History.

The first three "Old Men" hired by Walt Disney were Les Clark in 1927 and Eric Larson and Wolfgang Reitherman in 1933, but all the others were hired in 1934 and 1935. Almost all of the Nine Old Men began their careers at Disney by working on short films, but they all worked on Disney's first animated feature film, "Snow White and the Seven Dwarfs", when the film was in development. Progressively, many of them became animation directors. The first of them (Ward Kimball, Milt Kahl, Eric Larson and Wolfgang Reitherman) began this work in 1940, in the " Pinochio" film. Most of the Nine Old Men started working as animator directing in 1946 (in "Song of the South"), except Kimball and Reitherman, who were animator directing from 1947 (in "Fun and Fancy Free"), and Johnston and Thomas, who were animator directing from 1949 (in the "Adventures of Ichabod and Mr. Toad").  According to researcher Neal Gabler and animator Frank Thomas, a board was formed to study all possible problems affecting the company in relation to its work between 1945 and 1947. One day, in the early 1950s, there were nine members on the board (the number of members varied every day) and Walt Disney named the group "Nine Old Men" (even though the Old Nine worked in different departments and did not usually work together). Since then, Walt Disney delegated more and more tasks to them in the field of animation as the work of the company diversified. As we can see in the table below, in general, the Disney's Old Nine did not work together in any film except in the two first feature films ("Snow White" and "Pinocchio") and in the period 1949-1953, when they worked in "The Adventures of Ichabod and Mr. Toad", "Cinderella", "Alice in Wonderland" and "Peter Pan". Interestingly, almost all of them worked as directing animators in these films, except Les Clark (who was not a directing animator in the first one) and Marc Davis (who was not a directing animator in any of them).  After 1961, Marc Davis stopped making films, but kept doing other works for the company. Ward Kimball retired in 1973, with the film "Robin Hood" being his last work. By the time "Robin Hood" was released, in November 1973, only four of the Nine Old Men (Kahl, Lounsbery, Thomas, and Johnston) still animated films regularly, although Eric Larson was still working for Disney as a talent scout and trainer and occasionally as an animator and director of animation (for example in "Winnie the Pooh and Tigger Too"), Wolfgang Reitherman and Les Clark were by then directing and producing films (although Clark, who had almost been limited to directing short films since 1964, also occasionally animated short and feature films), and Marc Davis was helping to create Disney theme park attractions. Lounsbery died in 1976, Clark and Kahl retired the same year, with "Man, Monsters and Mysteries" and "The Rescuers" being the last Clark and Kahl films, respectively. Davis, Thomas and Johnston retired in 1978 after Thomas and Johnston created some animations for the film "The Fox and the Hound", which was in development at the time, while Reitherman retired in 1981. After that, the only one who continued to work at the company was Larson but as an Animation Consultant. He retired in 1986. Thomas and Johnston later enjoyed cameos in the Brad Bird-directed films "The Iron Giant" (Warner Bros., 1999) and "The Incredibles" (Pixar, 2004). Thomas died shortly afterward in 2004, and Johnston, who was by then the last surviving "Old Man", died in 2008.  As well as being honored as Disney Legends in 1989, all of the Nine Old Men were separately honored with the Winsor McCay Award (the lifetime achievement award for animators) during the 1970s and 1980s.

Members.

In 2012, Frank Thomas' son, Theodore Thomas, produced a documentary featuring the children of the animators remembering their fathers, "Growing up with Nine Old Men" (included in the Diamond edition of the "Peter Pan" DVD.)

Legacy.

As part of their work for Disney, the Nine Old Men refined the 12 basic principles of animation:  In 1981, after retiring, Johnston and Thomas published the book "", which sets out the 12 basic principles of animation and helps to preserve the animation techniques that the Disney company created.  Another important component of the Nine Old Men's legacy are the many animators in the contemporary animation industry who can directly or indirectly trace their training to someone who was either their apprentice at Disney Animation or their student at CalArts. For example, Wayne Unten, the supervising animator for Elsa in Disney's "Frozen", has noted that he apprenticed with John Ripa, who in turn apprenticed with Glen Keane, who in turn apprenticed with Johnston.

Disney's Nine Old Men were Walt Disney Productions' core animators, some of whom later became directors, who created some of Disney's most famous animated cartoons, from "Snow White and the Seven Dwarfs" onward to "The Rescuers", and were referred to as such by Walt Disney himself. They worked in both short films and feature films. Disney delegated more and more tasks to them in the animation department in the early 1950s when their interests expanded and diversified their scope. All members of the group are deceased. John Lounsbery was the first to die, in 1976 from heart failure, and the last survivor was Ollie Johnston, who died in 2008 from natural causes. All have been acknowledged as Disney Legends.

迪士尼九老(英语:Disney's Nine Old Men)都是曾经华特迪士尼动画工作室的核心动画师,其中一些人后来还成为了导演,他们创造了一系列经典的迪士尼动画卡通,从白雪公主到救难小英雄,被华特·迪士尼以「九老」戏称,所有成员都已逝世,均被授予迪士尼传奇。


History.

In the early 1960s, Max Lane developed mathematical models for predicting the locations of satellites based on a minimal set of data elements. His first paper on the topic, published in 1965, introduced the Analytical Drag Theory, which concerned itself primarily with the effects of drag caused by a spherically-symmetric non-rotating atmosphere. Joined by K. Cranford, the two published an improved model in 1969 that added various harmonic effects due to Earth-Moon-Sun interactions and various other inputs.  Lane's models were widely used by the military and NASA starting in the late 1960s. The improved version became the standard model for NORAD in the early 1970s, which ultimately led to the creation of the TLE format. At the time there were two formats designed for punch cards, an "internal format" that used three cards encoding complete details for the satellite (including name and other data), and the two card "transmission format" that listed only those elements that were subject to change. The latter saved on cards and produced smaller decks when updating the databases.  Cranford continued to work on the modelling, eventually leading Lane to publish "Spacetrack Report #2" detailing the Air Force General Perturbation theory, or AFGP4. The paper also described two simplified versions of the system, IGP4 which used a simplified drag model, and SGP4 (Simplified General Perturbations) which used IGP4's drag model along with a simplified gravity model. The differences between the three models were slight for most objects. One year later, "Spacetrack Report #3" was released, included full FORTRAN source code for the SGP4 model. This quickly became the "de facto" standard model, both in the industry as well as the astronomy field.  Shortly after the publication of "Report #3", NASA began posting elements for a variety of visible and other well known objects in their periodic "NASA Prediction Bulletins", which consisted of the transmission format data in printed form. After trying for some time to convince NASA to release these in electronic form, T.S. Kelso took matters into his own hands and began manually copying the listings into text files which he distributed through his CelesTrak bulletin board system. This revealed a problem in NASA's checksum system, which traced back to the lack of the plus character (+) on the teletype machines used at NASA, which ultimately turned out to be a problem from the punch card era that occurred when NORAD updated from the BCD to EBCDIC character set on the computer sending out the updates. This problem went away when Kelso began to receive data directly from NORAD in 1989.  The SGP4 model was later extended with corrections for deep space objects, creating SDP4, which used the same TLE input data. Over the years a number of more advanced prediction models have been created, but these have not seen widespread use. This is due to the TLE not containing the additional information needed by some of these formats, which makes it difficult to find the elements needed to take advantages of the improved model. More subtly, the TLE data is massaged in a fashion to improve the results when used with the SGP series models, which may cause the predictions of other models to be less accurate than SGP when used with common TLEs. The only new model to see widespread use is SGP8/SDP8, which were designed to use the same data inputs and are relatively minor corrections to the SGP4 model.

Format.

Originally there were two data formats used with the SGP models, one containing complete details on the object known as the "internal format", and a second known as the "transmission format" that was used to provide updates to that data.  The internal format used three 80-column punch cards. Each card started with a card number, 1, 2 or 3, and ended with the letter "G". For this reason, the system was often known as the "G-card format". In addition to the orbital elements, the G-card included various flags like the launching country and orbit type (geostationary, etc.), calculated values like the perigee altitude and visual magnitude, and a 38-character comments field.  The transmission format is essentially a cut-down version of the G-card format, removing any data that is not subject to change on a regular basis, or data that can be calculated using other values. For instance, the perigee altitude from the G-card is not included as this can be calculated from the other elements. What remains is the set of data needed to update the original G-card data as additional measurements are made. The data is fit into 70 columns and does not include a trailing character. TLEs are simply the transmission format data rendered as ASCII text.  An example TLE for the International Space Station:  The meaning of this data is as follows:  Where decimal points are assumed, they are leading decimal points. The last two symbols in Fields 10 and 11 of the first line give powers of 10 to apply to the preceding decimal. Thus, for example, Field 11 (-11606-4) translates to -0.11606E-4 (−0.11606×10).  The checksums for each line are calculated by adding all numerical digits on that line, including the line number. One is added to the checksum for each negative sign (-) on that line. All other non-digit characters are ignored.  For a body in a typical low Earth orbit, the accuracy that can be obtained with the SGP4 orbit model is on the order of 1 km within a few days of the epoch of the element set. The term "low orbit" may refer to either the altitude (minimal or global) or orbital period of the body. Historically, the SGP algorithms defines low orbit as an orbit of less-than 225 minutes.

A two-line element set (TLE) is a data format encoding a list of orbital elements of an Earth-orbiting object for a given point in time, the "epoch". Using suitable prediction formula, the state (position and velocity) at any point in the past or future can be estimated to some accuracy. The TLE data representation is specific to the simplified perturbations models (SGP, SGP4, SDP4, SGP8 and SDP8), so any algorithm using a TLE as a data source must implement one of the SGP models to correctly compute the state at a time of interest. TLEs can describe the trajectories only of Earth-orbiting objects. TLEs are widely used as input for projecting the future orbital tracks of space debris for purposes of characterizing "future debris events to support risk analysis, close approach analysis, collision avoidance maneuvering" and forensic analysis.

