Plot.

Cinderella is living a dissatisfying life, having lost both parents at a young age, and being forced to work as a scullery maid in her own château. Her stepmother, Lady Tremaine, is cruel to her, and she is jealous of Cinderella's charm and beauty. Additionally her two stepsisters, Drizella and Anastasia, cruelly take advantage of her. In spite of this, Cinderella is a kind and gentle young woman. She is friends with mice and kind to birds that live in and around the château. Meanwhile, at the royal palace, the King is frustrated that his son, the Prince, still is not married. He and the Grand Duke organize a ball in an effort to find a suitable wife for the bored and picky Prince, requesting every eligible maiden attend. Upon receiving notice of the ball, Lady Tremaine agrees to let Cinderella go if she finishes her chores and can find a suitable dress to wear.  Cinderella finds a gown that belonged to her mother and decides to refashion it for the ball, but her step-family impedes this by giving her extra chores. Cinderella's animal friends, including Jaq and Gus, refashion it for her, completing the design with a necklace and sash discarded by Drizella and Anastasia, respectively. When Cinderella comes downstairs wearing the dress, the stepsisters are upset when they realize Cinderella is wearing their accessories and tear the dress to shreds before leaving for the ball with their mother. Heartbroken, Cinderella storms out into the garden in tears, where her Fairy Godmother appears before her. Insisting that Cinderella will go to the ball, the Fairy Godmother magically transforms a pumpkin into a carriage, the mice into horses, Cinderella's horse, Major, into a coachman, and dog, Bruno, into a footman, before turning Cinderella's ruined dress into a shimmering ballgown and her shoes into glass slippers. As Cinderella leaves for the ball, the Fairy Godmother warns her the spell will break at the stroke of midnight.  The Prince rejects every girl at the ball until he sees Cinderella, who agrees to dance with him, unaware of who he is. The two fall in love and go out for a stroll together in the castle gardens. As they are about to kiss, Cinderella hears the clock start to chime midnight and flees. As she leaves the castle, one of her slippers falls off. The palace guards give chase as Cinderella flees in the coach before the spell breaks on the last stroke of midnight. Cinderella, her pets, and the mice hide in a wooded area as the guards pass. The only remaining piece Cinderella has of her costume is the one glass slipper on her foot.  The Grand Duke informs the King that Cinderella, who remains anonymous, has escaped, and that the Prince wishes to marry her. The lost glass slipper is the only piece of evidence. The King issues a royal proclamation ordering every maiden in the kingdom to try on the slipper for size in an effort to find the girl. After this news reaches Cinderella's household, Lady Tremaine overhears Cinderella humming the waltz played at the ball. Realizing that Cinderella is the mysterious girl, Lady Tremaine locks her in her attic bedroom. Later, the Duke arrives at the château, and Jaq and Gus steal the key from Lady Tremaine's dress pocket and take it up to the attic as Anastasia and Drizella unsuccessfully try on the slipper. Lady Tremaine's cat, Lucifer, ambushes the mice, but Bruno chases him out of the house, allowing the mice to free Cinderella. As the Duke is about to leave, Cinderella appears and asks to try on the slipper. Knowing it will fit, Lady Tremaine trips the footman as he brings the Duke the slipper, causing it to shatter on the floor. Much to her horror, and the Grand Duke's profound relief, Cinderella presents the Duke with the other slipper, which fits perfectly. The film ends with a now-married Prince and Cinderella at their wedding, sharing a kiss as they leave.

Production.

Story development.

In 1922, Walt Disney produced a Laugh-O-Gram cartoon based on "Cinderella", and he had been interested in producing a second version in December 1933 as a Silly Symphony short. Burt Gillett was attached as the director while Frank Churchill was assigned as the composer. A story outline included "white mice and birds" as Cinderella's playmates. To expand the story, storyboard artists suggested visual gags, some of which ended up in the final film. However, the story proved to be too complicated to be condensed into a short so it was suggested as a possible animated feature film as early as 1938 starting with a fourteen-page outline written by Al Perkins. Two years later, a second treatment was written by Dana Cofy and Bianca Majolie, in which Cinderella's stepmother was named Florimel de la Pochel; her stepsisters as Wanda and Javotte; her pet mouse Dusty and pet turtle Clarissa; the stepsisters' cat Bon Bob; the Prince's aide Spink, and the stepsisters' dancing instructor Monsieur Carnewal. This version stuck closely to the original fairy tale until Cinderella arrives home late from the second ball. Her stepfamily then imprison Cinderella in a dungeon cellar. When Spink and his troops arrive at the la Pochel residence, Dusty takes the slipper and leads them to free Cinderella.  By September 1943, Disney had assigned Dick Huemer and Joe Grant to begin work on "Cinderella" as story supervisors and given a preliminary budget of $1 million. However, by 1945, their preliminary story work was halted. During the writing stages of "Song of the South", Dalton S. Reymond and Maurice Rapf quarreled, and Rapf was reassigned to work on "Cinderella". In his version, Cinderella was written to be a less passive character than Snow White, and more rebellious against her stepfamily. Rapf explained, "My thinking was you can't have somebody who comes in and changes everything for you. You can't be delivered it on a platter. You've got to earn it. So in my version, the Fairy Godmother said, 'It's okay till midnight but from then on it's up to you.' I made her earn it, and what she had to do to achieve it was to rebel against her stepmother and stepsisters, to stop being a slave in her own home. So I had a scene where they're ordering her around and she throws the stuff back at them. She revolts, so they lock her up in the attic. I don't think anyone took (my idea) very seriously."  In spring 1946, Disney held three story meetings, and subsequently received a treatment from Ted Sears, Homer Brightman, and Harry Reeves dated on March 24, 1947. In the treatment, the Prince was introduced earlier in the story reminiscent of "Snow White and the Seven Dwarfs", and there was a hint of the cat-and-mouse conflict. By May 1947, the first rough phase of storyboarding was in the process, and an inventory report that same month suggested a different approach with the story "largely through the animals in the barnyard and their observations of Cinderella's day-to-day activities."  Following the theatrical release of "Fun and Fancy Free", Walt Disney Productions' bank debt declined from $4.2 million to $3 million. Around this time, Disney acknowledged the need for sound economic policies, but emphasized to the loaners that slashing production would be suicidal. In order to restore the studio to full financial health, he expressed his desire to return to producing full-length animated films. By then, three animated projects—"Cinderella", "Alice in Wonderland", and "Peter Pan"—were in development. Disney felt the characters in "Alice in Wonderland" and "Peter Pan" were too cold, while "Cinderella" contained elements similar to "Snow White", and greenlit the project. Selecting his top-tier animation talent, Ben Sharpsteen was assigned as supervising producer while Hamilton Luske, Wilfred Jackson, and Clyde Geronimi became the sequence directors. Nevertheless, production on "Alice" resumed so that both animation crews would effectively compete against each other to see which film would finish first.  By early 1948, "Cinderella" had progressed further than "Alice in Wonderland", and was fast-tracked to become the first full-length animated film since "Bambi". During a story meeting on January 15, 1948, the cat-and-mouse sequences began to grow into an important element in the film so much that Disney placed veteran story artist Bill Peet in charge of the cat-and-mouse segments.  By the late 1940s, Disney's involvement during production had shrunken noticeably. As he was occupied with trains and the filming of "Treasure Island", the directors were left to exercise their own judgment more on details. Although Disney no longer held daily story meetings, the three directors still communicated with him by mailing him memoranda, scripts, Photostats of storyboards, and acetates of soundtrack recordings while he was in England for two and a half months during the summer of 1949. When Disney did not respond, work resumed and then had to be undone when he did. In one instance when Disney returned to the studio on August 29, he reviewed Luske's animation sequences and ordered numerous minor changes, as well as a significant reworking of the film's climax. Production was finished by October 13, 1949.

Casting.

Mack David and Jerry Livingston had asked Ilene Woods to sing on several demo recordings of the songs. They had previously known her from her eponymous radio show "The Ilene Woods Show" which was broadcast on ABC. The show featured fifteen minutes of music, in which David and Livingston had their music presented. Two days later, Woods received a telephone call from Disney, with whom she immediately scheduled an interview. Woods recalled in an interview with the "Los Angeles Times", "We met and talked for awhile, and he said, 'How would you like to be Cinderella?'," to which she agreed.  For the role of Lucifer, a studio representative asked June Foray if she could provide the voice of a cat. "Well, I could do anything," recalled Foray, "So he hired me as Lucifer the cat in "Cinderella"".

Animation.

Live-action reference.

Starting in spring 1948, actors were filmed on large soundstages mouthing to a playback of the dialogue soundtrack. Disney had previously used live-action reference on "Snow White and the Seven Dwarfs", "Pinocchio", and "Fantasia", but as part of an effort to keep the production cost down, the footage was used to check the plot, timing, and movement of the characters before animating it. The footage was then edited frame-by-frame onto large Photostat sheets to duplicate, in which the animators found too restrictive as they were not allowed to imagine anything that the live actors did not present since that kind of experimentation might necessitate changes and cost more money. Additionally, the animators were instructed to draw from a certain directorial perspective to avoid difficult shots and angles. Frank Thomas explained, "Anytime you'd think of another way of staging the scene, they'd say: 'We can't get the camera up there'! Well, you could get the animation camera up there! So you had to go with what worked well in live action."  Walt Disney hired actress Helene Stanley to perform the live-action reference for Cinderella, that she before artists began sketching, playing the role of Cinderella in a particular scene, and artists to draw animated frames based on the movements of the actress. She later did the same kind of work for the characters of Princess Aurora in "Sleeping Beauty" and Anita Radcliff in "One Hundred and One Dalmatians". Animators modeled Prince Charming on actor Jeffrey Stone, who also provided some additional voices for the film. Mary Alice O'Connor served as the live-action reference for the Fairy Godmother.

Character animation.

