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Pather Panchali

Pather Panchali is a 1955 Indian Bengali-language drama film written and directed by Satyajit Ray in his directoral debut and produced by the Government of West Bengal. It is an adaptation of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name and features Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta, Pinaki Sengupta and Chunibala Devi in major roles. The first film in The Apu Trilogy, Pather Panchali depicts the childhood travails of the protagonist Apu and his elder sister Durga amidst the harsh village life of their poor family.

The film was shot mainly on location, had a limited budget, featured mostly amateur actors, and was made by an inexperienced crew. Lack of funds led to frequent interruptions in production, which took nearly three years, but the West Bengal government pulled Ray out of debt by buying the film for the equivalent of $60,000, which it turned into a profit of $700,000 by 1980. The sitar player Ravi Shankar composed the film's soundtrack and score using classical Indian ragas. Subrata Mitra was in charge of the cinematography while editing was handled by Dulal Dutta. Following its premiere on 3 May 1955 during an exhibition at New York's Museum of Modern Art, Pather Panchali was released in Calcutta the same year to an enthusiastic reception. A special screening was attended by the Chief Minister of West Bengal and the Prime Minister of India.

Critics have praised its realism, humanity, and soul-stirring qualities, while others have called its slow pace a drawback, and some have condemned it for romanticising poverty. Scholars have commented on the film's lyrical quality and realism (influenced by Italian neorealism), its portrayal of the poverty and small delights of daily life, and the use of what the author Darius Cooper has termed the "epiphany of wonder", among other themes.

The tale of Apu's life is continued in the two subsequent installments of Ray's trilogy: Aparajito (The Unvanquished, 1956) and Apur Sansar (The World of Apu, 1959). Pather Panchali is described as a turning point in Indian cinema, as it was among the films that pioneered the Parallel cinema movement, which espoused authenticity and social realism. The first film from independent India to attract major international critical attention, it won India's National Film Award for Best Feature Film in 1955, the Best Human Document award at the 1956 Cannes Film Festival, and several other awards, establishing Ray as one of the country's most distinguished filmmakers. It is often featured in lists of the greatest films ever made.

Plot
In 1910 Nischindipur, rural Bengal, Harihar Roy earns a meagre living as a pujari (priest) but dreams of a better career as a poet and playwright. His wife Sarbajaya cares for their children, Durga and Apu, and Harihar's elderly cousin, Indir Thakrun. Because of their limited resources, Sarbajaya resents having to share her home with the old Indir, who often steals food from their already bare kitchen. Durga is fond of Indir and often gives her fruit stolen from a wealthy neighbour's orchard. One day, the neighbour's wife accuses Durga of stealing a bead necklace (which Durga denies) and blames Sarbajaya for encouraging her tendency to steal.

As the elder sibling, Durga cares for Apu with motherly affection but spares no opportunity to tease him. Together, they share life's simple joys: sitting quietly under a tree, viewing pictures in a travelling vendor's bioscope, running after the candy man who passes through, and watching a jatra (folk theatre) performed by an acting troupe. Every evening, they are delighted by the sound of a distant train's whistle.

Sarbajaya's grows increasingly resentful of Indir and becomes more openly hostile, which causes Indir to take temporary refuge in the home of another relative. One day, while Durga and Apu run to catch a glimpse of the train, Indir—who is feeling unwell—goes back home, and the children find she has passed away upon their return.

With prospects drying up in the village, Harihar travels to the city to seek a better job. He promises that he will return with money to repair their dilapidated house, but is gone longer than expected. During his absence, the family sinks deeper into poverty, and Sarbajaya grows increasingly desperate and anxious. One day during the monsoon season, Durga plays in the downpour, catches a cold and develops a high fever. Her condition worsens as a thunderstorm batters the crumbling house with rain and wind, and she dies the next morning.

Harihar returns home and starts to show Sarbajaya the merchandise he has brought from the city. A silent Sarbajaya breaks down at her husband's feet, and Harihar cries out in grief as he discovers that Durga has died. The family decide to leave their ancestral home for Benaras. As they pack, Apu finds the necklace Durga had earlier denied stealing; he throws it into a pond. Apu and his parents leave the village on an ox-cart, while a snake is seen slithering into their, now barren, house.

Novel and title
Bibhutibhushan Bandopadhyay's novel Pather Panchali is a classic bildungsroman (a type of coming-of-age story) in the canon of Bengali literature. It first appeared as a serial in a Calcutta periodical in 1928, and was published as a book the next year. The novel depicts a poor family's struggle to survive in their rural ancestral home and the growing up of Apu, the son of the family. The later part of the novel, where Apu and his parents leave their village and settle in Benaras, formed the basis of Aparajito (The Unvanquished, 1956), the second film of the Apu trilogy.

Satyajit Ray (2 May 1921 – 23 April 1992), working as a graphic designer for Signet Press, created the illustrations for an abridged edition of the book in 1944. At that time, Ray read the unabridged novel; Signet's owner D. K. Gupta told Ray that the abridged version would make a great film. The idea appealed to Ray, and around 1946–47, when he considered making a film, he turned to Pather Panchali because of certain qualities that "made it a great book: its humanism, its lyricism, and its ring of truth". The author's widow permitted Ray to make a film based on the novel; the agreement was in principle only, and no financial arrangement was made.

The Bengali word path literally means path, and pather means "of the path". Panchali is a type of narrative folk song that used to be performed in Bengal and was the forerunner of another type of folk performance, the jatra. English translations of the Bengali title include Song of the Little Road, The Lament of the Path, Song of the Road, and Song of the Open Road.

Script
Pather Panchali did not have a script; it was made from Ray's drawings and notes. Ray completed the first draft of the notes during his sea voyage to and from London in 1950. Before principal photography began, he created a storyboard dealing with details and continuity. Years later, he donated those drawings and notes to Cinémathèque Française.

In Apur Panchali (the Bengali translation of My Years with Apu: A Memoir, 1994), Ray wrote that he had omitted many of the novel's characters and that he had rearranged some of its sequences to make the narrative better as cinema. Changes include Indir's death, which occurs early in the novel at a village shrine in the presence of adults, while in the film Apu and Durga find her corpse in the open. The scene of Apu and Durga running to catch a glimpse of the train is not in the novel, in which neither child sees the train, although they try. Durga's fatal fever is attributed to a monsoon downpour in the film, but is unexplained in the novel. The ending of the film—the family's departure from the village—is not the end of the novel.

Ray tried to extract a simple theme from the random sequences of significant and trivial episodes of the Pather Panchali novel, while preserving what W. Andrew Robinson describes as the "loitering impression" it creates. According to Ray, "the script had to retain some of the rambling quality of the novel because that in itself contained a clue to the feel of authenticity: life in a poor Bengali village does ramble". For Robinson, Ray's adaptation focuses mainly on Apu and his family, while Bandopadhyay's original featured greater detail about village life in general.

Casting
Kanu Banerjee (who plays Harihar) was an established Bengali film actor. Karuna Banerjee (Sarbajaya) was an amateur actress from the Indian People's Theatre Association, and the wife of Ray's friend. Uma Dasgupta, who successfully auditioned for the part of Durga, also had prior theatre experience.

For the role of Apu, Ray advertised in newspapers for boys of ages five to seven. None of the candidates who auditioned fulfilled Ray's expectations, but his wife spotted a boy in their neighbourhood, and this boy, Subir Banerjee, was cast as Apu. The surname of three of the main actors and two supporting actors happened to be Banerjee, but they were not related to each other. The hardest role to fill was the wizened old Indir. Ray eventually found Chunibala Devi, a retired stage actress living in one of Calcutta's red-light districts, as the ideal candidate. Several minor roles were played by the villagers of Boral, where Pather Panchali was filmed.