两行轨道要素形式 (Two-line element set、TLE)是一种轨道编码方式,用于确定给定历元时刻下,绕地运行空间目标的轨道根数。使用合适的预测模型,可以以一定精度估计出目标在轨道上任意一点的位置和速度。TLE轨道根数对应的计算模型是简化普适模型(simplified perturbations models,包括SGP, SGP4, SDP4, SGP8 and SDP8),因此,任何使用TLE数据的算法必须使用一种SGP模型来准确计算出轨道的参数。


Plot.

Tae-suk (Jae Hee) is a loner who drives around on his motorbike, taping takeout menus over the keyholes of front doors and breaking into apartments where the menus have not been removed. He lives in those apartments while their owners are away, washing their clothes, mending their broken appliances, and taking selfies with their possessions. When he breaks into one large home, he is unaware that he is being watched by an abused housewife and former model Sun-hwa (Lee Seung-yeon). Tae-suk leaves after making eye contact with Sun-hwa, but then returns. He witnesses Sun-hwa's husband Min-gyu abusing her and proceeds to catch his attention by practicing golf in the yard. He buffets Min-gyu with golf balls and then leaves with Sun-hwa.  Tae-suk and Sun-hwa begin a silent relationship, moving from one apartment to another, with Tae-suk occasionally practicing hitting golf balls by drilling holes in them, inserted a cord through the holes, and securing the cords with a knot around the bases of tree trunks. In one home, after drinking, they are caught by the returning owners, sleeping in their bed and wearing their pajamas. The male homeowner, a boxer, repeatedly punches Tae-suk. Later, Tae-suk practices hitting a golf ball tied to a tree, and the ball breaks loose from its cord, breaking through the windshield of a nearby car and brutally striking the car's passenger in their head. Tae-suk, awash with guilt, is comforted by Sun-hwa.  The next night, Tae-suk and Sun-hwa break into a hanok, where they sit quietly, drink tea, and share a kiss. They later enter an apartment where they discover the dead body of an elderly man. They proceed to give him a proper burial. The following day, the elderly man's son and daughter-in-law arrive at the apartment, and assume that Tae-suk and Sun-hwa killed him. Tae-suk and Sun-hwa are apprehended and interrogated by police, but remain silent. Tae-suk's camera is confiscated, and the owners of the homes seen in the photos on the camera are contacted. The police learn that nothing was stolen from any of the houses, and an investigation reveals that the old man died of lung cancer. Min-gyu arrives to take Sun-hwa home, and bribes the policeman in charge of the investigation to allow him to strike Tae-suk with golf balls. Tae-suk ends up attacking the police officer and is sent to jail. There, he practices golf with an imaginary club and balls and develops his gifts for stealth and concealment, frustrating his jailers by remaining out of sight.  Tae-suk is released from prison, and Min-gyu prepares himself in case he returns for Sun-hwa. With his improved stealth, Tae-suk is able to rejoin Sun-hwa in her house, using his skills to evade Min-gyu's detection. Sun-hwa appears to say "I love you" to Min-gyu and embraces him, but kisses Tae-suk over his shoulder. When Min-gyu leaves on a business trip, Sun-hwa and Tae-suk stand together on a scale. Text then appears, reading: "It's hard to tell whether the world we live in is either a reality or a dream."

Themes and interpretations.

According to author Hye Seung Chung, the use of silence in "3-Iron" evokes the writing of Hungarian film theorist Béla Balázs, who described silence as "one of the most dramatic effects of the sound film". The film's use of silence is partly derived by Kim's experiences in Paris, France, where he learned to understand other people by observing their expressions and behavior, despite him not being able understand the French language. In a 2005 interview with "Time Out", Kim stated: "I want the audience to watch the characters more closely by reducing the dialogue as much as possible. Most movies have too much dialogue; I don't think words make everything understandable".  "3-Iron" has also been described as exploring social status and "issues of marginality, voicelessness, and invisibility" in South Korea. Seung Chung describes Tae-suk and Sun-hwa—presented at varying points in the film as either inaudible or invisible—as being "of liminal class affiliations." Writer Sheng-mei Ma similarly notes Sun-hwa and Tae-suk as being "marginalized, 'half-human' protagonists". Tae-suk is depicted as a transient with no known family, and from dialogue in which Min-gyu recounts having wired money to Sun-hwa's family, it can be inferred that he and Sun-hwa are in an interclass marriage, with Sun-hwa hailing from a family of lower economic status than Min-gyu. Ma writes that the film uses "the universal symbol of golf as a sign of affluence", with Tae-suk, "not yet awakened from the dream of social status and power, [... copying] the lifestyle of the rich through golf practice." He notes that Sun-hwa "instinctively tries to stop that emulation", but fails, resulting in Tae-suk striking an innocent woman with a stray ball.  Writing of the latter half of the film, Seung Chung describes Tae-suk as "literally [becoming] invisible after mastering the ability to hide in the shadowy jail cell, outside the purview of human vision, through metaphysical 'ghost practice". The term "ghost practice" () was coined by Kim himself and used in a number of local interviews about "3-Iron". Film critic A. O. Scott, in his review of the film for "The New York Times", suggests that Tae-suk "becomes a phantom of cinema, hiding on the edge of the frame and taking advantage of the literal-minded folk who haven't fully grasped the potential of the medium." Seung Chung wrote that the final shot of the film, in which Sun-hwa and Tae-suk stand together on a scale that displays a weight of zero, implies the couple's "mutual transcendence of bodily existence." Ma refers to the ending as "ambiguous", writing that Sun-hwa "may well be imagining a union with her ghost lover, or their love may have indeed freed them from their bodies."  In a 2004 interview with Kim for "Cine 21", Chong Song-il interpreted Tae-suk as "Sun-hwa's fantasy", serving as a figure of rescue from her abusive marriage. This interpretation was corroborated by Kim, but Kim also suggested an interpretation wherein Sun-hwa is a figment of Tae-suk's imagination, delivering him from his solitary visits to empty houses.

Release.

"3-Iron" premiered in competition at the 61st Venice International Film Festival in September 2004.

Box office.

The film opened in South Korea on April 29, 2005, and went on to gross $241,914 domestically. It grossed $3,403,957 worldwide.

Critical response.

On the review aggregator website Rotten Tomatoes, the film has an approval rating of 87% based on 92 reviews, with an average score of 7.4/10. The site's critical consensus reads: "A tender and moving romance from "Spring, Summer, Fall, Winter... And Spring"s director Kim Ki-Duk." The film holds a score of 72 out of 100 on Metacritic based on 28 reviews, indicating "Generally favorable reviews".  A. O. Scott of "The New York Times" noted the "sophisticated modern sound design" exhibited in "3-Iron", and called the film "a teasing, self-conscious and curiously heartfelt demonstration of [Kim's] mischievous formal ingenuity." Dennis Schwartz of "Ozus' World Movie Reviews" called the film "an unusual original story that's rooted in a Buddhist parable [...] of seeing the world as a dream". James Mudge of "Beyond Hollywood" called it "an almost ethereal, yet truly captivating film which is fascinating and moving", writing that "it is quite likely that viewers will not even realize the lack of dialogue". Jamie Woolley of BBC.com gave the film three out of five stars, writing: ""3-Iron" isn't going to win any prizes for furthering of the cause of female emancipation. But if the snail's pace doesn't send you to sleep, you'll be rewarded with a tender and unusual love story."

3-Iron (; lit. "Empty House") is a 2004 romantic drama film written, produced and directed by Kim Ki-duk. An international co-production between South Korea and Japan, the film stars Jae Hee as a young drifter who develops a relationship with an abused housewife (Lee Seung-yeon). The film's title is derived from a type of golf club used prominently throughout the narrative.

《空屋情人》(,英语:3-Iron)是韩国著名导演金基德2004年的限制级电影作品,并以此荣获第61届威尼斯国际影展银狮奖「最佳导演奖」,成为首位夺奖的韩国导演。故事讲述一位四处游荡的男子和一个无意中邂逅的女子的故事。


Customs.

Hinamatsuri is one of the that are held on auspicious dates of the Chinese calendar: the first day of the first month, the third day of the third month, and so on. After the adoption of the Gregorian calendar, these were fixed on 1January, 3March, 5May, 7July, and 9September. The festival was traditionally known as the, as peach trees typically began to flower around this time. Although this is no longer true since the shift to Gregorian dates, the name remains and peaches are still symbolic of the festival.  The primary aspect of Hinamatsuri is the display of seated male and female dolls (the and, literally "male doll" and "female doll" respectively), which represent a Heian period wedding, but usually described as the Emperor and Empress of Japan), usually on red cloth. These may be as simple as pictures or folded paper, or intricately carved three-dimensional dolls. More elaborate displays will include a multi-tiered of dolls that represent ladies of the court, musicians, and other attendants, with all sorts of accoutrements. The entire set of dolls and accessories is called the. The number of tiers and dolls a family may have depends on their budget.  Families normally ensure that girls have a set of the two main dolls before their first Hinamatsuri. The dolls are usually fairly expensive ($1,500 to $2,500 for a five-tier set, depending on quality) and may be handed down from older generations as heirlooms. The "hinakazari" spends most of the year in storage, and girls and their mothers begin setting up the display a few days before 3March (boys normally do not participate, as 5May, now Children's Day was historically called "Boys' Day"). Traditionally, the dolls were supposed to be put away by the day after Hinamatsuri, the superstition being that leaving the dolls any longer will result in a late marriage for the daughter, but some families may leave them up for the entire month of March. Practically speaking, the encouragement to put everything away quickly is to avoid the rainy season and humidity that typically follow Hinamatsuri. Historically, the dolls were used as toys, but in modern times they are intended for display only. The display of dolls usually discontinues when the girls reach 10 years old.  During Hinamatsuri and the preceding days, girls hold parties with their friends. Typical foods include (multi-colored rice crackers), (raw fish and vegetables on rice in a bowl or "bento" box), (multicolored rice cakes), (strawberries wrapped in adzuki bean paste), and (clam soup, as clam shells represent a joined pair). The customary drink is (lit. "white sake"), also called (lit. "sweet sake") a non-alcoholic sake.

Placement.

The actual placement order of the dolls from left to right varies according to family tradition and location, but the order of dolls per level is the same. The layer of covering is called or simply, a red carpet with rainbow stripes at the bottom. The description that follows is for a complete set.

