He is the co-owner of a vineyard in the Abruzzo region in Italy and produces his own wine. He also has his own range of Karts named 'Trulli Kart'; Trulli himself was a World Champion at Karting level. His son Enzo is also pursuing career in motorsports he competed in the WSK karting series, before starting single seater racing in F4 UAE in 2021, and for 2022 at present in FIA Formula 3 Championship.


title: Michael Gambon on screen and stage

text: The following is a list of film, television, theatre, and radio credits of Irish-British actor Sir Michael Gambon.


title: The Bloody Chamber

text: The Bloody Chamber (or The Bloody Chamber and Other Stories) is a collection of short fiction by English writer Angela Carter. It was first published in the United Kingdom in 1979 by Gollancz and won the Cheltenham Festival Literary Prize. The stories share a theme of being closely based upon fairytales or folk tales. However, Carter has stated:


title: The Bloody Chamber

text: The collection contains ten stories: "The Bloody Chamber", "The Courtship of Mr Lyon", "The Tiger's Bride", "Puss-in-Boots", "The Erl-King", "The Snow Child", "The Lady of the House of Love", "The Werewolf", "The Company of Wolves" and "Wolf-Alice".


title: The Bloody Chamber

text: The tales vary greatly in length, with the novelette "The Bloody Chamber" being "more than twice the length of any of the other stories, and more than thirty times the length of the shortest [the vignette "The Snow Child"]."


title: The Bloody Chamber

text: The stories within "The Bloody Chamber" are explicitly based on fairy tales. Carter was no doubt inspired by the works of author and fairytale collector Charles Perrault, whose fairy tales she had translated shortly beforehand.


title: The Bloody Chamber

text: The narrator, a beautiful teenage girl, marries an older, wealthy French Marquis, who met her while she was playing the piano at a tea-party. Her governess, though pleased she has made a good match, notes the Marquis has formerly wed three women, all of whom died in mysterious circumstances. He gifts his bride a choker made of rubies, warning her against taking it off, and takes her to his coastal castle in Brittany, where she discovers his collection of pornographic engravings and paintings. He takes pleasure in her embarrassment, and they consummate their marriage that night, in a bedroom filled with white lilies and mirrors. The following morning, he hears of urgent business he must attend to in New York. When he leaves, he entrusts her with a chain of keys, telling her she can use them to go about the castle as she wishes. He forbids her from using a certain key, telling her it opens his private den. She tries to grow accustomed to her new-found decadence, but, being a talented pianist, feels most comfortable with the blind piano-tuner. Closer to her age, he lives in a nearby town and, after tuning the piano her husband gave to her as a wedding present, asks to hear her play once in a while. But still, her husband's absence makes her feel melancholy, and she telephones her mother. Afterwards, she starts going through the Marquis' things in order to learn more about him. After going through his desk, she learns more of his previous wives, which pushes her to take the forbidden key and enter his chamber. She soon realizes the full extent of his perverse and murderous tendencies when she discovers the bodies of his previous wives, presented in gruesome ways, some of which are surrounded by the same white lilies the Marquis filled her own room with. In her shock, she drops the key, staining it with the blood on the floor. When she meets the piano-tuner again, she confides the newly discovered secret to him. Before the two can flee, the Marquis returns home, his business trip having been cut short. Unable to clean the blood from the key, the Marquis discovers that she has entered the bloody chamber and presses the key into her forehead, leaving a red mark. He decides to kill her by execution upon a chopping block. The brave piano tuner is willing to stay and accompany her even though he knows he will not be able to save her. She is saved at the last moment at the end of the story by her mother, who bursts into the castle and shoots the Marquis just as he is about to behead the girl in the courtyard. The girl, her mother, and the piano tuner go on to live together and the young widow opens a little music school on the outskirts of Paris. Most of the money she inherited is given away to various charities and the castle is turned into a school for the blind. However, the girl is still stained with a red mark on her forehead with the key.


title: The Bloody Chamber

text: Beauty's father, after experiencing car trouble, takes advantage of a stranger's hospitality. However, his benefactor – the Beast – takes umbrage when he steals a miraculous white rose for his beloved daughter. Beauty becomes the guest of the leonine Beast, and the Beast aids her father in getting his fortune back. Beauty later joins her father in London, where she almost forgets the Beast, causing him to wither away from heartache. When Beauty learns that he is dying, she returns, saving him. Beauty and the Beast disclose their love for one another and the Beast's humanity is revealed. They live happily ever after.


title: The Bloody Chamber

text: A woman moves in with a mysterious, masked "Milord", the Beast, after her father loses her to him in a game of cards. Milord is eventually revealed to be a tiger. In a reversal of the ending of "The Courtship of Mr Lyon", the heroine transforms at the end into a glorious tigress who is the proper mate to the Beast, who will from now on be true to his own nature and not disguise himself as a human. The story has similarities to the Indian story "The Brahman Girl That Married a Tiger".


title: The Bloody Chamber

text: Figaro, a cat, moves in with a rakish young man who lives a happily debauched life. They live a carefree existence, with the cat helping him to make money by cheating at cards, until the young man actually falls in love (to the cat's disgust) with a young woman kept in a tower by a miserly, older husband who treats her only as property. The cat, hoping his friend will tire of the woman if he has her, helps the young man into the bed of his sweetheart by playing tricks on the old husband and the young woman's keeper. Figaro himself finds love with the young woman's cat, and the two cats arrange the fortunes of both themselves and the young man and woman by arranging to trip the old man so that he will fall to his death.


title: The Bloody Chamber

text: Angela Carter had described Puss in Boots as "the Cat as Con Man... a masterpiece of cynicism... a Figaroesque valet – a servant so much the master already".


title: The Bloody Chamber

text: A maiden wanders into the woods and is seduced by the sinister Erl-King, a seeming personification of the forest itself. However, she eventually realises that he plans to imprison her by turning her into a bird, which he has done with other girls. Realising the Erl-King's plan, she kills him by strangling him with his own hair, thus keeping her freedom.


title: The Bloody Chamber

text: A Count and Countess go riding in midwinter. The Count sees snow on the ground and wishes for a child "as white as snow". Similar wishes are made when the Count sees a hole in the snow containing a pool of blood, and a raven. As soon as he made his final wish a young woman of the exact description appears at the side of the road. The Count pays immediate attention to her, much to the chagrin of the Countess. At the Countess' command, the girl picks a rose but is pricked by a thorn and dies, after which the Count rapes her corpse. After this, her cadaver melts into the snow, leaving nothing but a bloodstain on the snow, a black feather and the rose that she had picked.


title: The Bloody Chamber

text: A virginal English soldier, travelling through Romania by bicycle, finds himself in a deserted village. He comes across a mansion inhabited by a vampire who survives by enticing young men into her bedroom and feeding on them. She intends to feed on the young soldier but his purity and virginity have a curious effect on her. When they enter her bedroom she accidentally cuts herself and the soldier kisses it better. He wakes up to find her dead. He leaves to return to his battalion due to the outbreak of World War I.


title: The Bloody Chamber

text: A girl goes to visit her grandmother, but encounters a werewolf on the way, whose paw she cuts off with a knife. When she reaches her grandmother's house, the paw has turned into a hand with the grandmother's ring on it, and the grandmother is both delirious and missing her hand. This reveals the girl's grandmother as the werewolf, and she is stoned to death. The girl then inherits all of her grandmother's possessions.


title: The Bloody Chamber

text: In the beginning of the piece, the wolf is described as an evil thing. One mini story in the beginning is about a witch who gets impregnated and left by a nobleman, who then visits his wedding and turns the whole wedding ceremony into wolves. She makes the wolves come serenade her and the baby. In another mini story a young lady and a man are about to consummate their wedding night. As they get ready the husband says he needs to stop and relieve himself in the forest. The wife waits and he never returns. Off in the distance a wolf can be heard howling. She then concludes her husband will never return and marries a new man. With her new husband she bears children. Her first husband comes back and sees his wife. He then becomes furious, transforms into a wolf and bites the leg off the eldest child. Her second husband kills the wolf, who dies and looks exactly the same as he had when he disappeared; this makes her cry and her husband beats her. Later we meet a young girl walking in the woods who is "loved by everyone" and "[fears] nothing", who meets a handsome hunter who makes a deal with her; whoever can get to the grandmother's house first wins, and if the hunter wins she owes him a kiss. The protagonist lets the hunter win because she wants to kiss him. The hunter arrives at the protagonist's grandmother's house first, as planned, but tricks the woman to let him in. She is frail and sick, and holds a Bible in her hand to protect herself against any harm. The hunter is revealed to be a wolf and eats the grandmother, then waits for the girl. When she arrives, she notices her grandmother's hair in the fire and knows the wolf has killed her. He threatens to kill and eat her too, but she laughs in his face and proceeds to seduce him, stripping off their clothes and throwing them into the fire. The last lines are "See! sweet and sound she sleeps in granny's bed, between the paws of the tender wolf."


title: The Bloody Chamber

text: A feral child, whom some nuns have attempted to "civilise" by trying to teach her standard social graces, is left in the house of a monstrous, vampiric Duke when she cannot conform. She gradually comes to realise her own identity as a young woman and human being, and even develops compassion for the Duke, going far beyond the nuns' stunted views of life.


title: The Bloody Chamber

text: "The Bloody Chamber" was first published in 1979, though many of the stories within the collection are reprints from other sources, such as magazines, radio and other collections. Only two are completely original to this collection, though many were revised or changed slightly from their previously published versions for this collection.