Filming
Shooting started on 27 October 1952. Boral, a village near Calcutta, was selected in early 1953 as the main location for principal photography, and night scenes were shot in-studio. The technical team included several first-timers, including Ray himself and cinematographer Subrata Mitra, who had never operated a film camera. Art director Bansi Chandragupta had professional experience, having worked with Jean Renoir on The River (1951). Both Mitra and Chandragupta went on to establish themselves as respected professionals.

Mitra had met Ray on the set of The River, where Mitra was allowed to observe the production, take photographs and make notes about lighting for personal reference. Having become friends, Mitra kept Ray informed about the production and showed his photographs. Ray was impressed enough by them to promise him an assistant's position on Pather Panchali, and when production neared, invited him to shoot the film. As the 21-year-old Mitra had no prior filmmaking experience, the choice was met with scepticism by those who knew of the production. Mitra himself later speculated that Ray was nervous about working with an established crew.

Funding was a problem from the outset. No producer was willing to finance the film, as it lacked stars, songs and action scenes. On learning of Ray's plan, one producer, Mr Bhattacharya of Kalpana Movies, contacted author Bibhutibhushan Bandyopadhyay's widow to request the filming rights and get the film made by Debaki Bose, a well-established director. The widow declined as she had already permitted Ray to make the film. The estimated budget for the production was ₹70,000 (about US$14,613 in 1955). One producer, Rana Dutta, gave money to continue shooting, but had to stop after some of his films flopped.

Ray thus had to borrow money to shoot enough footage to persuade prospective producers to finance the whole film. To raise funds, he continued to work as a graphic designer, pawned his life insurance policy and sold his collection of gramophone records. Production manager Anil Chowdhury convinced Ray's wife, Bijoya, to pawn her jewels. Ray still ran out of money partway through filming, which had to be suspended for nearly a year. Thereafter shooting was done only in intermittent bursts. Ray later admitted that the delays had made him tense and that three miracles saved the film: "One, Apu's voice did not break. Two, Durga did not grow up. Three, Indir Thakrun did not die".

Bidhan Chandra Roy, the Chief Minister of West Bengal, was requested by an influential friend of Ray's mother to help the production. The Chief Minister obliged, and government officials saw the footage. The Home Publicity Department of the West Bengal government assessed the cost of backing the film and sanctioned a loan, given in installments, allowing Ray to finish production. The government misunderstood the nature of the film, believing it to be a documentary for rural uplift, and recorded the loan as being for "roads improvement", a reference to the film's title.

Monroe Wheeler, head of the department of exhibitions and publications at New York's Museum of Modern Art (MoMA), who was in Calcutta in 1954, heard about the project and met Ray. He considered the incomplete footage to be of very high quality and encouraged Ray to finish the film so that it could be shown at a MoMA exhibition the following year. Six months later, American director John Huston visited India for some early location scouting for The Man Who Would Be King (eventually made in 1975). Wheeler had asked Huston to check the progress of Ray's project. Huston saw excerpts of the unfinished film and recognised "the work of a great film-maker". Because of Huston's positive feedback, MoMA helped Ray with additional money.

Including the delays and hiatuses in production, it took three years to complete the shooting of Pather Panchali.

Influences
The realist narrative style of Pather Panchali was influenced by Italian neorealism and the works of French director Jean Renoir. In 1949 Renoir came to Calcutta to shoot his film The River (1951). Ray, a founding member of the Calcutta Film Society (established in 1947), helped him scout for locations in the countryside. When Ray told him about his longstanding wish to film Pather Panchali, Renoir encouraged him to proceed. In 1950 Ray was sent to London by his employer, the advertising agency D.J. Keymer, to work at their headquarters. During his six months in London, he watched about 100 films. Among these, Vittorio De Sica's neorealist film Bicycle Thieves (1948) had a profound impact on him. In a 1982 lecture, Ray said that he had come out of the theatre determined to become a filmmaker. The film made him believe that it was possible to make realistic cinema that was shot on location with an amateur cast.

The international success of Akira Kurosawa's Japanese film Rashomon (1950) and Bimal Roy's 1953 Hindi film Do Bigha Zamin (which was shot partly on location and was about a peasant family) led Ray to believe that Pather Panchali would find an international audience. Ray also had more indigenous influences, such as Bengali literature and the native Indian theatrical tradition, particularly the rasa theory of classical Sanskrit drama. Darius Cooper describes the complicated doctrine of rasa as "center[ed] predominantly on feelings experienced not only by the characters but also conveyed in a certain artistic way to the spectator".

Soundtrack
The soundtrack of the film was composed by the sitar player Ravi Shankar, who was at an early stage of his career, having debuted in 1939. The background scores feature pieces based on several ragas of Indian classical music, played mostly on the sitar. The soundtrack, described in a 1995 issue of The Village Voice as "at once plaintive and exhilarating", is featured in The Guardian's 2007 list of 50 greatest film soundtracks. It has also been cited as an influence on The Beatles, specifically George Harrison.

Shankar saw about half the film in a roughly edited version before composing the background score, but he was already familiar with the story. According to Robinson, when Ray met Shankar the latter hummed a tune that was folk-based but had "a certain sophistication". This tune, usually played on a bamboo flute, became the main theme for the film. The majority of the score was composed within the duration of a single night, in a session that lasted for about eleven hours. Shankar also composed two solo sitar pieces—one based on the raga Desh (traditionally associated with rain), and one sombre piece based on the raga Todi. He created a piece based on the raga Patdeep, played on the tar shehnai, by Dakshina Mohan Tagore to accompany the scene in which Harihar learns of Durga's death. The film's cinematographer, Subrata Mitra, performed on the sitar for parts of the soundtrack.

Release and reception
Ray and his crew worked long hours on post-production, managing to submit it just in time for Museum of Modern Art's Textiles and Ornamental Arts of India exhibition of May 1955. The film, billed as The Story of Apu and Durga, lacked subtitles. It was one of a series of six evening performances at MoMA, including the US debut of sarod player Ali Akbar Khan and the classical dancer Shanta Rao. Pather Panchali's MoMA opening on 3 May was well received. A film still of Apu having his hair brushed by his sister Durga and mother Sarbojaya was featured in The Family of Man, a 1955 MoMA exhibition.

Pather Panchali had its domestic premiere at the annual meeting of the Advertising Club of Calcutta; the response there was not positive, and Ray felt "extremely discouraged". Before its theatrical release in Calcutta, Ray designed large posters, including a neon sign showing Apu and Durga running, which was strategically placed in a busy location in the city. Pather Panchali was released in Basusree, a Calcutta cinema on 26 August 1955 and received a poor initial response. The screenings started filling up within a week or two, buoyed by word of mouth. It opened again at another cinema, where it ran for seven weeks. A delay in subtitling led to the postponement of the UK release until December 1957. It went on to achieve great success in the US in 1958, running for eight months at the Fifth Avenue Playhouse in New York. It was a record run for the Fifth Avenue cinema. The Bengali government earned a profit of $50,000 from its initial US release, and decades later the film grossed $402,723 from its 2015 limited release. The film reportedly grossed an estimated total of ₹100 million (US$million) at the worldwide box office,.

In India the film's reception was enthusiastic. The Times of India wrote: "It is absurd to compare it with any other Indian cinema... Pather Panchali is pure cinema". Chief Minister Roy arranged a special screening in Calcutta for Prime Minister Jawaharlal Nehru, who came out of the theatre impressed. Despite opposition from some within the governments of West Bengal and India because of its depiction of poverty, Pather Panchali was sent to the 1956 Cannes Film Festival with Nehru's personal approval. It was screened towards the end of the festival, coinciding with a party given by the Japanese delegation, and only a small number of critics attended. Although some were initially unenthusiastic at the prospect of yet another Indian melodrama, the film critic Arturo Lanocita found "the magic horse of poetry... invading the screen". Pather Panchali was subsequently named Best Human Document at the festival.