First, top platform.

The top tier holds two dolls, known as. The words "dairi" means "imperial palace". These are the "obina" holding a and "mebina" holding a fan. The pair are also known as and (lord and princess) or and (honored palace official and honored doll). Although they are sometimes referred to as the Emperor and Empress, they only represent the positions and not the actual individuals themselves (with the exception of some dolls from the Meiji period that actually depict Emperor Meiji and Empress Shōken). The two are usually placed in front of a gold folding screen and placed beside green Japanese garden trees.  Optional are the two lampstands, called, and the paper or silk lanterns that are known as, which are usually decorated with cherry or plum blossom patterns.  Complete sets would include accessories placed between the two figures, known as, composing of two vases of artificial.  Generally speaking, the Kansai style arrangement has the male on the right, while Kantō style arrangements have him on the left (from the viewer's perspective).

Second platform.

The second tier holds three court ladies who serve sake to the male and female dolls. Two of them are standing with serving utensils, one with a and the other with a. The, placed in the middle, holds a small table and may be standing or sitting/kneeling.  Accessories placed between the ladies are, stands with round table-tops for seasonal sweets, excluding "hishi mochi".

Third platform.

The third tier holds five male musicians. Each holds a musical instrument except the singer, who holds a fan:  There are ancient sets with seven or ten musicians, and at least one with female musicians.

Fourth platform.

Two may be displayed on the fourth tier. These may be the emperor's bodyguards, or administrators in Kyoto: the and the. Both are sometimes equipped with bows and arrows. When representing the ministers, the Minister of the Right is depicted as a young person, while the Minister of the Left is older because that position was the more senior of the two. Also, because the dolls are placed in positions relative to each other, the Minister of the Right will be on "stage right" (the viewer's left) and the Minister of the Left will be on the other side.  Between the two figures are covered, also referred to as, as well as bearing diamond-shaped "hishi mochi".  Just below the ministers: on the rightmost, a, and on the leftmost, a.

Fifth platform.

The fifth tier, between the plants, holds three or of the Emperor and Empress:

Other platforms.

On the sixth and seventh tiers, a variety of miniature furniture, tools, carriages, etc., are displayed.

Sixth platform.

These are items used within the palatial residence.

Seventh, bottom platform.

These are items used when away from the palatial residence.

Origin.

The earliest record of displaying the dolls as part of the Peach Festival comes from 1625, for Emperor Go-Mizunoo's daughter Oki-ko. Imperial court ladies set up equipment for her to engage in. After Oki-ko succeeded her father as the Empress Meishō, Hinamatsuri legally became the name of the holiday in 1687. Doll-makers began making elaborate dolls for the festival (some growing as tall as 3 feet (1 meter) high before laws were passed restricting their size) and over time, the "hinazakari" evolved to include fifteen dolls and their accessories. As dolls became more expensive, tiers were added to the "hinadan" so that the expensive ones could be placed out of the reach of young children.  During the Meiji period as Japan began to modernize and the emperor was restored to power, Hinamatsuri was deprecated in favor of new holidays that focused on the emperor's supposed bond with the nation, but it was revived. By focusing on marriage and families, it represented Japanese hopes and values, and as the dolls were said to represent the emperor and empress, it also fostered respect for the throne. The holiday then spread to other countries via the Japanese diaspora, although it remains confined to immigrant Japanese communities and their descendants.

, also called Doll's Day or Girls' Day, is a special day in Japan. Celebrated on 3March of each year, platforms covered with a red carpet-material are used to display a set of representing the Emperor, Empress, attendants, and musicians in traditional court dress of the Heian period.

雏祭(、)是日本女孩子的节日,又称人偶节、上巳节()、女儿节、桃花节。本来在农历的三月初三,明治维新后改为西历3月3日。


Plot.

On the planet Eternia, at the center of the Universe, Skeletor's army seizes Castle Grayskull, scatters the remaining Eternian defenders, and captures the Sorceress of Grayskull, planning to add her power to his own by the next moonrise.  Skeletor's archenemy, the warrior He-Man, veteran soldier Man-At-Arms, and his daughter Teela rescue Gwildor from Skeletor's forces. Gwildor, a Thenorian locksmith, reveals that Skeletor has acquired his invention: a "Cosmic Key" that can open a portal to anywhere by utilizing sound keys. The device was stolen by Skeletor's second-in-command, Evil-Lyn, allowing Skeletor to breach Castle Grayskull.  With Gwildor's remaining prototype of the Key in hand, He-Man and his friends travel to the Castle. They attempt to free the Sorceress but are overwhelmed by Skeletor's army and forced to flee through Gwildor's hastily opened portal, transporting them to Earth. The Key is misplaced on their arrival and discovered by two California teenagers, orphaned high school girl Julie Winston and her boyfriend Kevin Corrigan. While experimenting with the device, they accidentally send a signal that allows Evil-Lyn to track it. She then sends her henchmen—Saurod, Blade, Beast Man, and Karg—to recover it.  Kevin, an aspiring musician, mistakes the Key for a synthesizer and takes it to a music store run by his friend Charlie. Karg's team arrives and chases Julie until He-Man rescues her. Karg's team returns to Grayskull where, incensed by their failure, Skeletor kills Saurod and sends the others back to Earth, with a larger force under Evil-Lyn's command. Unable to find Julie, Kevin is taken to Julie's house by Lubic, a detective investigating the disturbance created by Karg's team. Suspecting the Key is stolen, Lubic confiscates it from Kevin and leaves. Immediately afterward, Evil-Lyn captures and interrogates Kevin for the Key's location with a mind-control collar, before pursuing Lubic.  Julie and the Eternians release Kevin from the collar before they go after Lubic and the Key. They arrive at Charlie's store, but Skeletor's forces catch up with them and a pitched battle ensues. Evil-Lyn recovers the Key and summons Skeletor to Earth. Skeletor's forces capture the Eternians, and Julie is mortally wounded by Skeletor's lightning blast, which simultaneously erases the memory storage of Gwildor's Key. He-Man surrenders to save his comrades and is returned to Eternia as Skeletor's slave. Skeletor demands that He-Man kneel before him for all of Eternia to witness, before he is killed. He-Man refuses and is lashed by Blade's laser whip in an attempt to make him submit. He-Man is still standing when the moon rises, and Skeletor absorbs the powers of the universe. Declaring himself the Master of the Universe, Skeletor asserts his victory and continues to torture He-Man with energy blasts.  Back on Earth, Gwildor repairs the Cosmic Key and Kevin re-creates the tones necessary to create a gateway to Eternia. The group, including Lubic who attempts to arrest them, are transported to Castle Grayskull, where they begin battling Skeletor's forces. Resenting that Skeletor absorbed the power of the Universe without sharing it with her, Evil-Lyn deserts him along with the other henchmen. Skeletor accidentally frees He-Man, who reclaims the Sword of Grayskull, and they battle until He-Man shatters Skeletor's staff, removing his new powers and restoring him to his normal state. He-Man offers mercy, but Skeletor draws a concealed sword and attempts to kill He-Man; He-Man knocks Skeletor into a vast pit below. The freed Sorceress heals Julie and a portal is opened to send the Earthlings home. Hailed as a hero for his bravery, Lubic decides to remain on Eternia.  Julie awakens on the morning of her parents' deaths by plane crash. She prevents them from taking the ill-fated flight by taking their keys, and runs outside to find Kevin. Kevin confirms that their experiences were real, producing a souvenir from Eternia: a small blue sphere containing a scene of He-Man in front of Castle Grayskull with his sword raised above his head.  In a post-credits scene, Skeletor's head emerges from the water at the bottom of the pit, saying "I'll be back!"

Production.

Development and writing.

One of the original drafts from the script by David Odell (whose previous writing credits include "Supergirl" and "The Dark Crystal") was reviewed in the third episode of the He-Man and She-Ra podcast, Masters Cast. The original draft included more time spent on Eternia and Snake Mountain, had Beast Man in a speaking role, and even revealed that He-Man's mother was originally from Earth, as per the character Queen Marlena from the Filmation animated series "He-Man and the Masters of the Universe", thus linking the two planets. Describing her character, Foster said that Evil-Lyn is not villainous, "she is just doing her job and she knows how to get results, even if it means being harsh." Langella agreed, calling Evil-Lyn a female more dedicated to Skeletor's cause than any man; she is obsessive around Skeletor because she is slightly lovelorn. The filmmakers considered having Foster wear contact lenses to mask her naturally pale-blue eyes, but decided that her natural eyes fit the character better. However, they did augment Foster's chest, fitting cleavage into the character's costume. Foster wanted the character to have a large hairstyle, rather than the short style featured in the film.  When offered the role, Langella said that he "didn’t even blink...I couldn't wait to play him." Langella cited his then-four-year-old son's love of Skeletor while running around his house yelling He-Man's battle cry "I have the power!" as the reason he chose to play He-Man's archenemy.

Jack Kirby inspiration.

Comic book writer/artist John Byrne compared the film to Jack Kirby's comic book metaseries "Fourth World", stating in "Comic Shop News" #497:  Director Gary Goddard clarified this in a letter appearing in "John Byrne's Next Men" #26, in which he stated:  Brian Cronin, author of the "Comic Book Urban Legends Revealed" column, concludes that "the film itself was not intended to be literally a reworked Fourth World, although the intent WAS to make the film a tribute to Jack Kirby—just a tribute to ALL of his work, not just the Fourth World."

Music.

Soundtrack.

The musical score of "Masters of the Universe" was composed by Bill Conti. It was recorded by several European orchestras, chiefly the Graunke Orchestra of Munich (the only one to be credited on the soundtrack album) and conducted by a number of conductors, chiefly Bruce Miller and Harry Rabinowitz (Rabinowitz received sole credit). Conti did not conduct his score because it could not be recorded in the United States as "there was a musicians strike or something like that...So it went to various places." He and the score mixer Dan Wallin assembled the score from the various recorded takes, because there were problems with the orchestral performances ("We didn't have anything that went from beginning to end without a problem").  The soundtrack album was released on record, cassette, and compact disc by Varèse Sarabande in 1987; it was subsequently issued in an expanded version by Edel. In 2008, La-La Land Records released a two-disc edition with the complete score and the original album presentation; in 2012, Intrada Records issued the complete score (the entirely of disc one and tracks 1–5 on disc two) on one disc.