title: The Bloody Chamber

text: "The Bloody Chamber" can be treated as a collection of short stories that speak to a bigger narrative that deals with issues of feminism and metamorphosis instead of a set of individual tales. Although each particular narrative deals with a different set of characters, the 'oppressed female seeking liberation' is a common theme and concept that is explored throughout the collection. The characters seem to blend into each other and become indistinguishable from one another when recognising this theme in the text.


title: The Bloody Chamber

text: In particular to Carter's writing style, Margaret Atwood states that Carter presents a "macabre" painting, filled with gruesome and melancholy prose. "Not for her Hemingway's clean, well-lighted place, or Orwell's clear prose like a pane of glass. She prefers instead a dirty, badly-lit place, with gnawed bones in the corner and dusty mirrors you'd best not consult." It shows throughout these short stories, Carter's dedication to dark towers and dusky landscapes. Carter herself admits to being a fan of both Gothic horror and Edgar Allan Poe in particular, including in her stories such elements as incest and cannibalism in order to call upon the Gothic tradition. As such, her prose is also influenced by post-modern conventions, shown through her frank unorthodoxy and twisted proclivities towards sex and sexuality, such as the constant implications of virginity and deflowering in both "The Bloody Chamber" and "The Tiger's Bride". Oftentimes, her writing is also considered to be something similar to magical realism in relation to the insertion of inexplicable magical elements. This is shown in "The Bloody Chamber" when the narrator is unable to clean the blood from what seems to be a normal key in a semi-realistic setting.


title: The Bloody Chamber

text: The time periods of the stories are early 20th century. For example, in "The Bloody Chamber" the existence of a transatlantic telephone implies a date of 1930 or later. On the other hand, the mention of painters such as Gustave Moreau and Odilon Redon, and of fashion designer Paul Poiret (who designs one of the heroine's gowns) all suggest a date before 1945. "The Lady of the House of Love" is clearly set on the eve of the First World War, and the young man's bicycle on which he arrives at the tradition-bound vampire's house is a symbol of the encroaching modernity which fundamentally altered European society after 1914.


title: The Bloody Chamber

text: Angela Carter's short stories challenge the way women are represented in fairy tales, yet retain an air of tradition and convention through her voluptuously descriptive prose. For example, in the opening tale "The Bloody Chamber", which is a retelling of Bluebeard, Carter plays with the conventions of canonical fairy tales; instead of the heroine being rescued by the stereotypical male hero, she is rescued by her mother.


title: The Bloody Chamber

text: Carter effectively draws out the theme of feminism by contrasting traditional elements of Gothic fiction – which usually depicted female characters as weak and helpless – with strong female protagonists. By contrasting the barren and horrific atmosphere found typically within the Gothic to the strong heroines of her story, Carter is able to create sexually liberated female characters that are set against the more traditional backdrop of the fairy tale. In doing so, Carter reinvents the outdated conventions of fairy tales and offers insight on the archetypes and stereotypes of women in these well-known and celebrated stories. In particular, and especially in "The Bloody Chamber", Carter creates familial ties between her heroines and their mothers, where in the original fairy tales their mothers would have either died at the beginning of the story, or gone unmentioned. By creating and strengthening said bond, Carter inverts the trope of a lone woman and creates a chorus of agency, where once there was none. It is notable that the conventions Carter analyzes and reimagines are of a patriarchal nature. Many of the original fairy tales that she draws inspiration from illustrate female characters in a vulnerable, damsel-in-distress position. In giving her female characters more agency, Carter is directly responding to and critiquing these traditional patriarchal tropes.


title: The Bloody Chamber

text: The stories deal with themes of women's roles in relationships and marriage, their sexuality, coming of age and corruption. Stories such as "The Bloody Chamber" and "The Company of Wolves" explicitly deal with the horrific or corrupting aspects of marriage and/or sex and the balance of power within such relationships. Themes of female identity are explored in the "Beauty and the Beast" stories such as "The Tiger's Bride". In one instance, Beauty, the story's heroine, is described as removing the petals from a white rose as her father gambles her away; this is a seeming representation of the stripping away of the false layers of her personality to find her true identity, an image that finds a mirror in the story's fantastical conclusion.


title: The Bloody Chamber

text: Carter continues to toy with Gothic fiction and gender, in a way that utilizes classic Gothic symbolism to push the narrative forward. She writes of Gothic fiction that "characters and events are exaggerated beyond reality, to become symbols, ideas, and passions," all of which work towards the singular purpose of creating an uneasy atmosphere. In "The Bloody Chamber", she extrapolates on the importance of symbolism, by placing emphasis on images such as the ominous Gothic castle, the blood on the key, or a blood-red choker awarded the heroine as a wedding gift. As in the Gothic tradition, these artefacts foreshadow the story to come, and the fate of the heroine as she spills blood on the bed sheets after consummating her marriage, the blood of her husband's previous wives as she learns his dark secret, and the blood that is meant to be spilt from her neck, once the Marquis vows to chop her head off. Gothic images placed within these short stories emphasise terror and the gruesome, attempting to build an atmosphere, while also working to flip certain gendered tropes on their heads: in the end, it is the virgin's own blood, her feminine energy in the form of her mother and her quick thinking, that save her from a terrible fate.


title: The Bloody Chamber

text: Furthermore, Carter seems to draw heavily from the understanding of Gothic literature as following specific, gendered structures. As English Professor at University of Georgia Anne Williams states, "The male Gothic plot employs the Oedipus myth, while the female Gothic plot draws on the myth of Psyche and Eros." The tale of Psyche and Eros, or Cupid and Psyche, can often be found in such story iterations such as "Beauty and the Beast", of which "The Tiger's Bride" is heavily based. Within this framework, as well, Carter bases many of her stories off of the female tradition. Particularly, in "The Bloody Chamber", she reflects on the sexual nature of Psyche and the beast that is Eros, as the narrator is trapped in a castle and ravished for her virginity. Though, unlike the original tale, Carter continues to darken the narrative in order to fit the Gothic landscape, in such ways as emphasising the nature of sexual acts in accordance to such horrors as cannibalism. While from Eros and Psyche bloom love, the Marquis is constantly looking to devour the heroine, to mutilate her body and objectify her in a show of Gothic horror that Edgar Allan Poe often used to influence the dark undertones in his short stories.


title: The Bloody Chamber

text: In "The Bloody Chamber", Angela Carter reflects on the nature of artistry. Here, the Marquis, based on the character of Bluebeard from the original tale, is an art dealer, whose art comes in the form of his murder, and the "aesthetic" display of his former wives' corpses. His current wife's role, in this case, "is to act as his Muse... he instructs her with pictorial representations, which functions as self portraits," in the form of his wives, "that depict his birth as an artist." The Marquis is first drawn to our narrator because of her artistry in her piano playing, and by lavishing gifts onto the heroine, such as the choker, he attempts to show her mirrored in the bodies and pictures of his previous wives. Here, Carter displays patriarchal values through her antagonist. By presenting himself as the typical artist, and his wife as the muse, he is literally attempting to kill her and her unique proclivities in order to indoctrinate her into his artistic method. He attempts to fetishize her and strip her of agency, a criticism of Carter's on the "male literary tradition" of martyring women (literally and metaphorically in fiction) in order to present the fruits of their artistic labour.


title: The Bloody Chamber

text: "The Bloody Chamber" has received heavy praise and attention from numerous critics such as Jack Zipes (who called it a "remarkable collection") and Marina Warner (who, on its inspirational nature, said it "turned the key for [her] as a writer"). Neil Gaiman cited the book as one of his inspirations.


title: The Bloody Chamber

text: In a 2019 essay in the book "Lost Transmissions," Grady Hendrix said of Angela Carter: "She's someone who fantasy doesn't claim, and she's huge. "The Bloody Chamber" is one of the all-time great fantasy novels."


title: The Bloody Chamber

text: The critic Patricia Duncker, however, was more reserved in her praise, criticising it for not breaking enough taboos. She said "Carter could never have imagined Cinderella in bed with the fairy God-mother."


title: The Bloody Chamber

text: Several critical works have been published that focus on Carter's use of fairy tales in "The Bloody Chamber" and her other works.


title: The Bloody Chamber

text: The collection has been taught and studied in University literature courses. It has been used as part of the AQA English Literature, the OCR English Literature and Edexcel English Language & Literature syllabus for A-Levels in schools and colleges across the United Kingdom.


title: The Bloody Chamber

text: Carter later adapted "The Company of Wolves" and "Puss-in-Boots" into radio plays which were broadcast on BBC Radio 3 in 1980 and 1982 respectively. The 1982 adaptation of "Puss in Boots" (as it was retitled) starred Andrew Sachs in the title role. The scripts for both of these plays were published in Carter's "Come Unto These Yellow Sands" and later the posthumous collection "The Curious Room", which also included production notes.


title: The Bloody Chamber

text: The 1984 film "The Company of Wolves" by Neil Jordan was based upon the werewolf stories in this collection, in particular the Little Red Riding Hood analogue "The Company of Wolves". Carter also directly contributed to the screenplay of this film. Carter's original screenplay for this film is published in "The Curious Room". Jordan and Carter also discussed producing a film adaptation of "Vampirella", the radio drama that became "The Lady of the House of Love", but this project was never released.


title: The Bloody Chamber

text: Punk band Daisy Chainsaw adapted the story of "The Lady of the House of Love" for their 1992 music video for "Hope Your Dreams Come True" (from the EP of the same name and also later the album "Eleventeen").


title: The Bloody Chamber

text: The stories within "The Bloody Chamber" are a popular subject for theatrical adaptation. The story "The Bloody Chamber" has been adapted for the theatre more than once, including a performance by the "Zoo District" which was accompanied by an amateur film adaptation of "Wolf-Alice". "The Company of Wolves" is also a popular subject for adaptation by amateur/student theatre groups (e.g. by a Welsh drama college).