Lindsay Anderson commented after the Cannes screening that Pather Panchali had "the quality of ultimate unforgettable experience". In subsequent years, critics have given positive reviews. A 1958 review in Time described Pather Panchali as "perhaps the finest piece of filmed folklore since Robert Flaherty's Nanook of the North". In her 1982 book 5001 Nights at the Movies, Pauline Kael wrote: "Beautiful, sometimes funny, and full of love, it brought a new vision of India to the screen". Basil Wright considered it "a new and incontrovertible work of art". James Berardinelli wrote in 1996 that the film "touches the souls and minds of viewers, transcending cultural and linguistic barriers". In 2006 Philip French of The Observer called it "one of the greatest pictures ever made". Twenty years after the release of Pather Panchali, Akira Kurosawa summarised the effect of the film as overwhelming and lauded its ability "to stir up deep passions".

The reaction was not uniformly positive. On seeing the film, François Truffaut is reported to have said: "I don't want to see a movie of peasants eating with their hands". Bosley Crowther, the most influential critic of The New York Times, wrote in 1958, "any picture as loose in structure or as listless in tempo as this one is would barely pass as a 'rough cut' with the editors in Hollywood", even though he praised its gradually emerging poignancy and poetic quality. The Harvard Crimson argued in 1959 that its fragmentary nature "contributes to the film's great weakness: its general diffuseness, its inability to command sustained attention. For Pather Panchali, remarkable as it may be, is something of a chore to sit through". Early in the 1980s, Ray was criticised by Nargis Dutt, an Indian parliamentarian and former actress, for "exporting poverty". Darius Cooper writes that while many critics celebrated the Apu trilogy "as a eulogy of third-world culture, others criticized it for what they took to be its romanticization of such a culture". Stanley Kauffmann of The New Republic wrote that "its story is simple almost to the point of banality, it is rewarding if taken as a dramatized documentary".

As of May 2021, the film has a 97% fresh rating on Rotten Tomatoes based on an aggregate of 69 reviews with an average score of 9.3/10. The website's critical consensus reads: "A film that requires and rewards patience in equal measure, Pather Panchali finds director Satyajit Ray delivering a classic with his debut". In 2018 the film earned the 15th spot when BBC released the top 100 foreign language films ever, and filmmaker Christopher Nolan called it "one of the best films ever made".

1990s restoration
In the 1990s, Merchant Ivory Productions, with assistance from the Academy Film Archive and Sony Pictures Classics, undertook a project to restore the prints. The restored prints, along with several other Ray films, were released in select US theatres. Pather Panchali is available in DVD in Region 2 (DVD region code) PAL and Region 1 NTSC formats. Artificial Eye Entertainment is the distributor of Region 2 while Columbia Tri-Star is the distributor of Region 1 format.

2015 restoration
In 2013, the video distribution company The Criterion Collection, in collaboration with the Academy of Motion Picture Arts and Sciences' Film Archive, began the restoration of the original negatives of the Apu trilogy, including Pather Panchali. These negatives had been severely damaged by a fire in London in 1993, and all film cans and fragments belonging to the Ray films were sent to the Motion Picture Academy for storage, where they lay unseen for two decades. It was discovered upon reexamination that, although many parts of the films were indeed destroyed by fire or the effects of age, other parts were salvageable. The materials were shipped to a restoration laboratory in Bologna, Italy: L'Immagine Ritrovata. Over a thousand hours of labor by hand were expended in restoring and scanning the negatives and, in the end, about 40 percent of the Pather Panchali negative was restored. For those parts of the negative that were missing or unusable, duplicate negatives and fine-grain masters from various commercial or archival sources were used. The Criterion Collection's own lab then spent six months creating the digital version of all three films, at times choosing to preserve the distinctive look of the films even at the cost of retaining some imperfections.

On 4 May 2015, the restored Pather Panchali premiered at the Museum of Modern Art, a little more than 60 years to the day after the film's world premiere at the same venue. Several days later, all three films opened at New York's Film Forum, where they were originally scheduled to run for three weeks. Because of overwhelming public demand – with one writer commenting that "audiences can't seem to get enough" – the films were held over at that theater until 30 June. The trilogy was then sent to be exhibited in many other cities throughout the U.S. and Canada. The restoration work was widely acclaimed, with commentators calling the look of the restored films "gorgeous", "pristine" and "incredible".

Themes
Author Andrew Robinson, in the book The Apu Trilogy: Satyajit Ray and the Making of an Epic (2010), notes that it is challenging to narrate the plot of Pather Panchali and the "essence of the film lies in the ebb and flow of its human relationships and in its everyday details and cannot be reduced to a tale of events". In his 1958 New York Times review, Crowther writes that Pather Panchali delicately illustrates how "poverty does not always nullify love" and how even very poor people can enjoy the little pleasures of their world. Marie Seton describes how the film intersperses the depiction of poverty and the delights and pleasures of youth. She represents the bond between Durga and Indir, and their fate, as signifying a philosophical core: that both the young and the old die. Seton writes of the film's "lyrical" qualities, noting especially the imagery immediately before the onset of monsoon. Robinson writes about a peculiar quality of "lyrical happiness" in the film, and states that Pather Panchali is "about unsophisticated people shot through with great sophistication, and without a trace of condescension or inflated sentiment".

Darius Cooper discusses the use of different rasa in the film, observing Apu's repeated "epiphany of wonder", brought about not only by what the boy sees around him, but also when he uses his imagination to create another world. For Cooper, the immersive experience of the film corresponds to this epiphany of wonder. Stephen Teo uses the scene in which Apu and Durga discover railway tracks as an example of the gradual build-up of epiphany and the resulting immersive experience.

Sharmishtha Gooptu discusses the idea that the idyllic village life portrayed in Pather Panchali represents authentic Bengali village life, which disappeared during the upheavals of Partition in 1947. She suggests that the film seeks to connect an idealised, pre-partition past with the actual present of partitioned Bengal, and that it uses prototypes of rural Bengal to construct an image of the ideal village. In contrast to this idealism, Mitali Pati and Suranjan Ganguly point out how Ray used eye-level shots, natural lighting, long takes and other techniques to achieve realism. Mainak Biswas has written that Pather Panchali comes very close to the concept of Italian neorealism, as it has several passages with no dramatic development, even though the usual realities of life, such as the changing of seasons or the passing of a day, are concretely filmed.

Accolades
Pather Panchali has won many national and international awards. At India's 3rd National Film Awards in 1955, it was named Best Feature Film and Best Bengali Feature Film. The next year, it competed for the Palme d'Or at Cannes, where it won Best Human Document and an OCIC Award – Special Mention. More awards from film festivals across the world followed: the Vatican Award (Rome), the Golden Carabao (Manila), and the Diploma of Merit (Edinburgh) in 1956; the Selznick Golden Laurel for Best Film (Berlin), the Golden Gate for Best Director and Best Picture (San Francisco) in 1957; Best Film (Vancouver), and the Critics' Award for Best Film (Stratford) in 1958. It also won several awards for best foreign-language film: at the National Board of Review Awards 1958; at the Afro Arts Theater, New York, 1959; the Kinema Jumpo Award in Japan, 1966; and the Bodil Award in Denmark, 1969. In 1958 it had been nominated for Best Film at the 11th British Academy Film Awards.