Release.

Box office.

Prior to releasing the film, The Cannon Group touted "Masters of the Universe" as the "Star Wars" of the 1980s. Despite releasing alongside the height of the success of the toy line, animated series, and related merchandise, "Masters of the Universe" began as the third-highest-grossing film of the weekend in North America on August 7, 1987, earning $4,883,168, behind "Stakeout" ($5,170,403) and "The Living Daylights" ($7,706,230). The film quickly left the charts altogether with a North American gross of $17,336,370.  The film was released in the Philippines by Solar Films on September 10, 1987.

Critical reception.

"Masters of the Universe" received negative reviews from critics and holds a 17% rating on Rotten Tomatoes based on 23 reviews. The critical consensus reads: ""Masters of the Universe" is a slapdash adaptation of the He-Man mythos that can't overcome its cynical lack of raison d'etre, no matter how admirably Frank Langella throws himself into the role of Skeletor." On Metacritic the film has a weighted average score of 35 out of 100, based on 9 critics, indicating "generally unfavorable reviews". "Variety" called it a "Conan-Star Wars hybrid ripoff" that is "a colossal bore." Walter Goodman of "The New York Times" wrote, "If you liked the toy, you'll love the movie." Michael Wilmington of the "Los Angeles Times" called it "a misfiring, underdone epic." Johanna Steinmetz of the "Chicago Tribune" wrote that the film, while predictable and derivative, entertains audiences through its side plots set on Earth.  In a retrospective review, Glenn Heath Jr. of "Slant Magazine" called it a "jarring mix of corny screwball comedy and choppy action heroics." Chris Eggertsen of HitFix, in an article identifying the film's campy, positive qualities, called it "an objectively bad film with a big heart." Joshua Winning of "Digital Spy" wrote, "...beloved of '80s kids but scorned by critics, it's a high camp oddity that we should celebrate on its own terms."  Despite the film being panned, actor Frank Langella expressed to press that he loved playing Skeletor, and worked very hard to make the role exciting as possible, remarking that it was a positive experience.  Billy Barty received a Golden Raspberry Award nomination for Worst Supporting Actor for his performance in the film, but "lost" to David Mendenhall for "Over the Top" (also from Cannon Group Inc.).

Legacy.

The commercial failure of "Masters of the Universe", among other films such as "" and "Lifeforce", contributed to the eventual closure of Cannon Films. Cannon Films had intended to create a "Masters of the Universe" sequel, indicated by the end credits with a revelation that Skeletor survives his fall. The sequel titled "Masters of the Universe 2: Cyborg" was written and followed He-Man, who returned to Earth to battle Skeletor, who has left Earth as a postapocalyptic wasteland and the film was to feature Trap Jaw and She-Ra. Pro surfer Laird Hamilton was originally to replace Dolph Lundgren as He-Man and the only aspect known about the sequel's screenplay was that He-Man would have returned to Earth disguised as a professional quarterback. With a low budget of $4.5 million, the sequel was to be directed by Albert Pyun, consecutively with the aborted "Spider-Man" movie. The project was abandoned when Cannon would not pay Mattel's fees. The production instead utilized the already-made costumes and sets for the low-budget sci-fi film "Cyborg".  "Masters of the Universe" was Lundgren's first leading role in a feature film following his success in "Rocky IV", and he later labeled it as his least favorite film role. Conversely, Langella considers Skeletor one of his favorite roles.  Skeletor's question to He-Man ("Tell me about the loneliness of good, He-Man. Is it equal to the loneliness of evil?") is slightly reworded in the crossover comic miniseries, "Injustice vs. Masters of the Universe".

Home media.

"Masters of the Universe" was released on DVD October 23, 2001. A 25th Anniversary Edition Blu-ray Disc was released by Warner Home Video on October 2, 2012.

Reboot.

A new "He-Man" film directed by John Woo was reportedly being developed in 2007, but despite many rumors circulating the Internet regarding the film's production status and casting, the project was never officially green-lit. The film rights to He-Man have reportedly since reverted to Mattel.  In September 2009, Sony took over the rights from Warner Bros. to produce the live-action adaptation after Mattel and producer Joel Silver, who was previously involved with a potential film, couldn't agree on creative direction for the film. Sony and Escape Artists' Todd Black, Jason Blumenthal, and Steve Tisch were to start developing the project from scratch for Columbia Pictures. In April 2010, Sony hired screenwriters Mike Finch and Alex Litvak to draft a new script. Warner announced that John Stevenson, director of "Kung Fu Panda", would direct the upcoming feature. On May 12, 2009, it was announced that the scripting duties had been handed to Evan Daugherty, with Stevenson still attached to direct.  In late 2012, it was reported that Jon M. Chu was in talks to direct the film. Original He-Man actor Lundgren did an interview with IGN about a possible role in the film as King Randor. On October 12, 2012, Richard Wenk was hired to rewrite the script for the film. On March 28, 2013, Chu said that the film is still early is in the experimentation and also it won't be campy but an origin story. On October 7, "The Hollywood Reporter" reported that Terry Rossio would script and that Black, Blumenthal, and Tisch would produce the film and it would be set on Eternia; the report stated Chu would not direct the film.  On January 10, 2014, Schmoes Know reported that Joe Cornish ("Attack the Block"), Rian Johnson ("Looper"), Andrés Muschietti ("Mama"), Kirk DeMicco and Chris Sanders ("The Croods"), and Phil Lord and Chris Miller ("The Lego Movie") were named as frontrunners to direct the film. On February 26, it was reported that directors Mike Cahill, Jeff Wadlow, Harald Zwart, and Chris McKay are on the short list to direct. On April 9, Schmoes Know reported that Wadlow would direct the film, but "The Hollywood Reporter" announced that he's rewriting the script of the film.  On August 19, 2015, it was announced that Chris Yost had been hired to write the film.  On January 22, 2016, Deadline reported that McG would direct the film and would also oversee a rewrite of the latest script by Alex Litvak and Mike Finch, while Escape Artists’ Todd Black, Jason Blumenthal and Steve Tisch and as well as DeVon Franklin are on board as producers. On June 24, 2016, Kellan Lutz tweeted that he has a meeting with both McG and Mary Viola about the role of He-Man. On April 27, 2017, it was announced that the film would be released on December 18, 2019. At the same time, McG left the film and David S. Goyer has been hired to rewrite the script.  In December 2017, it was reported that Goyer was now set to not only write but direct the film. In February 2018, "Variety" reported that Goyer has decided to step away as director to focus on other projects, but he would remain on board as an executive producer and screenwriter and the studio is said to be very happy with the script he turned in and is currently meeting with potential replacements. Carlos Huante, a creature designer, former artist at Industrial Light and Magic and who also worked on the original Filmation cartoon, was hired by Goyer to work on his film, however, in an interview, Huante said that Sony felt that Goyer's script would be too expensive to bring to life as Goyer intended for the movie to be on the epic scale of "The Lord of the Rings" trilogy and that his ideas for the film would no longer be used.  In April 2018, Variety reported that the Nee Brothers (Aaron and Adam Nee) would direct the film. In January 2019, Art Marcum and Matt Holloway were brought in and it was announced that they would rewrite a new draft for the film. Principal photography on the film was scheduled to begin in mid-July 2019 in Prague. On March 20, 2019, it was reported that Noah Centineo is in talks to play He-Man with Centineo confirming a month later on April 29, 2019, that he has been officially cast to play He-Man. Sony announced that the film's release date has changed to March 5, 2021. In January 2020, it was reported that the film had been pulled from Sony's release schedule, with its March release date being replaced with the film adaptation of "Uncharted".

Masters of the Universe (also known as Masters of the Universe: The Motion Picture) is a 1987 American science fantasy action film directed by Gary Goddard, produced by Yoram Globus and by Menahem Golan and written by David Odell. The film stars Dolph Lundgren, Frank Langella, Jon Cypher, Chelsea Field, Billy Barty, Courteney Cox, Robert Duncan McNeill, and Meg Foster. It is based on the Mattel toy line of the same name and brings the story of two teenagers who meet the mighty good He-Man, who arrived on Earth by chance from planet Eternia and now goes on a mission to save the universe from the mighty evil Skeletor, his nemesis.

《决胜时空战区》(英语:Masters of the Universe)是一部1987年美国科幻动作片,由盖瑞·葛达执导,改编自美泰儿公司旗下的玩具《太空超人》。电影主演包括杜夫·朗格、法兰克·蓝吉拉、柯特妮·考克斯、詹姆士·托根、克里斯汀娜·皮克勒斯和梅格·大众特主演。《决胜时空战区》于1987年8月7日在美国广泛上映。电影获得了普遍负评和失败的票房,但却成了一种流行的邪典电影文化。


Calculations.

Copper losses result from Joule heating and so are also referred to as "I squared R losses", in reference to Joule's First Law. This states that the energy lost each second, or power, increases as the square of the current through the windings and in proportion to the electrical resistance of the conductors.  where I is the current flowing in the conductor and R the resistance of the conductor. With I in amperes and R in ohms, the calculated power loss is given in watts.  Joule heating has a coefficient of performance of 1.0, meaning that every 1 watt of electrical power is converted to 1 Joule of heat. Therefore, the energy lost due to copper loss is:  where t is the time in seconds the current is maintained.

Effect of frequency.

For low-frequency applications, the power lost can be minimized by employing conductors with a large cross-sectional area, made from low-resistivity metals.  With high-frequency currents, the proximity effect and skin effect cause the current to be unevenly distributed across the conductor, increasing its effective resistance, and making loss calculations more difficult.  Litz wire is a type of wire constructed to force the current to be distributed uniformly, thereby reducing Joule heating.

Reducing copper loss.

Among other measures, the electrical energy efficiency of a typical industrial induction motor can be improved by reducing the electrical losses in the stator windings (e.g., by increasing the cross-sectional area of the conductor, improving the winding technique, and using materials with higher electrical conductivity, such as copper). In power transmission, voltage is stepped up to reduce current thereby reducing power loss.