title: The Bloody Chamber

text: Neil Murray directed a haunting and erotic theatre production of Carter's story 'The Tiger's Bride' in 2001 at the Gulbenkian Studio, Newcastle Playhouse. Murray comments on his interest in Carter's work and refers to her discussion of fairy tales as 'an important medium.'


title: The Bloody Chamber

text: In August 2013, Melbourne's Malthouse Theatre presented a stage adaptation of The Bloody Chamber by writer Van Badham, directed by Matthew Lutton, with composers David Chisholm (scoring for three live harps) and Jethro Woodward (live and replayed electronic soundscore). Set and costumedesign were by Anna Cordingley with lighting designer Paul Jackson. Save for a relatively brief appearance by Shelly Lauman, the piece was in essence performed by Alison Whyte. The three harpists were Jacinta Dennett, Jess Fotinos, and Yinuo Mu.


title: The Bloody Chamber

text: The band The Parlour Trick featured a song called "The Lady of the House of Love" on their 2012 album "A Blessed Unrest". Angela Carter is listed as an inspiration in the album notes. Wolf Alice is a band which named themselves after the story in the collection. The band Honeyblood also released a song, "Choker", on their 2014 self-titled album which retells "The Bloody Chamber".


title: Perindopril

text: Perindopril is a medication used to treat high blood pressure, heart failure, or stable coronary artery disease.


title: Perindopril

text: As a long-acting ACE inhibitor, it works by relaxing blood vessels and decreasing blood volume. As a prodrug, perindopril is hydrolyzed in the liver to its active metabolite, perindoprilat. It was patented in 1980 and approved for medical use in 1988.


title: Perindopril

text: Perindopril is taken in the form of perindopril arginine (trade names include Coversyl, Coversum) or perindopril erbumine (Aceon). Both forms are therapeutically equivalent and interchangeable, but the dose prescribed to achieve the same effect differs between the two forms. It is also often combined with another medication, sometimes in the same tablet (see #Combinations below).


title: Perindopril

text: Perindopril shares the indications of ACE inhibitors as a class, including essential hypertension, stable coronary artery disease (reduction of risk of cardiac events in patients with a history of myocardial infarction and/or revascularization), treatment of symptomatic coronary artery disease or heart failure, and diabetic nephropathy.


title: Perindopril

text: In combination with indapamide, perindopril has been shown to significantly reduce the progression of chronic kidney disease and renal complications in patients with type 2 diabetes. In addition, the Perindopril pROtection aGainst REcurrent Stroke Study (PROGRESS) found that whilst perindopril monotherapy demonstrated no significant benefit in reducing recurrent strokes when compared to placebo, the addition of low dose indapamide to perindopril therapy was associated with larger reductions in both blood pressure lowering and recurrent stroke risk in patients with pre-existing cerebrovascular disease, irrespective of their blood pressure. There is evidence to support the use of perindopril and indapamide combination over perindopril monotherapy to prevent strokes and improve mortality in patients with a history of stroke, transient ischaemic attack or other cardiovascular disease.


title: Perindopril

text: The Anglo-Scandinavian Cardiac Outcomes Trial-Blood Pressure Lowering Arm (ASCOT-BLA) was a 2005 landmark trial that compared the effects of the established therapy of the combination of atenolol and bendroflumethiazide to the new drug combination of amlodipine and perindopril (trade names Viacoram, AceryCal etc.). The study of more than 19 000 patients world-wide was terminated earlier than anticipated because it clearly demonstrated a statistically significant improvement in mortality and cardiovascular outcomes with the newer treatment. The combination of amlodipine and perindopril remains in the current treatment guidelines for hypertension and the outcomes of the ASCOT-BLA trial paved the way for further research into combination therapy and newer agents.


title: Perindopril

text: Reversible increases in blood urea and creatinine may be observed. Proteinuria has occurred in some patients. Rarely, angioneurotic edema and decreases in hemoglobin, red cells, and platelets have been reported.


title: Perindopril

text: Each tablet contains 2, 4, or 8 mg of the tert-butylamine salt of perindopril. Perindopril is also available under the trade name Coversyl Plus, containing 4 mg of perindopril combined with 1.25 mg indapamide, a thiazide-like diuretic.


title: Perindopril

text: In Australia, each tablet contains 2.5, 5, or 10 mg of perindopril arginine. Perindopril is also available under the trade name Coversyl Plus, containing 5 mg of perindopril arginine combined with 1.25 mg indapamide and Coversyl Plus LD, containing 2.5 mg of perindopril arginine combined with 0.625 mg indapamide.


title: Perindopril

text: The efficacy and tolerability of a fixed-dose combination of 4 mg perindopril and 5 mg amlodipine, a calcium channel antagonist, has been confirmed in a prospective, observational multicenter trial of 1,250 hypertensive patients. A preparation of the two drugs is available commercially as Coveram.


title: Perindopril

text: On 9 July 2014, the European Commission imposed fines of €427,700,000 on Laboratoires Servier and 5 companies which produce generics due to Servier's abuse of their dominant market position, in breach of European Union Competition law. Servier's strategy had included acquiring the principal source of generic production of Perindopril and entering into several pay-for-delay agreements with potential generic competitors.


title: Diana Scarwid

text: Diana Elizabeth Scarwid (born August 27, 1955) is a retired American actress. She is best known for her portrayal of Christina Crawford in "Mommie Dearest" (1981). She received nominations for the Academy Award for Best Supporting Actress for "Inside Moves" (1980), and for the Primetime Emmy Award for Outstanding Supporting Actress in a Limited Series or Movie for "Truman" (1995).


title: Diana Scarwid

text: Scarwid has over 70 film and television credits to her name, including "Pretty Baby" (1978), "Rumble Fish", "Silkwood" (both 1983), "Psycho III", "Extremities" (both 1986), "The Neon Bible" (1995), "What Lies Beneath" (2000), "Party Monster" (2003), "The Clearing" (2004), and "Another Happy Day" (2011).


title: Diana Scarwid

text: Scarwid was born in Savannah, Georgia, the daughter of Elizabeth (née Frizelle (1920–2006) and Anthony John Scarwid (1911–1989). She has three brothers. Her family are long-time residents of Tybee Island, Georgia. Diana left Georgia at the age of 17, moving to New York to become an actress. She graduated from The American Academy of Dramatic Arts and Pace University simultaneously, completing the dual program as an honor student. After landing bit-parts in TV series, TV movies, and a few motion pictures, she married Eric Scheinbart, a physician, on August 27, 1978, with whom she has two children.


title: Diana Scarwid

text: Scarwid's first performance of the 1980s was as Sheila Langtree in "" (1980), the television miniseries about the People's Temple led by Jim Jones and their 1978 mass suicide at Jonestown. Following that was a supporting role in the romantic drama film "Honeysuckle Rose" (1980). Scarwid landed her breakthrough role in "Inside Moves"; her performance garnered her an Academy Award nomination for Best Supporting Actress. The following year, she portrayed the adult Christina Crawford, the abused adopted daughter of Hollywood legend Joan Crawford in the 1981 film "Mommie Dearest". Her performance earned her a Razzie Award for Worst Supporting Actress.


title: Diana Scarwid

text: Scarwid's next roles were in the TV movie "Desperate Lives" (1982); "Strange Invaders"; "Rumble Fish" (1983); "Silkwood", the 1983 autobiographical film depicting the turn of events that led to the disappearance of Karen Silkwood; "The Ladies Club"; "Psycho III" (1986), the second sequel to Alfred Hitchcock's "Psycho" and the third movie in the "Psycho" series; and the 1986 film adaptation of William Mastrosimone's 1982 play "Extremities". Other movies included "Heat", the TV movie "After the Promise" (1987), and "Brenda Starr", the adventure film based on Dale Messick's comic strip "Brenda Starr, Reporter".


title: Diana Scarwid

text: Scarwid started off the decade with the role of Willa Harper in "Night of the Hunter" (1991), the TV remake of the 1955 film; the role was originated by Shelley Winters. Scarwid's next role was the portrayal of Rose Kennedy in "", a miniseries based on Nigel Hamilton's novel of the same name. In 1995, she played a bigoted and neglectful mother in the comedy-drama movie "The Cure"; the same year, she starred in "The Neon Bible" opposite Denis Leary. She portrayed Bess Truman in "Truman" (1995), an interpretation of David McCullough's Pulitzer Prize-winning book "Truman". Scarwid played an alcoholic mother in "". Some time that year, she and Scheinbart divorced.


title: Diana Scarwid

text: In 1996, Scarwid had roles in "Trial By Fire", an episode of "The Outer Limits";"Bastard Out of Carolina", Anjelica Huston's interpretation of Dorothy Allison's novel; the TV movie "If These Walls Could Talk"; the TV movie "Critical Choices"; and the TV movie "The Angel of Pennsylvania Avenue".


title: Diana Scarwid

text: Other highlights included roles in "The X-Files" in the episode titled "Kitsunegari"; the TV movie "Ruby Bridges" (1998); the 12-part miniseries "From the Earth to the Moon" (1998); the miniseries "A Will of Their Own" (1998); and the TV movie "Down Will Come Baby".


title: Diana Scarwid

text: Scarwid started the new century with the portrayal of Dianne Barrie in the TV movie "Dirty Pictures" (2000). The same year, she appeared as Michelle Pfeiffer's character's kooky friend in Robert Zemeckis's "What Lies Beneath". In 2001, she guest-starred in "Law & Order" as a fingerprint analyst accused of manslaughter, and in 2003, she appeared as a prying mother in "A Guy Thing". The same year, she portrayed Elke Alig, Michael Alig's enabling and neglectful mother in "Party Monster", the adaptation of James St. James's memoir "Disco Bloodbath". The following year, she starred as Karen Tyler, a smothering mother in "Wonderfalls". She returned to the Law and Order franchise with an appearance as a mother on the warpath after finding out her son is a victim of pedophilia in "" in the episode titled "Head".


