title: Jeremy Maclin

text: Maclin started in his first NFL game on September 27, 2009, against the Kansas City Chiefs in week 3 in place of the injured Kevin Curtis. He caught four passes for 33 yards in that game.


title: Jeremy Maclin

text: On October 11, 2009, Maclin scored his first NFL career touchdown on a 51-yard reception from Donovan McNabb as the Philadelphia Eagles beat the Tampa Bay Buccaneers 33–14. Maclin also recorded his second NFL touchdown reception later in the game.


title: Jeremy Maclin

text: On December 27, 2009, in a home game against the Denver Broncos and with the score tied 27–27, Maclin made a decisive catch on the sideline to extend a crucial late drive for the Eagles. McNabb threw a tight spiral to the sideline and Maclin caught it while toeing the line. Initially the catch was ruled incomplete, but upon further review was ruled a catch and first down. Three plays later, Eagles kicker David Akers kicked the game-winning field goal, sealing victory for Philadelphia by a score of 30–27. Maclin finished with 6 catches for 92 yards. For this he received Rookie of the Week honors.


title: Jeremy Maclin

text: On January 9, 2010, in the against the Dallas Cowboys, Maclin became the youngest player to score a touchdown in NFL postseason history, aged 21 years and 243 days. In the second quarter, he caught a 76-yard touchdown pass from Michael Vick, which was the longest career touchdown pass of Vick's career and Maclin's longest career touchdown catch. With 146 yards, Maclin broke the Eagles record for receiving yards in a playoff game, breaking Keith Jackson's record of 142 yards set during the 1988 NFC Divisional Game against the Chicago Bears.


title: Jeremy Maclin

text: On August 3, 2010, Maclin was carted off the training camp practice field with a leg injury. Further evaluation showed that he suffered a bone bruise. Maclin returned to the field later in the season to catch 70 passes for 964 yards the longest for 83 yards. He also scored 10 touchdowns. In the 2010 season, Maclin led the league in Red Zone receiving touchdowns with 7, tying New York Giants wide receiver and NFC East rival Hakeem Nicks. He also rushed for 36 yards on 3 carries, making his combined rushing and receiving total exactly 1,000 yards.


title: Jeremy Maclin

text: Maclin was placed on the active/non-football illness list on August 3, 2011. On August 5, head coach Andy Reid said that he expected Maclin to be healthy for the regular season. It was revealed on August 17 that Maclin was held out of training camp because of a lymphoma scare. An inflammatory virus was determined as the cause of the symptoms he showed and he did not have cancer. He was activated from the active/non-football illness list on August 27.


title: Jeremy Maclin

text: In Week 2, Maclin caught 13 passes with 171 yards and 2 touchdowns but lost to the Atlanta Falcons by a score of 31–35. Overall, he finished the 2011 season with 63 receptions for 859 receiving yards and three receiving touchdowns.


title: Jeremy Maclin

text: During the 2012 season, Maclin recorded 69 receptions for 857 yards and seven touchdowns. He had a season-high 130 receiving yards and a receiving touchdown in a 26–23 overtime loss to the Detroit Lions in Week 6.


title: Jeremy Maclin

text: On July 27, 2013, Maclin suffered a torn ACL during training camp and was forced to miss the entire 2013 season. On July 30, 2013, Maclin was officially placed on the injured reserve list.


title: Jeremy Maclin

text: On February 28, 2014, it was announced that Maclin would sign a one-year deal that will keep him on the Eagles roster throughout the 2014 season. The deal was for $6 million with $3.5 million guaranteed. Since the release of DeSean Jackson, as well as a disappointing season by 2013 starter Riley Cooper, Maclin's role on the team had increased as the first-choice receiver. In Week 3, against the Washington Redskins, he had eight receptions for 154 receiving yards and a touchdown in the 37–34 victory. In Week 8, against the Arizona Cardinals, he had a season-high 187 receiving yards and two touchdowns in the 24–20 loss. He followed that up with 158 receiving yards and two receiving touchdowns in the 31–21 victory over the Houston Texans. He earned NFC Offensive Player of the Week for his game against Houston. He led the team in yards (1,318) and receptions (85), both career highs, as well as touchdowns (10), through the 2014 NFL season. He also had no fumbles for the first time since 2009. On January 16, 2015, Maclin was added to the Pro Bowl as an alternate replacing an injured Denver Broncos wide receiver Demaryius Thomas. He was ranked 61st by his fellow players on the NFL Top 100 Players of 2015.


title: Jeremy Maclin

text: On March 11, 2015, Maclin signed a five–year, $55 million contract with the Kansas City Chiefs. Maclin started out slow, but had eight receptions for 141 yards in a Week 3 matchup against the Packers, where he became the first Chiefs wide receiver to catch a touchdown pass since 2013. Although he slowed down at midseason, he bounced back, catching for 160 yards and a touchdown in a Week 12 matchup against the Bills, followed by 95 yards and 2 touchdowns against the Oakland Raiders. He finished strong, catching a touchdown in the last three games of the season. He finished the season with a career-high 87 catches for 1,088 receiving yards and eight touchdowns.


title: Jeremy Maclin

text: The Chiefs, who had gone 11-5 after winning 10 straight, advanced to the playoffs. In a 30–0 shutout of the Houston Texans, Maclin started out slow, but started to get into a rhythm in the 3rd quarter, with 3 catches for 29 yards, before he suffered a high ankle sprain that kept him out for the rest of the game. Maclin, who many thought wouldn't play at all against the New England Patriots in the divisional round, was listed as active, but he played very limited snaps and was taken out almost entirely after the first half, finishing with 2 catches on 3 targets for 23 yards.


title: Jeremy Maclin

text: Maclin was ranked as the 93rd best player in the NFL by his fellow players on the NFL Top 100 Players of 2016.


title: Jeremy Maclin

text: Hampered by a torn groin, Maclin missed four games in the 2016 regular season. He started only 12 games for career lows of 44 receptions, 536 yards, and two touchdowns.


title: Jeremy Maclin

text: On June 13, 2017, the Baltimore Ravens signed Maclin to a two-year, $11 million contract, which includes $6 million the first year.


title: Jeremy Maclin

text: On September 10, in the season opening 20–0 victory over the Cincinnati Bengals, Maclin, in his Ravens debut, recorded his first touchdown with the team, which was a 48-yard reception from quarterback Joe Flacco. He finished the season with 40 receptions for 440 yards and three touchdowns.


title: Jeremy Maclin

text: While with the Philadelphia Eagles, Maclin was a resident of West Deptford Township, New Jersey. On May 20, 2017, Maclin married Adia Kuzma.


title: Vel' d'Hiv Roundup

text: The Vel' d'Hiv' Roundup ( ; from , an abbreviation of ) was a mass arrest of foreign Jewish families by French police and gendarmes at the behest of the German authorities, that took place in Paris on 16 and 17 July 1942. According to records of the" Préfecture de Police", 13,152 Jews were arrested, including more than 4,000 children.


title: Vel' d'Hiv Roundup

text: They were held at the Vélodrome d'Hiver ( 'Winter Stadium'; known as "Vel’ d’Hiv") in extremely crowded conditions, almost without food and water and with no sanitary facilities. In the week following the arrests, the Jews were taken to the Drancy, Pithiviers, and Beaune-la-Rolande internment camps, before being shipped in rail cattle cars to Auschwitz for their mass murder.


title: Vel' d'Hiv Roundup

text: The roundup was one of several aimed at eradicating the Jewish population in France, both in the occupied zone and in the free zone. French President Jacques Chirac apologized in 1995 for the complicit role that French police and civil servants played in the raid. In 2017, President Emmanuel Macron more specifically admitted the responsibility of the French State in the roundup and, hence, in the Holocaust.


title: Vel' d'Hiv Roundup

text: The Vélodrome d'Hiver was a large indoor sports arena at the corner of the and in the 15th arrondissement of Paris, not far from the Eiffel Tower. It was built by Henri Desgrange, editor of L'Auto, who later organised the Tour de France, as a velodrome (cycle track) when his original track in the nearby "Salle des Machines" was listed for demolition in 1909 to improve the view of the Eiffel Tower. As well as track cycling, the new building was used for ice hockey, wrestling, boxing, roller-skating, circuses, spectacles and demonstrations. In the 1924 Summer Olympics, several events were held there, including foil fencing, boxing, cycling (track), weightlifting, and wrestling.


title: Vel' d'Hiv Roundup

text: The Vel d'Hiv was also the site of political rallies and demonstrations, including a large event attended by Xavier Vallat, Philippe Henriot, Leon Daudet and other notable antisemites when Charles Maurras was released from prison. In 1939 Jewish refugees were interned there before being sent to camps in the Paris region and in 1940 it was used as a internment center for foreign women, an event that served as a precedent for its selection as internment location.


title: Vel' d'Hiv Roundup

text: The "Vel' d'Hiv' Roundup" was not the first roundup of this sort in France during World War II. In what is known as the green ticket roundup (), 3,747 Jewish men were arrested on 14 May 1941, after 6,694 foreign Jews living in France received a summons in the mail (delivered on a green ticket) to a status review (). The summons was a trap: those who honoured their summons were arrested and taken by bus the same day to the Gare d'Austerlitz, then shipped in four special trains to two camps at Pithiviers and Beaune-La-Rolande in the Loiret department. Women, children, and more men followed in July 1942.


title: Vel' d'Hiv Roundup

text: The Vel' d'Hiv' Roundup, was part of the "Final Solution", a continent-wide plan to intern and exterminate Europe's Jewish population, it was a joint operation between German and collaborating French administrators.


title: Vel' d'Hiv Roundup

text: The first anti-Jewish ordinance of 27 September 1940, promulgated by the German authorities, forced Jewish people in the Occupied Zone, including foreigners, to register at police stations or at sous-préfectures ("sub-prefectures"). Nearly 150,000 people registered in the department of the Seine that encompasses Paris and its immediate suburbs. Their names and addresses were kept by the French police in the fichier Tulard, a file named after its creator, André Tulard. Theodor Dannecker, the SS captain who headed the German police in France, said: "This filing system subdivided into files sorted alphabetically; Jews with French nationality and foreign Jews had files of different colors, and the files were also sorted, according to profession, nationality and street." These files were then given to the Gestapo, in charge of the "Jewish problem." At the request of the German authorities, the Vichy government created in March 1941 the Commissariat Général aux Questions Juives or CGQJ (Commissariat-General for Jewish Affairs) with the task of implementing antisemitic policy.