Copper loss is the term often given to heat produced by electrical currents in the conductors of transformer windings, or other electrical devices. Copper losses are an undesirable transfer of energy, as are core losses, which result from induced currents in adjacent components. The term is applied regardless of whether the windings are made of copper or another conductor, such as aluminium. Hence the term winding loss is often preferred. The term load loss is closely related but not identical, since an unloaded transformer will have some winding loss.

铜损(Copper loss)是指变压器绕线或是其他电子设备上,因导线流过电流产生的热。铜损和铁损一様,都是能量的耗损。不论导线的材质是铜或是其他金属(例如铝),导线上的损失都称为铜损。变压器的「负载损耗」和铜损有关,但不完全相同,因为未加载的变压器仍然有铜损。


Career.

Sang started representing China in the junior tournament, and at the 1998 and 2000 Asian Junior Championships, he helped the boys' team clinched the gold medal. He won the individual medals captured the boys' doubles gold and boys' singles silver in 1999, and also boys' doubles gold and mixed doubles silver in 2000. At the 2000 World Junior Championships, he won three gold medals in the boys' doubles, mixed doubles and team event.  Sang won the 2003 Indonesia Open in the men's doubles with partner Zheng Bo. In 2004 they defeated Denmark's Jens Eriksen and Martin Lundgaard in the Thomas Cup final to clinch the deciding third point for the Chinese team.  Sang competed for China in badminton at the 2004 Summer Olympics also in men's doubles with Zheng Bo. They had a bye in the first round and defeated Chan Chong Ming and Chew Choon Eng of Malaysia in the second. In the quarterfinals, Sang and Zheng lost 7-15, 11-15 to Korea's Kim Dong-moon and Ha Tae-kwon who went on to win the gold medal.  Sang retired on March 22, 2007, because of an injury.

Achievements.

World Championships.

"Men's doubles"

World Junior Championships.

"Boys' doubles" "Mixed doubles"

Asian Junior Championships.

"Boys' singles" "Boys' doubles" "Mixed doubles"

IBF World Grand Prix.

The World Badminton Grand Prix sanctioned by International Badminton Federation (IBF) since 1983.  "Men's doubles"

IBF International.

"Men's doubles" "Mixed doubles"

Sang Yang (Chinese:, "Sāng Yáng"; born: 17 July 1982) is a Chinese badminton player and former Olympian from Zhejiang.

桑洋(1982年-7月17日),浙江杭州人,中国退役男子羽毛球运动员,2000年亚青赛和世青赛男双冠军,2003年世界羽毛球锦标赛铜牌、2004年汤姆斯杯及2005年苏迪曼杯冠军队伍成员。


Plot.

In 1930, marked by growing anticolonial unrest, Éliane Devries (Catherine Deneuve), a single woman born to French parents in colonial Indochina, runs her and her widowed father's (Henri Marteau) large rubber plantation with many indentured laborers, whom she casually refers to as her coolies, and divides her days between her homes at the plantation and outside Saigon. After her best friends from the Nguyễn Dynasty die in a plane crash, she adopts their five-year-old daughter Camille (Ba Hoang, as child). Guy Asselin (Jean Yanne), the head of the French security services in Indochina, courts Éliane, but she rejects him and raises Camille alone giving her the education of a privileged European through her teens.  Just after Éliane wins a wager against the naval commander's (Gérard Lartigau) eight-man rowing crew, she finds herself bidding against a young French Navy lieutenant, Jean-Baptiste Le Guen (Vincent Pérez), on the same painting at an auction. She is flustered when he challenges her publicly and surprised when he turns up at her plantation days later, searching for the boy whose sampan he set ablaze for suspicion of opium smuggling. Soon they are enveloped in a torrid affair.  Out and about in the city, Jean-Baptiste witnesses the escape and shooting of a Vietnamese prisoner by a French police officer. Camille (Linh Đan Phạm, as teen and adult) and her classmates are walking nearby, and as the prisoner falls, he knocks her unconscious, leaving her covered with his blood. Jean-Baptiste brings her indoors and cleans off the blood, cutting off her dress in the process and exposing her bosom. Camille wakes up in his arms and falls in love with him at first sight, believing that he has saved her life. Word about the "affair" gets out, and Camille is taunted at school.  Through her connections with high-ranking officials in the Navy, Éliane has Jean-Baptiste transferred to Haiphong to protect Camille from getting hurt. Jean-Baptiste confronts Éliane about this at a Christmas party at her place, and a loud spat ensues in which he slaps her on the face. As a result, instead of Haiphong, Jean-Baptiste is sent to a remote French military base on the notorious Dragon Islet "(Hòn Rồng)" in northern Indochina. On arrival, he is greeted by the outgoing commanding officer, who says the French authorities hardly pay attention to this outpost: its sole function is to gather unemployed northern Vietnamese who seek indenture on plantations in more prosperous southern Indochina.  Against her better judgment, Éliane allows Camille to become engaged to Thanh (Eric Nguyen), a young pro-Communist Vietnamese expelled as a student from France because of his support for the 1930 Yên Bái mutiny. The marriage is arranged by Thanh's wealthy, merchant mother. But the day after the engagement, Thanh helps Camille leave to look for Jean-Baptiste up north.  Camille travels and reaches Dragon Islet with a Vietnamese family seeking a term of indenture in the south, but they are killed by a French naval officer. When Jean-Baptiste arrives at the scene and demands that the officer tell him what happened, the officer says that the family refused to be split up and started inciting a riot.  Jean-Baptiste spots Camille among the laborers and leads her away. The French sailors do not object thinking their superior is taking a "congaie", a Vietnamese mistress. As Camille sees her traveling companions dead, she attacks the French officer shooting him in the struggle. This puts a price on the heads of both Camille and Jean-Baptiste, who stands by her.  Camille and Jean-Baptiste escape from Dragon Islet and sail away through the Gulf of Tonkin for several days without food or water. When they come ashore, a Communist theater troupe rescues them and takes them to a hard-to-reach valley where the two find refuge in a large complex of buildings. After several months have passed, and Camille has become pregnant with Jean-Baptiste's child, they are told they must leave the valley, because the Communists have more important people to hide. Thanh, now a high-ranking Communist operative, arranges for the theater troupe to smuggle the lovers into China.  Guy attempts to use operatives to put down the growing insurrection and also arranges for French agents to look for Camille and Jean-Baptiste in the north. They look up and down the Gulf of Tonkin with no success.  Guy figures out that traveling theater troupes may be behind many near-simultaneous insurrections in the north. He orders all theater troupes traveling along certain routes to be arrested. The troupes have brought attention to themselves, among other things, through tuồng performances by Vietnamese actors with white make-up starring as Jean-Baptiste rescuing Camille, popularly nicknamed "the Red Princess".  When the lovers are a few kilometers from the Chinese border, Jean-Baptiste takes his and Camille's newborn son Étienne (Nguyen Tran Quang Johnny, as baby) to baptize him in the river while she is sleeping. He finishes the ceremony only to see several French soldiers with their rifles aimed at him. Her lover and son captured, Camille escapes with the theater troupe, while the French authorities remand Jean-Baptiste to a Saigon jail and give Étienne to Éliane.  Jean-Baptiste spends time in prison and does not speak with anyone. He agrees to talk eventually if he can first see his son. The Navy (which has authority over the case and refuses to subject Jean-Baptiste to interrogation by the police) plans to court-martial Jean-Baptiste in Brest, France to avoid the public outcry that would likely arise from a trial in Indochina. Jean-Baptiste is allowed to be with Étienne for 24 hours and settle his affairs before leaving for France. He goes to see Éliane, who lets him stay with Étienne at her Saigon residence for the night.  The next day, when Éliane arrives at the house to pick Étienne up, she finds Jean-Baptiste dead, lying in bed with a shot in the temple and a gun in hand. Étienne is safe in the bed next to him. Éliane, outraged, tells Guy that she suspects the police, but Guy's girlfriend tells Éliane that the Communists probably killed Jean-Baptiste to silence him. With no evidence sought for either suspicion, Jean-Baptiste's death is ruled a suicide.  Camille is captured and sent to Poulo-Condor - a high security prison that does not permit visitors, and not even Guy can free her. He confides to Éliane that Camille's only chance for surviving the prison is to become a dedicated Communist. Éliane lobbies government officials for Camille's release to no avail. After five years, the Popular Front comes to power and releases all political prisoners, including Camille. Éliane goes to the prison to take her home but, rather than go and live with her mother and son, Camille joins the Communists to fight for Vietnam's independence. She does not wish for her son to know the horrors she has witnessed, and tells her mother that French colonialism is drawing to an end.  Éliane sells her plantation to Thanh's mother and leaves her home in Indochina, the land of her birth, with Étienne to live in France.  Years later, Éliane tells a grown-up Étienne (Jean-Baptiste Huynh) the story of his mother and takes him to Switzerland, where Camille is a Vietnam Communist Party delegate to the 1954 Geneva Conference. Étienne goes to the negotiators' hotel, but he realizes the futility of attempting to find his mother in the crowds of people. He waits in the lobby, foolishly hoping that Camille will see him and call out to him, recognizing him as her son, but this does not happen. He recounts this to Éliane and tells her that she, Éliane, is his mother.  As the film concludes, an epilogue notes that, the next day, French Indochina becomes independent from France and Vietnam is partitioned into North and South Vietnam (leading, eventually, to the Vietnam War).

Production.

Film was shot mainly in Imperial City, Hue, Ha Long (Ha Long Bay) and Ninh Binh (Phát Diệm Cathedral) in Vietnam. Butterworth in Malaysia was used as a substitute for Saigon. Some parts were filmed in Cheong Fatt Tze Mansion, in George Town, Penang, Malaysia.

Reception.

The film won the Academy Award for Best Foreign Language Film and Catherine Deneuve received a nomination for Best Actress - her only one to date. It also won the Golden Globe Award for Best Foreign Language Film. The film was also a financial success grossing $5,603,158 in North America. The film also received a total of 3,198,663 cinema-goers in France being the 6th most attended film of the year.  The film was selected for screening as part of the Cannes Classics section at the 2016 Cannes Film Festival.