title: Diana Scarwid

text: In the mid 2000s, she had roles in "Read Thread" (2005), "Valley of the Heart's Delight" (2006); and "Local Color" (2006). The same year, she guest-starred as Jeanette Owens in "Prison Break", following which she assumed the role of Isabel, a mysterious sheriff and island inhabitant in the TV series "Lost". Consecutively, she assumed roles in episodes of other TV series, including "Cold Case", "Pushing Daisies", and "Heroes". Nearing the end of the decade, she had roles on "The Cleaner" (2009) and "Criminal Minds" (2009).


title: Diana Scarwid

text: Scarwid appeared in the TV movie "Backyard Wedding" (2010) and Sam Levinson's "Another Happy Day" (2011).


title: Death Wish II

text: Death Wish II is a 1982 American vigilante action film directed and co-edited by Michael Winner. It is the first of four sequels to the 1974 film "Death Wish". It is the second installment in the "Death Wish" film series. In the story, architect Paul Kersey (Charles Bronson) moves to Los Angeles with his daughter (Robin Sherwood). After his daughter is murdered at the hands of several gang members, Kersey once again chooses to become a vigilante. Unlike the original, in which he hunts down every criminal he encounters, Kersey only pursues his family's attackers. The sequel makes a complete breakaway from the Brian Garfield novels "Death Wish" and "Death Sentence", redefining the Paul Kersey character. It was succeeded by "Death Wish 3."


title: Death Wish II

text: The sequel was produced by Cannon Films, which had purchased the rights to the "Death Wish" concept from Dino De Laurentiis. Cannon executive Menahem Golan planned to direct the film, but Winner returned on Bronson's insistence. The soundtrack was composed by guitarist Jimmy Page. "Death Wish II" was released in the United States in February 1982 by Filmways Pictures, but like the original, Columbia Pictures handled the international release and Paramount Pictures, via Trifecta Entertainment & Media, handles the television rights. It earned $16.1 million during its domestic theatrical run.


title: Death Wish II

text: Roughly five years since the events of the first film, Paul Kersey has managed to recover from his shattered life and moved on, and is now dating a Los Angeles radio reporter, Geri Nichols. They go to pick up Paul's daughter, Carol, from the mental hospital. They spend the afternoon at a fairground, where Paul's wallet is stolen by a gang, consisting of Nirvana, Punkcut, Stomper, Cutter, and Jiver. The gang splits up when Paul chases them; he goes to pursue Jiver, whom he corners in an alley but lets the hood go after Jiver tells Paul that he does not have the wallet. The gang finds Paul's home address in his wallet and later breaks into his house. They gag and restrain Rosario, Paul's housekeeper, then they began taking turns raping her. When Paul arrives home with his daughter, he is beaten unconscious. Rosario tries to call the police, but Nirvana kills her with his crowbar. They kidnap Carol and take her to their hideout, where one of the gang members rapes her. Carol attempts to flee by running through a plate-glass window, falls onto an iron fence, and is fatally impaled. When the police arrive, Lieutenant Mankewicz asks for help identifying the muggers, but Paul refuses. After Carol's funeral, he takes his Beretta Model 84 handgun to a low-rent inner-city hotel as a base of operations. The next evening, he observes and follows Stomper into an abandoned building as a drug deal is about to be made. Paul shoots one of the dealers and orders the others out before he shoots Stomper twice. The following night, he hears screams from a couple being assaulted in a parking garage by four muggers, which includes Jiver, in a parking garage. Paul kills two rapists and wounds Jiver. Then Paul follows Jiver's blood trail into an abandoned warehouse and kills him.


title: Death Wish II

text: The LAPD suspect that the murders are the work of a vigilante and ask the NYPD for guidance as they dealt with a vigilante spree years earlier. NYPD Detective Frank Ochoa suspects it may be Paul again and is sent to assist with the case. Ochoa fears that Paul, when caught, will reveal that he was released without being charged for killing the ten muggers in New York City. Ochoa meets with Mankewicz, who suspects that Ochoa is not telling him everything. Ochoa enters Geri's apartment and tells her about Paul's previous vigilante killing spree in New York City. After Paul returns to his house, Geri confronts him about Ochoa's revelation, but he denies it. Ochoa follows Paul to a local square, where Paul is tailing the three remaining gang members. He follows them to an abandoned park, where a major arms and drug deal is underway. A sniper scouts Paul and attempts to kill him, but Ochoa warns Paul and fatally shoots the sniper. Ochoa is mortally wounded by Nirvana, and Paul shoots Cutter in the head and another dealer and wounds Punkcut. The arms dealer tries to get away, but Paul shoots him and causes his car to drive off a cliff and explodes, but Nirvana escapes. Ochoa tells Paul to avenge him before he dies. Paul escapes, and Punkcut dies from his injuries after giving information about Nirvana to the police.


title: Death Wish II

text: Paul learns from one of Geri's colleagues that the police are preparing a tactical unit to capture Nirvana. He obtains a police scanner and, by monitoring police radio traffic, finds out when and where the arrest is going to take place. He drives to the location to kill him, but Nirvana, under the influence of PCP, slashes his arm and stabs a few officers while he tries to escape. Tried and found criminally insane, he is sent to a mental institution. Geri is writing a story about the case and capital punishment and takes Paul to the hospital to meet the doctor treating Nirvana. While there, Paul steals another doctor's white lab coat and identification card and uses it to enter the asylum and confront Nirvana. After repeatedly stabbing Paul with a shiv, Nirvana ends up plunging his arm into a high-voltage panel, which Paul turns on, fatally electrocuting him. Donald Kay, a sympathetic orderly at the hospital, recognizes Paul from the newspaper coverage of Carol's murder, and gives him three minutes to escape before he rings the alarm. Geri goes to Paul's house, where she finds out that he made a fake doctor's ID. Upon hearing a news report of Nirvana's death on the radio, she realizes that Paul really is the vigilante that Ochoa claimed him to be. She takes off her engagement ring and leaves him, with Paul arriving home moments later.


title: Death Wish II

text: A few months later, Paul speaks about a new architectural design. He is invited by his employer to a party to celebrate the new design. When Paul is asked if he is able to attend, he answers, "What else would I be doing?" The final scene shows Paul returning to the streets of Los Angeles at night and continuing his vigilante killing spree as the film finishes.


title: Death Wish II

text: Brian Garfield, author of the original "Death Wish" novel, was so unhappy with the film version that he wrote his own sequel, "Death Sentence". "They'd made a hero out of him", said Garfield. "I thought I'd shown that he'd become a very sick man." The idea to produce a sequel to "Death Wish" (1974) originated with producers Menahem Golan and Yoram Globus, owners of Cannon Films. They reportedly announced their plans to do so prior to actually securing the rights to the franchise. Dino De Laurentiis, co-producer of the original film, threatened them with a lawsuit unless they properly purchased the rights. He negotiated payments for himself, co-producers Hal Landers and Bobby Roberts, and original author Brian Garfield. The agreement included future payments for each prospective sequel.


title: Death Wish II

text: In 1980, Cannon briefly hired Garfield to write an adaptation of his sequel to "Death Wish", "Death Sentence," in 1980. However, Golam and Globus did not want to use Garfield's book, preferring an original story by David Engelbach, Golan, and Hal Landers. After they purchased the rights to the first film from De Laurentiis they also purchased the rights to the characters of the novels from Garfield, meaning they could make a sequel without adapting the original novels. "We think our story is a better film story", said Golan. "You cannot call a film exploitative just because it touches on disturbing issues", said Globus. "Both "Death Wish" films are a valid comment on American society... the theme of street violence getting out of control is sadly more of a fact of life than it was seven years ago." Garfield later approved a separate adaptation without the character of Paul Kersey directed by James Wan in 2007.


title: Death Wish II

text: David Engelbach was then asked to write the screenplay. After he saw the final product, he was "somewhat appalled" how the film differed from his original script. His script didn't include any rape scenes, but those were included by Michael Winner to "get his rocks off". However, Engelbach argued that "serious issues - namely, the deteriorating state of our criminal justice system. The actions of the Bronson character are dictated by the inability of the police to prevent crime, the preoccupation of the courts with technical rather than real justice, and the cancerous climate of fear in which we find ourselves today. Paul Kersey is no hero. In his pursuit of vengeance he loses the only emotional relationship of his life and by story's end has become as much a victim of crime as the thugs he leaves dead in his wake".


title: Death Wish II

text: Bronson was offered $1.5 million to reprise the role. Jill Ireland was cast in the film because Bronson, her husband, insisted on it. She serves as both the love interest to Paul and the voice of opposition to the death penalty. She was already offered a role in the film's predecessor, "Death Wish" (1974) but, Charles Bronson refused because he didn't want his wife humiliated and messed around with by the actors who played muggers. After she was hired for this film, Bronson wanted her character not to get raped or killed by the villains of the film. Cannon initially asked Golan to direct the film, but Bronson insisted on instead recruiting Michael Winner, the director of the original. Winner had suffered a downturn in his career since the mid-1970s, with no box-office hit since "Death Wish". He agreed to return to the franchise and also took the initiative in revising Engelbach's script. Winner recalled that De Laurentiis was having second thoughts about letting someone else produce the sequel and offered to hire him to do the film for his own production company. Winner refused, and De Laurentiis did not renege on his deal with Cannon. The producer, however, started work on a "clone" of the film. The final result was "Fighting Back" (1982).