By 1950, the Animation Board—which had been established as early as 1940 to help with the management of the animation department—had settled down to nine supervising animators. Although they were still in their thirties, they were jokingly referred by Walt Disney as the "Nine Old Men" after President Franklin D. Roosevelt's denigration of the Supreme Court. Including Norman Ferguson, the principal animators included Les Clark, Marc Davis, Ollie Johnston, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, Frank Thomas, and Wolfgang Reitherman.  Larson was the first to animate the title character whom he envisioned as a sixteen-year-old with braids and a pug nose. Marc Davis later animated Cinderella, in which Larson observed as "more the exotic dame" with a long swanlike neck. Because the final character design was not set, assistant animators were responsible for minimizing the differences. When Disney was asked what was his favorite piece of animation, he answered, "I guess it would have to be where Cinderella gets her ballroom gown", which was animated by Davis.  Milt Kahl was the directing animator of the Fairy Godmother, the King, and the Grand Duke. Originally, Disney intended for the Fairy Godmother to be a tall, regal character as he viewed fairies as tall, motherly figures (as seen in the Blue Fairy in "Pinocchio"), but Milt Kahl disagreed with this characterization. Following the casting of Verna Felton, Kahl managed to convince Disney on his undignified concept of the Fairy Godmother.  Unlike the human characters, the animal characters were animated without live-action reference. During production, none of Kimball's designs for Lucifer had pleased Disney. After visiting Kimball's steam train at his home, Disney saw his calico cat and remarked, "Hey—there's your model for Lucifer". Reitherman animated the sequence in which Jaq and Gus laboriously drag the key up the flight of stairs to Cinderella.

Music.

In 1946, story artist and part-time lyricist Larry Morey joined studio music director Charles Walcott to compose the songs. Cinderella would sing three songs: "Sing a Little, Dream a Little" while overloaded with work, "The Mouse Song" as she dressed the mice, and "The Dress My Mother Wore" as she fantasizes about her mother's old wedding dress. In an effort to recycle an unused fantasy sequence from "Snow White", the song, "Dancing on a Cloud" was used as Cinderella and the Prince waltz during the ball. After the ball, she would sing "I Lost My Heart at the Ball" and the Prince would sing "The Face That I See in the Night." However, none of their songs were used.  Two years later, Disney turned to Tin Pan Alley songwriters Mack David, Al Hoffman, and Jerry Livingston to compose the songs. They were the first professional composers to be hired outside the production company. The trio had previously written the song "Chi-Baba, Chi-Baba" that Walt heard on the radio and decided would work well with the Fairy Godmother sequence. They finished the songs in March 1949.  Oliver Wallace composed the score, but only after the animation was ready for inking, which was incidentally similar to scoring a live-action film. This was a drastic change from the earlier Disney animated features in which the music and action was carefully synchronized in a process known as mickeymousing.  The film also marked the launching of the Walt Disney Music Company. The soundtrack was also a first in using multi-tracks for vocals. With the song "Sing, Sweet Nightingale", Ilene Woods records a second and third vocal track to enable her to sing harmony with herself.

1950 Children's Album.

On February 4, 1950, Billboard announced that RCA Records and Disney would release a children's album in conjunction with the theatrical release. The RCA Victor album release sold about 750,000 copies during its first release, and hit number-one on the Billboard pop charts.

Soundtrack.

The soundtrack for "Cinderella" was released by Walt Disney Records on CD on February 4, 1997, and included a bonus demo. On October 4, 2005, Disney released a special edition of the soundtrack album of "Cinderella", for the "Platinum Edition" DVD release, which includes several demo songs cut from the final film, a new song, and a cover version of "A Dream is a Wish Your Heart Makes". The soundtrack was released again on October 2, 2012, and consisted of several lost chords and new recordings of them. A Walmart exclusive limited edition "Music Box Set" consisting of the soundtrack without the lost chords or bonus demos, the "Song and Story: Cinderella" CD and a bonus DVD of "Tangled Ever After" was released on the same day.

Release.

The film was originally released in theaters on February 15, 1950, in Boston, Massachusetts. "Cinderella" was re-released in 1957, 1965, 1973, 1981 and 1987. "Cinderella" also played a limited engagement in select Cinemark Theatres from February 16–18, 2013.

Critical reaction.

The film became a critical success garnering the best reception for a Disney animated film since "Dumbo". In a personal letter to Walt Disney, director Michael Curtiz hailed the film as the "masterpiece of all pictures you have done." Producer Hal Wallis declared, "If this is not your best, it is very close to the top." Mae Tinee, reviewing for "The Chicago Tribune", remarked "The film not only is handsome, with imaginative art and glowing colors to bedeck the old fairy tale, but it also is told in a gentle fashion, without the lurid villains which sometimes give little lots nightmares. It is enhanced by the sudden, piquant touches of humor and the music which appeal to old and young." "Time" wrote that ""Cinderella" is beguiling proof that Walt Disney knows his way around fairyland. Harking back to the style of "Snow White and the Seven Dwarfs" (1937), a small army of Disney craftsmen have given the centuries-old Cinderella story a dewy radiance of comic verve that should make children feel like elves and adults feel like children."  However, the characterization of Cinderella received a mixed reception. Bosley Crowther of "The New York Times" wrote, "The beautiful Cinderella has a voluptuous face and form—not to mention an eager disposition—to compare with Al Capp's Daisy Mae." However, criticizing her role and personality, Crowther opined, "As a consequence, the situation in which they are mutually involved have the constraint and immobility of panel-expressed episodes. When Mr. Disney tries to make them behave like human beings, they're banal." Similarly, "Variety" claimed the film found "more success in projecting the lower animals than in its central character, Cinderella, who is on the colorless, doll-faced side, as is the Prince Charming."  Contemporary reviews have remained positive. Roger Ebert of the "Chicago Sun-Times" awarded the film three out of four stars. Jonathan Rosenbaum of the "Chicago Reader" wrote the film "shows Disney at the tail end of his best period, when his backgrounds were still luminous with depth and detail and his incidental characters still had range and bite." The review aggregator website Rotten Tomatoes reported the film received an approval rating of 97% based on 33 reviews with an average score of 7.81/10. The website's critical consensus reads, "The rich colors, sweet songs, adorable mice and endearing (if suffering) heroine make "Cinderella" a nostalgically lovely charmer".

Box office.

The film was Disney's greatest box office success since "Snow White and the Seven Dwarfs" earning $8 million in gross rentals. By the end of its original run, it was the sixth highest-grossing film in 1950 earning $4.15 million in distributor rentals (the distributor's share of the box office gross). It was the fifth most popular movie at the British box office in 1951. The film is France's sixteenth biggest film of all time in terms of admissions with 13.2 million tickets sold.  The success of "Cinderella" allowed Disney to carry on producing films throughout the 1950s by which the profits from the film's release, with the additional profits from record sales, music publishing, publications and other merchandise gave Disney the cash flow to finance a slate of productions (animated and live action), establish his own distribution company, enter television production, and begin building Disneyland during the decade, as well as developing the Florida Project, later known as Walt Disney World.  "Cinderella" has had a lifetime domestic gross of $95.5 million, and a lifetime international gross of $315 million (in 1995 dollars) across its original release and several reissues. Adjusted for inflation, and incorporating subsequent releases, the film has had a lifetime gross of $532,461,600.

Home media.

The film was released on VHS and Laserdisc on October 4, 1988 as part of the Walt Disney Classics collection. The release had a promotion with a free lithograph reproduction for those who pre-ordered the video before its release date. Disney had initially shipped 4.3 million VHS copies to retailers, but due to strong consumer demand, more than seven million copies were shipped. At the time of its initial home video release, it was the best-selling VHS title until it was overtaken by "E.T. the Extra-Terrestrial". The release was placed into moratorium on April 30, 1989 with seven million VHS copies sold.  On October 4, 1995, the film was released on VHS and LaserDisc under the "Masterpiece Collection" lineup. Both editions were accompanied with "The Making of Cinderella" featurette. A Deluxe LaserDisc included the featurette, an illustrated, hardcover book retelling the classic fairy tale with pencil tests and conceptual art from the film, and a reprint of the film's artwork. Disney shipped more than 15 million VHS copies of which 8 million were sold in the first month.  On October 4, 2005, Disney re-released the movie digitally remastered on DVD as the sixth installment of the Walt Disney Platinum Edition series. According to "Home Media Magazine", Disney sold 3.2 million copies in its first week which earned over $64 million in sales. The Platinum Edition was also released on VHS, but the only special feature was the "A Dream Is a Wish Your Heart Makes" music video by Disney's Circle of Stars. The Platinum Edition DVD along with its sequels went into moratorium on January 31, 2008. In the United Kingdom and Ireland, a "Royal Edition" of "Cinderella" was released on DVD on April 4, 2011, to celebrate the UK Royal Wedding of Prince William and Catherine Middleton. This release had a unique limited edition number on every slipcase and an exclusive art card.  Disney released a Diamond Edition on October 2, 2012, in a 3-disc Blu-ray/DVD/Digital Copy Combo, a 2-disc Blu-ray/DVD combo, and in a 6-disc "Jewelry Box Set" that includes the first film alongside its two sequels. A 1-disc DVD edition was released on November 20, 2012. The Diamond Edition release went back into the Disney Vault on January 31, 2017.  "Cinderella" was re-released on HD digital download on June 18, 2019, with a physical media re-release on Blu-ray on June 25, 2019, as part of the Walt Disney Signature Collection in honor of the film's 70th anniversary.

Awards.

In 1951, the film received three Academy Award nominations for Best Sound (C. O. Slyfield) lost to "All About Eve", Best Music, Scoring of a Musical Picture (Oliver Wallace and Paul J. Smith) lost to "Annie Get Your Gun" and Best Music, Original Song for "Bibbidi-Bobbidi-Boo" (Mack David, Jerry Livingston, and Al Hoffman) lost to "Captain Carey, U.S.A.". At the 1st Berlin International Film Festival it won the Golden Bear (Music Film) award and the Big Bronze Plate award.  In June 2008, the American Film Institute revealed its "10 Top 10"— the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. "Cinderella" was acknowledged as the 9th greatest film in the animation genre.  American Film Institute recognition:

Cinderella is a 1950 American animated musical fantasy film produced by Walt Disney and originally released by RKO Radio Pictures. Based on the fairy tale "Cinderella" by Charles Perrault, it is the twelfth Disney animated feature film. The film was directed by Clyde Geronimi, Hamilton Luske, and Wilfred Jackson. Mack David, Jerry Livingston, and Al Hoffman wrote the songs, which include "Cinderella", "A Dream Is a Wish Your Heart Makes", "Sing Sweet Nightingale", "The Work Song", "Bibbidi-Bobbidi-Boo", and "So This is Love". It features the voices of Ilene Woods, Eleanor Audley, Verna Felton, Rhoda Williams, James MacDonald, Luis van Rooten, Don Barclay, Mike Douglas, William Phipps, and Lucille Bliss.

Cendrillon ("Cinderella") est le long-métrage d'animation et le « Classique d'animation » des studios Disney. Sorti en 1950, il s'inspire de la version du conte de Charles Perrault, "Cendrillon ou la Petite Pantoufle de verre" paru en 1697, ainsi que de celle des frères Jacob et Wilhelm Grimm, "", publiée en 1812.