Indochine () is a 1992 French period drama film set in colonial French Indochina during the 1930s to 1950s. It is the story of Éliane Devries, a French plantation owner, and of her adopted Vietnamese daughter, Camille, with the rising Vietnamese nationalist movement set as a backdrop. The screenplay was written by novelist Érik Orsenna, scriptwriters Louis Gardel, Catherine Cohen, and Régis Wargnier, who also directed the film. The film stars Catherine Deneuve, Vincent Pérez, Linh Dan Pham, Jean Yanne and Dominique Blanc. The film won the Academy Award for Best Foreign Language Film at the 65th Academy Awards.

《-{zh-cn:印度支那; zh-hk:情证今生; zh-tw:印度支那;}-》(法语:"")是一套1992年以大时代为背景的法国爱情片,由雷瑞·瓦尼埃执导。这部影片是雷瑞·瓦尼埃所拍的第一部史诗片,内容表现的是1930年代法国人在最后一块法属亚洲殖民地法属印度支那度过的最后岁月。


Career overview.

Choong made his debut in Olympic Games in 2000 Sydney. Partnered with Lee Wan Wah, they advance to the semi finals stage, but lost to South Korean pair Lee Dong-soo and Yoo Yong-sung in the rubber game. The duo played in the bronze medal match against another South Korean Ha Tae-kwon and Kim Dong-moon, but lost in straight game with the score 2–15, 8–15.  In 2004 Athens, Choong and Lee had a bye in the first round and defeated Pramote Teerawiwatana and Tesana Panvisvas of Thailand in the second. In the quarterfinals, they lost to Lee Dong-soo & Yoo Yong-sung of South Korea 11–15, 15–11, 15–9.  In 2008 Beijing, Choong and Lee competed as the fourth seeded, however they lost to eventual bronze medalist from South Korea Lee Jae-jin and Hwang Ji-man in the first round with the score 22–20, 13–21, 16–21.  Choong played in the 2008 Thomas Cup series (men's world team championship) for the Malaysian team. In the quarter-final, where Malaysia faced Japan, Choong paired with Koo Kien Keat to defeat Shuichi Sakamoto and Shintaro Ikeda 21–13, 21–11. However, due to illness Choong could not take part in the semi-final showdown against defending champion China which Malaysia narrowly lost 2–3.  After a six-year relationship with China's doubles star Zhang Jiewen, Choong and Zhang were married in January 2010. The wedding reception was celebrated on 1 May 2010 in Genting Highlands. They plan to take a honeymoon in Paris, where the 2010 Badminton World Championships will be held. They have two children together.

Achievements.

World Championships.

"Men's doubles"

World Cup.

"Men's doubles"

Asian Championships.

"Men's doubles"

Southeast Asian Games.

"Men's doubles"

Commonwealth Games.

"Men's doubles"

BWF Super Series and BWF Grand Prix.

"Men's doubles"

Choong Tan Fook (born 6 February 1976) is a former badminton player from Malaysia. Choong is currently coaching the Hong Kong badminton team.

钟腾福,著名马来西亚羽毛球男子运动员,曾在2001及2007年世界羽毛球锦标赛赢得铜牌。


History.

In August 1901, Russian Arctic ship "Zarya" headed across the Laptev Sea, searching for the legendary Sannikov Land but was soon blocked by floating drift ice in the New Siberian Islands. During 1902, the attempts to reach Sannikov Land continued while "Zarya" was trapped in fast ice. Leaving the ship, Russian Arctic explorer Baron Eduard Toll and three companions vanished forever in November 1902 while traveling away from Bennett Island towards the south on loose ice floes. "Zarya" was finally moored close to Brusneva Island in the Tiksi Bay, never to leave the place again. The remaining members of the expedition returned to St. Petersburg, while Captain Fyodor Matisen went to Yakutsk.  Modern Tiksi was founded in 1933; urban-type settlement status was granted to it in 1939. During the Cold War, Tiksi saw military construction projects at Tiksi North and Tiksi West airfields. Since the dissolution of the Soviet Union, Tiksi's population has declined markedly and many of its apartment blocks have been abandoned. Despite its rapid population decline, it remains the world's most northerly settlement with a population of over 5,000.

Administrative and municipal status.

Within the framework of administrative divisions, the urban-type settlement of Tiksi serves as the administrative center of Bulunsky District. As an administrative division, it is incorporated within Bulunsky District as the Settlement of Tiksi. As a municipal division, the Settlement of Tiksi is incorporated within Bulunsky Municipal District as Tiksi Urban Settlement.

Economy.

Transportation.

Tiksi serves as one of the principal ports for accessing the Laptev Sea. It is served by the Tiksi Airport, which was shut down by the Defense Ministry on October 1, 2012 except for helicopters. Tiksi was connected only by helicopter flights and winter roads. The closure was harshly criticized by Russian Prime Minister Dmitry Medvedev. Following an agreement between the Defense Ministry and the Government of the Sakha Republic in April 2013, the airfield re-opened to passenger traffic in June 2013. In December 2013, President Vladimir Putin announced that the Tiksi airport would be "rehabilitated" along with others beyond the Arctic Circle.  The Lena River is navigable in the summer months. There is infrequent passenger navigation from Yakutsk.

Climate.

Tiksi has a tundra climate (Köppen "ET"). Winters are similar to those of the inland subarctic regions, and have frequent and occasionally heavy snowfalls. The very short summers are generally cooler than inland regions (although in 1991 a temperature as high as was reported) and see rainfall on most days. The polar night lasts from November 19 to January 24, and the period with continuous daylight, the midnight sun, lasts a bit longer, from May 11 to August 3.

Tiksi (;, "Tiksii" – lit. "a moorage place") is an urban locality (an urban-type settlement) and the administrative center of Bulunsky District in the Sakha Republic, Russia, located on the shore of the Buor-Khaya Gulf of the Laptev Sea, southeast of the delta of the Lena River. As of the 2010 Census, its population was 5,063.

季克西(;)为俄罗斯远东联邦管区萨哈共和国布伦区 (萨哈共和国)境内的一座市级镇,也是布伦区的行政中心,位在拉普捷夫海布奥尔-哈亚湾岸上、勒拿河三角洲东南方。2010年人口普查中该市级镇人口有5,063人。


Materials.

Modern day shin guards are made of many differing synthetic materials, including, but not limited to:

History.

The shin guard was inspired by the concept of a greave. A greave is a piece of armor used to protect the shin. It is a Middle English term, derived from an Old French word, greve (pronounced gri’v), meaning shin or shin armor. The etymology of this word not only describes the use and purpose of shin guards, but also contributes to dating the technology.  This technology dates back to ancient times as early as Greek and Roman Republics. Back then, shin guards were viewed as purely protective measures for warriors in battle and were made of bronze or other hard, sturdy materials. The earliest known physical proof of the technology appeared when archaeologist Sir William Temple discovered a pair of bronze greaves with a Gorgon’s head design in the relief on each knee capsule. After careful, proper examination it was estimated that the greaves were made in Apulia, a region in Southern Italy, around 550/500 B.C. This area fell under the Roman Empire boundaries and is known as today as the Salento Peninsula; it is more commonly known as the heel of Italy. This discovery is not considered the oldest known application of shin guards, but all other references lie in written or pictorial medians. The oldest known reference to shin guards was a written verse in the Bible. 1 Samuel 17:6 describes Goliath, a Philistine champion from Gath, who wore a bronze helmet, coat of mail, and bronze leggings. The Book of Samuel is commonly accepted to be written by Prophets Samuel, Nathan, and Gad between 960 and 700 B.C. Later, more concrete, examples of the shin guard concept resurfaced in the Middle Ages. All studies and evidence show greaves were improved to cover the entire lower leg, front and back, from the feet to the knees, and were mostly made of cloth, leather, or iron.  As time progressed into the 19th century a major shift in the application of shin guards occurred. The overall purpose of protecting the shin was maintained, but instead of being used for fighting, it became applied to sports. This paradigm shift dominates today’s market use of shin guards as they are used mostly in sports. Other applications do exist though for protecting the lower leg in other physical activities such as hiking, mixed martial arts, and kickboxing, but all these activities can also be considered for sport instead of being necessary in battle.  Cricket was the first sport to adopt the use of shin guards. The introduction of this equipment was not motivated by the need for protection, but rather a strategic device to gain an advantage for the batsman. The batsman who wore the leg pads was able to cover the stumps with his protected legs and prevent the ball from hitting the stumps, instead the ball bowled into the batsman. Thus, the protection provided by the leg pads provided the batsman confidence to play without suffering pain or injury. This resulted in an offensive advantage; instead of hitting the wickets to get the batsman out, the bowler hits the batsman giving him another chance to hit the ball. This was addressed in 1809 with a rule change called leg before wicket, where the umpire was allowed to deduce whether the ball would have hit the stumps if the batter was not hit first. Leg pads became more popular as protective measures against the impact from the ball and are worn by the batsman, the wicket-keeper, and the fielders that are fielding in close to the batsman.  Association football was the next major sport to see the introduction of the shin guard. Sam Weller Widdowson is credited for bringing shin guards to the sport in 1874. He played cricket for Nottinghamshire and football for Nottingham Forest, and he got the idea to protect himself based on his cricket experiences. Widdowson cut down a pair of cricket shin pads and strapped them to the outside of his stockings using straps of leather. Other players ridiculed him initially, but shin guards eventually caught on as players saw the practical use of protecting their shins. Today, there are a two basic types of shin guards used in association football: slip-in shin guards and ankle shin guards.  Different player positions in association football require their shin guards to provide different types of protection and fit. Defenders need the most protection. They need a heavier shin guard with extra ankle protection. Midfielders need protection, but also need to be able to move freely. Forwards need a light shin guard with protection and ankle support. Goalkeepers can wear a light shin guard with minimal protection.  In baseball, one of the innovators of the modern shin guard, New York Giants catcher Roger Bresnahan, began wearing shin guards in 1907. Made of leather, the guards were fastened with straps and hooks.  After the application of shin guards in association football, they quickly spread to other sports and are now considered necessary for most contact sports.