title: Vel' d'Hiv Roundup

text: On 4 July 1942 René Bousquet, secretary-general of the national police, and Louis Darquier de Pellepoix, who had replaced Xavier Vallat in May 1942 as head of the CGQJ, travelled to Gestapo headquarters at 93 rue Lauriston in the 16th arrondissement of Paris to meet Dannecker and Helmut Knochen of the SS. The previous roundups had come short of the 32,000 jews promised by the French authorities to the Germans. Darquier proposed the arrest of stateless Jews in the Southern Zone and the denaturalization of all Jews who acquired French citizenship from 1927. A further meeting took place in Dannecker's office on the avenue Foch on 7 July. Also present were Jean Leguay, Bousquet's deputy, Jean François, who was director of the police administration at the Paris prefecture, Émile Hennequin, head of Paris police, and André Tulard.


title: Vel' d'Hiv Roundup

text: Dannecker met Adolf Eichmann on 10 July 1942. Another meeting took place the same day at the CGQJ, attended by Dannecker, Heinz Röthke, Ernst Heinrichsohn, Jean Leguay, Gallien, deputy to Darquier de Pellepoix, several police officials and representatives of the French railway service, the SNCF. The roundup was delayed until after Bastille Day on 14 July at the request of the French. This national holiday was not celebrated in the occupied zone, and they wished to avoid civil uprisings. Dannecker declared: "The French police, despite a few considerations of pure form, have only to carry out orders!"


title: Vel' d'Hiv Roundup

text: The roundup was aimed at Jews from Germany, Austria, Poland, Czechoslovakia, the Soviet Union and the "apatrides" ("stateless"), whose origin couldn't be determined, aged from 16 to 50. There were to be exceptions for women "in advanced state of pregnancy" or who were breast-feeding, but "to save time, the sorting will be made not at home but at the first assembly centre".


title: Vel' d'Hiv Roundup

text: The Germans planned for the French police to arrest 22,000 Jews in Greater Paris. They would then be taken to internment camps at Drancy, Compiègne, Pithiviers and Beaune-la-Rolande. André Tulard "will obtain from the head of the municipal police the files of Jews to be arrested. Children of less than 15 or 16 years will be sent to the "Union générale des israélites de France" (UGIF, General Union of French Jews), which will place them in foundations. The sorting of children will be done in the first assembly centres."


title: Vel' d'Hiv Roundup

text: The position of the French police was complicated by the sovereignty of the Vichy government, which nominally administered France while accepting occupation of the north. Although in practice the Germans ran the north and had a strong and later total domination in the south, the formal position was that France and the Germans were separate. The position of Vichy and its leader, Philippe Pétain, was recognised throughout the war by many foreign governments.


title: Vel' d'Hiv Roundup

text: This independence, however fictional, had to be preserved. German interference in internal policing, says the historian Julian T. Jackson, "would further erode that sovereignty which Vichy was so committed to preserving. This could only be avoided by reassuring Germany that the French would carry out the necessary measures." Jackson adds that the decision to arrest Jews and Communists and Gaullists was "an autonomous policy, with its own indigenous roots." In other words, the decision to do so was not forced upon the Vichy regime by the Germans. Jackson also explains that the roundup of Jews must have been run by the French, since the Germans would not have had the necessary information or manpower to find and arrest a full 13,000 people.


title: Vel' d'Hiv Roundup

text: On 2 July 1942, René Bousquet attended a planning meeting in which he raised no objection to the arrests, and worried only about the ("embarrassing") fact that the French police would carry them out. Bousquet succeeded in reaching a compromise -- that the police would round up only foreign Jews. Vichy ratified that agreement the following day.


title: Vel' d'Hiv Roundup

text: Although the police have been blamed for rounding up children younger than 16—the age was set to preserve a fiction that workers were needed in the east—the order was given by Pétain's minister, Pierre Laval, supposedly as a "humanitarian" measure to keep families together. This too was a fiction, given that the parents of these children had already been deported; documents of the period have revealed that the anti-Semitic Laval's principal concern was what to do with Jewish children once their parents had been deported. The youngest child sent to Auschwitz under Laval's orders was 18 months old.


title: Vel' d'Hiv Roundup

text: Three former SS officers testified in 1980 that Vichy officials had been enthusiastic about deportation of Jews from France. Investigator Serge Klarsfeld found minutes in German archives of meetings with senior Vichy officials and Bousquet's proposal that the roundup should cover non-French Jews throughout the country. In 1990, charges of crimes against humanity were laid against Bousquet in relation to his role in the Vel' d'Hiv' roundup of Jews, based on complaints filed by Klarsfield.


title: Vel' d'Hiv Roundup

text: Klarsfeld also revealed the telegrams Bousquet had sent to Prefects of "départements" in the occupied zone, ordering them to deport not only Jewish adults but children whose deportation had not even been requested by the Nazis.


title: Vel' d'Hiv Roundup

text: Émile Hennequin, director of the city police, ordered on 12 July 1942 that "the operations must be effected with the maximum speed, without pointless speaking and without comment."


title: Vel' d'Hiv Roundup

text: Beginning at 4:00 a.m. on 16 July 1942, French police numbering 9,000 started the manhunt. The Police force included gendarmes, gardes mobiles, detectives, patrolmen and cadets; they were divided into small arresting teams of three or four men each, fanning across the city. A few hundred followers of Jacques Doriot volunteered to help, wearing armband with the colours of the fascist French Popular Party (PPF).


title: Vel' d'Hiv Roundup

text: In total 13,152 Jews were arrested. According to records of the Paris Préfecture de police, 5,802 (44%) of these were women and 4,051 (31%) were children. An unknown number of people managed to escape, warned by a clandestine Jewish newspaper or the French Resistance, hidden by neighbors or benefiting from the lack of zeal or thoroughness of some policemen. Conditions for the arrested were harsh: they could take only a blanket, a sweater, a pair of shoes and two shirts with them. Most families were split up and never reunited.


title: Vel' d'Hiv Roundup

text: Some of those captured were taken by bus to an internment camp in an unfinished complex of apartments and apartment towers in the northern suburb of Drancy, the rest were taken to the Vélodrome d'Hiver which had already been used as an internment center in the summer of 1941.


title: Vel' d'Hiv Roundup

text: The Vel' d'Hiv' was available for hire to whoever wanted it. Among those who had booked it was Jacques Doriot, who led France's largest fascist party, the "Parti Populaire Français" (PPF). It was at the Vel' d'Hiv' among other venues that Doriot, with his Hitler-like salute, roused crowds to join his cause. Among those who helped in the "Rafle du Vel' d'hiv"' were 3,400 young members of Doriot's PPF.


title: Vel' d'Hiv Roundup

text: The Germans demanded the keys of the Vel' d'Hiv' from its owner, Jacques Goddet, who had taken over from his father Victor and Henri Desgrange. The circumstances in which Goddet surrendered the keys remain a mystery and the episode is given only a few lines in his autobiography.


title: Vel' d'Hiv Roundup

text: The Vel' d'Hiv' had a glass roof, which had been painted dark blue to avoid attracting bomber navigators. The dark glass increased the heat, as well as windows screwed shut for security. The numbers held there vary from one account to another, but one established figure is 7,500 of a final figure of 13,152. There were no lavatories: of the 10 available, five were sealed because their windows offered a way out, and the others were blocked. The arrested Jews were kept there with only food and water brought by Quakers. The Red Cross and a few doctors and nurses were allowed to enter. There was only one water faucet. Those who tried to escape were shot on the spot. Some took their own lives.


title: Vel' d'Hiv Roundup

text: After five days, the prisoners were taken to the internment camps of Drancy, Beaune-la-Rolande and Pithiviers, and later to the extermination camps.


title: Vel' d'Hiv Roundup

text: Roundups were conducted in both the northern and southern zones of France, but public outrage was greatest in Paris because of the numbers involved in a concentrated area. The Vel' d'Hiv' was a landmark in the city centre. The Roman Catholic church was among the protesters. Public reaction obliged Laval to ask the Germans on 2 September not to demand more Jews. Handing them over, he said, was not like buying items in a discount store. Laval managed to limit deportations mainly to foreign Jews; he and his defenders argued after the war that allowing the French police to conduct the roundup had been a bargain to ensure the life of Jews of French nationality.


title: Vel' d'Hiv Roundup

text: In reality, "Vichy shed no tears over the fate of the foreign Jews in France, who were seen as a nuisance, " ("garbage") in Laval's words. Laval told an American diplomat that he was "happy" to get rid of them.


title: Vel' d'Hiv Roundup

text: When a Protestant leader accused Laval of murdering Jews, Laval insisted they had been sent to build an agricultural colony in the East. "I talked to him about murder, he answered me with gardening."


title: Vel' d'Hiv Roundup

text: The internment camp at Drancy was easily defended because it was built of tower blocks in the shape of a horseshoe. It was guarded by French gendarmes. The camp's operation was under the Gestapo's section of Jewish affairs. Theodor Dannecker, a key figure both in the roundup and in the operation of Drancy, was described by Maurice Rajsfus in his history of the camp as "a violent psychopath... It was he who ordered the internees to starve, who banned them from moving about within the camp, to smoke, to play cards, etc."


title: Vel' d'Hiv Roundup

text: In December 1941, forty prisoners from Drancy were murdered in retaliation for a French attack on German police officers.


title: Vel' d'Hiv Roundup

text: Immediate control of the camp was under Heinz Röthke. It was under his direction from August 1942 to June 1943 that almost two thirds of those deported in SNCF box car transports requisitioned by the Nazis from Drancy were sent to Auschwitz. Drancy is also where Klaus Barbie sent Jewish children captured in a raid of a children's home before shipping them to Auschwitz, where they were murdered. Most of the initial victims, including those from the Vel' d'Hiv', were crammed into sealed wagons and died from lack of food and water. Those who survived the passage were murdered in the gas chambers.


title: Vel' d'Hiv Roundup

text: At the Liberation of Paris in August 1944, the camp was run by the Resistance—"to the frustration of the authorities; the Prefect of Police had no control at all and visitors were not welcome"—who used it to house not Jews, but those it considered collaborators with the Germans. When a pastor was allowed in on 15 September, he discovered cells 3.5m by 1.75m that held six Jewish internees with two mattresses between them. The prison returned to the conventional prison service on 20 September.


title: Vel' d'Hiv Roundup

text: The roundup accounted for more than a quarter of the Jews sent from France to Auschwitz in 1942, of whom only 811 returned to France at the end of the war.