History.

Tioman has been used for thousands of years by fishermen as an important navigation point and a source of fresh water and wood. During the past thousand years, it has played host to Chinese, Arab, and European trading ships, and often Chinese porcelain shards can be found on beaches around the island.  In more recent history, Tioman played host to both the British and the Japanese navies during the Second World War, and the waters around the island are littered with war remains (including HMS "Repulse" and HMS "Prince of Wales").  Tioman island does not allow buildings to have more than 3 stories.

Nature.

The marine area around Tioman Island and eight other nearby islands have been declared as marine parks and marine reserves.  Apart from its diverse marine life, the inland rainforest area was protected in 1972 as the Pulau Tioman Wildlife Reserve. However, a large part of the original reserve was sacrificed for agricultural and touristic development in 1984; the remaining area is approximately. There are several protected species of mammals on the island, including the binturong, long-tailed macaque, slow loris, black giant squirrel, red giant flying squirrel, mouse deer, brush-tailed porcupine, and common palm civet, from a total of 45 species of mammals and 138 species of birds, including the majestic frigatebird. Moreover, Tioman has species that are endemic to its shores. The Tioman walking catfish "Clarias batu" can be seen on rainforest walks. Kajang slender litter frog is only known from Mount Kajang.  Tioman's corals have been affected by a mass bleaching event in 2010 whereby the island lost a significant portion of its live coral cover. That resulted in a lot of the corals turning a dull white colour and some even fragmenting into pieces of dead coral skeleton. The 2016 bleaching event only just touched on Tioman's Coral Reefs, and as such, the coral has remained in good and healthy condition.

Politics.

Tioman Island lends its name to the state constituency of Tioman, comprising the island and part of the Rompin District including the town of Kuala Rompin. Its representative to the State Legislative Assembly is Mohd. Johari Hussain from UMNO-Barisan Nasional. Its representative to the Malaysian Parliament is Hasan Ariffin, also from UMNO-Barisan Nasional.

Transportation.

Air.

The island houses the Tioman Airport with flights from Subang.

Water.

The island is served by ferries from the Malaysian mainland.

Legend.

According to legend, Tioman Island is the resting place of a beautiful dragon princess. Whilst flying to visit her prince in Singapore, this beautiful maiden stopped to seek solace in the crystal-clear waters of the South China Sea. Enraptured by the charms of the place, she decided to discontinue her journey. By taking the form of an island, she pledged to offer shelter and comfort to passing travelers.  Local mythology claims that the island is the embodiment of the mighty dragon Sri Gumom. The dragon was on his way to visit his sister Gunung Linga (Lingin Peak) but the great Sri Rama forbade the meeting and Sri Gumom was turned into a stone and fell into the deep sea where he now remains, frozen in eternity as this beautiful island with its distinctive topography.

Radio and television.

Radio.

Community radio within Tioman: From Malaysian mainland:

Television.

Local:

Tioman Island () is a mukim and an island in Rompin District, Pahang, Malaysia. It is located off the east coast of the state, and is some long and wide. It has seven villages, the largest and most populous being Kampung Tekek on the central western coast. The densely forested island is sparsely inhabited, and is surrounded by numerous coral reefs, making it a popular scuba diving, snorkelling, and surfing spot. There are many resorts and chalets for tourists around the island, which has duty-free status.

L'île Tioman, en malais "", est une île de la Malaisie située en mer de Chine méridionale, à environ du continent. Elle appartient à l'État de Pahang.


Chanoinesses régulières du Saint-Sépulcre

History.

Concerning the foundation, there is a tradition connecting the way of life of the canonesses with James the Great, and depicting Helena, the mother of Constantine the Great, as being given the religious habit of a canoness by Macarius, Bishop of Jerusalem. It was he who accompanied the Empress in her search for the True Cross. The Order of the Holy Sepulchre adopted the rule of St Augustine in 1114.

Spain.

The earliest historical date on record is 1300, the year in which the monastery was founded in the province of Teruel by the Marquise, Doña Gil de Rada. In 1306 the community was incorporated as part of the female branch of the Order of the Holy Sepulchre, a military Order founded in Jerusalem. The Prior General of the Knights confirmed the prioress as Religious Superior of the community. The Spanish canonesses still live in their ancient monastery in Zaragoza, built in the Mudéjar style when they moved there later in the 14th century.

France.

The foundation of a house at Charleville in 1622 by the Marquise Claudine de Mouy, widow of Henri de Lorraine, the Count of Chaligny (1570–1600), was the catalyst for a great revival of the Order. New constitutions, drawn up by a Jesuit and approved by Pope Urban VIII in 1631, bound the canonesses to the recitation of the Divine Office, rigorous fasts, the use of the discipline, and a strict interpretation of the rule of poverty. Twelve was established as the minimum number of professed canonesses necessary for the canonical election of a prioress. All the monasteries of the Order in that country were swept away by the French Revolution, and the canonesses have not returned.

Belgium.

Priory of Sion, Bilzen.

The Priory of Sion in Bilzen was founded in 1634 as a daughter house of the Monastery of the Holy Sepulcher in Hasselt. Mother Helena d'Enckevoert, Prioress of the house in Maastricht and St. Agathe in Liège, established the community. A school for poor girls was also established at Sion, which remained in operation until the monastery was closed in 1798 by the armies of the First French Republic during their occupation of the Low Countries. The 20 sisters were expelled and they retreated to the béguinage in Hasselt or to their families. In 1837, two surviving canonesses of that community were able to re-acquire the monastery and resume monastic life there, along with two survivors of the other two communities. They then resumed their educational work, and the School of the Holy Sepulcher continues to operate today. The survivors were able to save a large part of the monastery archives, which remains a priceless source for the history of the Order and pre-Revolutionary Catholic life in Belgium.  In 1972, the canonesses acquired the grounds of the former Cistercian Abbey of Herkenrode, also in Belgium and also closed by French forces in 1798. They have built a new monastery and a retreat center there and are slowly renovating the surviving abbey buildings. The Church of the Risen Lord was built in 1982, and now serves the canonesses and their guests.

Jerusalem Priory, Turnhout.

Canonesses of the Holy Sepulchre of Hasselt, who were sent to devote themselves to religious education and teaching of girls in schools and later on also in boarding schools in Turnhout, founded the Jerusalem Priory in 1662. Closed during the French Revolution in 1798, the Priory opened again in 1826 and was established in Patersstraat in Turnhout. Daughter houses were founded and in 1928 sisters left Belgium for the Congo as missionaries. They assisted in the development of the African Community of Bukavu which was included in the Association as an independent Priory in 1984.

St. Trudo Abbey, Male.

St. Trudo Abbey was originally established as a 'double' convent (men/women) of the Ten Eeckhoute abbey in Bruges. In 1248 the Community of sisters became independent and later joined the Congregation of Saint-Victor, living for more than 400 years within the tradition of Windesheim. The abbey was affiliated with the Canons of the Lateran from 1796 until 1952 when they were admitted into the Order of the Holy Sepulchre. Since 1954 they have resided in the former castle of the counts of Flanders in Male.

England.

In 1480 Jan van Abroek, himself a Canon of the Holy Sepulchre, established a convent at Kinrooi, near Maaseik on the Meuse for his sister Meyntz, and two Augustinian nuns from Roermond. There they started a school for girls. Later, the canonesses established the Convent des Bons Enfans, one of four such convents at Liège, Belgium. The convent of St. Walburge's at Liège established a convent at Tongeren in the early half of the seventeenth century.  Dame Susan Hawley (Mother Mary of the Conception) was the foundress of the surviving English branch of the canonesses (born at New Brentford, Middlesex, 1622; died at Liège, 1706), having been professed at Tongeren. In 1642 she left with four other women for Liège, to establish a monastery there for English women. By 1656 there was a sufficient number of professed canonesses that a canonical election could be held, in which she was elected prioress; she ruled with rare prudence until her resignation in 1697. The community was able to provide an education for the daughters of Catholic families under the Penal Laws.  The school, opened under Dame Mary Christina Dennett who was prioress from 1770 to 1781, proved so successful that, during the occupation of the Lowlands by the French, the English canonesses had great difficulty in securing permission to leave the city.  After three months at their monastery in Maastricht, they passed down the Meuse on a coal barge and made their way to England (August, 1794), where they were sheltered by Lord Stourton (a member of an old Catholic aristocratic family) in Holme Hall, on Spaulding Moor, moved thence to Dean House (Wilts), and in 1798 finally took possession of New Hall, near Chelmsford (Essex). They opened a free school for the poor children of the neighborhood and it is now an independent boarding school. The community resided at New Hall until 2005, when it moved to an estate in Chelmsford. New Hall remains home to a Catholic boarding school.

Today.

As of A.D. 2011, there were monasteries of the Order in Belgium, Brazil, the Democratic Republic of the Congo, England, the Netherlands and Spain. The majority of the communities have ceased to wear a traditional religious habit, but their identifying insignia remains the double-barred Cross of the Order.

The Canonesses Regular of the Holy Sepulchre (CRSS), or "Sepulchrine Canonesses", are a Catholic female religious order first documented in 1300. They were originally the female branch of the ancient religious order of that name, the Canons Regular of the Holy Sepulchre. The canonesses follow the Rule of St. Augustine. The traditional habit was black and, when in church, over the tunic the choir sisters would wear a white, sleeveless, linen rochet, on the left side of which was embroidered a red, double-barred cross. Where still used, a black veil is worn by the professed, and a white one by novices and lay sisters; the later category, however, was abolished among religious orders by order of the Holy See in the 20th century.

Les chanoinesses régulières du Saint-Sépulcre, communément nommées « sépulcrines », forment un ordre religieux féminin de vœux solennels parmi les plus anciens de l'Église catholique romaine, puisqu'il remonte au, lorsqu'il a été fondé comme branche féminine de l'ordre canonial régulier du Saint-Sépulcre en Terre sainte, à l'époque des Croisades. Elles suivent la règle de saint Augustin et avaient pour but le chant de l'office choral. Elles n'existent plus en France, mais existent encore en Flandres, en Angleterre, en Espagne et au.


Description.