A shin guard or shin pad, is a piece of equipment worn on the front of an athlete‘s shin to protect it from injury. These are commonly used in sports including association football, baseball, ice hockey, field hockey, lacrosse, cricket, mountain bike trials, and other sports. This is due to either being required by the rules/laws of the sport or worn voluntarily by the participants for protective measures.

护胫(shin guard,shin pad)是一种体育用品,保护运动员的胫骨避免受伤。现在护胫主要使用在足球、篮球、冰球、曲棍球、橄榄球、板球、袋棍球等体育项目当中。护胫可以由多种材料制作,包括玻璃纤维强化塑胶、聚氨酯、塑胶和金属等。护胫起源于胫甲,现在已经广泛使用在有直接身体接触的体育运动当中。


Bus width.

In contrast with standard SDRAM, used in stationary devices and laptops and usually connected over a 64-bit wide memory bus, LPDDR also permits 16- or 32-bit wide channels.  The "E" versions mark enhanced versions of the specifications. They formalize overclocking the memory array clock up to 266.7 MHz for a 33% performance boost. Memory modules implementing these higher frequencies are used in Apple MacBooks and gaming laptops.  As with standard SDRAM, most generations double the internal fetch size and external transfer speed. (DDR-4 and LPDDR-5 being the exceptions.)

Generations.

LP-DDR(1).

The original low-power DDR (sometimes retroactively called LPDDR1) is a slightly modified form of DDR SDRAM, with several changes to reduce overall power consumption.  Most significant, the supply voltage is reduced from 2.5 to 1.8 V. Additional savings come from temperature-compensated refresh (DRAM requires refresh less often at low temperatures), partial array self refresh, and a "deep power down" mode which sacrifices all memory contents. Additionally, chips are smaller, using less board space than their non-mobile equivalents. Samsung and Micron are two of the main providers of this technology, which is used in tablet and phone devices such as the iPhone 3GS, original iPad, Samsung Galaxy Tab 7.0 and Motorola Droid X.

LP-DDR2.

A new JEDEC standard JESD209-2E defines a more dramatically revised low-power DDR interface. It is not compatible with either DDR1 or DDR2 SDRAM, but can accommodate either:  Low-power states are similar to basic LPDDR, with some additional partial array refresh options.  Timing parameters are specified for LPDDR-200 to LPDDR-1066 (clock frequencies of 100 to 533 MHz).  Working at 1.2 V, LPDDR2 multiplexes the control and address lines onto a 10-bit double data rate CA bus. The commands are similar to those of normal SDRAM, except for the reassignment of the precharge and burst terminate opcodes:  Column address bit C0 is never transferred, and is assumed to be zero. Burst transfers thus always begin at even addresses.  LPDDR2 also has an active-low chip select (when high, everything is a NOP) and clock enable CKE signal, which operate like SDRAM. Also like SDRAM, the command sent on the cycle that CKE is first dropped selects the power-down state:  The mode registers have been greatly expanded compared to conventional SDRAM, with an 8-bit address space, and the ability to read them back. Although smaller than a serial presence detect EEPROM, enough information is included to eliminate the need for one.  S2 devices smaller than 4 Gbit, and S4 devices smaller than 1 Gbit have only four banks. They ignore the BA2 signal, and do not support per-bank refresh.  Non-volatile memory devices do not use the refresh commands, and reassign the precharge command to transfer address bits A20 and up. The low-order bits (A19 and down) are transferred by a following Activate command. This transfers the selected row from the memory array to one of 4 or 8 (selected by the BA bits) row data buffers, where they can be read by a Read command. Unlike DRAM, the bank address bits are not part of the memory address; any address can be transferred to any row data buffer. A row data buffer may be from 32 to 4096 bytes long, depending on the type of memory. Rows larger than 32 bytes ignore some of the low-order address bits in the Activate command. Rows smaller than 4096 bytes ignore some of the high-order address bits in the Read command.  Non-volatile memory does not support the Write command to row data buffers. Rather, a series of control registers in a special address region support Read and Write commands, which can be used to erase and program the memory array.

LP-DDR3.

In May 2012, JEDEC published the JESD209-3 Low Power Memory Device Standard. In comparison to LPDDR2, LPDDR3 offers a higher data rate, greater bandwidth and power efficiency, and higher memory density. LPDDR3 achieves a data rate of 1600 MT/s and utilizes key new technologies: write-leveling and command/address training, optional on-die termination (ODT), and low-I/O capacitance. LPDDR3 supports both package-on-package (PoP) and discrete packaging types.  The command encoding is identical to LPDDR2, using a 10-bit double data rate CA bus. However, the standard only specifies 8"n"-prefetch DRAM, and does not include the flash memory commands.  Products using LPDDR3 include the 2013 MacBook Air, iPhone 5S, iPhone 6, Nexus 10, Samsung Galaxy S4 (GT-I9500) and Microsoft Surface Pro 3. LPDDR3 went mainstream in 2013, running at 800 MHz DDR (1600 MT/s), offering bandwidth comparable to PC3-12800 notebook memory in 2011 (12.8 GB/s of bandwidth). To achieve this bandwidth, the controller must implement dual-channel memory. For example, this is the case for the Exynos 5 Dual and the 5 Octa.  An "enhanced" version of the specification called LPDDR3e increases the data rate to 2133 MT/s. Samsung Electronics introduced the first 4 gigabit 20 nm-class LPDDR3 modules capable of transmitting data at up to 2,133 Mbit/s per pin, more than double the performance of the older LPDDR2 which is only capable of 800 Mbit/s. Various SoCs from various manufacturers also natively support 800 MHz LPDDR3 RAM. Such include the Snapdragon 600 and 800 from Qualcomm as well as some SoCs from the Exynos and Allwinner series.

LP-DDR4.

On 14 March 2012, JEDEC hosted a conference to explore how future mobile device requirements will drive upcoming standards like LPDDR4. On 30 December 2013, Samsung announced that it had developed the first 20 nm-class 8 gibibit (1 GiB) LPDDR4 capable of transmitting data at 3,200 Mbit/s per pin, thus providing 50 percent higher performance than the fastest LPDDR3 and consuming around 40 percent less energy at 1.1 volts.  On 25 August 2014, JEDEC published the JESD209-4 LPDDR4 Low Power Memory Device Standard.  Significant changes include:  The standard defines SDRAM packages containing two independent 16-bit access channels, each connected to up to two dies per package. Each channel is 16 data bits wide, has its own control/address pins, and allows access to 8 banks of DRAM. Thus, the package may be connected in three ways:  Each die provides 4, 6, 8, 12 or 16 gibibit of memory, half to each channel. Thus, each bank is one sixteenth the device size. This is organized into the appropriate number (16 Ki to 64 Ki) of 16384-bit (2048-byte) rows. Extension to 24 and 32 gibibit is planned, but it is not yet decided if this will be done by increasing the number of rows, their width, or the number of banks.  Larger packages providing double width (four channels) and up to four dies per pair of channels (8 dies total per package) are also defined.  Data is accessed in bursts of either 16 or 32 transfers (256 or 512 bits, 32 or 64 bytes, 8 or 16 cycles DDR). Bursts must begin on 64-bit boundaries.  Since the clock frequency is higher and the minimum burst length longer than earlier standards, control signals can be more highly multiplexed without the command/address bus becoming a bottleneck. LPDDR4 multiplexes the control and address lines onto a 6-bit single data rate CA bus. Commands require 2 clock cycles, and operations encoding an address (e.g. activate row, read or write column) require two commands. For example, to request a read from an idle chip requires four commands taking 8 clock cycles: Activate-1, Activate-2, Read, CAS-2.  The chip select line (CS) is active-"high". The first cycle of a command is identified by chip select being high; it is low during the second cycle.  The CAS-2 command is used as the second half of all commands that perform a transfer across the data bus, and provides low-order column address bits:  The burst length can be configured to be 16, 32, or dynamically selectable by the BL bit of read and write operations.  One DMI (data mask/invert) signal is associated with each 8 data lines, and can be used to minimize the number of bits driven high during data transfers. When high, the other 8 bits are complemented by both transmitter and receiver. If a byte contains five or more 1 bits, the DMI signal can be driven high, along with three or fewer data lines. As signal lines are terminated low, this reduces power consumption.  Data bus inversion can be separately enabled for reads and writes. For masked writes (which have a separate command code), the operation of the DMI signal depends on whether write inversion is enabled.  LPDDR4 also includes a mechanism for "targeted row refresh" to avoid corruption due to "row hammer" on adjacent rows. A special sequence of three activate/precharge sequences specifies the row which was activated more often than a device-specified threshold (200,000 to 700,000 per refresh cycle). Internally, the device refreshes physically adjacent rows rather than the one specified in the activate command.

LP-DDR4X.

Samsung Semiconductor proposed an LPDDR4 variant that it called LPDDR4X. LPDDR4X is identical to LPDDR4 except additional power is saved by reducing the I/O voltage (Vddq) to 0.6 V from 1.1 V. On 9 January 2017, SK Hynix announced 8 and 16 GiB LPDDR4X packages. JEDEC published the LPDDR4X standard on 8 March 2017. Aside from the lower voltage, additional improvements include a single-channel die option for smaller applications, new MCP, PoP and IoT packages, and additional definition and timing improvements for the highest 4266 Mbit/s speed grade.

LP-DDR5.

On 19 February 2019, JEDEC published the JESD209-5, Standard for Low Power Double Data Rate 5 (LPDDR5).  Samsung announced it had working prototype LP-DDR5 chips in July 2018. LPDDR5 introduces the following changes:

Low-Power Double Data Rate Synchronous Dynamic Random Access Memory, commonly abbreviated as Low-Power DDR SDRAM or LPDDR SDRAM, is a type of double data rate synchronous dynamic random-access memory that consumes less power and is targeted for mobile computers. It is also known as Mobile DDR, and abbreviated as mDDR.

移动DDR(英文:Mobile DDR)(也称MDDR、Low Power DDR或LPDDR)是DDR SDRAM的一种,专门用于移动式电子产品,例如智能电话等。


Background.