Sight & Sound, the British Film Institute's (BFI) magazine, has included Pather Panchali several times in its Critics' Polls of the greatest-ever films. In 1962, it ranked 11th; in 1992, 6th; and in 2002, 22nd. It also topped the British Film Institute's user poll of "Top 10 Indian Films" of all time in 2002. The magazine ranked the film 42nd in its 2012 critics' poll of "Top 50 Greatest Films of All Time" and 48th in its 2012 directors' poll. In the most recent 2022 edition of BFI's Greatest films of all time list the film ranked 35th in the critics poll and 22nd in the director's poll. In 1998, in a similar critics' poll from Asian film magazine Cinemaya, Pather Panchali was ranked the second-greatest film of all time. The Village Voice ranked the film at number 12 (tied with The Godfather) in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. In 2010, The Guardian ranked the film 12th in its list of 25 greatest arthouse films.

Pather Panchali was included in various other all-time lists, including Time Out's "Centenary Top One Hundred Films" in 1995, the San Francisco Chronicle "Hot 100 Films From the Past" in 1997, the Rolling Stone "100 Maverick Movies of the Last 100 Years" in 1999, "The New York Times Guide to the Best 1,000 Movies Ever Made" in 2002, the BFI Top Fifty "Must See" Children's Films in 2005, and BFI's "Top 10 Indian Films" of all time. It was included in NDTV's list of "India's 20 greatest films", and in 2013 in CNN-IBN's list of "100 greatest Indian films of all time". Akira Kurosawa ranked Pather Panchali at No. 37 on his Top 100 favourite films of all time list. The Apu trilogy as a whole was included in film critic Roger Ebert's list of "100 Great Movies" in 2001 and in Time's All-Time 100 best movies list in 2005.

Legacy

Pather Panchali was followed by two films that continued the tale of Apu's life—Aparajito (The Unvanquished) in 1956 and Apur Sansar (The World of Apu) in 1959. Together, the three films constitute the Apu trilogy. Aparajito portrays the adolescent Apu, his education in a rural school and a Calcutta college. Its central theme is the poignant relationship between a doting mother and her ambitious young son. Apur Sansar depicts Apu's adult life, his reaction to his wife's premature death, and his final bonding with his son whom he abandoned as an infant. The sequels also won many national and international awards. Ray did not initially plan to make a trilogy: he decided to make the third film only after being asked about the possibility of a trilogy at the 1957 Venice Film Festival, where Aparajito won the Golden Lion. Apur Panchali (2014) is a Bengali film directed by Kaushik Ganguly, which depicts the real-life story of Subir Bannerjee, the actor who portrayed Apu in Pather Panchali. Aparajito, a 2022 Bengali film directed by Anik Dutta, tells the story of the making of Pather Panchali.

Pather Panchali was the first film made in independent India to receive major critical attention internationally, placing India on the world cinema map. It was one of the first examples of Parallel Cinema, a new tradition of Indian film-making in which authenticity and social realism were key themes, breaking the rule of the Indian film establishment. Although Pather Panchali was described as a turning point in Indian cinema, some commentators preferred the view that it refined a "realist textual principle" that was already there. In 1963 Time noted that thanks to Pather Panchali, Satyajit Ray was one of the "hardy little band of inspired pioneers" of a new cinematic movement that was enjoying a good number of imitators worldwide. The film has since been considered as a "global landmark" and "among the essential moviegoing experiences". On 2 May 2013, commemorating Ray's birthday, the Indian version of the search engine Google displayed a doodle featuring the train sequence.

After Pather Panchali, Ray went on to make 36 more films, including feature films, documentaries and shorts. He worked on scripting, casting, scoring, cinematography, art direction and editing, as well as designing his own credit titles and publicity material. He developed a distinctive style of film-making based, as was the case with Pather Panchali, on visual lyricism and strongly humanistic themes. Thus, Ray established himself as an internationally recognized auteur of cinema.

title: Pather Panchali


text:
Nulle terre sans seigneur

In feudal law, nulle terre sans seigneur (French for "no land without (a) lord", ) is the principle that one provides services to the sovereign (usually serving in his army) for the right to receive land from the sovereign. Originally a maxim of feudal law, it applies in modern form to paying rates or land tax for land of former feudal or feudal-like origin such as land with modern fee simple title, as opposed to land with allodial or udal title.

In the original French, the expression means "No land without a lord" though the legal sense might be more akin to "no property without a liege" since it was at the basis of the link between the infeodated or feal and his liege, in the feudal system.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Nulle terre sans seigneur


text:
Army War College

Army War College may refer to:

 * United States Army War College, in Carlisle, Pennsylvania
 * Army War College, Mhow, an institution of the Indian Army in Mhow, Madhya Pradesh
 * Army War College (Japan), a former college for officers of the Imperial Japanese Army
 * Army War College (Turkey)

title: Army War College


text:
Disraeli Gears

Disraeli Gears is the second studio album by the British rock band Cream. It was released in November 1967 and reached No. 5 on the UK Albums Chart., and No. 1 on the Swedish and Finnish charts. The album was also No. 1 for two weeks on the Australian album chart and was listed as the No. 1 album of 1968 by Cash Box in the year-end album chart in the United States. The album features the singles "Strange Brew" and "Sunshine of Your Love", as well as their respective B-sides "Tales of Brave Ulysses" and "SWLABR".

The original 11-track album was remastered in 1998, and then subsequently released as a two-disc Deluxe Edition in 2004.

Production
The album was recorded at Atlantic Studios in New York between 11 and 15 May 1967, following the band's nine shows as part of Murray the K's "Music in the 5th Dimension" concert series. Cream's American label, ATCO, was a wholly owned subsidiary of Atlantic Records.

The sessions were produced by future Mountain bassist Felix Pappalardi – who co-wrote the tracks "Strange Brew" and "World of Pain" with wife Gail Collins – and were engineered by Tom Dowd – who would later work with Clapton on projects such as Layla and Other Assorted Love Songs and 461 Ocean Boulevard. Atlantic Records owner Ahmet Ertegun was also present during the sessions.

According to Dowd, the recording sessions took only three-and-a-half days. The band's visas expired on the very last day of recording.

Drummer Ginger Baker recalled how the album's title was based on a malapropism which alluded to 19th-century British Prime Minister Benjamin Disraeli: "You know how the title came about – Disraeli Gears – yeah? We had this Austin Westminster, and Mick Turner was one of the roadies who'd been with me a long time, and he was driving along and Eric [Clapton] was talking about getting a racing bicycle. Mick, driving, went 'Oh yeah – Disraeli gears!' meaning derailleur gears... We all just fell over... We said that's got to be the album title."

Artwork
The cover art was created by Australian artist Martin Sharp who lived in the same building as Clapton, The Pheasantry in Chelsea. Sharp would go on to create the artwork to Cream's next album Wheels of Fire and co-wrote the songs "Tales of Brave Ulysses" and The Savage Seven movie theme "Anyone for Tennis" with Clapton. The photography was by Bob Whitaker, known for his work for the Beatles, including the controversial Yesterday and Today "butcher" cover. Most of the photographs were taken in July 1967, with shoots in London's Hyde Park as well as in the Scottish Highlands. Some of the images were shot on Ben Nevis, the tallest mountain in the British isles. The photos show a clean-shaven Clapton with a bouffant, permed hairstyle. By the time of the album's release in November, however, he was letting his hair grow out straight and had grown a moustache.

The front cover consists of a psychedelic collage with the title centred and band name below, surrounded by a floral arrangement. Martin Sharp was attempting to capture the sound of the music in the cover, which he describes as a "warm fluorescent sound":

"I got hold of a publicity shot and cut it up, along with cutouts from various books, laid the pieces out and stuck them together as a collage on a 12-inch square. I did some drawing outlines, and then painted all over it with fluorescent inks and paints of the time. I really wanted to capture that warm, electric sound of their music in the colours and expression of the cover. On my way to England, I'd gone (to Cambodia). And in one of the towns I visited, there were these amazing sculptures with faces on each side, and huge trees growing out on top... Over the years, these great trees had taken root and grown. I suppose I thought that was a bit like the band: where you could see three faces, and the music coming out of their heads."