title: Vel' d'Hiv Roundup

text: With the exception of six adolescents, none of the 3,900 children detained at the Vel d’Hiv and then deported survived.


title: Vel' d'Hiv Roundup

text: Pierre Laval's trial opened on 3 October 1945. His first defence was that he had been obliged to sacrifice foreign Jews to save the French. Uproar broke out in the court, with supposedly neutral jurors shouting abuse at Laval, threatening "a dozen bullets in his hide". It was, said historians Antony Beevor and Artemis Cooper, "a cross between an and a tribunal during the Paris Terror". From 6 October, Laval refused to take part in the proceedings, hoping that the jurors' interventions would lead to a new trial. Laval was sentenced to death, and tried to commit suicide by swallowing a cyanide capsule. Revived by doctors, he was executed by a firing squad at Fresnes Prison on 15 October.


title: Vel' d'Hiv Roundup

text: Jean Leguay survived the war and its aftermath and became president of Warner Lambert, Inc. in London (now merged with Pfizer), and later president of Substantia Laboratories in Paris. In 1979, he was charged for his role in the roundup.


title: Vel' d'Hiv Roundup

text: Louis Darquier was sentenced to death in 1947 for collaboration. However, he had fled to Spain, where the Francisco Franco regime protected him. In 1978, after he gave an interview claiming that the gas chambers of Auschwitz were used to kill lice, the French government requested his extradition. Spain refused. He died on 29 August 1980, near Málaga, Spain.


title: Vel' d'Hiv Roundup

text: Helmut Knochen was sentenced to death by a British military tribunal in 1946 for the murder of British pilots. The sentence was never carried out. He was extradited to France in 1954 and again sentenced to death. The sentence was later commuted to life imprisonment. In 1962, French president Charles de Gaulle pardoned him and he was sent back to Germany, where he retired in Baden-Baden and died in 2003.


title: Vel' d'Hiv Roundup

text: René Bousquet was last to be tried, in 1949. He was acquitted of "compromising the interests of the national defence", but declared guilty of for involvement in the Vichy government. He was given five years of "dégradation nationale", a measure immediately lifted for "having actively and sustainably participated in the resistance against the occupier". Bousquet's position was always ambiguous; there were times he worked with the Germans and others when he worked against them. After the war he worked at the Banque d'Indochine and in newspapers. In 1957, the "Conseil d'État" gave back his "Légion d'honneur", and he was given an amnesty on 17 January 1958. He stood for election that year as a candidate for the Marne. He was supported by the Democratic and Socialist Union of the Resistance; his second was Hector Bouilly, a radical-socialist general councillor. In 1974, Bousquet helped finance François Mitterrand's presidential campaign against Valéry Giscard d'Estaing. In 1986, as accusations cast on Bousquet grew more credible, particularly after he was named by Louis Darquier, he and Mitterrand stopped seeing each other. The parquet général de Paris closed the case by sending it to a court that no longer existed. Lawyers for the International Federation of Human Rights spoke of a "political decision at the highest levels to prevent the Bousquet affair from developing". In 1989, Serge Klarsfeld and his , the and the filed a complaint against Bousquet for crimes against humanity for the deportation of 194 children. Bousquet was committed to trial but on 8 June 1993 a 55-year-old mental patient named Christian Didier entered his flat and shot him dead.


title: Vel' d'Hiv Roundup

text: Theodor Dannecker was interned by the United States Army in December 1945 and a few days later committed suicide.


title: Vel' d'Hiv Roundup

text: Jacques Doriot, whose French right-wing followers helped in the round-up, fled to the Sigmaringen enclave in Germany and became a member of the exile Vichy government there. He died in February 1945 when his car was strafed by Allied fighters while he was travelling from Mainau to Sigmaringen. He was buried in Mengen.


title: Vel' d'Hiv Roundup

text: After the Liberation, survivors of the internment camp at Drancy began legal proceedings against gendarmes accused of being accomplices of the Nazis. An investigation began into 15 gendarmes, of whom 10 were accused at the Cour de justice of the Seine of conduct threatening the safety of the state. Three fled before the trial began. The other seven said they were only obeying orders, despite numerous witnesses and accounts by survivors of their brutality.


title: Vel' d'Hiv Roundup

text: The court ruled on 22 March 1947 that the seven were guilty but that most had rehabilitated themselves "by active participation, useful and sustained, offered to the Resistance against the enemy." Two others were jailed for two years and condemned to "dégradation nationale" for five years. A year later they were reprieved.


title: Vel' d'Hiv Roundup

text: For decades the French government declined to apologize for the role of French policemen in the roundup or for state complicity. De Gaulle and others argued that the French Republic had been dismantled when Philippe Pétain instituted a new French State during the war and that the Republic had been re-established when the war was over. It was not for the Republic, therefore, to apologise for events caused by a state which France did not recognise. President François Mitterrand reiterated this position in a September 1994 speech. "I will not apologize in the name of France. The Republic had nothing to do with this. I do not believe France is responsible."


title: Vel' d'Hiv Roundup

text: On 16 July 1995, the next President, Jacques Chirac, reversed that position, stating that it was time that France faced up to its past. He acknowledged the role that "the French State" played in the persecution of Jews and others during the War.


title: Vel' d'Hiv Roundup

text: Il est difficile de les évoquer, aussi, parce que ces heures noires souillent à jamais notre histoire, et sont une injure à notre passé et à nos traditions. Oui, la folie criminelle de l'occupant a été secondée par des Français, par l'Etat français. Il y a cinquante-trois ans, le 16 juillet 1942, 450 policiers et gendarmes français, sous l'autorité de leurs chefs, répondaient aux exigences des nazis. Ce jour-là, dans la capitale et en région parisienne, près de dix mille hommes, femmes et enfants juifs furent arrêtés à leur domicile, au petit matin, et rassemblés dans les commissariats de police... La France, patrie des Lumières et des Droits de l'Homme, terre d'accueil et d'asile, la France, ce jour-là, accomplissait l'irréparable. Manquant à sa parole, elle livrait ses protégés à leurs bourreaux.


title: Vel' d'Hiv Roundup

text: To mark the 70th anniversary of the Vél d'Hiv' roundup, President François Hollande gave a speech at the monument on 22 July 2012. The president recognized that this event was a crime committed "in France, by France," and emphasized that the deportations in which French police participated were offences committed against French values, principles, and ideals.


title: Vel' d'Hiv Roundup

text: The earlier claim that the Government of France during World War II was some illegitimate group was again advanced by Marine Le Pen, leader of the National Front Party, during the 2017 election campaign. In speeches, she claimed that the Vichy government was "not France".


title: Vel' d'Hiv Roundup

text: On 16 July 2017, also in commemoration of the victims of the roundup, President Emmanuel Macron denounced his country's role in the Holocaust and the historical revisionism that denied France's responsibility for 1942 roundup and subsequent deportation of 13,000 Jews. "It was indeed France that organised this [roundup]", he said, French police collaborating with the Nazis. "Not a single German took part," he added. Chirac had already stated that the Government during the War represented the French State. Macron was even more specific in this respect: "It is convenient to see the Vichy regime as born of nothingness, returned to nothingness. Yes, it's convenient, but it is false. We cannot build pride upon a lie."


title: Vel' d'Hiv Roundup

text: Macron made a subtle reference to Chirac's 1995 apology when he added, "I say it again here. It was indeed France that organized the roundup, the deportation, and thus, for almost all, death."


title: Vel' d'Hiv Roundup

text: A fire destroyed part of the "Vélodrome d'Hiver" in 1959 and the rest of the structure was demolished. A block of flats and a building belonging to the Ministry of the Interior now stand on the site. A plaque marking the Vel' d'Hiv' Roundup was placed on the track building after the War and moved to 8 boulevard de Grenelle in 1959.


title: Vel' d'Hiv Roundup

text: On 3 February 1993, President François Mitterrand commissioned a monument to be erected on the site. It stands now on a curved base, to represent the cycle track, on the edge of the quai de Grenelle. It is the work of the Polish sculptor Walter Spitzer and the architect Mario Azagury. Spitzer's family were survivors of deportation to Auschwitz. The statue represents all deportees but especially those of the Vel' d'Hiv'. The sculptures include children, a pregnant woman and a sick man. The words on the Mitterrand-era monument still differentiate between the French Republic and the Vichy Government that ruled during WW II, so they do not accept State responsibility for the roundup of the Jews. The words are in French: "", which translate as follows: "The French Republic pays homage to the victims of racist and anti-Semitic persecutions and crimes against humanity committed under the de facto authority called the 'Government of the French State' 1940–1944. Let us never forget." The monument was inaugurated on 17 July 1994. A commemorative ceremony is held here every year in July.


title: Vel' d'Hiv Roundup

text: A memorial plaque in memory of victims of the Vel' d'Hiv' raid was placed at the Bir-Hakeim station of the Paris Métro on 20 July 2008. The ceremony was led by Jean-Marie Bockel, Secretary of Defense and Veterans Affairs, and was attended by Simone Veil, a deportee and former minister, anti-Nazi activist Beate Klarsfeld, and numerous dignitaries.


title: Vel' d'Hiv Roundup

text: A memorial was also constructed in 1976 at Drancy internment camp, after a design competition won by Shelomo Selinger. It stands beside a rail wagon of the sort used to take prisoners to the death camps. It is three blocks forming the Hebrew letter Shin, traditionally written on the Mezuzah at the door of houses occupied by Jews. Two other blocks represent the gates of death. Shelomo Selinger said of his work: "The central block is composed of 10 figures, the number needed for collective prayer (Minyan). The two Hebrew letters Lamed and Vav are formed by the hair, the arm and the beard of two people at the top of the sculpture. These letters have the numeric 36, the number of Righteous thanks to whom the world exists according to Jewish tradition."


title: Vel' d'Hiv Roundup

text: On 25 May 2001, the cité de la Muette—formal name of the Drancy apartment blocks—was declared a national monument by the culture minister, Catherine Tasca.


title: Vel' d'Hiv Roundup

text: A new Shoah memorial museum was opened in 2012 just opposite the sculpture memorial and railway wagon by President François Hollande. It provides details of the persecution of the Jews in France and many personal mementos of inmates before their deportation to Auschwitz and their death. They include messages written on the walls, graffiti, drinking mugs and other personal belongings left by the prisoners, some of which are inscribed with the names of the owners. The ground floor also shows a changing exhibit of prisoner faces and names, as a memorial to their imprisonment and then murder by the Germans, assisted by the French gendarmerie.