The Toronto International Film Festival was first launched as the Toronto Festival of Festivals, collecting the best films from other film festivals around the world and showing them to eager audiences in Toronto. Founded by Bill Marshall, Dusty Cohl, and Henk Van der Kolk, the inaugural event took place from October 18 through 24, 1976. That first year, 35,000 filmgoers watched 127 films from 30 countries presented in ten programmes. Piers Handling has been the festival's director and CEO since 1994, while Noah Cowan became co-director of TIFF in 2004. In late 2007, Cowan became the artistic director of TIFF Bell Lightbox, while longtime programmer Cameron Bailey succeeded as co-director. As of 2013, Bailey is now the artistic director of the Toronto International Film Festival, as well as TIFF Bell Lightbox's year round programming.  TIFF was once centred on the Yorkville neighbourhood, but the Toronto Entertainment District later gained a greater level of prominence. TIFF is known for the celebrity buzz it brings to the area with international media setting up near its restaurants and stores for photos and interviews with the stars. In 2010, TIFF opened its permanent headquarters, TIFF Bell Lightbox, a year-round home for the appreciation of film in the heart of downtown Toronto, although TIFF films are still screened at a wider variety of venues, including the Scotiabank Theatre Toronto, rather than exclusively at the Lightbox.  TIFF has grown, steadily adding initiatives throughout the years. TIFF Cinematheque (formerly Cinematheque Ontario) and the Film Reference Library (FRL) opened in 1990. The TIFF Kids International Film Festival (formerly Sprockets) launched in 1998. Film Circuit began exhibiting independent and Canadian films in under-serviced cities across Canada in 1994.

History.

The festival was founded in 1976 at the Windsor Arms Hotel by Bill Marshall, Henk Van der Kolk and Dusty Cohl. Beginning as a collection of the best-regarded films from film festivals around the world, it had an inaugural attendance of 35,000. Ironically, however, Hollywood studios withdrew their submissions from TIFF due to concerns that Toronto audiences would be too parochial for their products.  In 1994, the decision was made to replace the name "Festival of Festivals" with "Toronto International Film Festival". From 1994 to 2009, the umbrella organization running TIFF was named "Toronto International Film Festival Group" (TIFFG). In 2009, the umbrella organization TIFFG was renamed to TIFF.  In 2001, Perspective Canada, the programme that had focused on Canadian films since 1984, was replaced by two programmes: Otherwise, Canadian films are now simply included alongside international films in the other film programs rather than being grouped as a dedicated Canadian film stream.  In 2004, TIFF was featured as the site of murder mystery in the film "Jiminy Glick in Lalawood", a comedy film starring Martin Short.  In 2007, it was announced that the organization generates an estimated annual impact of $67 million CAD. By 2011, that benefit had grown to $170 million CAD.  In 2008, Rose McGowan caused controversy at a TIFF press conference for her film "Fifty Dead Men Walking", when she noted that "I imagine, had I grown up in Belfast, I would 100% have been in the IRA".  In 2009, TIFF's decision to spotlight films from Tel Aviv created a controversy with protesters, saying it was part of an attempt to re-brand Israel in a positive light after the January 2009 Gaza War.  In 2017, TIFF reduced the number of films screened compared to the 2016 festival with 255 feature-length films in 2017 vs about 400 films in 2016, and also eliminated two venues that had been used in prior years.  In 2019, it was reported that due to a request from its owner, Cineplex Entertainment, no TIFF films distributed by subscription video-on-demand services (specifically Amazon Video and Netflix) are being screened at Scotiabank Theatre—which has been considered the "primary" venue of the festival.

Notable film premieres.

Films such as "American Beauty", "Ray", "Mr. Nobody", "127 Hours", "Black Swan", "The Five Obstructions", "Singapore Sling", and "I Am Love" have premiered at TIFF. Jamie Foxx's portrayal of Ray Charles ultimately won him the Academy Award for Best Actor while "Slumdog Millionaire" went on to win eight Oscars at the 2009 Academy Awards. "Precious", which won the 2009 TIFF People's Choice Award, went on to win two Oscars at the 82nd Academy Awards. "The King's Speech", the winner of the 2010 TIFF People's Choice Award, won four Oscars at the 83rd Academy Awards, while "Silver Linings Playbook", the winner of the 2012 TIFF People's Choice Award, went on to win the Academy Award for Best Actress for Jennifer Lawrence. In 2019, the festival opened with "", the first time the festival ever opened with a Canadian documentary film.  Many Hollywood studios premiere their films in Toronto due to TIFF's easy-going non-competitive nature, relatively inexpensive costs (when compared to European festivals), eager film-fluent audiences and convenient timing.

TIFF Bell Lightbox.

In 2007, the Festival Group began construction on TIFF Bell Lightbox, a new facility at the corner of King and John Streets in downtown Toronto, on land donated by Ivan Reitman and family. The $181 million facility is named for founding sponsor Bell Canada, with additional support from the Government of Ontario and Government of Canada.  In 2010, the organization opened its new headquarters at TIFF Bell Lightbox. The facility, designed by local firm KPMB Architects, provides extensive year-round galleries, cinemas, archives and activities for cinephiles. The five-storey facility contains five cinemas, two gallery spaces, film archives and an extensive reference library, study spaces, film lab facility, and a research centre. There is also a gift shop, two restaurants, a lounge, a cafe, and a three-storey atrium. Cooperatively with Daniels Corporation, there is a 46-storey condominium atop, called the Festival Tower.  The first film screening was Bruce McDonald's "Trigger". The first exhibition was a retrospective on Tim Burton, organized by the Museum of Modern Art (New York City). Subsequent exhibitions include Fellini: Spectacular Obsessions, Grace Kelly: From Movie Star to Princess, Designing 007: 50 Years of Bond Style, and Stanley Kubrick: The Exhibition, all of which were organized by TIFF, as well as one called "Essential Cinema", featuring posters, images and props from TIFF's "The Essential 100" list of films.  The Film Reference Library (FRL) is a large Canadian film research collection. The library is a free resource for film lovers, filmmakers, students, scholars, and journalists, and is located on the fourth floor of the TIFF Bell Lightbox. An affiliate member of the International Federation of Film Archives (FIAF), the FRL promotes Canadian and global film scholarship by collecting, preserving, and providing access to a comprehensive collection of film prints, and film-related reference resources (including books, periodicals, scripts, research files, movies, press kits, and about 80 special collections.  In 2016, the festival received a donation of 1,400 film prints, and launched a campaign to raise money for the preservation and storage of the films.

Canada's Top Ten.

Each year, TIFF releases a Canada's Top Ten list of the films selected by a poll of festival programmers across Canada as the ten best Canadian feature and short films of the year, regardless of whether or not they were screened at TIFF. The films selected are announced in December each year.  Previously, the winning films were screened at a smaller follow-up "Canada's Top Ten" festival at the Lightbox the following January, with a People's Choice Award then presented for that minifestival. In 2018, TIFF announced a change, under which instead of a dedicated festival, each Top Ten film will receive its own standalone theatrical run at the Lightbox throughout the year.  Since 1984, every decade TIFF has also produced a Top 10 Canadian Films of All Time list. This list is produced from a wider poll of film industry professionals and academics throughout Canada, separately from the annual top-ten list.

Awards.

The festival's major prize, the People's Choice Award, is given to a feature-length film. It is not a juried prize, but is given to the film with the highest ratings as voted by the TIFF-going populace. It is presently referred to as the "Grolsch People's Choice Award"; past sponsors of the award have included Cadillac. The winners of this award have often later earned Academy Award nominations. People's Choice Awards are also presented for and films. Each of the People's Choice Awards names first and second runners-up in addition to the winners.  However, TIFF does present juried awards in some other categories. The festival presents three major awards for Canadian films: Best Canadian Film, Best Canadian First Feature Film, and Best Canadian Short Film, as well as international awards for Best Short Film, two FIPRESCI-sponsored Special Presentation and Discovery awards for international films, and a NETPAC-sponsored award for the best film from Asia having its world premiere at the festival.  In 2015, the festival introduced Platform, a juried programme that champions director’s cinema from around the world; one film from the stream is selected as the winner of the Platform Prize.  For all of the juried awards, honorable mentions may also be given, although the juries are expected to select one overall winner.  For 2019, TIFF announced two new awards, the TIFF Impact Award to honour production companies for work that has had an impact on the film industry, and the Mary Pickford Award to honour an emerging female filmmaker.

Sections.

The hundreds of films screened at the annual festival are divided into sections (referred to by TIFF as "Programmes") based on genre (e.g. documentary, children's films), format (e.g. short films, television episodes), the status of filmmaker (e.g. "masters", first-time directors), and so forth. Up until the early 2010s there were sections reserved for Canadian films, but beginning in 2015 all Canadian films are integrated in sections with films from outside Canada.  Currently the festival's 14 sections are as follows:  In previous years, sections at TIFF have included Perspectives Canada, Canada First!, City to City (2009 to 2016), Future Projections, Vanguard (up to 2016), and Visions (up to 2011).

Media coverage.

In 2016, TIFF hosted 1,800 members of the press and print media outlets such as the "Toronto Star", "The Globe and Mail", "The New York Times", "The Times of India", "Los Angeles Times", "The Philadelphia Inquirer", "Miami Herald", and the "Toronto Sun" have published a significant amount of festival coverage. Also, the major industry trade magazines "Variety", "The Hollywood Reporter" and "Screen International" all produce daily editions during TIFF. TIFF reports also appear in weekly news magazines; American, Canadian and international entertainment shows; news services; and a wide range of film and celebrity blogs.

The Toronto International Film Festival (TIFF, often stylized as tiff) is one of the largest publicly attended film festivals in the world, attracting over 480,000 people annually. Since its founding in 1976, TIFF has grown to become a permanent destination for film culture operating out of the TIFF Bell Lightbox, located in downtown Toronto. TIFF's mission is "to transform the way people see the world through film".

多伦多国际电影节(英语:Toronto International Film Festival)是英语地区重要电影节之一,每年9月在加拿大多伦多举行,最高荣誉是观众票选奖(People's Choice Award)。