The cover art was later used for the compilation Those Were the Days.

Musical style
Disraeli Gears features the group veering away, quite heavily, from their blues roots and indulging in more psychedelic sounds, in particular on tracks such as "Tales of Brave Ulysses", "SWLABR", "World of Pain" and "Dance the Night Away", the last of which features a 12-string guitar (the only time the instrument would be used on a Cream recording). The most blues-like tunes on the album are Clapton's arrangement of "Outside Woman Blues", the Bruce-Brown composition "Take It Back" which had been inspired by the contemporary media images of American students burning their draft cards which featured harmonica work by Jack Bruce, and the opening track "Strange Brew", which was based on a 12-bar blues song called "Lawdy Mama".

Unlike the previous Fresh Cream, which was vocally dominated by Bruce, the vocals on Disraeli Gears were a more democratic affair. Clapton sings lead on "Strange Brew" and "Outside Woman Blues", and co-lead on "World of Pain", "Dance the Night Away" and "Sunshine of Your Love". Baker, meanwhile, performs lead vocals on his composition "Blue Condition". All three band members sing together on "Mother's Lament".

In contrast to much of the band's other work, Disraeli Gears comprises mainly short, self-contained songs, with none of the improvisation and jamming for which the band was known onstage.

Release
The album was released in November 1967 by Reaction Records.

Deluxe Edition
The original 11-track album was remastered by Joseph M. Palmaccio at PolyGram Studios for a 1998 release, including bonus photographs accompanying the original album artwork.

The Disraeli Gears Deluxe Edition includes the complete album in both mono and stereo, demos, alternative takes and tracks taken from the band's live sessions on BBC radio. Included is an outtake of "Blue Condition" with Eric Clapton on lead vocals, and demos of the songs "Weird of Hermiston" and "The Clearout" which were not released until Jack Bruce's first solo album Songs for a Tailor.

Reception
Writing for the BBC, Chris Jones described the album as "a perfect encapsulation of the point where the blues got psychedelic and in turn got heavy". Thomas Erlewine of AllMusic describes the album as "a quintessential heavy rock album of the '60s". Dave Swanson of Ultimate Classic Rock believes the album to be "their masterpiece".

In 1999, the album was inducted into the Grammy Hall of Fame.

It was voted number 182 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000). In 2003 the album was ranked number 112 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time, then was re-ranked at number 114 in a 2012 revised list, and at number 170 in a 2020 revised list. VH1 named it 87th-greatest album of all time in 2001.

In 2008, the album won a Classic Rock Roll of Honours Award for Classic Album.

Disraeli Gears – deluxe edition (2004)
{|
 * valign=top |
 * valign=top |

Disc one (stereo)

 * Original album
 * Tracks 1–11

 * Out-takes
 * 1) "Lawdy Mama" – version 1  (Traditional, arr. Clapton) – 2:00
 * Recorded 3 April 1967 at Atlantic Studios
 * Recorded by Ahmet Ertegun

 * 1) "Blue Condition" – alternate version (Baker) – 3:13
 * Eric Clapton vocal, previously unreleased

 * Demos
 * 1) "We're Going Wrong" (Bruce) – 3:49
 * 2) "Hey Now, Princess" (Bruce, Brown) – 3:31
 * 3) "SWLABR" (Bruce, Brown) – 4:30
 * 4) "Weird of Hermiston" (Bruce, Brown) – 3:12
 * 5) "The Clearout" (Bruce, Brown) – 3:58
 * Recorded 15 March 1967 at Ryemuse Studios, London

 * valign=bottom |

Disc two (mono)

 * Original album and out-takes
 * Tracks 1–13

 * BBC recordings
 * 1) "Strange Brew" (Clapton, Pappalardi, Collins) – 3:00
 * 2) "Tales of Brave Ulysses" (Clapton, Sharp) – 2:55
 * 3) "We're Going Wrong" (Bruce) – 3:25
 * Recorded 30 May 1967, broadcast 3 June on BBC Light Programme

 * 1) "Born Under a Bad Sign" (Booker T. Jones, William Bell) – 3:03
 * 2) "Outside Woman Blues" (Reynolds) – 3:18
 * 3) "Take It Back" (Bruce, Brown) – 2:17
 * Recorded 24 October 1967, broadcast 29 October on BBC Radio 1

 * 1) "Politician" (Bruce, Brown) – 3:59
 * 2) "SWLABR" (Bruce, Brown) – 2:32
 * 3) "Steppin' Out" (James Bracken) – 3:37
 * Recorded 9 January 1968, broadcast 14 January on BBC Radio 1

 * }
 * 1) Tracks previously released on the Those Were the Days box set.
 * 2) Tracks previously released on the BBC Sessions compilation album.

Personnel
A. Side One, B. Side Two

Cream
 * Jack Bruce – vocals (all tracks except A.1, A.5, B.4); bass guitar (all tracks except B.6); piano (A.5, B.6); harmonica (B.5)
 * Eric Clapton – vocals (A.1–4, B.4, B.6); electric guitar (all tracks except A.4, B.6); twelve-string guitar (A.4)
 * Ginger Baker – drums (all tracks except B.6); percussion (all tracks except B.6); vocals (A.5, B.6)

Production
 * Felix Pappalardi – producer
 * Tom Dowd – recording engineer
 * Bob Whitaker – cover photography
 * Martin Sharp – cover art
 * Jim Marshall – additional photography

title: Disraeli Gears


text:
User talk:CorvusCorax~enwiki

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title: User talk:CorvusCorax~enwiki


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User talk:Snowboy~enwiki

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Unfortunately, your account clashes with another account also called Snowboy. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Snowboy~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Stirner

Stirner is a surname. Notable people with the surname include:

 * Max Stirner, pseudonym for Johann Caspar Schmidt (1806–1856), German philosopher and journalist
 * Karl Stirner (1923–2016), American-German sculptor
 * Karl Stirner (painter) (1882–1943), German painter, watercolorist, illustrator and writer

title: Stirner


text:
Capillary wave

A capillary wave is a wave traveling along the phase boundary of a fluid, whose dynamics and phase velocity are dominated by the effects of surface tension.

Capillary waves are common in nature, and are often referred to as ripples. The wavelength of capillary waves on water is typically less than a few centimeters, with a phase speed in excess of 0.2–0.3 meter/second.

A longer wavelength on a fluid interface will result in gravity–capillary waves which are influenced by both the effects of surface tension and gravity, as well as by fluid inertia. Ordinary gravity waves have a still longer wavelength.

When generated by light wind in open water, a nautical name for them is cat's paw waves. Light breezes which stir up such small ripples are also sometimes referred to as cat's paws. On the open ocean, much larger ocean surface waves (seas and swells) may result from coalescence of smaller wind-caused ripple-waves.

Dispersion relation
The dispersion relation describes the relationship between wavelength and frequency in waves. Distinction can be made between pure capillary waves – fully dominated by the effects of surface tension – and gravity–capillary waves which are also affected by gravity.