title: Vel' d'Hiv Roundup

text: The Holocaust researcher Serge Klarsfeld said in 2004: "Drancy is the best known place for everyone of the memory of the Shoah in France; in the crypt of Yad Vashem (Jérusalem), where stones are engraved with the names of the most notorious Jewish concentration and extermination camps, Drancy is the only place of memory in France to feature."


title: Khosla Ka Ghosla

text: Khosla Ka Ghosla () is a 2006 Indian Hindi-language comedy drama film directed by Dibakar Banerjee, in his directorial debut. It was produced by Savita Raj Hiremath under the Taandav Films label and Ronnie Screwvala from UTV Motion Pictures. Written by Jaideep Sahni, the film stars Anupam Kher, Boman Irani, Parvin Dabas, Vinay Pathak, Ranvir Shorey and Tara Sharma in the lead roles. The story follows Kamal Kishore Khosla (Kher), a middle-class Delhiite and his family's attempt to reclaim their land which has been seized by a builder, Khurana (Irani).


title: Khosla Ka Ghosla

text: Banerjee, an advertising filmmaker, wanted to make a feature film which showcased Delhi the way it is. The initial idea conceived by Hiremath and Sahni was about a generation gap. After finishing the script, Sahni informed Banerjee that he had found a producer in Delhi and asked him if he wanted to direct the film; Banerjee agreed to do so. The film had no buyers for two years during which time editing continued. The team showed the film to several people who loved it but were unwilling to back it. In 2006, UTV Motion Pictures stepped in and distributed the film.


title: Khosla Ka Ghosla

text: "Khosla Ka Ghosla" was screened at the 2006 Kara Film Festival and was released on 22 September 2006 to positive critical reception. It won the National Film Award for Best Feature Film in Hindi at the 54th National Film Awards. Made on a production budget of ₹37.5 million, the film earned a total of ₹66.7 million at the box-office, making it a commercial success. It was later remade in 2008 in Tamil as "Poi Solla Porom" and in Kannada as "Rame Gowda Vs. Krishna Reddy" in 2010.


title: Khosla Ka Ghosla

text: Kamal Kishore Khosla is a middle-class man living in New Delhi where he has purchased a plot of land to build a house. His family includes his wife Sudha, the younger son, Chiraunji Lal a.k.a. Cherry, elder son Balwant a.k.a. Tanky and his daughter Nikki. Kamal has invested all his savings into buying the plot. Cherry is not too interested in his father's plan to settle together in the new house. He is a software engineer and intends to move to the US to take up a job there. However, Cherry has not let his family in on his plans. The only person he discusses this with is Asif Iqbal, the agent helping him with his passport and visa paperwork. Much later, he shares this news with his girlfriend Meghna. Later Cherry reveals to his family about his new job in America.


title: Khosla Ka Ghosla

text: During a visit to their land for "Bhumipujan", they find their plot encroached upon by someone. Further probing reveals the squatters are part of a property usurping nexus headed by the corrupt and powerful Kishan Khurana. Upon being urged so by the property dealer who had facilitated the purchase of the plot, Kamal and Bunty visit Khurana who demands ₹1.5 million to vacate the plot, an amount which Kamal neither has nor agrees to pay. He appeals to authorities and agencies for help. None of them offers more than to get the amount Khurana demands reduced by a few lacs in exchange for a hefty commission for mediating.


title: Khosla Ka Ghosla

text: Spurred by his father's helplessness, Bunty gets help from a gang of local wrestlers who demolish the boundary walls built by Khurana's men and take back possession of the plot by force. This success is short-lived when Kamal is arrested on trumped-up charges of trespass. Released at Khurana's guileful behest after spending a day in jail, Kamal's will is broken and his pride battered. He tells his family to avoid taking any further action as he is incapable of fighting back and wants Cherry to concentrate on the job that he is arranging abroad. Cherry discusses the grim situation with Iqbal who is revealed to have been an old partner of Khurana's and who has been cheated by him, having usurped Asif's own ancestral land. Asif offers to help the Khoslas with a group of Meghna's friends, and they set up a plan to deceive Khurana. They portray some land (owned by the fisheries department, but which has been vacant for decades) as their own, and seek the help of Meghna's mentor, Bapu, to act as the owner of the land looking for a buyer. Bapu, who is the manager of a drama theatre group, acts as the owner of the vacant land. With the help of the rest of his theatre group, they manage to create a situation so that Khurana believes the authenticity of the land and its owner. The deal is almost finalised and Khurana asks to visit the land. They successfully dupe Khurana and take his cash. From that money, Kamal pays the ransom to Khurana and regains possession of his plot; the remaining cash is divided equally between the Khoslas, Asif and the theatre group. Cherry scraps his plans to migrate to the US, marries Meghna and settles with his family in their new house built on the plot.


title: Khosla Ka Ghosla

text: Dibakar Banerjee, who was making advertisement films in Delhi, wished to make a feature film "which portrayed Delhi as it is". The initial idea of the generation gap was conceived by Savita Raj Hiremath and her writer friend Jaideep Sahni, who had worked with Banerjee on advertising films. Sahni said the soul of "Khosla Ka Ghosla" was derived from their experience of growing up in a middle-class house in Delhi. The first half of the film was based on Sahni's personal experience of an incident in his family which left an impression on him. He thought about "how our entire system can so callously and efficiently come together in no time to exploit a common man in trouble." Later Sahni informed Banerjee that he had found a producer from Delhi and asked him if he wanted to direct the film; Banerjee agreed to do so. Banerjee said a real life experience when Sahni witnessed his father being insulted by someone powerful, helped them to develop the character of the antagonist Khurana. Sahni worked on the story for a year-and-a-half and finished in 2003. Both Banerjee and Sahni first approached Anupam Kher to play Kamal Kishore Khosla; he was "hooked" after their discussions.


title: Khosla Ka Ghosla

text: Vinay Pathak had auditioned for Khurana's character for which Boman Irani was eventually selected, but the team liked Pathak's audition and offered him the role of Asif Iqbal. Ranvir Shorey was selected for the role of Balwant after two or three rounds of auditions. The role of Khurana was also offered to Rishi Kapoor who refused it. Hiremath felt this was because "commercially, it (the role) wasn't working for him." Irani had also initially refused the offer to play Khurana as he felt he was unsuitable for the role of a builder from Delhi since he was a Mumbai-born Parsi. He accepted the role after "a lot of people had raised their eyebrows" at his decision and he felt determined to make it work. Irani drove around and listened to interviews recorded with actual property dealers. He also watched real footage captured using hidden cameras to understand how they behaved. Kher said that he tried to boost the team's morale as the film was made while enduring a lot of stress. Tara Sharma was selected for the role of Meghna after an audition. Banerjee was initially reluctant to give Parvin Dabas the role of Chiraunjilal as he thought the latter would not be able to do justice to the "layered character." Dabas but later cast in the role after a recommendation and an audition. Navin Nischol was cast as Bapu.


title: Khosla Ka Ghosla

text: During the course of filming, Banerjee kept Irani separate from the rest of the cast as he did not want them to meet. During filming, the investors demanded the addition of action sequences, an item song and changes in the cast. The team did not fancy these changes so Padmalaya Telefilms, their first investor, backed out of the project. Hiremath said that she had to "shell out cash" from her other company. The film's small budget meant there were limited reels to shoot. After the filming finished, the team had no money for post-production. The entire film was shot in 45 days in Delhi during the summer.


title: Khosla Ka Ghosla

text: The entire opening dream sequence was filmed in one take using a hand-held camera to give it a "separate look from the rest of the film". Amitabha Singh served as the director of photography, while Sejal Painter was the editor. Banerjee had a different, sad ending for the film, but opted for Sahni's version of a more optimistic ending after realising his idea would make the film darker. The film did not have any buyers for two years. During this period editing continued. The team showed the film to several people who loved it but were unwilling to back it. Banerjee said that he gave up on releasing the film after several rejections. Later, in 2006, UTV Motion Pictures stepped in and distributed the film.


title: Khosla Ka Ghosla

text: The soundtrack album of "Khosla Ka Ghosla" was composed by Dhruv Dhalla and Bapi–Tutul while the lyrics were written by Jaideep Sahni. It consists of five songs with vocals by Kailash Kher, Kunal Ganjawala, Sowmya Raoh, Adnan Sami and Qadar Niazi Qawwal. Savita, the film's producer, managed to raise some funds for the music and Sahni wrote the lyrics the same day as he was worried they might miss the opportunity. This was Dhalla's debut film. Banerjee called him after hearing his music samples and asked him to create "a Punjabi number based on the loud attitude of Delhi." Dhalla composed the tune for "Chak De Phattey" in three hours.


title: Khosla Ka Ghosla

text: The album received moderate reviews. Joginder Tuteja of IndiaFM called it an "average soundtrack with two songs standing out." Further writing: "While 'Chak De Phattey' is a potential chartbuster, 'Intezar Aitbaar Tumse Pyaar' makes for an easy-on-ears listening."


title: Khosla Ka Ghosla

text: "Khosla Ka Ghosla" was screened at the 2006 Kara Film Festival and the Hay Festival in 2012. It was released theatrically on 22 September 2006 on 125 screens throughout the country. The film was released on the DVD format on 6 November 2006 and is also available on the online streaming platform, Netflix.


title: Khosla Ka Ghosla

text: "Khosla Ka Ghosla" opened to widespread critical acclaim upon release. Rajeev Masand lauded the film for its "refreshingly original plot, bang-on casting, killer soundtrack and such crisp editing that there is never a dull moment". A review in "The Times of India" called it "a small, unpretentious venture with some real funny performances". Raja Sen described the film as the "best comedy Bollywood has seen in the last two decades", adding: "The everyday detailing is exquisite, as is the ensemble cast dealing with a frighteningly realistic first half escaping into a breezily unreal second half. It’s sheer magic."


title: Khosla Ka Ghosla

text: Kaveree Bamzai of "India Today" declared the film as "a class apart.": "It brings back an innocence to movies missing in the "sturm und drang" of big budgets and bigger stars."


title: Khosla Ka Ghosla

text: Sukanya Verma of "Rediff.com" felt the film was charming for its "striking believability and everyday simplicity." However, she noted that it "felt longer than it was." Namrata Joshi described the film as "utterly discreet and unassuming", one that "tries to bring back the clean and simple story-telling of Sai Paranjpye and Hrishikesh Mukherjee." Taran Adarsh noted that the film "loses sparkle in the second hour". He also concluded that on the whole ""Khosla Ka Ghosla" is a well scripted and executed film that is sure to stand out in the crowd."