The preserve is located at the southern end of the Flint Hills, also known as the Osage Hills. The rocky, rolling prairie stretches from northern Kansas into Oklahoma. Exposed limestone formations make cultivation difficult, and thus the Flint Hills have survived much as they were when they were a hunting ground for area tribes such as the Wichita, Osage, and Kaw. The region is called “The Osage” by Oklahomans, referring to the name of the Native American tribe that occupied this territory and to the county named for them. Pilots call The Osage the “Black Hole” when flying over it at night because it is so lightly populated. Prior to its purchase by the Nature Conservancy in 1989, much of the preserve was within the boundaries of the Barnard Ranch; it had been part of the Chapman-Barnard ranch of. The foreman of the Chapman-Barnard ranch, Ben Johnson, Sr. was a rodeo champion. His son, also a rodeo champion, was Ben Johnson, Jr., an actor who appeared in more than 300 movies and won an Oscar for his role in "The Last Picture Show".  The preserve is bisected by the well-timbered Salt Creek and its tributaries. The eastern portion of the preserve is in the Cross Timbers, a north-south running belt of tangled oak forests that were a major impediment to early travelers heading west. About 10 percent of the preserve is forested and the remainder is tallgrass prairie; the grasses of several species here can grow tall.  The tallgrass prairie owes its existence to fire, whether caused by lightning or manmade. Without fire, the prairie quickly becomes brushland. The Native Americans were aware of this and burned the prairie regularly to nurture new growth of succulent grasses and to kill intrusive trees and shrubs. The Nature Conservancy has continued this practice with a process called “patch burning,” in which about one-third of the prairie is burned each year. This process has proven beneficial not only in providing grazing for bison and cattle, but also for the habitat of the threatened greater prairie chickens, which also inhabit the preserve in small numbers.  Bison are the most prominent attraction of the preserve. In 1993, Oklahoma oilman Kenneth Adams donated 300 bison to the preserve. By 2000, the herd had increased to 1,200. The herd now numbers more than 2,500 and grazes of mostly open range. Bison are rounded up each fall and the excess numbers sold. Cattle are grazed on. The preserve supports 755 plant species, many unique to the tallgrass prairie, and more than 300 bird species. Forest trees include several species of oak, cottonwoods, ash, red cedar, elm, sycamore, and others.  The Tallgrass Prairie Preserve is on what used to be the Osage Indian Reservation. When forced to agree to household allotments of communal land, the Osage retained sub-surface mineral rights on all their former lands. Members of the nation have had what are known as headrights to a portion of this communal resource and are paid a portion of leasing revenues for mineral production. In the early 20th century, the discovery of petroleum on their land made the Osage the richest people per capita in the world in the 1920s and 1930s. But they were subject to harassment, manipulation, fraud and murder in what was known as a 'Reign of Terror' as whites tried to gain control of family members' headrights. While oil production has declined, there are still more than 100 producing oil wells on the preserve, among which the bison graze.  The preserve is home to numerous interesting invertebrates species. In addition to the many species of butterflies and moths that feed and host on the flowering plant biodiversity found there, the prairie mole cricket ("Gryllotalpa major") is a rare insect species found on the preserve. Males congregate in leks in large numbers in the spring months (April–May) to produce loud choruses from calling burrows to attract flying females. In the summer months, the preserve serves as habitat for the endangered American burying beetle ("Nicrophorus americanus"), which plays an important role in nutrient cycling.

Visiting and recreation.

Pawhuska, Oklahoma, is the nearest large town. The Osage Nation has its headquarters here. The preserve may also be entered near Foraker, Oklahoma, and Hewins, Kansas. The Tallgrass Prairie Preserve is open every day from dawn to dusk. There is no admission charge.  The headquarters of the Chapman-Barnard ranch has been converted into a visitor center with restrooms, a gift shop, and the restored bunkhouse in which the cowboys lived. The main building is listed in the National Register of Historic Places (NR 01000208). The gift shop is open from 10 a.m. to 4 p.m from March to mid-November. Oklahoma State University has a research station at the visitor center.  Near Salt Creek are two hiking trails. One is a short nature trail; the other is a 2-mile (3 km) trail that climbs to overlooks over the creek and through the riparian forest. Frequently, bison are seen just across the fence that separates the hiking area from grazing areas. White-tailed deer are abundant in the wooded areas.  The principal activity for the 10,000 visitors who annually come to the preserve is driving the many dirt roads to observe the numerous bison. Often hundreds of bison may be seen near – and sometimes blocking – the roads. Scenic turnouts along the roads provide broad vistas of the rolling prairie, emerald green in spring, tall and brown in fall, and dotted with wildflowers in the summer.  Noted Osage author John Joseph Mathews had a small cabin in the Osage Hills, where he did much of his writing. At his request, he was buried near his cabin. About 2014 the Nature Conservancy of Oklahoma bought the plot including his cabin and gravesite, and have added it to the Tallgrass Prairie Preserve. The cabin will be preserved and the public will be allowed limited access.

The Tallgrass Prairie Preserve, located in Osage County, Oklahoma near Foraker, Oklahoma, is owned and managed by The Nature Conservancy. It is protected as the largest tract of remaining tallgrass prairie in the world. The preserve contains owned by the Conservancy and another leased in what was the original tallgrass region of the Great Plains that stretched from Texas to Manitoba.

La Tallgrass Prairie Preserve, située dans le comté d'Osage (Oklahoma) près de la ville de Foraker, est administrée par "The Nature Conservancy". Elle protège de prairie naturelle, qui constitue la plus grande étendue de prairies à herbes hautes restantes au monde. La réserve s'étend sur 180 km2, dans ce qui était la région d'origine des hautes herbes des Grandes Plaines qui s'étendait du Texas au Manitoba.


Stadio di Reggio Emilia Città del Tricolore

History.

The need for a new stadium in Reggio Emilia started when Reggiana gained promotion to Serie A in 1993: the club launched multi years season tickets in order to raise money to build a new stadium of its property. The stadium was opened in 1995 with a sold out match between Reggiana and Juventus. In the aftermath of Reggiana's dissolution and reconstitution in 2005, the club lost the property of the stadium, which was assigned to the Tribunal of Reggio Emilia.  The reconstituted Reggiana continued to play in the stadium and had its headquarters and its historical museum located in the Main Stand; in the same years the shopping mall "I Petali" was built behind the Away End and the East Stand, with a good range of shops, cinemas, gyms and restaurants. Stadio Giglio was renamed by the Municipality "Città del Tricolore", referring to the fact that the Italian Tricolour was created in Reggio Emilia in 1797.  The stadium is unique in which there is a water-filled moat built between the pitch and the stands to try and prevent pitch invasions. Because the water is supplied from a nearby river, there have even been cases in which bored fans have been seen successfully fishing in it.  In 2013, the Tribunal hosted a public auction for the property of the stadium, which was won by the ceramic industry MAPEI, owned by former Confindustria president Giorgio Squinzi, which also owned U.S. Sassuolo Calcio, promoted in Serie A at the end of the 2012-13 season. The stadium was then renamed "MAPEI Stadium" due to sponsorship reasons.  Sassuolo's move and MAPEI's acquisition and subsequent renaming of the stadium has caused much outrage from supporters of Reggiana. The protests included demonstrations at the 2015 TIM Trophy and during some Sassuolo's Serie A games and the formation of a group called "Via il Sassuolo da Reggio Emilia" (Sassuolo out of Reggio Emilia), but also marches through the city centre to raise the attention on the topic. In September 2016, Luca Vecchi, Mayor of Reggio Emilia, was heavily booed by the fans during the club's presentation due to the Municipality position on the dispute.

Events.

It is currently used mostly for football matches and is the home ground of Reggio Audace F.C.. It also hosts larger rugby union matches for Pro14 team, Zebre of Parma.  Football club Carpi used the ground for home matches during the 2011–12 season. In the 2013–14 season, the promoted Serie A side, Sassuolo, played at the ground. They signed a two-year rent deal with Reggiana, which manages the venue. The agreement struck with Reggiana also included infrastructural improvements, including new benches and locker rooms, along with the development of new marketing and trade policies, which aimed to take advantage of the business opportunities that come with the club's Serie A promotion. The stadium was consequently renamed Mapei Stadium – Città del Tricolore.  The stadium hosted the 2016 UEFA Women's Champions League Final.

Mapei Stadium – Città del Tricolore () is a multi-purpose stadium in Reggio Emilia, Italy. The stadium holds 21,584 and was built in 1995, replacing the Stadio Mirabello. It was given the name Stadio Città del Tricolore on 11 March 2012, having previously been called the "Stadio Giglio". On 8 July 2013, the stadium was given the current denomination for ownership reason (acquired by Mapei from the "comune" of Reggio Emilia).

Le Mapei Stadium-Città del Tricolore est un stade multi-sport situé dans la ville de Reggio d'Émilie en Italie. Bien que ce stade accueille prioritairement l'AC Reggiana (équipe de Lega Pro, du championnat de football italienà et l'US Sassuolo (équipe de serie A, du championnat de football italien), l'enceinte est parfois utilisée pour des matchs de rugby. Il peut accueillir spectateurs. Il fut construit en 1995 pour remplacer le Stadio Mirabello.


Early life.

Simin Daneshvar was born on 28 April 1921 in Fasa, Persia. Her father, Mohammad Ali Danesvhar, was a physician. Her mother was a painter. Daneshvar attended the English bilingual school, Mehr Ain. Daneshvar then entered the Persian literature department at the University of Tehran in the fall of 1938. In 1941, her third year of university, her father died, and to support herself she began writing pieces for Radio Tehran as the "Nameless Shirazi".She wrote about cooking and food as well as other things. She also began writing for the foreign affairs section of a newspaper in Tehran, since she could translate from English.

Literary career.

Daneshvar started her literary life in 1935, when she was in the eighth grade. In 1948, when she was 27, she published "Atash-e khamoosh" (Quenched Fire). It was the first collection of short stories published by a woman in Iran, and as such gave her a measure of fame, but in later years Daneshvar refused to republish the work because she was embarrassed by the juvenile quality of the writing. Daneshvar continued studying at the university. Her Ph.D. dissertation, "Beauty as Treated in Persian Literature," was approved in 1949 under the supervision of Professor Badiozzaman Forouzanfar. In 1950, Daneshvar married the well-known Iranian writer Jalal Al-e Ahmad. In 1952, she traveled to the United States as a Fulbright Fellow working on creative writing at Stanford University with Wallace Stegner. While there, she wrote in English and published two short stories. When she returned to Iran, she joined the faculty at University of Tehran.  She had to translate many books in order to support her household, often was earning more than Jalal. In 1961 she published "Shahri chun behesht" (A city like paradise), twelve years after her first short story collection. In 1963 she attended the Harvard University International Summer Session, a seminar of 40 members from around the world. In 1968, she became the chairwoman of the Iranian Writers Union. In 1969, her novel, Suvashun, was published. Her husband died that same year, in their summer home on the Caspian Sea. Daneshvar and Al-e-Ahmad were unable to have children, which was a topic that Jalal Al-e-Ahmad wrote about in several of his works. Daneshvar continued teaching as an associate professor in the university, later becoming the chair of the Department of Art History and Archaeology, from the 1970s until her retirement in 1981.