title: Death Wish II

text: Winner said the sequel was pertinent because "mugging is now a bigger issue in America. It's spread to towns where it was not a problem before. In Beverly Hills, instead of talking about other people's failed movies – thank God, something has stopped them at last – they talk about their muggings." The film introduced significant changes for the character of Paul. One involved his "modus operandi" as a vigilante. In the original film, Paul would shoot and kill every criminal in his vicinity. In the sequel, he is after five specific criminals who are responsible for the death of his daughter. His single-minded pursuit extends to ignoring other potential targets. He is seen to ignore most thieves, drug dealers, and one violent pimp. Another change involves his abilities. In the first film, his activities as a vigilante rely only on his use of weapons. In the sequel, he is able to beat up men who are considerably younger than himself. While casting the actors for the roles of the villains, Winner gave the actors playing the thugs a lot of creative leeway. They bought their own costumes, designed their own makeup and tested them out on passers-by to see how intimidating they'd look. Laurence Fishburne bought a pair of magician's gloves and waved his knife like a wand, while Kevyn Major Howard waxed his eyebrows and shaved the front of his head to make himself look like a snake. He even developed mannerisms like his insane laugh, slapping his head and twirling a baton from seeing a live drummer in a punk band.


title: Death Wish II

text: Among the final revisions of the script was a change in location. The original script set the action in San Francisco, but the revision moved the setting to Los Angeles. Winner said the film was "the same, but different", from the original. "That's what sequels are – "Rocky II", "Rocky III" – you don't see Sylvester Stallone move to the Congo and become a nurse. Here the look of LA is what's different. Besides – rape doesn't date!" Engelbach argued the film raised "serious issues – namely, the deteriorating state of our criminal justice system. The actions of the Bronson character are dictated by the inability of the police to prevent crime, the preoccupation of the courts with technical rather than real justice, and the cancerous climate of fear in which we find ourselves today. Paul Kersey is no hero. In his pursuit of vengeance, he loses the only emotional relationship of his life and by story's end has become as much a victim of crime as the thugs he leaves dead in his wake."


title: Death Wish II

text: Principal photography began on May 4, 1981, in Downtown Los Angeles and concluded on July 1, 1981, in San Pedro. Filming often lasted twelve hours a day in order to complete it before a Screen Actors Guild strike. The film was shot on location and depicted actual "sleazy" areas of the city. Twenty off-duty men of the LAPD were hired to protect the film cast and crew from potential trouble. A scene involving the abandoned and crumpling Hollywood Hotel was shot in an actual abandoned hotel months before it was demolished. Several of the extras of the film were various locals who were hired to play a bit part or happened to be passing by during a shooting. Among them were drug addicts, a drag queen, Hare Krishnas, and bikers. All were included by the director in an attempt to get an authentic feel of the streets of Los Angeles. Winner tried to keep the mood on the set lighthearted. "Just because a film is terrifying, that doesn't mean the people making it have to be grim", he said. All of the filming happened in Los Angeles, California. Places like San Pedro, Ladera Heights and Hollywood were included.


title: Death Wish II

text: Silvana Gallardo said the rape scene was "grueling" and took about six days to film. To prepare for the role, she talked to an actual rape victim.


title: Death Wish II

text: Isaac Hayes was recommended by the producers of the film to compose the score; however, Michael Winner chose former Led Zeppelin guitarist Jimmy Page (who was Winner's neighbor at the time). The opening credits bear Page's signature guitar tone, along with the heavy reverb-laden drum sound that he used with Led Zeppelin. The film's soundtrack was released in February 1982. Portions of the score were sampled by Twiztid in the song "Spiderwebs" from their album "Heartbroken & Homicidal".


title: Death Wish II

text: Cannon Films was able to sell distribution rights to several interested buyers. Theatrical rights in the United States and Canada were purchased by Filmways. The company had recently acquired American International Pictures, known for its exploitation films, and the film would fit right in with their library of genre films. Columbia Pictures purchased the international distribution rights. Paramount Pictures purchased the television broadcast rights for the domestic market. The film was originally intended for release around the Christmas of 1981. Filmways decided to postpone release until February 1982 to face a weaker competition for an audience. The film became the top-grossing film of its opening week.


title: Death Wish II

text: The film was first released on VHS and then on DVD. It was released for the first time on 4K Ultra HD Blu-ray in the U.S. on May 31, 2022 by Vinegar Syndrome.


title: Death Wish II

text: The film grossed $16 million in United States theaters, a rare box-office hit for the ailing Filmways. The company still ended 1982 with losses of $52.7 million. It was subsequently purchased by Orion Pictures.


title: Death Wish II

text: It has since earned further money at home and abroad through release for the video market. A poll for HBO noted "Death Wish II" to be higher in demand by paying viewers than "Chariots of Fire" (1981).


title: Death Wish II

text: Vincent Canby of "The New York Times" said it was "even more foolish, more tacky, and more self-righteously inhumane than the 1974 melodrama off which it has been spun" and "so lethargic that it fails even to provoke outrage." He particularly criticized the way the film essentially repeats the plot of the original, the contrived incompetence of the police characters, and Jill Ireland's unconvincing performance. Roger Ebert gave it zero stars, noting that he reserves this rating solely for those very few films that are both "artistically inept and morally repugnant." Citing the lethargic tone of the acting and directing, the lack of plot, the lifeless dialogue, and the weak action sequences, he concluded, "while the first film convinced me of Bronson's need for vengeance, this one is just a series of dumb killings." "Variety" called it "every bit as revolting as... the original".


title: Death Wish II

text: On Rotten Tomatoes, the film holds an approval rating of 33% based on 19 reviews, with an average rating of 3.58/10. On Metacritic the film has a weighted average score of 11 out of 100, based on 7 critics, indicating "Overwhelming Dislike".


title: Death Wish II

text: The movie was nominated for a Stinkers Bad Movie Awards for Worst Picture. The film was nominated for a Razzie Awards for Worst Musical Score.


title: Direct action

text: Direct action originated as a political activist term for economic and political acts in which the actors use their power (e.g. economic or physical) to directly reach certain goals of interest, in contrast to those actions that appeal to others (e.g. authorities), by, for example, revealing an existing problem, highlighting an alternative, or demonstrating a possible solution.


title: Direct action

text: Both direct action and actions appealing to others can include nonviolent and violent activities that target persons, groups, or property deemed offensive to the action participants. Nonviolent direct action may include sit-ins, strikes, and counter-economics. Violent direct action may include political violence, assault, arson, sabotage, and property destruction.


title: Direct action

text: By contrast, electoral politics, diplomacy, negotiation, and arbitration are not usually described as direct action since they are electorally mediated. Nonviolent actions are sometimes a form of civil disobedience and may involve a degree of intentional law-breaking where persons place themselves in arrestable situations in order to make a political statement, but other actions (such as strikes) may not violate criminal law.


title: Direct action

text: The aim of direct action is to either obstruct another political agent or political organization from performing some practice to which the activists object or to solve perceived problems that traditional societal institutions (governments, religious organizations, or established trade unions) are not addressing to the satisfaction of the direct action participants.


title: Direct action

text: Nonviolent direct action has historically been an assertive regular feature of the tactics employed by social movements, including Mahatma Gandhi's Indian Independence Movement and the Civil Rights Movement. Anarchists organize almost exclusively through direct action, which manifests as a varied set of actions, non-violent or violent. Direct action is used by anarchists due to a rejection of party politics and refusal to work within hierarchical bureaucratic institutions.


title: Direct action

text: Direct action tactics have been around for as long as conflicts have existed but it is not known when the term first appeared. José Ortega y Gasset located the origins of the term and concept of direct action in fin-de-siècle France: "When the reconstruction of the origins of our epoch is undertaken, it will be observed that the first notes of its special harmony were sounded in those groups of French syndicalists and realists of about 1900, inventors of the method and the name of 'direct action.'" The radical union the Industrial Workers of the World first mentioned the term "direct action" in a publication in reference to a Chicago strike conducted in 1910. Other noted historical practitioners of direct action include the American Civil Rights Movement, the Global Justice Movement, the Suffragettes, LGBT and other human rights movements (e.g. ACT UP); revolutionary Che Guevara, and certain environmental advocacy groups.


title: Direct action

text: American anarchist Voltairine de Cleyre wrote an essay called "Direct Action" in 1912 which is widely cited today. In this essay, de Cleyre points to historical examples such as the Boston Tea Party and the American anti-slavery movement, noting that "direct action has always been used, and has the historical sanction of the very people now reprobating it."


title: Direct action

text: In his 1920 book, "Direct Action", William Mellor placed direct action firmly in the struggle between worker and employer for control "over the economic life of society." Mellor defined direct action "as the use of some form of economic power for securing of ends desired by those who possess that power." Mellor considered direct action a tool of both owners and workers and for this reason, he included within his definition lockouts and cartels, as well as strikes and sabotage.


title: Direct action

text: Martin Luther King Jr. felt that the goal of nonviolent direct action was to "create such a crisis and foster such a tension" as to demand a response.


title: Direct action

text: The rhetoric of King, James Bevel, and Mahatma Gandhi promoted nonviolent direct action as a means to social change. Gandhi and Bevel had been strongly influenced by Leo Tolstoy's 1894 book "The Kingdom of God Is Within You", which is considered a classic text that ideologically promotes passive resistance.


title: Direct action

text: By the middle of the 20th century, the sphere of direct action had undoubtedly expanded, though the meaning of the term had perhaps contracted. Many campaigns for social change—such as those seeking suffrage, improved working conditions, civil rights, abortion rights or an end to abortion, an end to gentrification, and environmental protection—claim to employ at least some types of violent or nonviolent direct action.