Capillary waves, proper
The dispersion relation for capillary waves is

\omega^2=\frac{\sigma}{\rho+\rho'}\, |k|^3,$$ where $$\omega$$ is the angular frequency, $$\sigma$$ the surface tension, $$\rho$$ the density of the heavier fluid, $$\rho'$$ the density of the lighter fluid and $$k$$ the wavenumber. The wavelength is $$ \lambda=\frac{2 \pi}{k}.$$ For the boundary between fluid and vacuum (free surface), the dispersion relation reduces to

\omega^2=\frac{\sigma}{\rho}\, |k|^3.$$

Gravity–capillary waves

When capillary waves are also affected substantially by gravity, they are called gravity–capillary waves. Their dispersion relation reads, for waves on the interface between two fluids of infinite depth:

\omega^2=|k|\left( \frac{\rho-\rho'}{\rho+\rho'}g+\frac{\sigma}{\rho+\rho'}k^2\right), $$

where $$g$$ is the acceleration due to gravity, $$\rho$$ and $$\rho'$$ are the mass density of the two fluids $$(\rho > \rho')$$. The factor $$(\rho-\rho')/(\rho+\rho')$$ in the first term is the Atwood number.

Gravity wave regime
For large wavelengths (small $$k = 2\pi/\lambda$$), only the first term is relevant and one has gravity waves. In this limit, the waves have a group velocity half the phase velocity: following a single wave's crest in a group one can see the wave appearing at the back of the group, growing and finally disappearing at the front of the group.

Capillary wave regime
Shorter (large $$k$$) waves (e.g. 2 mm for the water–air interface), which are proper capillary waves, do the opposite: an individual wave appears at the front of the group, grows when moving towards the group center and finally disappears at the back of the group. Phase velocity is two thirds of group velocity in this limit.

Phase velocity minimum
Between these two limits is a point at which the dispersion caused by gravity cancels out the dispersion due to the capillary effect. At a certain wavelength, the group velocity equals the phase velocity, and there is no dispersion. At precisely this same wavelength, the phase velocity of gravity–capillary waves as a function of wavelength (or wave number) has a minimum. Waves with wavelengths much smaller than this critical wavelength $$\lambda_{m}$$ are dominated by surface tension, and much above by gravity. The value of this wavelength and the associated minimum phase speed $$c_{m}$$ are:

\lambda_m = 2 \pi \sqrt{ \frac{\sigma}{(\rho-\rho') g}} \quad \text{and} \quad c_m = \sqrt{ \frac{2 \sqrt{ (\rho - \rho') g \sigma }}{\rho+\rho'} }. $$ For the air–water interface, $$\lambda_{m}$$ is found to be 1.7 cm, and $$c_{m}$$ is 0.23 m/s.

If one drops a small stone or droplet into liquid, the waves then propagate outside an expanding circle of fluid at rest; this circle is a caustic which corresponds to the minimal group velocity.

Derivation
As Richard Feynman put it, "[water waves] that are easily seen by everyone and which are usually used as an example of waves in elementary courses [...] are the worst possible example [...]; they have all the complications that waves can have." The derivation of the general dispersion relation is therefore quite involved.

There are three contributions to the energy, due to gravity, to surface tension, and to hydrodynamics. The first two are potential energies, and responsible for the two terms inside the parenthesis, as is clear from the appearance of $$g$$ and $$\sigma$$. For gravity, an assumption is made of the density of the fluids being constant (i.e., incompressibility), and likewise $$g$$ (waves are not high enough for gravitation to change appreciably). For surface tension, the deviations from planarity (as measured by derivatives of the surface) are supposed to be small. For common waves both approximations are good enough.

The third contribution involves the kinetic energies of the fluids. It is the most complicated and calls for a hydrodynamic framework. Incompressibility is again involved (which is satisfied if the speed of the waves is much less than the speed of sound in the media), together with the flow being irrotational – the flow is then potential. These are typically also good approximations for common situations.

The resulting equation for the potential (which is Laplace equation) can be solved with the proper boundary conditions. On one hand, the velocity must vanish well below the surface (in the "deep water" case, which is the one we consider, otherwise a more involved result is obtained, see Ocean surface waves.) On the other, its vertical component must match the motion of the surface. This contribution ends up being responsible for the extra $$k$$ outside the parenthesis, which causes all regimes to be dispersive, both at low values of $$k$$, and high ones (except around the one value at which the two dispersions cancel out.)

title: Capillary wave


text:
Talk:Surimi

over 9000?
i'm guessing that this is a play on the DBZ reference. i doubt culture existed advanced enough to process fish to make it mimic other fish at a time when we were still discovering fire. —Preceding unsigned comment added by 72.197.206.25 (talk) 08:07, 23 March 2009 (UTC)

 * The hominids that learned how to control fire date back as far as 600.000 years. Modern humans evolved around 200.000 years ago. We had culture, language and music for a long time while we lived in tents made out of mammoth skin and tusks. Modern technology or knowledge is not required to replicate an item such as food. Ancient leaders were plagued by fake artifacts, just ask the pharaoh if they have any fake jewellery. I am looking for a fish taste substitute and I realized, without modern science, that seaweed for sushi tastes just like fish. —Preceding unsigned comment added by 92.63.21.66 (talk) 16:36, 5 January 2010 (UTC)

What is surimi?
The intro line to this article says surimi is based on poultry or fish. The definition section says surimi is based on fish. The "List of surimi food" section includes tsukune which is based on poultry, pork, or beef (no fish). The tsumire article incorrectly redirects to tsukune, when tsumire is actually based on fish. The tsukune article calls itself surimi when it does not contain fish. —Tokek 08:25, 17 September 2005 (UTC)
 * My brief research so far says surimi is Japanese for "minced fish" and other meats are not surimi.  Still researching. —Bunchofgrapes  (talk) 02:56, 22 December 2005 (UTC)
 * OK, the etymology "minced meat" is apparently correct: . Not to say it isn't used exclusively to refer to fish products, though... still unsure. —Bunchofgrapes (talk) 03:41, 22 December 2005 (UTC)
 * I've seen this term applied to many kinds of minced/pulverized meat product. Including fish, chicken, beek, or pork. They are also called respectively fish surimi, chicken surimi...etc. As a loaned/adopted word from Japanese, perhaps "surimi" has taken on a broader meaning in Western society and is no longer limited to just pureed fish but encompassing all pureed or "minced meat" products. Sjschen 19:13, 13 March 2006 (UTC)

_______________________________________

To make it short and as Surimi means "ground meat", it may be meat balls, shrimp balls, etc. found in Asian grocery.

Takima (talk) 02:07, 14 November 2008 (UTC)

Japan-centric?
It's served in many countries in East and Southeast Asia, but this article focuses on the Japanese variant. Should it be rewritten, or as a main article of the section on this Japanese variant in a general article? — Instantnood 14:32, 8 December 2005 (UTC)

 * I think it is extremely telling that right at the very beginning the article states: "Surimi (擂り身, lit. "ground meat" in Japanese)..." The article effectively is covering the more general notion of "ground meat products" (with "meat" also including seafood) but with a Japan- and Asian-centric scope.  I tend to think it's possible to merge the more general "ground meat"-type information into some existing article (which someone can try searching for), and maybe shorten this article so it covers specifically the Japanese variant.  I definitely object to using a Japanese word to title an article covering a more general concept that's hardly unique to Japan. 24.19.184.243 04:42, 13 July 2006 (UTC)

 * While surimi is essentially a Japanese product, the term itself has been borrowed by the English language to describe any pulverized meat product that gels inot a rubbery mass when cooked. As such, I suggest that instead of merging the info into another article that the Japanese specific information be put into a subsection in the same article. Furthermore, there is very little difference between the surimi produced in various countries, as such I do not think that it justifies splitting the article. -Sjschen 23:18, 13 July 2006 (UTC)