Death.

Daneshvar was hospitalized in Tehran for acute respiratory problems in 2005. She was released after one month in August 2005. She died at her home in Tehran on 8 March 2012 after a bout with influenza. Her body was buried on 11 March at Behesht-e Zahra. (It had been announced that her body would be buried in Firouzabadi mosque in Ray next to her husband, Jalal Al-e-Ahmad, but this was later denied.)

Works.

As an author and translator, Daneshvar wrote sensitively about the lives of Iranian women.  Daneshvar's most successful work, "Savushun", a novel about settled and tribal life in and around her home-town of Fasa, was published in 1969. One of the best-selling Persian novels, it has undergone at least sixteen reprints and has been translated into many languages. She also contributed to the periodicals "Sokhan" and "Alefba".  In 1981, she completed a monograph on Jalal Al-e Ahmad, "Ghoroub-e Jalal" (The sunset of Jalal's days).  Daneshvar's stories reflect reality rather than fantasy. They contain themes such as child theft, adultery, marriage, childbirth, sickness, death, treason, profiteering, illiteracy, ignorance, poverty and loneliness. The issues she deals with are the social problems of the 1960s and 1970s, which have immediacy and credibility for the reader. Her inspiration is drawn from the people around her. In her own words: "Simple people have much to offer. They must be able to give freely and with peace of mind. We, too, in return, must give to them to the best of our abilities. We must, with all our heart, try to help them acquire what they truly deserve."

Simin Dāneshvar () (28 April 1921 – 8 March 2012) was an Iranian academic, novelist, fiction writer and translator. She was largely regarded as the first major Iranian woman novelist. Her books dealt with the lives of ordinary Iranians, especially those of women, especially through the lens of recent political and social in Iran at the time. Daneshvar had a number of firsts to her credit; in 1948, her collection of Persian short stories was the first by an Iranian woman to be published. The first novel by an Iranian woman was her "Savushun" ("Mourners of Siyâvash", also known as "A Persian Requiem", 1966), which went on to become a bestseller. "Daneshvar's Playhouse", a collection of five stories and two autobiographical pieces, is the first volume of translated stories by an Iranian woman author. Being the wife of the famous iran writer Jalal al-Ahmad she had a profound influence on his writing, she wrote the book "the Dawn of Jalal" in memory of her husband. Daneshvar was also a renowned translator, a few of her translations were "The Cherry Orchard" by Anton Chekhov and "The Scarlet Letter" by Nathaniel Hawthorne. Her last book is currently lost and was supposed to be the last book of her trilogy which started with "the lost island". Al-Ahmad and Daneshvar never had a child.

Simin Daneshvar (en persan : سیمین دانشور), née le à Chiraz – morte le à Téhéran, est une universitaire, romancière renommée, femme de lettres, nouvelliste et traductrice d'œuvres littéraires de l’anglais, de l’allemand, de l’italien et du russe en persan.


Recordings.

Ira Gershwin noted in 1959 that "The sheet-music sale of the song never amounted to much... but an early recording by Bunny Berigan—considered by jazz devotees a sort of classic in its field—may have been a challenge (or incentive) for the great number of recordings that have followed. Not a year has gone by, in the past fifteen or so, that up to a dozen or more new recordings haven't been issued."

Bunny Berigan.

Bunny Berigan, a trumpeter with Benny Goodman and Tommy Dorsey, started a band in 1937 and chose "I Can't Get Started" as his theme song. He had been performing the song during the previous year at a club in New York City. He made a recording for Vocalion on April 13, 1936 but gradually he made subtle changes in the arrangement. After forming his band, he recorded "I Can't Get Started" again, this time for Victor.  Jazz trumpeter Dick Sudhalter noted the changes that had been made since the Vocalion recording. "An introduction—an extended cadenza over four different sustained chords in the key of C—had been added by this time, but otherwise Berigan's routine had not changed since the Vocalion recording. But whereas the Vocalion comes across as a virtuoso performance of a great song, the Victor version presents itself as a kind of concerto, a tour de force for a trumpeter of imagination and daring having impeccable command of his instrument."  The Berigan band's recordings of "I Can't Get Started" and "The Prisoner's Song" were issued together on the twelve-inch Victor record 36208, and were a part of an album of four such records entitled "A Symposium of Swing". An edited version was created by Victor on December 4, 1937 and issued as 25728A.  The recording was an immediate hit and reached 10th place on the charts. In 1975, Berigan's 1937 recording of "I Can't Get Started" was inducted into the Grammy Hall of Fame.  Berigan's recording and the song itself, however, have continued to be prized by lovers of jazz. Billie Holiday recorded it on September 15, 1938.

"I Can't Get Started" (also known as "I Can't Get Started with You" or "I Can't Get Started (with You)") is a popular song.

Le trompettiste américain Bunny Berigan a enregistré " en 1937. Grâce à son enregistrement, le morceau est devenu un standard de jazz. Il a été particulièrement populaire chez les trompettistes. Berigan a reçu un en 1975 pour sa version.


Plot.

Gabriel (Mehmet Kurtuluş) the Turk, Bobby (Aleksandar Jovanović) the Serb and Costa (Adam Bousdoukos) the Greek are three friends who used to form a neighborhood gang in Altona district of Hamburg. Following his release from prison Gabriel is ready for a new start on life. Bobby however has been doing jobs for crazed Albanian mobster Muhamer (Ralph Herforth) and his girlfriend Alice (Regula Grauwiller) turns to Gabriel for comfort. When Costa who has turned to petty theft and is dating Gabriel's sister Ceyda (İdil Üner) also joins Muhamer's gang, Gabriel intervenes to save his friends, an action which puts his dreams of retiring to Turkey at risk.  The film's director, Fatih Akın, makes a cameo appearance as the drug dealer Nejo.

Production.

Fatih Akın had been working on the screenplay for this film, which was his feature debut, while he was studying at the Hamburg College of the Arts (HFBK) and working on his earlier shorts "Sensin... You're the One!" and "Weed". The success of these shorts allowed him to secure funding from the Hamburg-based film production company Wüste Filmproduktion for this film, which was shot on the streets of Altona in his hometown of Hamburg.

Release.

The film was premiered at the 1998 Locarno International Film Festival and was screened at the 1998 Hamburg Film Festival before going on general release across Germany on 15 October 1998.  Following the release Akın said of the film, inspired by the work of Italian-American film director Martin Scorsese, that, “It took Scorsese and the other Italo-Americans 70 years to start making their films. The Maghribi-French needed 30 years for their cinéma beur. We were much quicker. We’re already doing it!”

Reception.

Reviews.

Katja Nicodemus gave it a favorable review in "Magazin-Deutschland", saying the film "represented a new German-Turkish cinema".

Short Sharp Shock (German: Kurz und schmerzlos) is a 1998 film directed by Turkish-German director Fatih Akın. The film, which according to Rekin Teksoy, writing in "Turkish Cinema", "focuses on the identity crises faced by German youth from various ethnic backgrounds," was the feature debut of the German-born director of Turkish descent and is said to have "represented a new German-Turkish cinema."

L'Engrenage (, ce qu'on peut traduire par «court et sans douleur ») est un film allemand réalisé par Fatih Akın, sorti en 1998.


Naming conventions.

As with 1 Esdras, there is some confusion about the numbering of this book. The Vulgate of Jerome includes only a single book of Ezra, but in the Clementine Vulgate 1, 2, 3 and 4 Esdras are separate books. Protestant writers, after the Geneva Bible, called 1 and 2 Esdras of the Vulgate, Ezra and Nehemiah; and called 3 and 4 Esdras of the Vulgate, 1 Esdras and 2 Esdras respectively. These then became the common names for these books in English Bibles.  Medieval Latin manuscripts denoted it 4 Esdras, which to this day is the name used for chapters 3–14 in modern critical editions, which are typically in Latin, the language of its most complete exemplars.  It appears in the Appendix to the Old Testament in the Slavonic Bible, where it is called 3 Esdras, and the Georgian Orthodox Bible numbers it 3 Ezra. This text is sometimes also known as Apocalypse of Ezra (chapters 3–14 known as the Jewish Apocalypse of Ezra or 4 Ezra. In modern critical editions, chapters 1–2 are named as 5 Ezra, and chapters 15–16 as 6 Ezra). Bogaert speculates that the 'fourth book of Ezra' referred to by Jerome most likely corresponds to modern 5 Ezra and 6 Ezra combined together – and notes a number of Latin manuscripts where these chapters are together in an appendix.

Contents.

5 Ezra.

The first two chapters of 2 Esdras are found only in the Latin version of the book, and are called 5 Ezra by scholars. They are considered by most scholars to be Christian in origin; they assert God's rejection of the Jews and describe a vision of the Son of God. These are generally considered to be late additions (possibly third century) to the work.