title: Direct action

text: Some sections of the anti-nuclear movement used direct action, particularly during the 1980s. Groups opposing the introduction of cruise missiles into the United Kingdom employed tactics such as breaking into and occupying United States air bases, and blocking roads to prevent the movement of military convoys and disrupt military projects.


title: Direct action

text: Environmental movement organizations such as Greenpeace have used direct action to pressure governments and companies to change environmental policies for years. On April 28, 2009, Greenpeace activists, including Phil Radford, scaled a crane across the street from the Department of State, calling on world leaders to address climate change. Soon thereafter, Greenpeace activists dropped a banner off of Mount Rushmore, placing President Obama's face next to other historic presidents, which read "History Honors Leaders; Stop Global Warming".


title: Direct action

text: In 2009, hundreds blocked the gates of the coal fired power plant that powers the US Congress building, following the Power Shift conference in Washington, D.C. In attendance at the Capitol Climate Action were Bill McKibben, Terry Tempest Williams, Phil Radford, Wendell Berry, Robert Kennedy Junior, Judy Bonds and many more prominent figures of the climate justice movement were in attendance.


title: Direct action

text: Anti-abortion groups in the United States, particularly Operation Rescue, often used nonviolent sit-ins at the entrances of abortion clinics as a form of direct action in the late 1980s and early 1990s.


title: Direct action

text: Anti-globalization activists made headlines around the world in 1999, when they forced the Seattle WTO Ministerial Conference of 1999 to end early with direct action tactics. The goal that they had, shutting down the meetings, was directly accomplished by placing their bodies and other debris between the WTO delegates and the building they were meant to meet in. Activists also engaged in property destruction as a direct way of stating their opposition to corporate culture—this can be viewed as a direct action if the goal was to shut down those stores for a period of time, or an indirect action if the goal was influencing corporate policy.


title: Direct action

text: Direct action has also been used on a smaller scale. Refugee Salim Rambo was saved from being deported from the UK back to the Democratic Republic of the Congo when one person stood up on his flight and refused to sit down. After a two-hour delay the man was arrested, but the pilot refused to fly with Rambo on board. Salim Rambo was ultimately released from state custody and remains free today.


title: Direct action

text: In the 1980s, a California direct action protest group called Livermore Action Group called its newspaper "Direct Action". The paper ran for 25 issues, and covered hundreds of nonviolent actions around the world. The book "Direct Action: An Historical Novel" took its name from this paper, and records dozens of actions in the San Francisco Bay Area.


title: Direct action

text: Human rights activists have used direct action in the ongoing campaign to close the School of the Americas, renamed in 2001 the Western Hemisphere Institute for Security Cooperation. As a result, 245 SOA Watch human rights defenders have collectively spent almost 100 years in prison. More than 50 people have served probation sentences.


title: Direct action

text: "Direct Action" has also served as the moniker of at least two groups: the French "Action Directe" as well as the Canadian group more popularly known as the Squamish Five. "Direct Action" is also the name of the magazine of the Australian Wobblies. The UK's Solidarity Federation currently publishes a magazine called "Direct Action".


title: Direct action

text: Until 1990, Australia's Socialist Workers Party published a party paper also named "Direct Action", in honour of the Wobblies' history. One of the group's descendants, the Revolutionary Socialist Party, has again started a publication of this name.


title: Direct action

text: Food Not Bombs is often described as direct action because individuals involved directly act to solve a social problem; people are hungry and yet there is food available. Food Not Bombs is inherently dedicated to nonviolence.


title: Direct action

text: A museum that chronicles the history of direct action and grassroots activism in the Lower East Side of New York City, the Museum of Reclaimed Urban Space, opened in 2012.


title: Direct action

text: In the United States, direct action is increasingly used as a tool to oppose oil drilling, pipeline, and gas power plant projects and against the influence of the fossil fuel industry.


title: Direct action

text: Other terms for nonviolent direct action include civil resistance, people power, satyagraha, nonviolent resistance, and positive action.


title: Direct action

text: Examples of nonviolent direct action include sit-ins, tree sitting, strikes, workplace occupations, street blockades, hacktivism, counter-economics and tax resistance.


title: Direct action

text: Martin Luther King Jr. advised that before taking steps of direct action that you first ensure there is an issue, educate others about the issue, negotiate with your opponent in a way to elicit their cooperation rather than turning them into an enemy, and "then" take direct action if no change is forthcoming. His proposed direct actions included boycotts and sit-ins.


title: Direct action

text: Mahatma Gandhi called his methods Satyagraha. They did not involve any direct confrontation and could be described as 'removal of support' without breaking of "other laws" besides those explicitly targeted (like the salt laws by the Salt March or, e. g., Transvaal's Asiatic Law Amendment Ordinance and Asiatic Registration Act by specifically boycotting their application). Largely symbolic and peaceful, his preferred actions might include "withdrawing membership, participation or attendance in government-operated schools, courts, and all official agencies."


title: Direct action

text: George Lakey, who has been involved in nonviolent direct action for over six decades, has written numerous books on the subject. His basics include "realisable goals, nonviolent protests, targeted campaigns, and remaining true to your values". In 2018 he updated his 1965 book "A Manual for Direct Action" into "How We Win: A Guide to Nonviolent Direct Action Campaigning". In a 2019 interview Lakey said "I just was so driven by not only a heart that said killing another person is just plain, fundamentally wrong, but also the pragmatic arguments that came about from the extraordinary successes that I found in history when people boldly tried nonviolence and it worked."


title: Direct action

text: Violent direct action is any direct action which utilizes physical injurious force against persons or, occasionally, property. Examples of violent direct action include: rioting, lynching, terrorism, political assassination, freeing political prisoners, interfering with police actions, and armed insurrection.


title: Direct action

text: Insurrectionary anarchism a militant variant of anarchist ideology primarily deals with direct action against governments, as insurrectionist anarchists see countries as being inherently controlled by the upper classes, and thereby being impossible to reform. Insurrectionalists take violent action against the state, and other targets. Most insurrectionists anarchists largely reject mass grassroots organizations created by other anarchists, instead insurrectionists call for coordinated militant action to be taken by decentralized cell networks. Insurrectionists call for constant class conflict against the rich and upper classes. Insurrectionists unlike other anarchists call for the creation of anarchist mass societies through the seizing and invasion of land from the state, such as EZLN or Rojava. Insurrectionists have engaged in mass protests and direct action against the state, from Russia, to the United States. As opposed to other anarchists who call for cooperatives and small societies to be formed within communities internally. Despite this the vast majority of anarchists are not militant and do not engage in militant actions.


title: Direct action

text: Ann Hansen, one of the Squamish 5, also known as "Vancouver 5", a Canadian anarchist and self-professed urban guerrilla fighter, wrote in her book "" that,


title: Direct action

text: Fascism emphasizes direct action, including supporting the legitimacy of political violence, as a core part of its politics.


title: Direct action

text: Destruction of property might include vandalism, theft, breaking and entering, sabotage, tree spiking, arson, bombing, ecotage, or eco-terrorism.


title: Direct action

text: Dieter Rucht states that determining if an act is violent falls along a spectrum or gradient, with lesser property damage clearly not violence, injuries to humans are clearly violent, and acts in between could be labelled either way depending on the circumstances. He states that definitions of "violence" vary widely, and cultural perspectives can also color such a label. However, he states a basic 1969 definition of violence is preferable: "Violence means intentionally caused or carelessly accepted damage to/destruction of property or the injuring/killing of people".


title: Direct action

text: Some activist groups such as Earth Liberation Front and Animal Liberation Front use direct action which includes property destruction, arson and sabotage. They claim their acts are nonviolent, and assert that violence is harm directed towards living things and not property.


title: Direct action

text: Direct action involving property destruction becomes classified as "violent" when it crosses the "threshold of violence" from basic property crime over into the category of terrorism. In the US, "Domestic terrorism is the unlawful use, or threatened use, of violence by a group or individual ... committed against persons or property to intimidate or coerce a government, the civilian population, or any segment thereof, in furtherance of political or social objectives."


title: Alok Vaid-Menon

text: Alok Vaid-Menon (born July 1, 1991) is an American writer, performance artist, and media personality who performs under the moniker ALOK. Alok is gender non-conforming and transfeminine, and uses the singular "they" third person pronouns.


title: Alok Vaid-Menon

text: As a mixed-media artist Alok uses poetry, comedy, performance, lecture, sound-art, fashion design, self-portraiture, and social media to explore themes of gender, race, trauma, belonging, and the human condition. Their artistry responds to perceived violence against trans and gender non-conforming people, calling for freedom from constraining gender norms. They advocate for bodily diversity, gender neutrality, and self-determination. Alok has presented creative work in over 40 countries.


title: Alok Vaid-Menon

text: Vaid-Menon grew up in College Station, Texas as the child of Malayali and Punjabi immigrant parents from Malaysia and India, who went to work as a professor and health care executive. Growing up, Alok was bullied for their race and gender expression. They felt that they were unable to come out on their own terms because as a visibly gender non-conforming person, they did not know they were different until they were punished for it and told who they were. They developed their art practice at a young age in response to this harassment. "Making art gave me the permission to live. I needed somewhere to put the pain." They began to use poetry and style to interrupt other peoples’ assumptions, challenge shame, and declare themself on their own terms. Because they were not able to express themself visually for fear of safety, they began to share their art online and received supportive responses.


title: Alok Vaid-Menon

text: In 2019 Alok returned to College Station to host a Pride celebration with the local LGBTQ community in honor of the 50th anniversary of Stonewall.