title: Khosla Ka Ghosla

text: Sudhish Kamath of "The Hindu" included the film on his list of top 10 movies of the decade 2000–2009 saying: "Dibakar Banerjee and Sahni on a shoestring budget chose to bat for the common man’s struggle against the powerful and reunited the individual self back with the family." David Parkinson of "Radio Times" wrote: "Switching between bright comedy and social drama, this is Bollywood entertainment with a conscience." In September 2018, Bhaskar Chawla of "Arre" noted that the film had "set the template for what was to become a new direction in Hindi cinema" that went "beyond the conventional formula of Bollywood."


title: Khosla Ka Ghosla

text: "Khosla Ka Ghosla" was made on a production budget of approximately . It earned on its opening day and a total of at the end of the opening weekend. At the end of its first week, the collection was . The film earned a total of at the box office after the end of its theatrical run. The gross figure is including worldwide collection of .


title: Khosla Ka Ghosla

text: "Khosla Ka Ghosla" won the National Film Award for Best Feature Film in Hindi at the 54th National Film Awards. In October 2015, Banerjee decided to return the award to the government along with 12 other filmmakers, to protest the Ministry of Information and Broadcasting's refusal to roll back Film and Television Institute of India's appointment of Gajendra Chauhan as its chairman. The film's producer, Savita Raj Hiremath, claimed that Banerjee had no right to return the award since it was given to the film and not him.


title: Khosla Ka Ghosla

text: "Khosla Ka Ghosla" is considered by many critics as one of the best films by Banerjee. It was included in "Filmfare"s 100 Days series—"With no big stars, relatively unheard of a director and a subject that you wouldn't rate on paper as the most exciting, "Khosla Ka Ghosla" manages to impress one and all." It was also mentioned in critic and author Shubhra Gupta's book, "50 Films That Changed Bollywood, 1995–2015".


title: Khosla Ka Ghosla

text: In 2013, The Delhi Police Crime Branch caught a gang of cheats who duped several people by selling them plots belonging to the Delhi Development Authority by using forged documents. The officials said that the method adopted by the gang appeared to have been inspired by the film. The film was remade in Tamil as "Poi Solla Porom". Directed by A. L. Vijay, the film starred Karthik Kumar, Piaa Bajpai, and Nedumudi Venu in the lead roles. It was released on 12 September 2008. It was unofficially remade in Kannada by T. N. Nagesh as "Rame Gowda Vs. Krishna Reddy" in 2010.


title: Ford Australia

text: Ford Motor Company of Australia Limited (known by its trading name Ford Australia) is the Australian subsidiary of United States-based automaker Ford Motor Company. It was founded in Geelong, Victoria, in 1925 as an outpost of Ford Motor Company of Canada, Limited. At that time, Ford Canada was a separate company from Ford USA. Henry Ford had granted the manufacturing rights of Ford motor vehicles in the British Empire (later the Commonwealth), to Canadian investors.


title: Ford Australia

text: Ford Australia's first products were Model T cars assembled from complete knock-down (CKD) kits provided by Ford of Canada. Of the many models that followed, the best known was the Falcon produced from 1972 to 2016, originally a US model introduced in Australia in 1960 and eventually adapted to Australian requirements and road conditions.


title: Ford Australia

text: On 31 March 1925, Ford announced that its Australian headquarters were to be at Geelong, Victoria. The first Australian-built Ford was a Model T launched in June 1925. The improvised production line was in a disused Geelong wool storage warehouse while work was under way on a factory several miles away, in an area later renamed Norlane.


title: Ford Australia

text: In 1934, the company released a coupé utility based on the US Model A Ford "Closed Cab Pickup Truck" that had been produced for six years from 1928. The local designer was Ford engineer Louis (Lewis) Bandt. During the Great Depression, banks would not extend credit to farmers to purchase passenger cars, contending they were unnecessary luxuries. However, they would lend money for the purchase of "working" vehicles. The coupé utility fulfilled the need of farmers to have a workhorse which could also be used, as a well-known saying went: "to take the wife to church on Sunday and the pigs to the market on Monday".


title: Ford Australia

text: In 1956, the company bought a large tract of land in the northern Melbourne suburb of Campbellfield to build the Broadmeadows Assembly Plant, and in July 1961 announced that the new Melbourne factory would become the company headquarters.


title: Ford Australia

text: In 2009, the parent Ford company, seeking to avoid the Chapter 11 bankruptcy that had already befallen General Motors and Chrysler, began abandoning overseas projects. By about July 2009, Ford Australia had received permission from Detroit to add a new small car to its Falcon production line. On 23 May 2013, Ford Australia announced that it would leave the Australian market after 88 years due to uncompetitive manufacturing costs and lacklustre sales. The carmaker's annual financial report, for the previous year, showed a loss of A$141 million (£90m/US$136m) after tax for the 2012 financial year. This followed a loss of A$290m in 2011 and a total loss of A$600m over the preceding five years. As a result, 1200 staff would lose their jobs.


title: Ford Australia

text: Ford had two main factories, both in Victoria: located in the Geelong suburb of Norlane and the northern Melbourne suburb of Campbellfield. The Ford Discovery Centre, a museum of the history of the Ford Motor Company in Australia that was also located in Geelong, closed; the site was then occupied by Deakin University.


title: Ford Australia

text: From 1972 to 2016, Ford Falcons were fully Australian designed. The company produced the Territory SUV, which also ended production in 2016. Production of the Falcon ended with the closure of the Broadmeadows (Campbellfield) and Geelong engine and panel stamping plants. The Geelong factory produced its last Australian-made straight-six and V8 engines on 26 September 2016. Assembly at Broadmeadows concluded on 7 October 2016, ending Ford's 88-year history in Australia.


title: Ford Australia

text: Ford Australia was one of Ford's five product development centres globally. Since the end of factory operations in 2016, it fully imports cars and trucks for the Asia/Pacific region after the closure of its Australian operations. It was expected to retain about 1300 workers in Australia.


title: Ford Australia

text: Ford Australia was also designated as one of five (worldwide) full-service Regional Product Development Centres, specifically for the Asia Pacific and African regions. Products launched so far include the Ford Ikon and Fiesta in India and the Ford Bantam ute and Ikon (a sedan version of the Fiesta) in South Africa, and has also developed the new Ranger.


title: Ford Australia

text: On 24 January 2019, engineers and designers were among more than 100 workers to lose their jobs at Ford in Victoria. About 40 salaried workers, 75 hourly workers and 90 contractors across Ford bases in Broadmeadows, Lara and Geelong would be affected, the company confirmed, as the automaker further consolidated its operations. Ford's engineering work on its Ranger ute and other models "will be led out of the United States", the company said in a statement. Remaining Australian-based engineers would have a "strategic role" in developing a new medium-sized pick-up truck for Ford and the German brand, the automaker said.


title: Ford Australia

text: Ford Australia started by assembling Model Ts. As Ford introduced new models, they were assembled in Australia. During World War II, Ford Australia ceased producing cars to commence military production to support the war effort.


title: Ford Australia

text: After World War II, Ford recommenced assembly of imported Ford models. Initially, they assembled the UK sourced Pilot, then a range of British cars, including the Prefect, Anglia, Consul, Zephyr and Zodiac. Ford also assembled the Canadian Ford V8.


title: Ford Australia

text: The Ford Laser was produced in Ford's plant at Homebush West in Sydney, from 1981 until September 1994 when the plant closed, after which they were fully imported from Japan. The Laser was replaced by the Ford Focus in 2002. It is currently offered in sedan and hatchback variants with a 2.0L engine, which is one of the market leaders in sales. The Fiesta, a global Ford product, has also been offered since 2004.


title: Ford Australia

text: Mid-size cars formerly assembled in Australia included the Ford Cortina, Capri and Escort, from the UK. These were adapted for the Australian market: for example, from 1972, the Cortina was available with the option of either a 3.3-litre or 4.1-litre six-cylinder engine, and the Escort could be offered across the range with the Cortina's 2.0-litre motor. In 1977, lack of capacity required the Cortina wagon to be assembled in Renault's (now long since closed) Australian factory in Heidelberg, Victoria.


title: Ford Australia

text: The Cortina's replacement, the Mazda 626-based Telstar, was initially assembled in Australia. In 1989 the Telstar sedan was replaced by the locally assembled Ford Corsair which was essentially a rebadged Nissan Pintara. When Nissan shut down its Australian manufacturing operations in 1992 the Telstar nameplate was reintroduced, and as before it was a rebadged and respecced Mazda 626. In 1995 the Telstar was dropped in favour of the Mondeo, imported from Belgium.


title: Ford Australia

text: Ford Australia dropped the Mondeo in 2001, arguing at the time that the segment of the market in which it competed was in decline, but in 2007, it announced that it would introduce the new Mk IV model in Australia.


title: Ford Australia

text: The Ford Falcon was manufactured in Australia to a North American design, with the first model rolling off the production line at Ford's Broadmeadows plant on 28 June 1960. It differed little from the American design apart from conversion to right hand drive, and the Falcon soon proved unable to cope on harsh Australian roads, sparking a major effort to introduce improvements to its reliability. By the mid-1960s, the car was substantially different from its North American cousin and was offered in sedan, wagon, coupé, utility and panel van styles.


title: Ford Australia

text: Production of the North American Falcon, on which the Falcon was by then loosely based, ended in 1970, obliging Ford Australia to pursue its design independently. The first true all-Australian Ford Falcon was launched as the XA model in June 1972. The XD and XE generation Falcons (1979-1984) followed the styling trends of Ford Europe's Granada II model, but were still purely an Australian design from an engineering standpoint and had virtually no parts commonality with the European product.


title: Ford Australia

text: The Falcon had been an Australian "automotive icon" for most of its 56 years in production, playing a prominent part in Australian popular culture and motor racing. Falcons have served as taxis, police cars, family runabouts, and transport for tradespeople. They have been winners many times in the Australian Touring Car Championship and at the annual Bathurst 1000 touring car race, where the Falcon's reputation for engineering excellence was cemented by the early 1970s through the Falcon GT and GTHO "muscle car" variants.


title: Ford Australia

text: Ford manufactured more than four million units between 1960 and 2016, and topped sales charts on many occasions. By 2016 the Falcon line-up was offered only in sedan and utility body styles; in the past, panel vans, station wagons and hardtops had been offered. Falcons had been prominent as taxis in Australia and New Zealand, along with sister car, the Ford Fairlane. Performance variants of the Falcon were used extensively for pursuit work for many years.