4 Ezra.

Chapters 3–14, or the great bulk of 2 Esdras, is a Jewish apocalypse also sometimes known as 4 Ezra, or the Jewish Apocalypse of Ezra. The latter name should not be confused with a later work called the "Greek Apocalypse of Ezra".  The Ethiopian Church considers 4 Ezra to be canonical, written during the Babylonian captivity, and calls it Izra Sutuel (ዕዝራ ሱቱኤል). It was also often cited by the Fathers of the Church. In the Eastern Armenian tradition it is called 3 Ezra. It was written in the late following the destruction of the Second Temple.  Among Greek Fathers of the Church, 4 Ezra is generally cited as Προφήτης Ἔσδρας "Prophetes Esdras" ("The Prophet Ezra") or Ἀποκάλυψις Ἔσδρα "Apokalupsis Esdra" ("Apocalypse of Ezra"). Most scholars agree that 4 Ezra was composed in Hebrew, which was translated into Greek, and then to Latin, Armenian, Ethiopian and Georgian, but the Hebrew and Greek editions have been lost.  Slightly differing Latin, Syriac, Arabic, Ethiopic, Georgian, and Armenian translations have survived; the Greek version can be reconstructed, though without absolute certainty, from these different translations, while the Hebrew text remains more elusive. The modern Slavonic version is translated from the Latin. 4 Ezra consists of seven visions of Ezra the scribe. The first vision takes place as Ezra is still in Babylon. He asks God how Israel can be kept in misery if God is just. The archangel Uriel is sent to answer the question, responding that God's ways cannot be understood by the human mind. Soon, however, the end would come, and God's justice would be made manifest. Similarly, in the second vision, Ezra asks why Israel was delivered up to the Babylonians, and is again told that man cannot understand this and that the end is near. In the third vision Ezra asks why Israel does not possess the world. Uriel responds that the current state is a period of transition. Here follows a description of the fate of evil-doers and the righteous. Ezra asks whether the righteous may intercede for the unrighteous on Judgment Day, but is told that "Judgment Day is final".  The next three visions are more symbolic in nature. The fourth is of a woman mourning for her only son. She is transformed into a city when she hears of the desolation of Zion. Uriel says that the woman is a symbol of Zion. The fifth vision concerns an eagle with three heads and twenty wings (twelve large wings and eight smaller wings "over against them"). The eagle is rebuked by a lion and then burned. The explanation of this vision is that the eagle refers to the fourth kingdom of the vision of Daniel, with the wings and heads as rulers. The final scene is the triumph of the Messiah over the empire. The sixth vision is of a man, representing the Messiah, who breathes fire on a crowd that is attacking him. This man then turns to another peaceful multitude, which accepts him.  Finally, there is a vision of the restoration of scripture. God appears to Ezra in a bush and commands him to restore the Law. Ezra gathers five scribes and begins to dictate. After forty days, he has produced ninety-four books: the twenty-four books of the Tanakh and seventy secret works:  Make public the twenty-four books that you wrote first, and let the worthy and the unworthy read them; but keep the seventy that were written last, in order to give them to the wise among your people." (2 Esdras 14:45–46 RSV; 4 Ezra 12:45–46)  The "seventy" might refer to the Septuagint, most of the apocrypha, or the lost books that are described in the Bible.  Almost all Latin editions of the text have a large lacuna of seventy verses between 7:35 and 7:36 that is missing due to the fact that they trace their common origin to one early manuscript, "Codex Sangermanensis I", from which an entire page had been cut out very early in its history. In 1895 Robert Lubbock Bensly and James published a critical edition restoring the lost verses from the complete text found in the "Codex Colbertinus"; it is this edition that is used in the Stuttgart edition of the Vulgate. The restored verses are numbered 7:35 to 7:105, with the former verses 7:36–7:70 renumbered to 7:106–7:140. For more information, see the article Codex Sangermanensis I.  Second Esdras turns around a radical spiritual conversion of Ezra in a vision, where he stops to comfort a sobbing woman who turns instantly into a great city (2 Esd. 10:25–27). On this pivotal event, one scholar writes that Ezra  is badly frightened, he loses consciousness and calls for his angelic guide. The experience described is unique not just in 4 Ezra but in the whole Jewish apocalyptic literature. Its intensity complements the pressure of unrelieved stress evident in the first part of the vision, and it resembles the major orientation of personality usually connected with religious conversion.  The following verses (10:28–59) reveal that Ezra had a vision of the heavenly Jerusalem, the true city of Zion, which the angel of the Lord invites him to explore. As the angel tells Ezra at the end of Chapter 10 in the Authorised Version:  <poem>And therefore fear not, but go thy way in, as much as thine eyes be able to see; For thou art blessed above many other  But tomorrow at night thou shalt remain here and so shall the Highest show thee visions of the high things which the Most High will do unto them that dwell upon earth in the last days.  So I slept that night and another like as he commanded me (2 Esd. 10:55–59).

6 Ezra.

The last two chapters, also called 6 Ezra by scholars, and found in the Latin, but not in the Eastern texts, predict wars and rebuke sinners. Many assume that they probably date from a much later period (perhaps late third century) and may be Christian in origin; it is possible, though not certain, that they were added at the same time as the first two chapters of the Latin version. It is possible that they are Jewish in origin, however; 15:57–59 have been found in Greek, which most scholars agree was translated from a Hebrew original.

Author and criticism.

The main body of the book appears to be written for consolation in a period of great distress (one scholarly hypothesis is that it dates to Titus' destruction of the Second Temple in ). The author seeks answers, similar to Job's quest for understanding the meaning of suffering, but the author doesn't like or desire only the answer that was given to Job.  Critics question whether even the main body of the book, not counting the chapters that exist only in the Latin version and in Greek fragments, has a single author. Kalisch, De Faye, and Charles hold that no fewer than five people worked on the text. However, Gunkel points to the unity in character and holds that the book is written by a single author; it has also been suggested that the author of 2 Esdras wrote the Syriac Apocalypse of Baruch. In any case, the two texts may date from about the same time, and one almost certainly depends on the other.  Critics have widely debated the origin of the book. Hidden under two layers of translation it is impossible to determine if the author was Roman, Alexandrian, or Palestinian.  The scholarly interpretation of the eagle being the Roman Empire (the eagle in the fifth vision, whose heads might be Vespasian, Titus and Domitian if such is the case) and the destruction of the temple would indicate that the probable date of composition lies toward the end of the first century, perhaps 90–96, though some suggest a date as late as 218.

Usage.

The book is considered one of the gems of Jewish apocalyptic literature. Except for the Orthodox Slavonic Bible (Ostrog Bible, Elizabeth Bible, and later consequently Russian Synodal Bible), it was not received into European Christian canons. Clement VIII placed it in an appendix to the Vulgate along with 3 Esdras and the Prayer of Manasseh "lest they perish entirely". The chapters corresponding to 4 Ezra, i.e. 2 Esdras 3–14, make up the "Book of II Izra", aka "Izra Sutuel", canonical in the Ethiopian Orthodox Church; it was also widely cited by early Fathers of the Church, particularly Ambrose of Milan, as the 'third book of Esdras'. Jerome states that it is apocryphal. It may also be found in many larger English Bibles included as part of the Biblical Apocrypha, as they exist in the King James Version, the Revised Version, the Revised Standard Version, and the earliest editions of the Catholic Douay-Rheims Bible, among others.  The "introitus" of the traditional Requiem Mass of the Extraordinary Form of the 1962 Missal in the Catholic Church is loosely based on 2:34–35: "Eternal rest grant unto them, O Lord, and let perpetual light shine upon them." Several other liturgical prayers are taken from the book. The same chapter, verses 36 and 37, is cited in the Introit of Pentecost Tuesday, “Accipite jucunditatem gloriae vestrae, alleluia: gratias agentes Deo, alleluia: qui vos ad caelestia regna vocavit, alleluia, alleluia, alleluia. Ps. 77 Attendite, popule meus, legem meam: inclinate aurem vestram in verba oris mei. Gloria Patri. Accipite. – Receive the delight of your glory, alleluia, giving thanks to God, alleluia, Who hath called ye to the heavenly kingdoms, alleluia, alleluia, alleluia. Psalm 77 Attend, O my people, to my law: incline your ears to the words of my mouth. Glory be. Receive.” The Alleluia verse "Crastina die" for the Vigil Mass of Christmas in the Roman Missal is taken from chapter 16, verse 52.  Christopher Columbus quoted verse 6:42, which describes the Earth as being created with 6 parts land and 1 part water, in his appeal to the Catholic Monarchs for financial support for his first voyage of exploration.

2 Esdras (also called 4 Esdras, Latin Esdras, or Latin Ezra) is the name of an apocalyptic book in many English versions of the Bible (see "Naming conventions" below). Its authorship is ascribed to Ezra, a scribe and priest of the, although modern scholarship places its composition between 70 and. It is reckoned among the apocrypha by Roman Catholics, Protestants, and most Eastern Orthodox Christians. 2 Esdras was excluded by Jerome from his Vulgate version of the Old Testament, but from the 9th century onwards the Latin text is sporadically found as an appendix to the Vulgate, inclusion becoming more general after the 13th century.

Le quatrième Livre d'Esdras ou Apocalypse d'Esdras est un livre biblique pseudépigraphe attribué au scribe israélite Esdras et écrit au. Il relève du genre apocalyptique. Il figure dans nombre d'éditions de la Bible en langue anglaise et est inclus en annexe de nombreuses autres ; apparaissant dans la Vulgate sous le nom de "4 Esdras", en vieux-slave et en russe sous le nom de "3 Esdras", il est couramment désigné sous celui de "2 Esdras" dans la tradition anglophone. Il figure parmi les apocryphes selon les "Trente-neuf articles" et est considéré comme tel par de nombreuses Églises protestantes, notamment.


Gameplay.

The player must defend power cores, which are usually located at a power station, from the invading enemy using ten different tower types. Tower construction is limited to specific platforms. Towers cannot be destroyed by the enemies.  Good tower placement is the key strategic object of the game. Each tower has unique trade-offs that affect ideal placement, such as line-of-sight or ballistic trajectory fire; a large area of effect or damage over time; and minimum and maximum ranges. The "insectoid" enemies arrive in waves and travel along elevated pathways which connect various structures found at the bases. Killing enemies earns resources, which can be used to build more towers and upgrade towers toward two stronger levels. Depending on the tower type an upgrade will provide a more powerful attack, an increased rate of fire and increased range. Tower strength is denoted by the colours green, yellow and red. Towers may be sold (removed) if resources are needed or a player wants to alter pathways. Resources earn interest with the rate increasing the more resources are obtained. The tower defenses are supplemented by the use of an orbital laser which completely destroys all aliens in its blast zone in one strike. The laser is not available in early missions and takes time to recharge. No resources are earned from enemies destroyed by the orbital laser.  During the game, the player battles fifteen types of enemies, each with unique capabilities and strategies. Some aliens are protected by shields which have to be destroyed first before the alien's health will decrease. The aliens will always take the shortest route and some of the aliens fly, requiring towers with aerial weapons for defense. The invaders are able to carry between one and three power cores. If an alien is killed while carrying a core, the orb will slowly float back to the power station. While returning the power core can be grabbed by an alien which will then head for the exit without reaching the power station. A ticker at the top of the screen advises players of the approaching alien wave's formation.  Players have the ability to speed up a game, along with being able to see weapons' range and aerial aliens path, and can also revert to a previously, automatically saved checkpoint. "Defense Grid" can be viewed at three different levels of zoom. When a level is successfully completed a set of challenges using the same map become available. Players earn medals depending on how well they complete a level. A Steam leaderboard that provides a comparative ranking of player's game scores and other statistics is available.

Plot.