title: Alok Vaid-Menon

text: After leaving Texas, Alok attended Stanford University where they graduated with a BA in feminist, gender, and sexuality studies and comparative studies in race and ethnicity, as well as a masters in sociology in 2013.


title: Alok Vaid-Menon

text: Alok's performance style is known for its stream of consciousness, soundscapes, political comedy, and emotional range. They remark that their style, like their identity, is in constant flux and refuses easy categorization and believe that performance is one of the only spaces where people can actually be real anymore. In this way, for Alok, performance is about world-making where the audience can relate to one another with "a commitment to vulnerability, play, interdependence, and magic". For Alok, the power of performance is precisely that it is ephemeral and can never be done again the same way. They also use performance as a mode of pedagogy to teach theories and histories that have been submerged.


title: Alok Vaid-Menon

text: There are several themes that reoccur in Alok's work. They unpack the dynamics of transmisogyny, reflect on the continued attack on trans and gender non-conforming people, and shift the representation of TGNC people. In 2017, Alok released their inaugural book of poetry, "Femme in Public", a meditation on harassment against transfeminine people. They toured a show associated with the book across the world, partnering with local trans artists and organizations, to advocate for trans justice. In "Vice" they write, "the majority of people still believe that trans is what we look like, and not who we are. We are reduced to the spectacle of our appearance." Alok advocates for transfeminine people to be regarded in their full personhood: "There is a long history of trans-femme bodies being reduced to metaphor, to symbol…and seen as stand-ins for ideas, fantasies, and nightmares." They draw attention to the fact that even though gender non-conforming people are the most visible in public, they remain the most neglected by the mainstream LGBT movement.


title: Alok Vaid-Menon

text: Alok is committed to challenging what they call "the international crisis of loneliness" by creating public spaces for processing pain and establishing meaningful connection. This work includes re-imagining and deploying technology as a conduit for intimacy. In 2019, Alok completed an artist-in-residence program at The Invisible Dog Art Center, where they performed a piece entitled "Strangers are Potential Friends" and hosted a "Valentine's Cry-In" to create a space for public grief and explore alternative forms of intimacy and interdependence. Alok facilitates "Feelings Workshops" across the world to develop transformative ways of interacting with ourselves, one another, and as a way of promoting emotional justice and wellness.


title: Alok Vaid-Menon

text: They challenge Western rationalism and an emphasis on reductive categories and instead insist on the complexity and enormity of everyone and everything. They want to create work and ways of relating to each other that are less about being understood, and more about being felt. They believe that art is one of the places we can come closest to approximating truth. In an interview with the Chicago Tribune they write, "The problem with a category is that you reduce something as celestial as a human being into a word. Words only approximate truth, and art is where we go when we actually want truth. In “Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon,” Ace Lehner explains that there is so much to the non-binary world of art then what meets the eyes. “As an identity and an analytic, trans offers a compelling challenge to photographic discourse” (page.1). The artist Alok Vaid-Menon has featured many trans people in their artwork; Vaid-Menon explains that it can be hard to exemplify gender through a piece of art, however, they have done the most to overcome this obstacle and it can be seen through their work. However, Vaid-Menon does not only portray their work through photography, but they also write, design clothing a clothing line, and create videos explaining and encouraging others. Vaid-Menon has also been featured in: ““Beauty Always Recognizes Itself”: A Roundtable on Sins Invalid” by Patricia Berne, Jamal T. Lewis et al. In this journal article, each artist reflects on what beauty, injustice, discrimination, and how it has impacted their artwork. Vaid-Menon mentions that, “As a gender non-conforming, transfeminine person, I am often told that I am ugly…” (page. 242). They have since then chosen to challenge their artwork to display these issues, however, to step out and do this there needs to be support, even in the LGBTQ+ community.


title: Alok Vaid-Menon

text: Vaid-Menon asserts that beauty can be a cruel arrangement of rules that must be followed. In “Fashion's Genderless Future”, Vaid-Menon examines what needs to be done to normalize respect for non-binary and LGBTQ+ fashion and “degender the fashion community” (Menon, M.10:00 min), making gender neutrality in fashion about creating possibility and not all about gender. Valid-Menon has also written a book of reasons why people should view gender as more than the traditional black and white. In “Beyond the Gender Binary”, they state, “The gender binary is cultural belief that there are only two distinct and opposite genders: man and woman. This belief is upheld by a system of power that exists to create conflict and division, not to celebrate creativity and diversity” (page.1). Vaid-Menon focuses and points out the many flaws that are consistently in the thoughts of people around the world. Their main goal is to transform and challenge a person to see beyond man and female genders.


title: Alok Vaid-Menon

text: Alok has designed three gender-neutral fashion collections, which are known for their joyful color and celebration of skirts and dresses as gender neutral. Fashion design became a "materialization of the life that [they were] living," a way to encapsulate what they were writing and thinking. Their designs were at first inspired by imagining what they would wear if they didn't have to fear violence. In their latest work, they are using fashion to challenge what kind of aesthetics are seen as natural and what are seen as artificial.


title: Alok Vaid-Menon

text: In a 2019 interview with Business of Fashion, Vaid-Menon advocated for the complete degendering of fashion and beauty industries.


title: Alok Vaid-Menon

text: Alok has walked for several fashion brands for New York Fashion Week including Opening Ceremony, Studio 189, and Chromat. They have modeled for several brands including Opening Ceremony, Harry's, and Polaroid Eyewear. They have appeared in fashion magazines and editorials including "Vogue", "Vogue Italia", "Bust" magazine, "Wussy Magazine", and "Paper" magazine.


title: Beretta Model 38

text: The MAB 38 ("Moschetto Automatico Beretta Modello 1938"), "Modello" 38, or Model 38 and its variants were a series of official submachine guns of the Royal Italian Army introduced in 1938 and used during World War II. The guns were also used by the German, Romanian, and Argentine armies of the time.


title: Beretta Model 38

text: Originally designed by Beretta's chief engineer Tullio Marengoni in 1935, the "Moschetto Automatico Beretta" (Beretta Automatic Musket) 38, or MAB 38, was developed from the Beretta "Modello" 18 and 18/30, derived from the Villar Perosa light machine gun of World War I. It is widely acknowledged as the most successful and effective Italian small arm of World War II and was produced in large numbers in several variants. Italy's limited industrial base in World War II was no real barrier toward the development of advanced and effective small arms, since most weapons of the time required large amounts of artisan and semi-artisan man-hours to be fine-tuned anyway. Italian specialized workers excelled at this, but the initial slow rate of production meant that the MAB 38 only became available in large numbers in 1943, when the fascist regime was toppled and Italy split between the Allied-aligned co-belligerent forces in the south and the German-aligned collaborators of the Italian Social Republic in the north.


title: Beretta Model 38

text: The MAB 38 was developed by Beretta to compete in the sub-machine gun market; it was a well-made and sturdy weapon, introducing several advanced features and was suitable for police and special army units. Presented to Italian authorities in 1939, its first customer was the Italian Ministry of Colonies, which purchased several thousands MABs to be issued as standard firearm of the "Polizia dell'Africa Italiana" (Italian Africa Constabulary), the government colonial police force. Army orders were slow to come; although impressed by the excellent qualities and firepower of the weapon, the Italian military did not feel the MAB was suitable for standard infantry combat. It was judged ideal for police and assault units and in the beginning of 1941 small orders were placed for the "Carabinieri" (military and civilian police), "Guardie di Pubblica Sicurezza" (national state police), and paratroopers. The Italian Army requested minor changes to reduce production costs, notably changing the recoil compensator and the removal of the bayonet lug and magazine dust cover to create the MAB 38A. This was the standard army variant, used throughout the war and issued to elite Italian units, paratroopers, the Alpini "Monte Cervino" assault battalion, 10th "Arditi" Regiment, "M" Battalions of the "Milizia Volontaria per la Sicurezza Nazionale" ("MVSN", Blackshirts) and military police.


title: Beretta Model 38

text: The Italian Royal Navy also purchased the weapon and MAB 38As were given to the ""San Marco"" Marine Regiment and naval security troops; the "Regia Aeronautica" (Italian Royal Air Force) issued the MAB 38A to its crack A.D.R.A. Regiment. Orders were still small and the Carcano M1891 rifle remained the standard weapon even in elite units. Until 1943, the MAB 38A (and since 1942, the MAB 38/42) was available almost exclusively to paratroopers, Blackshirts, tank crews and Carabinieri military police, given their need of high volumes of firepower in prolonged actions or to maintain close-quarters combat superiority. The paratroopers of the 185th Airborne Division "Folgore" were armed exclusively with the weapon . Blackshirt legions (one per infantry division) were regarded and used as elite assault units both for their fanaticism and their Beretta 38s.


title: Beretta Model 38

text: After the Italian armistice of September 8, 1943, the Italian armed forces melted away and an Italian army was reconstructed in northern Italy under German control, the Beretta MAB equipping many units. The Italian Social Republic (R.S.I.) army fought a guerrilla war against partisans from its inception, as well as against the Allies. For assault and counterinsurgency units, where firepower at close range was a vital asset, it was the ideal weapon. Production of the MAB became priority and it was supplied in great numbers to R.S.I. formations, especially elite units, and it became an iconic weapon symbolizing the Italian soldier in popular culture. Later in the war, a simplified variant known as the MAB 38/44 was introduced. Regardless of the tables of organization and equipment of a unit, the Beretta 38 was a popular weapon that could eventually find its way into the hands of virtually any soldier, especially amongst officers and senior non-commissioned officers, in any type of unit.