title: Ford Australia

text: Ford Australia produced a range of full-size luxury cars alongside the Falcon for most of its production history. These models were named the Fairlane and the LTD. The first Fairlane, released in 1959, was an Australian-assembled version of the US Fairlane. Assembly of US cars continued until 1967, when Ford Australia designed its own luxury car, the ZA Fairlane. Heavily based on the existing XR Falcon, it had an extended wheelbase, longer boot and modest styling changes.


title: Ford Australia

text: Ford Fairlanes were often preferred vehicles among politicians and businessmen. In 1972 a new model – the LTD – joined the second generation of Fairlanes the LTD. It was in effect a Fairlane with more features such as retractable headlights, a vinyl roof and an even longer wheelbase. From the third generation of Fairlane onwards, the LTD shared the same wheelbase and body as the Fairlane, being marketed as a more luxurious version of the Fairlane rather than being a completely different car.


title: Ford Australia

text: The Fairlane topped Australian luxury car sales for two decades before its gradual downfall started in the late 1980s with the rising importation of European models such as BMW and Mercedes Benz. By the turn of the millennium, the Fairlane had been overtaken by the Holden Statesman in sales. In 2007, Ford Australia announced it would be cancelling further production of the Fairlane and LTD beyond the 2007 model year, citing falling sales and an uncertain future in the full-size luxury market. With the backing of large-volume exports to overseas markets, the Holden Statesman and Caprice then became the sole full-size extended wheelbase luxury models until their demise in 2017.


title: Ford Australia

text: Between 2004 and 2016, the Ford Territory had been built on the same production line as the Falcon. The Territory (technically a crossover) had regularly been the most popular SUV in Australia.


title: Ford Australia

text: Ford Australia is a major sponsor of the Geelong Football Club. The sponsorship agreement was first signed in 1925, making it one of the longest sporting sponsorships in the world.


title: Ford Australia

text: Ford Australia is a partner of Deakin University, funding the Ford Australia Women in STEAM Scholarship.


title: Soul Eater Not!

text: The Death Weapon Meister Academy (DWMA) is a special institution for humans who are born with the power to turn into weapons and the wielders of these weapons, called meisters. While the students of the EAT (Especially Advantaged Talent) class train themselves to become warriors of justice, the NOT (Normally Overcome Target) class is for those who just want to control their powers with the intent to not become a threat to others and to themselves. Tsugumi Harudori is a halberd demon weapon who takes part in the NOT class and befriends two meisters, Meme Tatane and Anya Hepburn, becoming indecisive about which one of them to choose as her partner. The series follows the daily lives of Tsugumi and her friends as they learn the ropes of the DWMA and have occasional encounters with the characters of the main series.


title: Soul Eater Not!

text: The manga was serialized from the February 2011 issue of Square Enix's "Monthly Shōnen Gangan" sold on January 12, 2011 to the December 2014 issue sold on November 10, 2014. Square Enix published five "tankōbon" volumes between September 22, 2011 and December 22, 2015. The series is licensed in North America by Yen Press and is being simultaneously released in English alongside its Japanese counterpart.


title: Soul Eater Not!

text: An anime television series adaptation by Bones aired in Japan between April 8, 2014 and July 2, 2014 and was simulcast by Funimation. The opening theme is "Monochrome" by Dancing Dolls and the ending theme is by Haruka Chisuga, Aoi Yūki and Saori Hayami.


title: Soul Eater Not!

text: The first three of the manga volumes released by Yen Press are best sellers according to "The New York Times".


title: Soul Eater Not!

text: Anime News Network had four editors review the first episode of the anime: Rebecca Silverman expressed intrigue in the series. She praised the character of Tsugumi Harudori for being interesting and introducing the world the story takes place in, concluding by saying that it deserves more episodes to see how it will move forward from that; Carl Kimlinger, although praising Masakazu Hashimoto for directing the series from a different perspective, expressed criticism in the lack of bravado and edge that Takuya Igarashi brought to the original series; Jacob Hope Chapman commented on how comparing it to the original series seemed fair, expressing disdain over the animation and characters for being bland and the overall tone resembling that of "K-On!". The fourth reviewer, Theron Martin, gave two different opinions on the episode. He said that the change in tone and different art style will disappoint fans of the original series, while as a stand-alone show it might do better with its overall cutesy charm. Martin reviewed the complete series in 2015. Despite finding some inconsistency in the setting and some subpar action scenes, Martin gave praise to the main trio's presence, the moe-influenced animation and returning to the series' world as a prequel, concluding that, "Overall, "Soul Eater Not!" looks pretty good and can be quite pleasingly entertaining, provided that you do not go into it from "Soul Eater" expecting 'more of the same'. It sells its cute and fun factors well enough to stand on its own while also still throwing plenty of bones to fans of the original series."


title: The Lost King

text: The Lost King is a 2022 British comedy-drama film directed by Stephen Frears and written by Steve Coogan and Jeff Pope, based on the 2013 book "The King's Grave: The Search for Richard III" by Philippa Langley and Michael Jones. It is a dramatisation of the story of Philippa Langley, the woman who initiated the search to find King Richard III's remains under a car park in Leicester. The film stars Sally Hawkins, Coogan, and Harry Lloyd. The film was produced by Pathé, Baby Cow Productions, BBC Film and Ingenious Media, and distributed by Pathé in France and Switzerland as a standalone distributor, and in the UK via Warner Bros. Pictures. The film premiered in Toronto International Film Festival on 10 September 2022, and was released in the United Kingdom on 7 October 2022.


title: The Lost King

text: Philippa Langley of Edinburgh fails to get a promotion at her long-time sales job because she has “issues”. She claims her ME is a real medical condition that has never affected her work. Her ex-husband John Langley regularly helps with their two teenage boys, and tells her to keep her job because they need the money.


title: The Lost King

text: Philippa sees the Shakespeare play Richard III, and feels Richard III is unfairly maligned as a hunchback, child killer, and usurper.


title: The Lost King

text: At work, Philippa sees an apparition of the same Richard III actor in full costume staring at her; she leaves early with an anxiety attack. She sees Richard III again outside her window. She orders eight books about him, finding a card for the Richard III Society. She joins at her first meeting in Edinburgh when they agree he has been unfairly villified for over five hundred years.


title: The Lost King

text: Phillippa stops going to work, manages her ME with medication, and continually sees Richard III apparitions, and even starts talking to him. She obsessively researches Richard; sources say he was buried in 1485 in the Leicester Greyfriars Franciscan Priory choir area, with some saying his body was thrown into the River Soar. After Greyfriars was demolished during the 1530s Reformation, Leicester mayor Robert Herrick in about 1600 had built a shrine to Richard III in his garden over the grave.


title: The Lost King

text: Philippa attends a Leicester lecture on Richard, lying to her ex-husband about it being a work trip. She meets Dr. Ashdown-Hill, who is publishing a genetic genealogy study on a Canadian direct ancestor of Richard III’s sister. He tells her to look for Richard in open spaces in Leicester, because people for centuries have avoided building over old abbeys. While walking around Leicester looking for the ancient site of Greyfriars, and still seeing Richard III apparitions, she gets a strong feeling an “R” painted on a car park is the site of Richard’s grave.


title: The Lost King

text: Philippa confesses to John she’s been researching Richard III’s grave instead of working because it energises her. John thinks she’s irresponsible and going mad. Later she convinces him to move in full-time for the kids so she can research Richard III full-time.


title: The Lost King

text: Philippa contacts University of Leicester archaeologist Richard Buckley about her feeling that Richard III is under the car park. Buckley thinks Philippa is a waste of time, but when the university cuts his archaeology projects, he gets back to her. Buckley finds an old map of Leicester marking Robert Herrick’s property, showing a possible public shrine in his garden. They overlay a modern map of Leicester and find that the shrine may be in the middle of the Social Services car park that Philippa had felt strongly about.


title: The Lost King

text: Philippa and Buckley team up, with her pitching the Leicester City Council and potential funders. Richard Taylor of the University of Leicester thinks she lacks funding, and her amateur “feeling” that Richard III is under a car park is too risky. The City Council approves her plan anyway, but when the initial ground-radar survey finds no structures under the pavement, several funders drop out. Philippa turns to the Richard III Society to help crowd-fund her “Looking For Richard” project online, and the money pours in from around the world. They secure funding for three archaeological trenches.


title: The Lost King

text: On day one of the dig, Philippa gets Buckley to start trench one at the painted R spot, and they immediately find the legs of a skeleton. Buckley thinks it’s an outside graveyard for monks, not the choir graves for important individuals. Philippa confronts Richard Taylor for falsely claiming credit for leading the project.


title: The Lost King

text: With three trenches underway, the archaeology staff focuses on expanding trench three, but Philippa wants to expose the complete skeleton in trench one. Buckley angrily relents and goes home while the crew digs her skeleton. The osteologist soon realizes it’s Richard III, with the correct kind of death-blow to the skull, a 30-year-old male, and a badly-curved spine.


title: The Lost King

text: As word spreads of the discovery, university leaders rush in to lead the project. They re-hire Richard Buckley, all the evidence confirms it’s Richard III, and Richard Taylor ignores Philippa’s emails desiring a royal coat of arms on the Richard III tomb, saying nothing shows Shakespeare was wrong.


title: The Lost King

text: Richard III appears to Philippa one last time at Bosworth Field, where he thanks her and rides off. Richard gets a funeral fit for a king in Leicester Cathedral, where Philippa meets Pete, the actor who played Richard III in the Shakespeare play, and the same face that has been appearing to her.


title: The Lost King

text: The closing credits say the Royal Family’s website has reinstated Richard as the rightful King of England 1483-1485, so he’s no longer a usurper. A shot of his tomb in Leicester Cathedral shows a Royal Coat of Arms. Philippa Langley is awarded an MBE in 2015.


title: The Lost King

text: In November 2020, it was announced that Stephen Frears was set to direct the film, based on a screenplay written by Steve Coogan and Jeff Pope, and co-starring Coogan. In March 2021, it was announced that Sally Hawkins had joined the cast, as amateur historian Philippa Langley. Principal photography began in April of that year, and took place across a variety of locations in the Edinburgh area, including Morningside and Newtongrange.


title: The Lost King

text: On 28 July 2022, it was announced "The Lost King" would have its world premiere at the 47th Toronto International Film Festival, and would be released in UK cinemas on 7 October 2022. IFC Films has acquired U.S. distribution rights to the film.