The story is based on alien invasion of a planet that has a dormant defense grid. As the player is re-activating the defense system with the assistance of a computer to control the machinery and with only limited resources, the aliens attempt to steal power cores. Power cores are "tiny floating orbs" that provide vital power to the defense grid. Cores are carried by aliens, and when the aliens carrying them die, the cores are dropped, and will slowly float back to their central holder. Once all power cores have been taken from the level, the game is over. Only one power core needs to remain when the last wave of aliens are defeated to complete a level.  "Defense Grid" is set in the distant future. Most levels feature ancient ruins with defensive military bases built amongst the decaying structures. The game was originally planned to be set amongst an urban environment which has been ravaged by war but that was changed to something more original. The main character in the game, which is called Fletcher, is a computer with human-like qualities that wants to protect his homeworld from destruction.

Development.

During development, which started in late 2007, the game was known as "Last Stand". The development team were aiming to create a standard tower defense game but in 3D, downloadable and with high production values.  The game was created by Mark Terrano, the lead designer of "", and uses the Gamebryo engine. "Defense Grid" also uses the Scaleform GFx user interface engine. The lead designer for the game was Michael Austin. Lex Story contributed to the design of the 30 different towers which appear in the game.

Downloadable content.

"Defense Grid: Borderlands" was the first set of new levels provided as downloadable content. "Defense Grid: Resurgence" was announced on 29 May 2010 by Hidden Path Entertainment. The downloadable content is made up of eight new maps, released in installments of two maps each week throughout June 2010. Each map includes a campaign mode and four challenge modes. The content is available for PC and Xbox 360.  In December 2011, "Defense Grid: You Monster" was released for PC and Xbox 360. Featuring the GLaDOS character from "Portal", the add-on pack offers a new story mode of eight levels and 35 challenges. In preparation for the release, Hidden Path updated the core game with user interface enhancements, new game modes and challenge missions.  In December 2012, Hidden Path released four free maps called the Community Levels DLC. These levels were selected from designs submitted by Kickstarter community members using the level visualizer tool given to all backers that pledged $20 or more. The DLC was originally released exclusively to Kickstarter backers in conjunction with the "Defense Grid: Containment" beta. These levels were later made available to the public for free in exchange for registering to the Hidden Path newsletter.  In January 2013, "Defense Grid: Containment" was released for PC. It contained 8 maps and a story that bridged the gap between the original "Awakening" story line and the planned sequel, "Defense Grid 2". Kickstarter backers who pledged $50 or more were allowed to test the Beta version and were granted pre-release access to the completed DLC.

Reception.

On December 16, 2009, "Gamasutra" included "Defense Grid" on its Best Of 2009: Top 5 Console Downloadable Games. As of years-end 2011 the game sold nearly 116,000 copies on the Xbox 360.  The April 2009 issue of "PC Gamer" awarded "Defense Grid" a 90% and an Editor's Choice badge, stating, ""Defense Grid" is such a charming and challenging experience that shouldn't be missed by tower defense fans. Even if you're not a fan, it may turn you into one." "GamePro" said, ""Defense Grid: The Awakening" is a prime example of that sudden transformation of taking an unoriginal, well-known style of video game and turning it into a masterpiece for your PC", awarding the title 4.5 stars out of 5. "IGN"<nowiki>'</nowiki>s 8 out of 10 review stated, "It's an addictive time suck that will have you wishing for more once you've wiped up the last alien." The GameShark review thought "Defense Grid" was a "solid, well-rounded strategy game". A Thunderbolt Games review thought the game was "a charming little tower defence title with a decent story and challenging gameplay." A Gamervision review thought the later levels could be "frustrating difficult" but liked the replayability from challenge modes.  The Destructoid review lamented there being only 20 levels. A number of reviewers felt the game would be much better if it came with a level creator. At least one review drew attention to the lack of a rotatable camera. The Gamepro review felt some gamers might find the game a little repetitive. A few reviews noted the lack of any multiplayer options. Another review noted that navigating the menus can be a little clumsy.

Sequel.

In July 2012, a Kickstarter project was created by Hidden Path Entertainment to help fund a sequel game titled "Defense Grid 2". In August 2012, the Kickstarter project failed to reach its ultimate funding goal of US$1,000,000 for "Defense Grid 2's" development. However, the project did succeed in fully funding development of a new 8 level expansion to the original game which was named "Defense Grid: Containment". Hidden Path continued to talk to potential investors in an attempt to secure the funding to develop the aforementioned sequel, and on March 6, 2014 it was announced that Hidden Path had partnered with 505 Games in addition to angel investor Steven Dengler's Dracogen Inc. for the sequel. The sequel was released in September 2014 for Microsoft Windows, OS X, Linux, Xbox One and PlayStation 4.

Defense Grid: The Awakening is a tower defense video game developed by Hidden Path Entertainment for Windows and Xbox Live Arcade on the Xbox 360. The game was one of the titles promoted by Microsoft during their Game Developers Conference keynote speech on February 20, 2008. The game was released for Microsoft Windows on December 8, 2008 and for Xbox 360 on September 2, 2009. The OS X version shipped from Virtual Programming on July 7, 2010.

Defense Grid : The Awakening est un jeu vidéo de type "tower defense" développé par Hidden Path Entertainment et édité par Aspyr Media, sorti en 2008 sur PC (Windows) et Xbox 360 (XLA). Le jeu possède une campagne additionnelle intitulée "Borderlands".


In film and television.

In film, coming of age is a genre of teen films. Coming-of-age films focus on the psychological and moral growth or transition of a protagonist from youth to adulthood. Personal growth and change is an important characteristic of this genre, which relies on dialogue and emotional responses, rather than action. The story is sometimes told in the form of a flashback. Historically, coming-of-age films usually centred on young boys, although coming-of-age films focusing on girls have become more common in the early 21st century.  Films in this subgenre include "Pinocchio" (1940), "Bambi" (1942), " Rebel Without a Cause" (1955), "The Apu Trilogy" (1955–59), "Sleeping Beauty" (1959), "The 400 Blows" (1959), "Oliver!" (1968), "Walkabout" (1971), "Summer of '42" (1971), "American Graffiti" (1973), the original "Star Wars" Trilogy (1977-1983), "Breaking Away" (1979), "Over the Edge" (1979), "The Last American Virgin" (1982), "The Outsiders" (1983), "Rumble Fish" (1983), "Fandango" (1985), "Mischief" (1985), "The Breakfast Club" (1985), "Vision Quest" (1985), "Stand by Me" (1986), "Empire of the Sun" (1987), "Stealing Home" (1988), "Mermaids" (1990), "Flirting" (1991), "Dazed and Confused" (1993), "The Lion King" (1994), "Girl, Interrupted" (1999), "Almost Famous" (2000), "Y Tu Mamá También" (2001), "Spirited Away" (2001), "Dil Chahta Hai" (2001), the "Harry Potter" series (2001–11), "The Motorcycle Diaries" (2003), "Lakshya" (2004), "Happy Days" (2007), "Juno" (2007), "Gamyam" (2008), "Kotha Bangaru Lokam" (2008), "The Reader" (2008), "Moonrise Kingdom" (2012), "The Perks of Being a Wallflower" (2012), "The Spectacular Now", "Fukrey" (2012), (2013), "The Kings of Summer" (2013), "Boyhood" (2014), which was filmed with the same cast over a period of twelve years, "Me and Earl and the Dying Girl" (2015), "Kerintha" (2015), "Sleeping Giant" (2015), "Yevade Subramanyam" (2015), "Moonlight" (2016), "The Edge of Seventeen" (2016), "" (2017), "It" (2017), "2 Cool 2 Be 4gotten" (2017), "Call Me by Your Name" (2017), "Lady Bird" (2017), "Vunnadhi Okate Zindagi" (2017), "Love, Simon" (2018), "Eighth Grade" (2018), "To All the Boys I've Loved Before" (2018), "" (2018), "Bumblebee" (2018), "Mid90s" (2018), "Booksmart" (2019), and "Little Women" (2019).  Films featuring protagonists in particular age groups, such as pre-teens, are "My Girl" (1991), "The Sandlot" (1993), and "Now and Then" (1995) or high school graduates and college students, in films such as "With Honors" (1994), "Can't Hardly Wait" (1998), "American Pie" (1999), "Spider-Man 2" (2004), "Superbad" (2007), "An Education" (2009) and "3 Idiots" (2009).  Coming-of-age television series include "Happy Days" (1974–84), the "Degrassi" franchise (1979–2017), "The Wonder Years" (1988–93), "Boy Meets World" (1993–2000), "Daria" (1997–2001), "Freaks and Geeks" (1999–2000), "Skins" (2007–13), "Glee" (2009–15), "Ano Hi Mita Hana no Namae o Bokutachi wa Mada Shiranai" (2011), "Teen Wolf" (2011–17), Adventure Time (2010-2018) "Steven Universe" (2013–20), "Over the Garden Wall" (2014), "Girl Meets World" (2014–17), "Skam" (2015–17), "Stranger Things" (2016–present), "13 Reasons Why" (2017–2020), "One Day at a Time" (2017–present), "On My Block" (2018–present), "SKAM Austin" (2018–present), and "Sex Education" (2019–present).

In video games.

While not represented as often as in other mediums, coming-of-age stories can also be found in video games such as "Life Is Strange", "Night in the Woods" and the "Persona" series.

In genre studies, a coming-of-age story is a genre of literature, film, and video that focuses on the growth of a protagonist from youth to adulthood ("coming of age"). Coming-of-age stories tend to emphasize dialogue or internal monologue over action, and are often set in the past. The subjects of coming-of-age stories are typically teenagers. The Bildungsroman is a specific subgenre of coming-of-age story.

Le récit initiatique est un type de récit où l'on suit l'évolution du personnage, qui peut être positive ou négative, vers la compréhension du monde ou de lui-même. Ils se rencontrent le plus fréquemment dans les contes, mais aussi en roman (avec le roman d'apprentissage) et dans les mangas, cela se retrouve aussi dans les poèmes comme "La Prose du Transsibérien et de la petite Jehanne de France" de Blaise Cendrars.


Personal Life.

Bryan Buckley was born on September 3rd, 1963 in Cambridge, Massachusetts. Buckley spent his first years in Sudbury, a suburb of Boston, before moving to Swampscott, Masschusetts. His father, a onetime Army reservist, worked as an art director in a small regional ad agency.  He enrolled in Phillips Andover preparatory school where he found his love for drawing. He was admitted to Syracuse University's design program. He never enrolled in a film class during his time in college.  In 2017, Buckley married Actress Kiana Madani. He has three children.

Early Career.