title: Beretta Model 38

text: A magazine-carrying vest was designed for elite troops (Blackshirts, paratroopers) armed with the Beretta 38; these were dubbed ""Samurai"" due to the similarity of the stacked magazines to the feudal Japanese warriors' body armour. A special canvas holster was issued with the MAB with two magazine-carrier pouches sewn on, to be worn as a belt but only came into use during the brief life of the R.S.I. and by then could be seen in the employ of many different units whose "elite" status could have been reasonably questioned (such as Black Brigades and other militias). The Beretta MAB was highly praised by Italian resistance movement fighters as well, being far more accurate and powerful than the British Sten which was common issue in partisan units, although the smaller Sten was more suited for clandestine operations. German soldiers also liked the Beretta MAB, judging it large and heavy, but reliable and well made.


title: Beretta Model 38

text: The 1938 series was extremely robust and proved very popular with Axis forces as well as Allied troops, who used captured examples. Many German soldiers, including elite forces such as the Waffen-SS and Fallschirmjäger forces, preferred the Beretta 38. Germany manufactured 231,193 Beretta M38s in 1944 and 1945. Firing a more powerful Italian version of the widely distributed 9×19mm Parabellum cartridge, the "Cartuccia 9 mm M38", the Beretta was accurate at longer ranges than most other submachine guns. The MAB could deliver impressive firepower at close range, and at longer distances its size and weight was an advantage, making the weapon stable and easy to control. In expert hands, the Beretta MAB allowed accurate short-burst shooting up to and its effective range with Italian M38 ammunition was s, an impressive result for a 9 mm submachine gun.


title: Beretta Model 38

text: MAB 38, in its first variants, was a fine weapon by any standard, crafted with high quality materials, flawlessly finished and with carefully machined parts. Models 38/42 and 38/44 were easier and faster to build, the finish was sacrificed for speed of production but the quality remained high. The mechanism was a traditional simple blowback recoil but with a novel floating firing pin, an automatic safety on open bolt (both later removed to save production costs), a recoil compensator on the muzzle, a bolt cocking handle with sliding dust cover and a striking trigger gear with no fire selector but with two triggers instead; the fore trigger was for semi-automatic fire and rear trigger for full-auto. The user could shift quickly between methods without switching levers or safety catches, which proved useful in combat. The full-auto trigger had a safety catch on left side, which was eliminated from 1942 and the rear sight was adjustable up to in the MAB 38 and 38A, the 38/42 and 38/44 variants had fixed rear sights. The MAB 38 had a wooden stock, was about long and weighed about when loaded, with an effective range of about .


title: Beretta Model 38

text: The "Model 1938" can be recognized by its machined steel receiver, fine craftsmanship and finish and by the perforated cooling jacket over the barrel. It was produced from 1938 to 1950 and fired 9×19mm Parabellum ammunition at 600 rounds per minute. It used 10, 20, 30 or 40-round magazines; the short 10-round magazine, when used in conjunction with the fixed bayonet, was popular with Allied and Axis forces for guarding prisoners or internal security. In combat, the 30-round magazine was the most common. The original MAB 38, first issued to Italian police in 1939, had a bayonet mount and stock rest for the Carcano M91/38 folding bayonet.


title: Beretta Model 38

text: In compliance with Italian army requirements, bayonet mount and rest were eliminated and the recoil compensator was redesigned, the two horizontal muzzle slots substituted by 4 transversal cuttings, judged more effective. This standard army variant was renamed MAB 38A and issued in 1941. Despite its undeniable effectiveness, the Beretta "Model 38" proved too time-consuming and expensive to produce during wartime. Marengoni designed a simplified model made from sheet steel, in which the cooling jacket and bayonet mount were eliminated and the separate firing pin mechanism replaced by a fixed firing pin machined on the face of the bolt. The barrel and wooden stock were also shortened to save weight and cost. This new model, the "Model 38/42", had a fluted barrel to aid cooling and save weight. It also had a slower rate of fire (550 rpm). The "Model 38/43", was an intermediate production stage between the 42 and 44 patterns. The 38/42 and 38/43 were adopted by the "Wehrmacht" as the "Maschinenpistole 738(i)", abbreviated as "MP.738". Models produced for the German army received German acceptance marks.


title: Beretta Model 38

text: The "Model 38/44" was a minor revision of the 38/43, in which the bolt was simplified and a large-diameter recoil spring used in place of the operating spring guide. It also eliminated the fluting to save time and increase production. The 38/44 was also adopted by the German army as the "MP.739". A variant of the Model 38/44 was fitted with an MP40-style under-folding stock as the "Model 1".


title: Beretta Model 38

text: After World War II, the 38/44 continued in production in slightly revised form as the "38/49" series: the "Model 2" or "MP 38/44 special" with an MP 40-style under-folding stock and extended magazine well, the "Model 3" with an extended magazine well and telescoping steel-wire buttstock and the "Model 4" with a standard wooden rifle stock. All of these models have a push-button cross-bolt safety catch at the middle of the stock After Marengoni's death, Beretta engineer Domenico Salza revised the safety system of the Model 38/49 series as the "Model 5", identified by a large rectangular grip-safety button located in the stock's finger groove. The Model 5 was produced for the Italian Army, police and the armed forces of several other nations until 1961, when production ceased in favor of the compact, modern Beretta M12.


title: Beretta Model 38

text: Unusually, it ejects to the left because of the non-reciprocating cocking-charging handle and slot cover being in the way on the right side.


title: Beretta Model 38

text: In the 1950s the Dominican Republic issued the Cristóbal Carbine carbine in American .30 Carbine (7.62x33) designed by Pál Király. Visually and internally, several features of the Model 38 carried forward in the San Cristóbal.


title: Seo Bok

text: Seo Bok () is a 2021 South Korean sci-fi action film directed by Lee Yong-ju and starring Gong Yoo, Park Bo Gum and Jang Young-nam. The film revolves around a former intelligence agent Gi-heon (Gong Yoo), who gets involved with the first human clone, Seo Bok (Park Bo-gum). Principal photography began in May 2019. The film with production cost of 16.5 billion was anticipated to release in December 2020 but its release was postponed due to the resurgence of the COVID-19 pandemic. Finally the film was released simultaneously in theatres and via streaming media TVING on April 15, 2021. In Vietnam, this film was premiered exclusively on iQiyi on April 22, 2021.


title: Seo Bok

text: According to Korean Film Council data, it is at 13th place among all the Korean films released in the year 2021 in South Korea, with gross of US$3.27 million and 385,409 admissions, .


title: Seo Bok

text: Min Gi-heon (Gong Yoo) is an ex-agent of the intelligence agency, and Seo Bok (Park Bo-gum) is the first human clone created through stem cell cloning and genetic engineering. He possesses the secret for eternal life. They get entangled in dangerous situations as several forces want to take control of Seo Bok.


title: Seo Bok

text: The film was announced with Park Bo-gum in role of Seo Bok, which was confirmed in March 2019. In October 2018, Gong Yoo was confirmed to appear in the role of an intelligence agency agent. In April 2019, Jang Young-nam, Jo Woo-jin and Park Byung-eun were cast in supporting roles. Art director Lee Ha-jun joined the group in June 2019. The net production cost was about 16 billion won.


title: Seo Bok

text: Principal photography began in May 2019, the filming took place mainly at the Jeonju film studio located in Jeonju. Location filming took place from mid-June to early August 2019 in Tongyeong. Film was wrapped up in October 2019 after nearly six months of filming.


title: Seo Bok

text: On October 21, 2020, distributor CJ Entertainment announced the film will be released in December, 2020. A first look at the film was released on October 23, 2020.


title: Seo Bok

text: The film was also selected for premiere at Brussels International Fantastic Film Festival 2021 held on April 6 to April 18, 2021.


title: Seo Bok

text: "Seo Bok" was invited at Fantasia International Film Festival to screen the film. The three-week festivals was held from August 5 to 25, 2021 in Montreal. The film was screened in Canadian Premiere section on demand.


title: Seo Bok

text: The film was released on April 15, 2021 on 1382 screens. It was at the number 1 place at the Korean box office, on the opening day of its release, collecting 45,155 audience. It remained at the number 1 place at the Korean box office, on the second day of its release, as 36,183 audience viewed the film. It also took the total commutative audience to 82,895 persons. The decrease in number of audience from 1st day was attributed to simultaneous release on streaming media TVING. The film maintained its number 1 rank on Korean box office after 3rd day of its release. It was number 1 at the end of the opening weekend on South Korean box office with


title: Seo Bok

text: According to Korean Film Council data, it is at 13th place among all the Korean films released in the year 2021, with gross of US$3.28 million and 385,409 admissions, .


title: Seo Bok

text: Going by Korean review aggregator "Naver Movie Database", the film holds an approval rating of 8.42 from the audience.


title: Seo Bok

text: Kim Seong-Hyun reviewing the film for "YTN" wrote that the predominant question asked by the characters in the film was about life and death. Seong-Hyun felt that action in the film was unsatisfactory, but that didn't reflect on the performance of the star cast. Concluding the review Seong-Hyun said, "It is difficult to erase the thought that the actors' performance is somewhat regrettable to contain a long and repetitive message."


title: Seo Bok

text: James Marsh writing for "South China Morning Post" rated the film with two out of five stars and called it a "... quasi-philosophical melodrama masquerading as a futuristic action thriller." He opined that director Lee Yong-ju in spite of putting all hi-tech thrills and setting a stage for good brainy cinema, couldn't make it happen. He found the film slow and lengthy and felt that "violent, effects-heavy climax" was tardy to be enjoyable. Concluding the review Marsh wrote, "Inevitably it is the all-too-familiar themes of mortality, family and corporate malfeasance that permeate to the surface as Lee defiantly steers his film headlong into a quagmire of ponderous, poorly articulated existential nonsense."