This is apparently advertising
Moved from main article --

" Literature

Currently the source book for academics and industry people interested in surimi and surimi seafood products titled Surimi and Surimi Seafood Second Edition edited by Dr. Jae Won Park builds on the foundation of the first edition. Surimi and Surimi Seafood Second Edition covers the transformation of functional fish proteins (surimi) into surimi seafood products with unique texture, flavor, and color. It also covers fish stocks, on-shore and at-sea processing, quality control methods, and the chemistry of surimi functional ingredients. The appendix features the Codex Code of Practice for Frozen Surimi."

imitation crab meat
I just noticed that 'Imitation crab meat' links here... Is this intentional? Sartan 21:33, 25 August 2006 (UTC)

Nope, I changed it to Crab stick Sjschen 22:23, 25 August 2006 (UTC)
 * Then, 'Fake crab' should be changed. I changed.--Boldlyman 07:50, 10 June 2007 (UTC)

we,the hoi-poloi, really would like to know "are surimi fish sticks GOOD for you"? —Preceding unsigned comment added by 92.9.160.9 (talk) 08:49, 14 February 2009 (UTC)

Cornjack?
There's no entry on it, and Google gives me nothing. I can't imagine there being something notable called cornjack made of surimi, so I deleted it. 66.71.70.134 (talk) 06:01, 30 April 2009 (UTC)

Ingredient vs. food product.
I changed the intro so that people can know exactly what it is instead of it's shapes. I made it clear that Surimi can refer to both the fish paste and the food made from it. In Chinese there's a distinction between the ingredient and all the food product with different shapes.Yel D'ohan (talk) 20:58, 28 April 2013 (UTC)

Borax - illegal additive?
From this article: "Although illegal, the practice of adding borax to fish balls and surimi to heighten the bouncy texture of the fish balls and whiten the product is quite widespread in Asia."

And from the article on Borax: "Borax, given the E number E285, is used as a food additive in some countries, but is banned in the US."

The second quote seems to imply that borax is quite legal in many jurisdictions. Therefore, implying that "the practice of adding borax to fish balls and surimi" is generally illegal seems far-fetched. Does anyone have any sources on legality of this additive around the world (or at least Asia)? - 78.8.138.80 (talk) 00:09, 15 September 2013 (UTC)
 * The german wikipedia page of Borax says that it IS a food additive, but only allowed for "real" caviar (this seems to mean only the roe of sturgeon fish).--Cyberman TM (talk) 07:09, 30 July 2014 (UTC)

A Commons file used on this page has been nominated for speedy deletion
The following Wikimedia Commons file used on this page has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 03:36, 27 August 2018 (UTC)
 * UNAJIRO by Ichimasa Kamaboko Co., Ltd.jpg

A Commons file used on this page has been nominated for speedy deletion
The following Wikimedia Commons file used on this page has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 17:22, 27 August 2018 (UTC)
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splitting of history section
While adding my line about UK labelling, I thought "this isn't really history", but added it anyway; I thought the majority of the page is under history, which didn't seem right. But on examination most of what's there is historical, albeit recent; however, the last paragraph above mine also didn't seem to be, so I split the section (more for the help of future editors).

(I hope my line about UK labelling won't be deleted for lack of references - I'm sure the reason I've given is correct, but actually finding the specific ban among the mountain of UK rules would be a mammoth task.) G6JPG (talk) 10:35, 8 April 2024 (UTC)

title: Talk:Surimi


text:
David Rittenberg

David Rittenberg (November 11, 1906 – January 24, 1970) was an American biochemist who pioneered the isotopic tagging of molecules. He was born and died in New York, and spent almost the whole of his life there. He obtained his B.S. in 1929 from the City College of New York, and his Ph.D. in 1935 at Columbia University under the supervision of Harold Urey.

Research on isotopes as tracers
Rittenberg's doctoral work concerned thermodynamic properties of molecules containing 2H (deuterium), and he built his career principally on work with isotopes.

His introduction of the use of 2H as a tracer to follow the fate of various different compounds in human metabolism changed the prevailing scientific theory, from a static, "wear and tear" view of metabolic processes, to a dynamic theory in which there is constant and rapid buildup and degradation of body constituents.

In their Biographical Memoir David Shemin and Ronald Bentley described the approach in these terms: "The metabolites containing 2H had properties essentially indistinguishable from their natural analogs by the methods commonly used. Nevertheless, the presence of the isotope made it possible to trace their metabolic fate. Thus, if a 2H-containing compound, B, was isolated after feeding the 2H-labeled compound, A, to an animal, the metabolic conversion A → B was established. Prophetically, these authors noted that 'the number of possible applications of this method appears to be almost unlimited.' Subsequent developments have shown that they were true prophets."

From 1935 onwards Schoenheimer and Rittenberg published a long series of papers in the Journal of Biological Chemistry on the general topic of 2H as an indicator in the study of intermediary metabolism, starting with a general introduction to the topic, and continuing to 1938 with a study of hydrogen in amino acids.

From 1939 onwards Schoenheimer and Rittenberg continued on the same road with a further long series of papers in the Journal of Biological Chemistry on protein metabolism, starting by describing some general considerations.

Weizmann Institute
Although Rittenberg remained throughout his career at Columbia University, he also participated in the early years of the Weizmann Institute in Rehovot, Israel, first as a member of the Planning Board and later as a member of the Board of Governors. He was a made an honorary fellow of the institute in 1967. Later he joined the advisory board of the Hadassah Medical School in Jerusalem.

title: David Rittenberg


text:
Talk:Pastiche

Restructure
I have restructured the article to be more appropriate from an etymological-, logical-, and Wikipedia article- standpoint. The History section goes first to give the background of the word (or topic of the article in general). The hodge-podge definition goes second, because chronologically, it is the earliest (as is done in Wikipedia articles), and helps show etymological progression. Finally, the imitation definition comes last, as it is the latest etymological take on the word (it also concludes with the ostensible see-also section, which often concludes most general articles anyway.) Clearly this is a better format, rather than having the newest take on the word first (which could be argued as pushing a newer definition for priority.) 66.229.182.113 22:09, 3 June 2006 (UTC)

I thoroughly disagree: "pastiche" is used today most often as a synonymn for assemblage. I.e. it is a combination of multiple elements, usually for humorous effect. It is also quite often derisive of the originals. Furthermore, although literary pastiche continues, the term is probably much more used in fine arts, where it can include collage and parodic mixtures of found elements. As post-modernism has risen, pastiche has become a favored technique again. It is also odd to omit reference to Dada and its use of pastiche.

Furthermore, the most common use of the word "pastiche" outside of the arts is for derogation. "Oh, that report? It was a pastiche of every press release the company has issued in the last year." user:Geogre

I agree as well. Pastiche is not exactly the same as pasticcio, and in my opinion, combining them would be a bad idea. anonymous user

 * Ya, never mind. I don't know what I was thinking. (I was 66.229.182.113). 66.229.160.94 09:30, 9 August 2006 (UTC)

There are external links in the 'Further Reading' section to Jameson, but you'll find Jameson in fact differentiates Pastiche and Parody. He claims that Pastiche is in fact "blank parody" and that the aim of Pastiche has never been humor. This theory is quite prevalent in post-modern thought, it needs to be added to this article if we really want a coherent discussion of the pastiche notion. —Preceding unsigned comment added by 149.171.19.114 (talk) 08:49, 15 May 2008 (UTC)

right away this article takes on frederic jameson's understanding of pastiche--in the 2nd, introductory sentence, in a way that is not neutral not necessarily true across the board. "Unlike parody, pastiche celebrates, rather than mocks, the work it imitates"-- I would argue this is a theoretical statement as opposed to a definition, and cannot be conceived of outside of the language of Jameson. I think you all should either cite Jameson right away if he is so influential or save this more theoretical statement for later.165.82.211.90 (talk) 18:03, 17 December 2015 (UTC)random college student <3