title: The Lost King

text: Based on the trailer, some of the lead archaeologists involved in the story did not feel that the film's presentation as "the true story" was correct, and that it had under-represented their involvement, and over-represented Langley's financial input to the project. Langley contends that the archaeologists took undue credit for finding the remains of Richard III given that she had led the search, raised the funding for the dig and commissioned the archaeologists. Following the UK première of the film the University of Leicester issued a press release, including the following abstract:


title: The Lost King

text: We worked closely with Philippa Langley throughout the project, and she was not sidelined by the University. Indeed, she formed part of the team interview panel for every single press conference connected to the King.The suggested whereabouts of the King's remains was public knowledge prior to Philippa's intervention, however [sic], we recognise she was the positive driving force behind the decision to dig for Richard III.


title: The Lost King

text: Contrary to the misleading media statement issued by the University, I did feel side-lined (and continue to feel side-lined) by the University wrongly taking my credit for leading the search for the King's remains. The only press conference that mattered was the one on 4 February 2013 to confirm that the remains were those of Richard III. That conference was the one attended by the world's media. I was not invited by the University to sit on the panel that faced the journalists and the University wrongly presented themselves as leading the search that I had commissioned and paid for. It is true the University invited me to address the conference but as the 13th of 13 speakers, long after the live TV news feed had ended.


title: The Lost King

text: As for the general whereabouts of the extensive Greyfriars precinct – where some (not all) believed Richard III might be buried – yes this was known, but no one knew the layout of the buildings and therefore where the Greyfriars Church itself (and therefore the body of the King) might be (if he wasn't in the River Soar as most leading historians then believed). Only through my intuition and research was the precise area identified where the dig should take place. In a matter of hours of starting to dig, the King's remains were revealed. If the University (and everyone else) knew exactly where to dig, why hadn't they done so before?


title: The Lost King

text: I'm portrayed as kind of a bullying, cynical, double-crossing, devious manipulator which is bad, but then when you add to that I behave in a sexist way and a way that seems to mock Richard III's disabilities, you start to get into the realm of defamation.


title: The Lost King

text: The university's version of events has been extensively documented over the past 10 years. Philippa's recollection of events, as corroborated by the filmmakers' research, is very different.


title: The Lost King

text: Taylor has stated that he is "likely" to take legal action against the filmmakers over its inaccuracies.


title: The Lost King

text: On the review aggregator website Rotten Tomatoes, 66% of 38 reviews are positive, with an average rating of 6/10. The site's critics consensus reads: "The movie's curiously bland compared to the remarkable real-life story it dramatizes, but Sally Hawkins' performance saves "The Lost King" from feeling like a royal disappointment." Metacritic, which uses a weighted average, assigned a score of 57 out of 100 based on 14 critics, indicating "mixed or average reviews". Hawkins' performance has been met with critical acclaim. The "Evening Standard"'s four-star review stated "Sally Hawkins is Oscar-worthy". Likewise, "Heat" and iNews gave the film four out of five stars, with the latter stating "Coogan is marvellous". Peter Bradshaw of "The Guardian" gave the film two stars out of five, commenting on the "uneven" nature of the script and that scenes with Richard III "make the film odd and unrelaxed", while these scenes were praised in Matthew McMillan's four-star review for "The Upcoming", for imbuing the film "with an offbeat allure", describing the film as "a treat […] spearheaded by Hawkins's performance, and guided by the dexterity of Frears's craft". Kevin Maher of "The Times" also gave the film two stars, remarking, ""The Lost King" is oddly petty, with a cast of characters essentially shouting, like the seagulls in "Finding Nemo": 'Mine! Mine! Mine!'"


title: The Home and the World

text: The Home and the World (in the original Bengali, ঘরে বাইরে Ghôre Baire or Ghare Baire, lit. "At home and outside") is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture. These two ideas are portrayed in two of the main characters, Nikhilesh, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals. These two opposing ideals are very important in understanding the history of the Bengal region and its contemporary problems.


title: The Home and the World

text: There is much controversy over whether or not Tagore was attempting to represent Gandhi with Sandip. This is owing to Gyorgy Lukacs's 1922 review of the novel in the Berlin periodical, Die rote Fahne (that is typically translated into English as "Tagore's Gandhi Novel") where he makes this mistaken suggestion. The novel could not have been based on Gandhi as it was published in 1916 (and written before) when Gandhi had just moved to India from South Africa (1915) and was not a known political figure. Gandhi gained political prominence in India in the context of the Khilafat movement of 1919, which was long after the novel's publication, and took over the leadership of the Indian National Congress in 1920.


title: The Home and the World

text: The novel was translated into English by the author's nephew, Surendranath Tagore, with input from the author, in 1919. "The Home and the World" was among the contenders in a 2014 list by "The Telegraph" of the 10 all-time greatest Asian novels.


title: The Home and the World

text: The novel is set in early 20th century India. The story line coincides with the National Independence Movement taking place in the country at the time, which was sparked by the Indian National Congress. There were various national and regional campaigns with both militant and non-violent ideas which all had the common goal of ending British colonial rule. Militant nationalism had a strong showing in the early part of the 20th century, especially during the World War I period. Some examples of this movement are the Indo-German Pact and the Ghadar Conspiracy, both of which failed.


title: The Home and the World

text: Particularly important to the novel is an understanding of the Swadeshi movement as a part of the Indian Nationalist Movement. The Swadeshi movement started in response to the 1905 Partition of Bengal by Viceroy Lord Curzon, which temporarily separated Hindus and Muslims into different geographical areas. The Swadeshi movement was a successful resistance policy against British colonisation. Indian citizens were encouraged to boycott British goods to foster Indian identity and independence. This movement was important in fostering "the new spirit in India," and separating India from Britain, which was largely thought to be responsible for the subsequent widespread poverty.


title: The Home and the World

text: Family structures in traditional India consists of not only the nuclear family but also grandparents, parents-in-law, and unmarried sisters-in-law as well. Though the joint-family is linked to ancient India, it is still prevalent in modern-day India. Traditionally, baby boys were preferable to baby girls since boys were able to earn money and support the family, whereas girls were expensive to raise. In addition to being unable to work for a living, the girl's marriage dowry required a hefty amount of money and other luxury goods such as valuable jewelry and saris. Once girls were married off to the other families, they would have to address their new parents-in-law as "father" and "mother". As home maker of the family, the wife's duty was to supervise the household and take care of the children, as well as to please her new in-laws.


title: The Home and the World

text: "The Home and the World" tells us not only of the personal struggles of the three main characters, but also little details of the family structure and what traditional Indian households were like. At the opening of the novel, Bimala is a traditional, obedient house wife who is faithful to her husband, even forcing herself to be respectful towards her nagging sister-in-law. "I would cautiously and silently get up and take the dust of my husband's feet without waking him, how at such moments I could feel the vermilion mark upon my forehead shining out like the morning star" (11). However, as she falls "in love" with Sandip, she slowly weans herself from her traditional housewife role. She becomes more daring, more confidently brushing off her sister-in-law's criticisms, crossing outside the women's quarter of the house, and easily conversing with a man, Sandip, who is not her husband. Through her change from the good house wife to an independent, more modern woman.


title: The Home and the World

text: Nikhil is seen and described as an educated and gentle man. He is from kulin aristocratic family of landlords, and his family prides themselves in beautiful women. However, Nikhil is different in that he married not only a poor woman, but also one who was not particularly attractive. He is a friend of Sandip and has allowed him to stay in his bungalow. In light of this, the police also suspect him of harbouring some "hidden protest". In reality, Nikhil considers himself to be more aware of his country's role in a broader sense, and refuses to take part in the Swadeshi movement.


title: The Home and the World

text: Bimala is the wife of Nikhil. She is described as not very pretty and from a much more humble background than Nikhil. She loves her husband dearly, and enjoys being completely devoted to him. At the beginning of the novel, she seems to be confined to the traditional female role, and has no thoughts of entering the real world, even with persuasion from her husband. Her feelings make a rapid change with the occurrence of the Swadeshi movement, due to Sandip's radical influence.


title: The Home and the World

text: Sandip is the third major character in the novel, completing the love triangle. He is a guest in the home of Nikhil and Bimala and his revolutionary ideas and speeches have a significant impact on Bimala. He is very vocal in his anti-imperialistic views and is a skilled orator. Sandip represents characteristics that are directly opposite to those Nikhil possesses, thus drawing Bimala to Sandip. Bimala gets caught up in the ideas that Sandip presents as well as the man himself. Her seemingly increasing patriotism causes her to spend more and more time with Sandip, thereby solidifying the love triangle conflict. Sandip's first name is translated to "with dipa (light fire flame)".


title: The Home and the World

text: Bara Rani is Bimala's sister in law. Her relationship with Bimala is strained at best. She causes a lot of tension in the household. She also uses Nikhil to get the material items that she desires. Bimala constantly complains about her to Nikhil. Bara Rani taunts Bimala for her mingling with Sandip Babu.


title: The Home and the World

text: Bimala considers Amulya to be her adoptive son, whom she met from the Swadeshi Movement. When first they meet, Bimala asks him to acquire money for their cause. He lists wild schemes and plans, to which Bimala replies "you must not be childish" (138). After pondering their situation, Amulya resolves to murder the cashier for the money. Tagore uses him to symbolise the raw emotion and passion, yet lack of sympathy for others often encompassed by group or riot mentality. Amulya struggles, as any youth, between completing the goals of the movement and developing strong relationships on an individual level, such as with Bimala; this is made extremely difficult by Sandip's powerful influence.


title: The Home and the World

text: Near the beginning of the novel, Nikhil brings his wife Bimala to a political rally in an attempt to get her to join the outside world and get in better touch with "reality." Though Bimala had heard of Sandip before this time, and developed a somewhat negative opinion of him, this was the first time she heard Sandip speak. This event not only changes her opinion of Sandip, but affects her entire outlook on her life both at home and in the outside world. "I was no longer the lady of the Rajah's house, but the sole representative of Bengal's womanhood," Bimala says (31).


title: The Home and the World

text: Towards the end of the book Sandip convinces Bimala to steal from her husband, Nikhil. While in the act of stealing 6,000 rupees, she comes to a realisation of the terrible crime she is committing, "I could not think of my house as separate from my country: I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me" (144). This represents a character turning point for Bimala: While in the act of thieving, she realises that Sandip is not only corrupting and robbing the nation, but encouraging her and others to do the same. Ultimately, she ends up giving the money to Sandip and receives unceasing praise from both Sandip and Amulya for her newly recognised sin.