After graduating Syracuse, Buckley began as an entry-level art director at Doyle Dane Bernbach.  In 1988, he co-founded his own agency, Buckley / DeCerchio, with his Chiat/Day co- worker Tom DeCerchio. Their first client was the 4 million dollar Godfather's Pizza account. Unhindered by experience, Buckley and De Cerchio hired friends and struggling filmmakers who would work cheaply. Within a few months, Buckley and De Cerchio were on the cover of Adweek. In their first year open, their work for Godfather's Pizza was awarded with a Gold Pencil at the One Show, a prestigious advertising awards show.  The agency would go on to sign clients such as National Lampoon and Snapple, for whom they created the famous “Made From the Best Stuff on Earth National” tag. In December 1993, Buckley and DeCerchio made the cover of the New York Times Business Section. The next day, tired of the agency world, they announced that a new chapter had begun, and closed the agency.

This Is Sportscenter.

In 1994, Buckley was offered the chance to direct a few unscripted, ultra low-budget promos for ESPN's hockey telecasts. Buckley had never been behind the camera before, and the job was not paid.  The campaign built a cult following and established "SportsCenter" as the hippest sports franchise on television. Over its 25-year run, the campaign has featured appearances from nearly every notable star across sports, including Kobe Bryant, Wayne Gretzky, David Ortiz, Lebron James, Mike Tyson, and Michael Phelps. ’’SportsCenter’’ was named the best commercial campaign of the 90's by The One Club, a prestigious advertising organization, and lent Buckley the credibility that permitted him to bring his freewheeling style to pricier, higher-stakes advertising.

Hungry Man Productions.

In 1997, Buckley co-founded Hungry Man Productions along with "This is SportsCenter" creator, Hank Perlman and long time producer Steve Orent. The company quickly added several prominent directors to its roster, such as Jim Jenkins, David Shane, Bennett Miller and Stacy Wall.  By 2004, the company won the Cannes Festival's Palme d'Or as the top commercial production company in the world and has finished in the top ten for more than ten consecutive years, the first production company to do so. Hungry Man has offices in New York, Los Angeles, London, Rio and São Paulo, and boasts a robust slate of directors including Taika Waititi, Wayne McClammy, and Nanette Burstein.  Buckley's first major work came with his first Super Bowl spot, a commercial for Monster.com called “When I Grow Up.” In the 30-second spot, kids deadpanned to the camera their answers to the age-old question “What do you want to be when you grow up?” with responses such as “I want to be a ‘yes’ man’ and “I want to be forced into early retirement.”  Viewers weren't immediately taken with the commercial's dark humor and gave it low marks in the USA Today Ad Meter, a consumer poll of the best and worst Super Bowl ads that's become an industry standard for measuring public reaction (and therefore success) of a multi-million dollar project. Initially, the ad was considered a flop, but Buckley believed in the power of the messaging: that the job search engine could energize people to get new jobs they could be proud of.  Buckley's instincts paid off. The Monster.com ad continued to get airplay over the next few days while conversation around other commercials died down, and the job site ended up crashing due to increased user activity. Monster.com reported an increase of 1 million site visits per month for the rest of 1999.

Commercial Work.

Over the course of his career, Buckley has worked on several influential campaigns and commercial spots, including “What Happens in Vegas,” Verizon's first ever Spanish language campaign for the Oscars, and FedEx's “Castaway.”  As his work has grown in scale, Buckley has collaborated with a long list of celebrities including Larry David, Jennifer Anniston, Conan O’Brien, Ellen DeGeneres, Leslie Mann, Taylor Swift, and The Rock, who starred in Apple's “The Rock x Siri Dominate the Day” commercial, which racked up over 80 million views.  His work has often garnered publicity, and has at times been described as anticommercials. His commercial for E*Trade in 2000 featured a mock-amateur commercial that had the attributes of a home video: harsh lighting, misaligned framing, an unsteady focus. The setting: a disheveled two-car garage. A chimpanzee, wearing an oversize E*Trade T-shirt, is flanked by a pair of blank-faced, imbecilic-looking men. All face the camera. They clap, out of sync, to a tinny recording of <nowiki>"</nowiki>La Cucaracha.<nowiki>"</nowiki> At the end, the chimpanzee folds his hands over his crotch. A tag line appears: <nowiki>"</nowiki>Well, we just wasted $2 million. What are you doing with your money?’’ In 2018, Adweek would declare it “The Most Subversive Super Bowl Ad Ever.”  In 2011, Buckley directed a series of commercials for New Era apparel. The campaign, titled “Rivalry,” saw actors John Krasinski and Alec Baldwin engaged in ongoing trash talk as fans of their respective teams, the Boston Red Sox and New York Yankees. The spots helped transform New Era into a global brand, and were inducted into the Permanent Collection of the Museum of Modern Art.

Awards.

In 1999, Buckley won the esteemed Best Directing award from the DGA, a cumulative award for several commercials he directed that year, including his Super Bowl monster.com “When I Grow Up” spot, and work for E*trade.  He has been nominated for Emmy Awards, and has won over 50 Cannes Lions, most recently the top honors at Cannes in 2019, a Grand Prix for his work on March for Our Lives “Generation Lockdown” campaign to raise awareness about gun violence prevention. Buckley also took the Titanium Lion and the top honors, a Grand Clio for his Microsoft “Changing the Game” work showcasing Xbox's new adaptive controller, the first ever system designed to be inclusive of handicapped gamers. The same year, he won 15 gold pencils at the One Show for his work with both the Microsoft and March for our Lives campaigns.  Buckley's two Academy Award nominations for Short Film within the same decade is the first time a director has managed to return to the category in over 30 years.

Narrative Work.

In September 2011, Buckley shot the short film ASAD in South Africa in September 2011 with an all Somali refugee cast. The story, which Buckley also wrote, follows a young Somali boy's tale of how he deals with the decision to fall into a pirate life, or become an honest working fisherman. The film screened at over 50 film festivals worldwide and took top honors at the Tribeca Film Festival, ultimately receiving a nomination for Best Live Action Short Film at the 85th Academy Awards.  Buckley's first feature film, The Bronze, stars Melissa Rauch as a foul-mouthed former gymnastics bronze medalist who must fight for her local celebrity status when a new young athlete's star rises in town. The film was selected to open the 2015 Sundance Film Festival and made a splash in Park City as the breakout comedy of the festival.  In 2017, Buckley wrote and directed the American drama film The Pirates of Somalia. The film stars Evan Peters, Oscar Winner Al Pacino, Melanie Griffith, and Barkhad Abdi. The film, set in 2008, is about rookie Canadian journalist Jay Bahadur's impulsive plan to embed himself among the pirates of Somalia to provide the first close-up look at who these men are, how they live, and the forces that drive them. The film had its world premiere at the Tribeca Film Festival on April 27, 2017. The film was released on December 8, 2017, by Echo Bridge. The Hollywood Reporter called the film “A lively tale bent on deepening our understanding of its sensationalism-ready subject.”  In 2019, Buckley wrote and directed the short film SARIA. The film explores the unimaginable hardships l that faced young female orphans at the Virgen de La Asuncion Safe Home in Guatemala, leading up to the tragic fire which claimed 41 of their lives in 2017. In it, we follow the story of two inseparable orphaned sisters - Saria 12, and her sister Ximena 14, as they fight against l mounting daily physical abuse at the very institution designed to protect them. In the sisters' desperation for survival, they devise a daring plan of escape for all the orphans to find freedom in America.  Rather than using traditional child actors to play the roles of the orphans, Buckley opted to reach out to orphanages throughout Mexico to participate in the film. Ultimately, he established a partnership with Ministerios De Amor Orphanage in Mexico City. Buckley felt that these children, if given an opportunity, could shine. None of the girls had ever acted before they participated in the film. They received extensive training from an acting coach who would come to the orphanage daily.  Due to the urgency of the message, the production team bypassed the traditional festival circuit and four-walled the film for Academy Consideration just two days after completion, an unproven process that didn't allow the traditional press cycle to build buzz around the film. However, the plan succeeded and the film received a nomination for Best Live Action Short Film at the 92nd Academy Awards.

Directing Style.

His early work has been characterized as anarchic and populist. Defined by a “run and gun” style that often challenged the importance of advertising to begin with. "It ain't feel-good advertising," Buckley acknowledges.  Buckley's work has been primarily comedic, with a penchant for exploring the attempts of ordinary folks to contend with ruthless impulses and chaotic circumstances. New York Times Magazine wrote “Bryan is an interpreter of American fears. He doesn't make commercials; he writes haiku.” He has been celebrated for his casting ability, and in his skill for directing unprofessional actors, whom he often casts for a more raw performance. Bryan's later work has typically involved more prominent celebrity roles, driven by smart, grounded, character-driven comedy.  Though his body of work is primarily comedic, Buckley has shifted to a more socially-conscious approach in recent years. His modern work has been typified by a commitment to activist causes, such as Women's March, Gun Control, Immigration, and Justice. His narrative work has been defined by a focus on the oppressed and oppressors, and the need to illuminate otherwise unknown or under-reported injustices. ]

Activism.

Buckley has been a long-time passionate supporter of activism and philanthropy. In the past, he was worked with organizations like Women's March to create advocacy campaigns at no cost.  In 2019, Buckley directed work for the “Generation Lockdown” campaign on behalf of March for our Lives, an organization dedicated to preventing gun violence in the USA. The commercial was created in support of the S.42 Background Check Expansion Act, and was cited by several members of Congress to advocate for stricter gun control.  After the release of his 2019 short, SARIA, the film was cited by members of Congress in a 2020 letter to the Secretary of State. Congressmen Adriano Espaillat and Vicente Gonzalez stated the film "amplifies global awareness" of the issue, and demanded justice for the victims and an investigation into the whereabouts of the remaining survivors. Buckley has stayed involved with the pursuit of justice within Guatemala, attending a meeting on Capitol Hill between Stef Arreaga, a prominent activist and Congressmen Adriano Espaillat and Vicente Gonzalez Jr.

King Of The Super Bowl.

Buckley's work has consistently aired during the Super Bowl, leading to the New York Times deeming him the “King of the Super Bowl” in, Buckley has directed over 60 commercials, and is responsible for some of the most memorable spots in the history of Super Bowl advertising. His work is often rated at the top of every year's Super Bowl Commercial rankings.

Bryan Buckley is an American filmmaker, screenwriter, producer, and Academy-Award nominated director. His prolific career and distinct vision in directing commercials has led to him being dubbed the “30 Second Auteur.”

Bryan Buckley est un réalisateur et scénariste américain né le à Sudbury, Massachusetts (États-Unis). Il a notamment réalisé la campagne "Windows 7" diffusée en Europe et aux États-Unis.