Accuracy neutrality
I dispute the neutrality because of the comments about Tarantino; find a more neutral way of expressing the fact that his films are 'pastiche' but without saying "They're not original works of art- they're just copied." I don't mean to sound like one of the teen jerks on IMDB- I'm just pointing out the obvious bias the writer had against Tarantino's work. Andrewdt85 00:56, 24 January 2006 (UTC)

Hate to sound like a teen fanboy but how can a sentence like "The Star Wars series of films by George Lucas stands out for the relentlessly derivative nature of its plot and characters" be considered objective or neutral. I'd bet the author would never describe the films of Kurosawa as "relentlessly derivative" even though Hidden Fortress has much the same plot and characters as Star Wars and some of his best are simple Shakespeare riffs. Take the joy-sucking elitism somewhere else. Much thanks! Philhhc 05:46, 5 February 2006 (UTC)

 * I have edited both sections in question to be of a NPOV and have removed the dispute tag. Pacian 07:45, 18 February 2006 (UTC)

laura
 * to philhhhc...in the writers defense, its been well documented by lucas himself that most of the ideas for stars wars come from kurosawa's hidden fortress, he's been very open about that fact.So technically you could call stars wars a pastiche as kurosawa was heavily influenced by the early american westerns of ford, so in turn stars wars pays homage to westerns and japan cinema

 * In philhhhc's defense, the phrase "relentlessly derivative" is not particularly neutral or even coherent.

Parody
I'm going to remove the opposition in the literary section between pastiche and parody. Literary parody, as seminally defined by Linda Hutcheon, is in fact respectful. It is indeed, innately respectful, for in the act of parody one assumes that the text parodied is worth the attention. So, when Rushdie parodies Dickens on the first page of Midnight's Children, for example, it is not necessarily a mocking or disrespectful gesture. Mcgma709 02:29, 28 March 2007 (UTC)

I totally agree ND Bako (talk) 09:57, 27 January 2018 (UTC)

Un-dicdef the article
The article is currently about a word, not a concept, and it's rather obvious that it's supposed to concentrate on the latter. Please try to amend this. Peter Isotalo 12:04, 1 April 2007 (UTC)

 * A concept is an abstraction. That is, when perceiving several objects, an observer mentally removes their inessential characteristics and retains only what is common to all of the objects. The abstract object that remains, with only the characteristics that all the objects shared, is a concept. For example, the concept of a dog is a mental object that has four legs, fur, panting tongue, and barks when the doorbell rings. In order to communicate this concept with each other, various humans have created signs, such as "chien," "Hund," "dog," and "perro." These signs are words. So, what is the concept that is designated by the word pastiche? Does the word designate more than one concept, such as "mixture" and "copy?" If it does, then the sign is an ambiguous word.Lestrade 23:29, 29 July 2007 (UTC)Lestrade

Homage
In the "Pastiche as imitation" section, the following sentence occurs: Edvard Grieg's Holberg Suite was written as a conscious homage to the music of an earlier age. This is an example of the current use of the word "homage" to mean "imitation" or "copy." It is well to be aware when a word that has had an accepted, conventional meaning, like "homage," is used with a new, different meaning. In the same section, the phrase "pay tribute to" is also used as a euphemism for "imitation" or "copy". Lestrade 23:21, 29 July 2007 (UTC)Lestrade

Diacritics (Unicode)
Should be "Händel", no?

Not in English, no. Deipnosophista (talk) 09:48, 12 October 2013 (UTC)

Languages of Pao
Is this section necessary? How does this novel and a fourth language called "Pastiche" say anything useful toward the word itself? —Preceding unsigned comment added by Spiralout987 (talk • contribs) 17:54, 27 May 2008 (UTC)

Eclecticism
What's the difference to Eclecticism? Could this be merged?

 * It's not clear to me how they might be related, the philosophy of varied and diverse schools of thought. --UnicornTapestry (talk) 07:58, 2 February 2010 (UTC)

 * Certain meanings could be considered synonyms or subtypes. Worthy of a "see also" link (added) but not a merge, I think. -- Beland (talk) 01:14, 3 June 2012 (UTC)

Refs
Thumperward deleted all the references as well as the dictionary definition. I restored the refs but left the rest alone for now.

--UnicornTapestry (talk) 07:58, 2 February 2010 (UTC)

Relationship to postmodernism and intertextuality
The below was meandering and full of dubious claims which seem to be opinions unsupported by general academic consensus. I replaced it with "Pastiche is a form of intertextuality, which is sometimes associated with postmodernism.". -- Beland (talk) 00:10, 3 June 2012 (UTC)

Removed text
Postmodern art, media and literature can be characterized by intertextuality as the narrative mode, and the postmodern period can be characterized by the death of the grand narratives as proclaimed by Jean-François Lyotard in The Postmodern Condition: A Report on Knowledge (1979). The grand narratives such as religions, ideologies and the Age of Enlightenment project have been substituted by the small, local narratives, e.g. love of one’s family.

Pastiche is intertextual in its very form as it is a recreation of an earlier text. In the postmodern pastiche the older text (the hypotext) may reflect one of the bygone grand narratives, yet its new postmodern version may reflect a local narrative, so that the two enter into a dialogue in the pastiche. This is for instance the case with Francis Glebas' "Pomp and Circumstance" - the seventh segment in Fantasia 2000 from 1999, in which the grand religious narrative of the Deluge is merged with the local narrative of personal love, personified in Donald Duck and Daisy. Though the grand narratives may be dead as ontological frames, they can here in the pastiche narrative regain some of their ontological strength when the local narratives are confronted by them in this narrative way.

What is this article about?
Wikipedia articles are generally about things, not words. In the case of this article, several different concepts are being covered and this is inappropriate. Should we split it? Considering the things/words distinction, is there anything that might constitute content forkery that can be merged elsewhere? — Æµ§œš¹  [ãːɱ ˈfɹ̠ˤʷɪ̃ə̃nlɪ] 01:01, 2 October 2012 (UTC)

Masses
Is it correct to speak of Masses as having "movements"? It seems disrespectful to the liturgical context. Deipnosophista (talk) 10:01, 12 October 2013 (UTC)

Weird Al as an example
Weird Al does mostly parodies (or reinterpretations) of other famous songs with silly lyrics, but his pastiche "Dare to be Stupid" to Devo is a notable example that could be added to the examples in music/video. https://you tu.be/ETyCK9mqhDI?t=586 — Preceding unsigned comment added by 24.156.255.250 (talk) 15:56, 30 December 2022 (UTC)

title: Talk:Pastiche


text:
Brian Moore

Brian Moore may refer to:

Sportspeople

 * Brian Moore (footballer, born 1933) (1933–2006), association football player from Northern Ireland
 * Brian Moore (footballer, born 1938), English footballer
 * Brian Moore (soccer), retired American soccer midfielder
 * Brian Moore (rugby league) (1944–2014), Australian rugby league footballer and coach
 * Brian Moore (rugby union) (born 1962), English rugby union footballer and commentator

Politicians

 * Brian Moore (political activist) (born 1943), Socialist Party USA and Liberty Union Party nominee for president
 * Brian Moore (Iowa politician) (born 1962), member of the Iowa House of Representatives

Others

 * Brian Moore (novelist) (1921–1999), Northern Irish novelist and screenwriter
 * Brian Moore (commentator) (1932–2001), British sports commentator and television presenter
 * Brian Moore (scientist) (born 1946), professor of auditory perception
 * Brian Moore (police officer) (born 1959), former of the UK Border Force, former Chief Constable of Wiltshire Police, England
 * Brian Moore, American police officer who was murdered in 2015; see murder of Brian Moore

title: Brian Moore