title: The Home and the World

text: However, Bimala realises that she has made a mistake by stealing the money from Nikhil and attempts to have Amulya pawn off some of her jewellery to replace the money. Amulya attempts to give the box back, but Sandip steals it and gives it back himself. This event allows both Amulya and Bimala to see that Sandip is concerned only with himself, thus allowing them to break free from part of his web. It is during this time that Bimala realises her power over Sandip by being able to easily make him jealous.


title: The Home and the World

text: As the title suggests, a major theme is the relationship of the home with the outside world. Nikhil enjoys the modern, western goods and clothing and lavishes Bimala with them. However, Bimala, in the Hindu tradition, never goes outside of the house complex. Her world is a clash of western and traditional Indian life. She enjoys the modern things that Nikhil brings to her, but when Sandip comes and speaks of nationalism with such fire, she sees these things as a threat to her way of life. Bimala's struggle is with identity. She is part of the country, but only knows the home and her home is a mix of cultures. She is torn between supporting the ideal of a country that she knows she should love, or working toward ensuring that her home, her whole world, is free from strife and supporting her husband like a traditional Indian woman should. Bimala is forced to try to understand how her traditional life can mix with a modern world and not be undermined. This theme ties in with the nationalism theme because it is another way that Tagore is warning against the possibility that nationalism can do more harm than good.


title: The Home and the World

text: Nikhil and Sandip have extremely different views for the growth of the nation. Nikhil demonstrates these beliefs in marrying Bimala, a woman considered "unattractive" as a result of her dark skin color. In the novel, Nikhil talks about disliking an intensely patriotic nation, "Use force? But for what? Can force prevail against Truth?" (45). On the other hand, Sandip has contrasting views for the growth of the nation believing in power and force, "My country does not become mine simply because it is the country of my birth. It becomes mine on the day when I am able to win it by force". (45) The contradicting views of Nikhil and Sandip set up the story and construct a dilemma for Bimala. Unfortunately for Nikhil, he has already tried to show Bimala the outside world, and stir some sort of emotion within her since the beginning of the novel, and failed. Sandip possesses great oratory skill that wins Bimala over simply because of his passion and ferocity, something that her husband may lack.


title: The Home and the World

text: The constant forming of illusions in the novel grows to be a major recurring theme. Sandip tends to create illusions that almost always have negative effects on his followers and on the nation of Bengal. He builds an illusion of his beliefs that sucks the people of Bengal into a sort of cult. His illusion is complete sovereignty, free of all other worlds, and an endless supply of wealth and self enjoyment. This illusion, as many are, is a fake and a lie. It ultimately sells these people a front row ticket to watch their nation fall into complete chaos and civil war between people with different beliefs. He constructs an illusion for Bimala to believe, saying she is the future, women are the future, they are the chosen path to salvation. Bimala builds an illusion that she is to blame for this war, it is solely her doing. That she has done all wrong and no right. She refuses to accept that she too was a victim of "Bande Mataram". "I now fear nothing-neither myself, nor anybody else. I have passed through fire. What was inflammable has been burnt to ashes; what is left is deathless. I have dedicated myself to the feet of him, who has received all my sin into the depths of his own pain." (199) The biggest of all is Sandip's mask of caring and passion, while he hides his own selfishness and desire for the world.


title: The Home and the World

text: In more than one way, this novel is a comparison of different views of truth. Which reality is truer is up to the reader's interpretation. Nikhil maintains an idealistic view of the world while Sandip takes a radical, nature-worshiping view. He feels Nikhil's view of the world is inferior to the real, raw world in which he lives as a radical leader. Bimala as well must compare truths. Through her interactions with Sandip, she is introduced to the truth of "shakti" (female power), yet her life with Nikhil is centred on the truth of conjugality. Each of these instances is a comparison of truth as being something simply objective to being something with a more spiritual or moral dimension. While the story ends in tragedy, both views of truth are important players in the story's outcome, and it is left to the reader to ponder with which he or she agrees or disagrees.


title: The Home and the World

text: From the first page of the novel, the love and union between Nikhil and Bimala is illustrated as something sacred. Nikhil proved throughout the story that he was undeniably devoted to his wife. He proved this first by marrying a woman who hailed from a poor family, along with accepting her darker skin. He made great effort to not only educate her, but also for her to understand her place in the world and not just her place in the captivity of their house. He shows his love by giving her freedom. Bimala also adores her husband, but in a less material manner. This is demonstrated in Bimala's daily ritual of "taking the dust", an Indian ritual of reverence not usually performed by a wife to her husband.


title: The Home and the World

text: Due to Bimala's extreme devotion to Nikhil, in the beginning of the novel, the union between the two of them is seen as one that cannot be broken. However, as, the story progresses, Bimala is slowly overcome by her feelings for Sandip. She eventually realises that she has found in Sandip what she longed for in Nikhil, fierce ambition and even violent defence of one's ideals. Her deep desire for Sandip led her to completely break her sacred union with Nikhil, going as far as to steal money from her household funds. Sandip shows his love for Bimala through idolisation. This idolisation comes about due to her freedom, though.


title: The Home and the World

text: The tale clearly presents the theme of love and union time and time again, going from Nikhil and Bimala's marriage, through the love triangle created by Sandip, and once again returning to Bimala's love for Nikhil at the very end. This story tests the boundaries of the union of marriage. It stretches and twists it to the point where a 9-year marriage is nearly destroyed simply because of a raw temptation. In addition to the idea of romantic love, there is a sense of love of one's own country depicted throughout the novel. Questions such as, is it best to love one's country through action, perhaps even violence, or by passive tolerance, are posed in the arguments of Nikhil and Sandip. While love and worship seem parallel in marriage, Nikhil believes these feelings cannot apply to one's country. "To worship my country as a god is to bring a curse upon it". (29)


title: The Home and the World

text: Throughout the novel, as stated earlier, a strong sense of devotion is seen in the relationship between Bimala and Nikhil. It is key to notice that an indirect evaluation of the role of women is seen in this novel also, in a very subtle manner. In the society described, Bimala, like most women, blindly worships her husband. This can be seen when Bimala is described, "taking the dust of my husband's feet without waking him". When she is caught doing this act of reverence, her reaction is, "That had nothing to do with merit. It was a woman's heart, which must worship in order to love." (18). This scene shows the average woman in this society who believes love will happen and worship is a given in a marriage. She blindly respects her husband without understanding or having a grasp of who he is.


title: The Home and the World

text: Another one of the many scenes that alludes to a woman's place in this society is when Nikhil and Sandip argue and Bimala is asked her opinion, which she finds unusual, in addition to "Never before had I [Bimala] had an opportunity of being present at a discussion between my husband and his men friends" (38). This line shows how there is a strong disconnect and there is no place, usually, for a woman in real world conversations. To further prove this, in Nikhil's story, the role of a woman is seen clearly, "Up till now Bimala was my home-made Bimala, the product of the confined space and the daily routine of small duties" (42). These indirect references and descriptions are quite frequent throughout the novel and clearly allows the reader to get a sense of what women were subject to and their overall role in the society.


title: The Home and the World

text: One major theme in the novel is the importance of religion on the one hand and nationalism on the other. In this novel, religion can be seen as the more "spiritual view" while nationalism can be seen more as the "worldly view." Nikhil's main perspective in life is by the moral and intangible, while Sandip is more concerned about the tangible things, which to him is reality. Sandip believes that this outlook on life, living in a way where one may follow his or her passions and seek immediate gratification, is what gives strength and portrays reality, which is linked to his strong belief in nationalism. From Sandip's point of view, "when reality has to meet the unreal, deception is its principal weapon; for its enemies always try to shame Reality by calling it gross, and so it needs must hide itself, or else put on some disguise" (Tagore 55). To Sandip, reality consists of being "gross", "true", "flesh", "passion", "hunger, unashamed and cruel" (Tagore 55). On the other hand, Nikhil's view is more concerned with controlling one's passions and living life in a moral way. He believes that it is, "a part of human nature to try and rise superior to itself", rather than living recklessly by acting on instinct and fleshly desires (Tagore 57). Nikhil argues that a person must learn to control his or her passions and "recognize the truth of restraint" and that "by pressing what we want to see right into our eyes we only injure them: we do not see" (Tagore 60). All these moral precepts tie in with his faith. Nikhil also speaks from a more religious perspective when he speaks of how "all at once my heart was full with the thought that my Eternal Love was steadfastly waiting for me through the ages, behind the veil of material things" (Tagore 66). This shows that Nikhil does not live morally just for the sake of trying to be good, but that it is grounded in his religious views. Sandip reiterates the fact that in their country, they have both "religion and also our nationalism" and that "the result is that both of them suffer" (Tagore 80).


title: The Home and the World

text: The film "Ghare Baire" was first released at the Cannes Film Festival in France on 22 May 1984, under the direction of Satyajit Ray. It was also nominated for the Golden Palm award, one of the highest awards received at the Cannes Film Festival. It was later released in the United States on 21 June 1985. The scriptwriters were Satyajit Ray (writer) and Rabindranath Tagore (novel). Sandip was played by Soumitra Chatterjee, Nikhilesh was played by Victor Banerjee and Bimala was played by Swatilekha Sengupta.


title: Duke Blue Devils

text: The Duke Blue Devils are the intercollegiate athletic teams that represent Duke University, located in Durham, North Carolina. Duke's athletics department features 27 varsity teams that all compete at the National Collegiate Athletic Association (NCAA) Division I level. The name comes from the French "les Diables Bleus" or "the Blue Devils," which was the nickname given during World War I to the Chasseurs Alpins, the French Alpine light infantry battalion.


title: Duke Blue Devils

text: Duke joined the Southern Conference in 1929, and left in 1953 to become a founder of the Atlantic Coast Conference.


title: Duke Blue Devils

text: Teams for then Trinity College were known originally as the Trinity Eleven, the Blue and White or the Methodists. William H. Lander, as editor-in-chief, and Mike Bradshaw, as managing editor, of the Trinity Chronicle began the academic year 1922–23 referring to the athletic teams as the Blue Devils. The Chronicle staff continued its use and through repetition, Blue Devils eventually caught on.


title: Duke Blue Devils

text: The Blue Devils have won 17 NCAA National Championships. The women's golf team has won seven (1999, 2002, 2005, 2006, 2007, 2014, and 2019), the men's basketball team has won five (1991, 1992, 2001, 2010, and 2015), men's lacrosse has won three (2010, 2013 and 2014), and the men's soccer (1986) and women's tennis (2009) teams have won one each. Duke's major historic rival, especially in basketball, has been the Tar Heels of the University of North Carolina at Chapel Hill (see "Duke-Carolina rivalry").